1 110 résultats
1931112206Paris Grasset, coll. "Les Cahiers verts" 1931 1 vol. broché in-12, broché, 250 pp. Edition originale. Exemplaire numéroté sur alfa et enrichi d'un ex-dono autographe signé de Daniel Halévy. Dos passé et infimes rousseurs sur les pages de garde.
1931112206Paris Grasset, coll. "Les Cahiers verts" 1931 1 vol. broché in-12, broché, 250 pp. Edition originale. Exemplaire numéroté sur alfa et enrichi d'un ex-dono autographe signé de Daniel Halévy. Dos passé et infimes rousseurs sur les pages de garde.
1945AUB-7793Ed. Bernard Grasset 1945. Bon exemplaire broché, in-8, 289 pages.
1931R320146160Bernard Grasset. 1931. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Quelques rousseurs. 250 pages - pages non coupées.. . . . Classification Dewey : 94.4-Editions numérotées
1945RO30333589Bernard Grasset. 1945. In-8. Broché. A relier, Livré sans Couverture, Dos satisfaisant, Papier jauni. 282 pages. Dos partiellement manquant. Quelques rousseurs. Ouvrage partiellement désolidarisé. Quelques déchirures. Frontispice illustré en noir et blanc. Notes au crayon in texte. Nombreuses illustrations en noir et blanc, hors texte+ feuillets en rajout. 2ème plat conservé mais abîmé.. . . . Classification Dewey : 846-Lettres, correspondance littéraire
1931R150120678GRASSET.. 1931. In-8. Broché. Bon état, Couv. convenable, Coiffe en pied abîmée, Intérieur frais. 250pages.Recueillies et annotées par Marcel GUERIN et précédées d'une préface de Daniel HALEVY.. . . . Classification Dewey : 800-LITTERATURE (BELLES-LETTRES)
RO30320024Grasset. Non daté. In-8. Broché. Bon état, Couv. convenable, Dos abîmé, Intérieur frais. 238 + quelques planches illustrées en noir et blanc.. . . . Classification Dewey : 846-Lettres, correspondance littéraire
433(recueillies et annotées par Marcel GUERIN) in 12 broché,IX-250 pages,non coupé.Préface de Daniel Halévy.Grasset éditeur,les cahiers verts 1931.édition originale,exemplaire numéroté service presse(SP)
6846recueillies et annotées par Marcel GUERIN, préface de Daniel Halévy In 12 broché,faux-titre,titre,250 pages, Grasset 1931.Les cahiers verts édition originale un des 170 exemplaires numérotés sur pur fil,sous double couverture.Très bon état
193176182Couverture verte. Dos passé. Non coupé.
2246144248.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
187084728Paris s. d. [années 1870] | 10.80 x 17.10 cm | trois pages sur un feuillet double
016953Dolores Serral (1814-1885), danseuse maure espagnole, dessinée notamment par Manet et Degas. L.A.S., 30 juin 1847, 1p in-12. En espagnol. « la demanda acuerdo muy senor mio, mas un nombre sin talento pondra en olvido. Dolores Serral ». On pourrait traduire par « la demande est acceptée mais un nom sans talent tombera dans l'oubli ». On joint le papier de la collection Henri Bresles dit Henri Bachaumont (1864-1924) ayant fait une petite fiche sur ce document. Très très rare autographe de cette danseuse qui eut un grand succès en Espagne et à Paris. [395]
188568398Dieppe 1er septembre 1885 | 22.40 x 17.70 cm | 4 pages sur un double feuillet
187084728Paris 1870. Fine. An opera painting travels to London; Degas greets his close friend James Tissot Paris s. d. années 1870 10.80 x 17.10 cm trois pages sur un feuillet double Autograph letter dated and signed by Edgar Degas addressed to the dealer Charles Deschamps director of Durand-Ruels London branch. Three pages in ink on a bifolium. Minor marginal tears not affecting the text folds from mailing. Recently returned from New Orleans Degas writes to his London dealer to announce the imminent arrival of a delicate composition of dancers Le Foyer de la danse à lOpéra de la rue Le Peletier now held at the Musée dOrsay: ""In the meantime you will receive the little picture you saw in progress and which you had the idea of selling to Mr. Huth - May you succeed! . As for the price it seems to me that £150 to £200 is fair"" Deschamps fulfilled the painters wishes and sold the painting to Louis Huth financier and patron of Whistler for £140. The canvas would later enter the distinguished collection of Isaac de Camondo. Degas turned towards London at a time when the English art market offered relief from the collapse that followed the Franco-Prussian War of 1870. He placed great hopes in this expanding British market fuelled by lucrative blockbuster exhibitions drawing millions of visitors; Degass canvases were shown in eight exhibitions of the Société des Artistes Français. Although he often mentions financial difficulties in his correspondence ""At the end of the month I have quite a lot to pay. If some money came in I would be delighted . - Take care of me my dear Deschamps I would be most obliged - Tell me also if the season is not too far advanced. I fear it is"" his career across the Channel was flourishing and his sales profitable. The painter does not fail to salute the ""French colony"" of expatriate artists Giuseppe de Nittis and his close friend James Tissot whose financial success provided Degas with an example of how effectively a French painters work could be marketed in England. Unlike Tissot however Degas refused to adapt to market taste focusing instead on defending the Impressionist cause in France and abroad. He also devotes a passage to a voracious collector of his works the baritone Jean-Baptiste Faure patron of his celebrated series of canvases on the Paris Opéra and owner of Manets Déjeuner sur lherbe: ""I ought to have been in London some time ago according to what I said. I am not there because the picture for Jean-Baptiste Faure is not finished and I would not like to meet him there without being