Jean Baptiste Camille CorotBiblio.com
638 résultats
69709Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1866. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
69658Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century c. 1845. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
69824Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1869–70. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
75Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century c. 1845. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
69826Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1869–70. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
In 16, pp. 27 + (1b) con 2 tavv. n.t. di cui una con ritratto di Corot e una raffigurante il suo atelier. Qualche sporadica fioritura alle carte e segni di polverosita' ai piatti. Br. ed.
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
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
11674Corot Jean-Baptiste-Camille. Corot Jean-Baptiste-Camille. SOUVENIR D'OSTIE. Delteil 57 Melot 57. Cliche Verre 1855. Second State of two with the signature of Corot in reverse lower left. 12 1/4 x 16 1/4 inches 310x415 mm. sheet full margins. Corot was an enthusiastic practitioner of the cliche verre technique producing about 65 images from the 1850s to the 1870s. A cliche verre is made in a manner somewhat similar to a drypoint: a coating is applied to the surface of a glass sheet and the image is made by scratching through the coating with a tool. Unlike a drypoint though it is printed like a photograph: the plate is placed face down on a sheet of light sensitive paper which is then exposed to lightcausing the image to develop. Some losses at the sheet edges not affecting the image else in Very Good condition. unknown
29393Paris Alphonse Lemerre 1869 20 décembre 1868. 1 vol. 275 x 355 mm de 3 f. 84 p. et 2 f. table et d'achevé d'imprimer. Bradel de demi-maroquin bleu nuit à coins dos à nerfs orné de petits fers doré absolument non rogné couverture de simili parchemin imprimée conservée reliure signée de Émile Carayon. . Édition originale. Tirage à 350 exemplaires non numérotés. Hors commerce il a été tiré 20 exemplaires sur Whatman 12 sur Chine et 4 sur parchemin. Un des 12 exemplaires sur papier de Chine. . On doit à Philippe Burty l'idée d'avoir le premier jumelé poèmes et illustrations sous une forme d'anthologie en convoquant des peintres appelés à dessiner directement sur le cuivre pour illustrer les sonnets de poètes contemporains - dont beaucoup sont alors à l'aube de leur carrière littéraire. 41 eaux-fortes originales sont ainsi réalisées en réaction contre la gravure d'interprétation confrontant pour la première fois des peintres-graveurs à leurs contemporains - à l'exception de Victor Hugo qui « changea de camp » pour livrer son propre dessin gravé par Courtry en illustration de « L'Éclair » de son ami Paul Meurice. Le recueil rassemble ainsi 42 sonnets classés selon l'ordre alphabétique des auteurs chacun accompagné d'une eau-forte. L'histoire retiendra celle admirable de Manet illustrant un sonnet d'Armand Renaud « Fleur exotique ». Du côté des poètes on relève les noms de Banville Glatigny Gautier Heredia Leconte de Lisle Sainte-Beuve Verlaine et Anatole France ; du côté des artistes on retiendra Camille Corot Édouard Manet Gustave Doré Johan-Barthold Jongkind Jean-François Millet Félix Bracquemond Célestin Nanteuil Seymour Haden Léopold Flameng. Les ornements du texte sont gravés sur bois par Prunaire le graveur ami de Manet ; les planches furent détruites à l'issue du tirage ce qui scandalisa Millet : « Entre nous je trouve cette destruction de planches tout ce qu'il y a de plus brutal et de plus barbare. Je ne suis pas assez fort en combinaisons commerciales pour comprendre à quoi cela aboutit mais j'entends donc que si Rembrandt et Ostade avaient fait chacun une de ces planches-là elles seraient anéanties. » De fait l'ouvrage peut être considéré comme la première anthologie illustrée et comme le second livre de peintre après le Faust illustré par Delacroix en 1828. Le Fleuve de Charles Cros en 1874 illustré de 8 eaux-fortes de Manet constituant le troisième. Nous avons pu recenser trois des quatre exemplaires sur parchemin exemplaires Burty puis Béraldi relié par Marius Michel ; exemplaire Esmérian également relié par Marius Michel ; un exemplaire sans provenance relié par Auguste Petit et seulement deux des exemplaires sur Chine exemplaires Descamps-Scrive et Sicklès les deux reliés par Marius Michel. Peu sont donc en reliure strictement d'époque : le parchemin de Petit et ce chine de Carayon. Les autres sont légèrement postérieures sans doute au tournant du siècle. « Beaucoup d'exemplaires ont été détruits pour satisfaire à la demande des collectionneurs d'estampes qui ont extrait de ce livre les gravures de Corot Manet et Millet et autres afin de compléter en estampe l'oeuvre de ces artistes » Carteret. Bel exemplaire d'une grande rareté. Rauch n° 5 ; The Artist and the book n° 64 ; Carteret III 564 les exemplaires hors commerce sont « d'une grande rareté ». Paris, Alphonse Lemerre, 1869 (20 décembre 1868). 1 vol. (275 x 355 mm) de 3 f., [84] p. et [2] f. (table et d'achevé d'impri unknown
186929393La première anthologie de peintres de l'histoire du livre illustré : un des douze exemplaires sur chine. Reliure d'époque par Émile Carayon. Paris, Alphonse Lemerre, 1869 (20 décembre 1868). 1 vol. (275 x 355 mm) de 3 f., [84] p. et [2] f. (table et d'achevé d'imprimer). Bradel de demi-maroquin bleu nuit à coins, dos à nerfs orné de petits fers doré, absolument non rogné, couverture de simili parchemin imprimée conservée (reliure signée de Émile Carayon). Édition originale. Tirage à 350 exemplaires non numérotés. Hors commerce, il a été tiré 20 exemplaires sur Whatman, 12 sur Chine et 4 sur parchemin. Un des 12 exemplaires sur papier de Chine.
47646Paris, Imp Bertauts, édité par la revue L'Artiste, sans date (circa), 315x225 mm (avec marges), 175x215mm (hors marges), lithographie en noir sur vélin par Emile Lassalle d'après un dessin de Corot. PHOTOS SUR DEMANDE. PHOTOS AVAILABLE. Rares rousseurs en marge, légère auréole d'une ancienne mouillure dans le coin supérieur droit sinon bon état.
318364Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century ca. 1870. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318363Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century ca. 1870. Professionally printed on premium fine-art paper Photo Rag 308 in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318365Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century ca. 1870. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318362Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century ca. 1870. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
2004123907[Heidelberg] : Edition Braus im Wachter-Verlag, 2004. 182 S. mit zahlreichen Abbildungen; 30 cm; illustrierte Orig.-Klappen-Broschur;
1911217Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1871. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1911216Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1871. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1911214Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1871. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1911215Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1871. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318352Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century 1865. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318353Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century 1865. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318350Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century 1865. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
318351Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 19th century 1865. Professionally printed on premium fine-art paper Photo Rag 308 in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
