6 résultats
1931173963Paris: Éditions des Bibliothèques nationales de France 1931. Softcover. Good staining to wraps light foxing to block edges. Off-white illustrated wraps with black and red lettering on front cover 88 pp illustrated with bw illustrations. Written in French. Exposition organized with the Louvre Museum. Includes bibliographical references. Éditions des Bibliothèques nationales de France paperback books
6990Paris Pierre Tisne n.d. 2nd edition. Cloth with color label on the front slip case 155 pp. 140 plates some colored and mounted. Minor wear else very good. <br/><br/> Paris, Pierre Tisne, n.d. hardcover books
1989162688Tokyo: Art Life 1989. First edition. Oblong softcover. Published in conjunction with an exhibition that ran September 13 through October 1989. Text by Gabriel Weisberg and Francois Pomarede in English and Japanese. Includes numerous color and black and white illustrations. A close to near fine copy in wrappers with some minor wear. Uncommon. Art Life unknown books
500134"J. Corot" Paris ca. 1845-50 in French to "My dear Charles": "A bit late - but I now inform you of my sending two paintings which must have gone out yesterday Monday. Regards to all the family." 8vo. 1 page with integral leaf. Rare in any form. Signed by Authors. F. Soft cover. paperback books
186336846Paris: Published by A. Cadart and F. Chevalier Editeurs rue Richelieu 66 1863. Etching. Printed on laid paper partial watermark Annonay. This is a rich impression of the third state of four of Corot's famous landscape etching "Souvenir d'Italia."<br/> <br/>Jean Baptiste Camille Corot was a founding figure in the Barbizon school and his transient atmospheric landscapes are often considered precursors of impressionism. Born in Paris Corot studied under the neoclassical masters Michallon and Bertin but he advocated a more naturalistic painting technique and pioneered the practice of painting in the open air. Corot was also an innovative printmaker who mastered etching lithography and glass printing. In 1825 he made the first of three trips to Italy where he was greatly influenced by both the art that he viewed and the landscape he traveled through. It was not until the age of fifty that Corot learned to etch and it was from his early Italian sketches that the majority of his fine etchings derive. This remarkable print is a superlative example of Corot's distinctive sketch-like engraving style. Corot's use of soft wispy outline and hazy diffused light is characteristic of his later style which seems to perfectly capture the mood of a landscape. Corot was one of the most important French printmakers of the nineteenth century and this haunting print is one of the best examples of his beautiful etched landscapes. It was included in one of the first collections of the Society de Aqua-Fortistes publications by Cadart. Between 1862 and 1866 the Societe des Aqua-Fortistes produced a five-volume collection of artists' etchings entitled "Euax-Fortes Modernes." Printed on laid paper made especially for the series this outstanding collection is one of the seminal publications to spring out of the etching revival in France. The Societe des Aqua-Fortistes was the French equivalent of the Etching Club in England and similarly it aimed to produce a collection of high quality etchings by the leading artists of the period. Like the Etching Club the Societe des Aqua-Fortistes sought to raise the prestige of the medium from a reproductive technique to a fine art. Although the etching revival began somewhat earlier in England the French movement exerted a far greater influence on the medium and included a wider range of prominent artists. The Barbizon painters were among the earliest French artists to participate in the etching revival and their superb prints helped raise the medium to new heights of genius. This unique publication which included works by Manet Corot and Delacroix is an outstanding example of fine art printing at its best.<br/> <br/>Beraldi Les Gravures du XIXe Siecle Guide de l'Amateur d'Estampes Modernes vol. V p. 50 no. 5 iii/iv; Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs.7; Delteil Le Peintre-Gravure Illustre vol. V no. 5 iii/iv; Laran Inventaire du Fonds Francais après 1800 vol. 5 p. 186 no. 5. Published by A. Cadart and F. Chevalier, Editeurs, rue Richelieu 66 unknown books
8949Used; Like New/Used; Like New. Original etching engraved by Henri Guerard with autograph edits for the publication of the print in brown ink by Corot including the addition of his name "C. Corot " with a cancelation mark and title beneath the image "Le Concert / appartient à M. Jules Dupré" and approved by him upper right corner "Bon à tirer " with his autograph paraph. 28 x 20 cm. <br><br><br />Le Concert Champêtre on which this engraving is based was painted by Corot in 1857 and is currently housed in the Musée Condé of Chantilly France. A reworking of a composition exhibited by Corot in the Salon of 1844 the painting was shown in the Salon of 1857 and depicts three women one with a cello in the foreground of a forest landscape. The work "is interesting for the new directions it signals in Corot's work. The subject neither mythic nor biblical is essentially an eighteenth-century motif reinterpreted by a modern sensibility. The painting brought to life a serene Arcadia with no specific historical or literary referent removed equally for antiquity and from the nineteenth century." Gary Tinterow "Corot: Exhibition Metropolitan Museuem of Art NY 1996" p. 147 unknown books