able to give him better news and I hardly have time to dawdle if I want not to arrive on the 1st of September with nothing to deliver to him"". Ironically Faure would later reproach Degas for leaving his canvases unfinished ! and even sue him a few years afterwards. A rare and exceptional letter tracing the history of one of Degass celebrated works and his dealings with dealers and collectors on the eve of the first Impressionist exhibition to be held the following year. ""My dear Deschamps I ought to have been in London some time ago according to what I said. I am not there because the picture for Jean-Baptiste Faure is not finished and I would not like to meet him there without being able to give him better news and I hardly have time to dawdle if I want not to arrive on the 1st of September with nothing to deliver to him - He is leaving London on the 18th or 19th I know that - Perhaps at the end of the month a little earlier however I will come to see you as well as the French colony. But nothing is less certain. In the meantime you will receive the little picture you saw in progress and which you had the idea of selling to Mr. Huth - May you succeed! At the end of the month I have quite a lot to pay. If some money came in I would be delighted - As for the price it seems to me that £150 to £200 is fair - I would like to add two other pieces a little vaporous - I am worki unknown
188568398Dieppe 1885. Fine. Dieppe 1er septembre 1885 22.40 x 17.70 cm 4 pages sur un double feuillet Unpublished autograph letter signed Dieppe 1 September 1885 22.4 x 17.7 cm one folded sheet under custom slipcase Unpublished signed autograph letter from Edgar Degas to an unknown correspondent. 4 pages in black ink on one folded sheet. Central fold inherent to the way the letter was folded.his letter is presented in a chemise and case with paper boards decorated with abstract motifs the spine of the chemise in green morocco pastedowns and endpapers of green suede slipcase signed by Thomas Boichot. A handsome unpublished letter testimony to Degas' other great passion after dance: song.he Parisian premiere of Ernest Rayer's Wagnerian opera Sigurd took place on 12 June 1885 at the Opera de Paris. Degas overcome by the performance of the singer Rose Caron saw the piece thirty-seven times: «I still love Sigurd and I like it more and more. I have never seen Reyer except once in the street. And I made a point of telling him of the admiration it provoked in me far more immediately than in someone who being neither maid nor washerwoman was worthy of some consideration.» Degas paid homage to the beauty of Rose Caron in Sigurd by doing two drawings on fans today in private hands in the US.Properly obsessed by this «admirable work that did him so much good that he could not get over» the painter asked his famous neighbor to play him the score on the piano: «The young Jacques-Emile Blanche our neighbor plays it to me every day in place of your wife.»he letter closes with a lyrical description of Mont-Saint-Michel of which Degas had made several drawings: «Have you ever seen Mont-Saint-Michel Could we go and spend a few days there together sometime It's so pretty so charming. In one month I've been twice. The big tides at the end of September will take me back once more.» Degas' passion for opera is the subject of an exhibition for the 350th birthday of the Paris Opera open from 24 September 2019 to 19 January 2020 at the Musée d'Orsay. hardcover
<p>20 cm, rilegatura editoriale, sovracoperta illustrata sciupata; pp. 271, 40 tavole in nero fuori testo</p>
In-8 (cm. 20.50), cartonato editoriale, sovracoperta editoriale illustrata, pp. 271, (1), con illustrazioni in bianco e nero fuori testo. A cura di Giulia Veronesi. Tracce d’uso alla sovracoperta; peraltro, volume in buono stato (good copy).
194960291Genève Pierre Cailler, coll. "Peintres et sculpteurs d'hier et d'aujourd'hui" 1949 1 vol. broché in-8 (190 x 142 mm), broché, couverture illustrée, nombreuses planches de photographies hors-texte. Très bon état.
194960291Genève Pierre Cailler, coll. "Peintres et sculpteurs d'hier et d'aujourd'hui" 1949 1 vol. broché in-8 (190 x 142 mm), broché, couverture illustrée, nombreuses planches de photographies hors-texte. Très bon état.
1949106297Genève Pierre Cailler, coll. "Peintres et sculpteurs d'hier et d'aujourd'hui" 1949 1 vol. broché gr. in-12, couverture illustrée, 12 pp. et 68 planches hors-texte. Exemplaire provenant de la bibliothèque de Georges Bataille avec tampon à l'encre noire sur le premier feuillet "Bibliothèque de Georges Bataille".
1949106297Genève Pierre Cailler, coll. "Peintres et sculpteurs d'hier et d'aujourd'hui" 1949 1 vol. broché gr. in-12, couverture illustrée, 12 pp. et 68 planches hors-texte. Exemplaire provenant de la bibliothèque de Georges Bataille avec tampon à l'encre noire sur le premier feuillet "Bibliothèque de Georges Bataille".
201432815Gallimard 2014 in-4° toile éditeur sous jaquette
2001PEINTURE111124Paris, La renaissance du livre, 2001, 26,5 x 26,5, 152 pages sous percaline éditeur et jaquette illustrée. Iconographie noir & blanc et couleurs. Ouvrage qui trouve son origine dans l'exposition organisée par le musée Boucher-de-Perthes d'Abbeville autour du peintre Louis Braquaval (25 juin-1er octobre 2000).
2001ARTTHEMM619780000226Paris, La renaissance du livre, 2001, 26,5 x 26,5, 152 pages sous percaline éditeur et jaquette illustrée. Iconographie noir & blanc et couleurs. Ouvrage qui trouve son origine dans l'exposition organisée par le musée Boucher-de-Perthes d'Abbeville autour du peintre Louis Braquaval (25 juin-1er octobre 2000).
