GavarniBiblio.com
953 résultats
04-1749Paris ca. 1857. Lithograph. Image: 18-1/2 x 30 cm. Sheet: 29 x 40 cm. Lithograph by Gavarni. Armelhault & Bocher Gavarni no. 1811 Foxing primarily in margins. Paris, ca. 1857. unknown
19992Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
19995Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
19993Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
19994Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
04-1798Paris 1830. Lithograph. Image: 14 x 21.5 cm. Sheet: 22.5 x 31.5 cm. Armelhault & Bocher no. 1712. Stain upper left in margin. Paris, 1830. unknown
115013Paris Morizot Libraire-éditeur impr. Lemercier 1860. 16-16-15-16 pages. 40 lihographies 10 par série. 37x275 Cm. Demi-percaline. Dos lisse. Titre doré. Coins et coiffes émoussés. Exemplaire malheureusement vandalisé par un individu inconsciant de ces actes ésperons. Ce dernier à laissé des coupures sur une grande partie des pages. Ils restent une vingtaine de planches et pages non-touché par cette personne. Taches et rousseurs. Paris, Morizot, Libraire-éditeur, impr. Lemercier, 1860. unknown
0666515883.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1864865291864. Fine. 1864 14.50 x 22.20 cm une feuille Original drawing attributed to Gavarni created for the carnival series. This drawing indeed appears engraved in the published album Gens de Paris Carnaval 1864 and reprinted in the second printing of Le Diable à Paris in 1868. We provide a photograph of the engraving in the description. Hatching drawing technique which allows faithful reproduction by the engraver and often used by Gavarni. One card sheet. Mounting traces on verso. Ensemble lightly browned. unknown
008813Paris. Au Bureau du Journal les Modes Parisiennes. 1856. Hardcover. Gut. C4 --- Recueil de 12 belles planches en couleurs représentant des femmes en robes gravées par Portier = 12 col. plates = kolorierte Stahlstichtafeln In-4 un peu taché sur les bords = a little stained at the edges = leicht fleckig an den Rändern Titel mit Wasserrand marmorierter Priv.-Hln.-Bd. dabei/avec ca: ALBUM KEEPSAKE des costumes de la cour francaise depuis Charles VII jusqu'a Louis XVI dessines par Compte-Calix sans page de titre juste 20 col. planches In-4 1854 Paris. Au Bureau du Journal les Modes Parisiennes. 1856 hardcover
185615810Paris: Au Bureau du Journal les Modes Parisiennes 1856. Softcover. g. Folio. Unpaginated. Original wrappers with gold lettering on cover. 12 stunning color steel-plate engravings by A. Portier. The plates show females with costumes worn in Paris in the 1850's. Each plate is protected by a tissue guard. The author Paul Gavarni 1804-1866 also known as Sulpice-Guillaume Chevalier Gavarni was a French Realist engraver. Staining creasing and abrasion to wrappers. Minor waterstaining to part of tope edge on 4 pages not affecting plates. Text in French. Wraps in good- interior in very good condition. Rare. Au Bureau du Journal les Modes Parisiennes unknown
04-1765Paris: Le Charivari 1842. Lithograph. Image: 19 x 16.5 cm. Sheet: 36 x 24 cm. Ref.: Armelhault & Bocher no. 1180. Published in Le Charivari text verso. Foxing in margins. Paris: Le Charivari, 1842. unknown
16-5526Paris: Pannier circa 1843. Lithograph sur blanc. 27. 5 x 20cm. Plate no. 33 from the series: "Le Carnaval a Paris." Armelhault and Bocher no. 415 State ii/iii. Paris: Pannier, circa 1843. unknown
71-6676Paris: Frey circa 1860. Hand-colored lithograph. 18.5 x 13.5 cm sheet. Very Good minor surface rubs and soiling in the margins.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: [Frey, circa 1860]. unknown
71-8976Paris: Chez Aubert circa 1847. Lithograph. 33 x 25 cm sheet. Good minor surface soiling light specks of foxing throughout. Paris: Chez Aubert, circa 1847. unknown
71-6686Paris: Bauger et Cie. circa 1842. Lithograph. 34 x 25 cm sheet. Very Good minor surface soiling in margins.Provenance: ancienne galerie Vandevoorde 22 rue Vignon Paris. Paris: Bauger et Cie., circa 1842. unknown
19979Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
19982Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
19981Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
19980Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Artic. Created in the 19th century 1834. 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
2091139Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. 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
2091140Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. 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
2091141Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. 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
2091142Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 19th century 1840. 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
06055Paris: Chez Aubert gal. Véro-Dodat 1837. The Complete Second Series of Fourberies de Femmes<br /> With Fifty-Two Lithograph Plates by Gavarni <br /> <br /> GAVARNI pseudonym of Guillaume Sulpice Chevallier. Fourberies de femmes. Paris: Chez Aubert gal. Véro-Dodat n.d. 1837.<br /> <br /> Second Series Complete. <br /> <br /> Folio 13 1/8 x 9 7/8 inches; 334 x 251 mm. Fifty-two lithograph plates. Eight-page publisher's catalog bound in at end. Plate no. 13 with an expertly and almost invisibly 3 1/8 inches repaired marginal tear. All plates with two small 'unidentified' circular stamps on the lower blank corners. Some occasional light and mainly marginal foxing still an exceptional example.<br /> <br /> Bound ca. 1840 in quarter maroon roan over maroon grained paper boards front cover lettered in gilt smooth spine plain endpapers. Extremities of binding rubbed. A wonderful example. loosely inserted at the end are three duplicate plates nos. 7 23 & 25 all with the same small marginal stamps.<br /> <br /> "In 1837 Gavarni began his connection with Le charivari which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series some twenty-five of which extend to ten or more plates and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment Les étudiants de Paris Les débardeurs and Les lorettes; but some of the rest are of hardly inferior interest. Still further series contributed to periodicals other than Le charivari were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that 'the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show 'youth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation with love intrigues and balls on the one hand and pawnbrokers' shops and debtors' prisons on the other. Their motto is carpe diem and they rarely think of the day or reckoning" Ray p. 217. <br /> <br /> "After the initial success of Caricaturana Philipon proposed to Gavarni that he draw 'Mme. Robert Macaire' for Le charivari. He responded with twelve studies of female deception in which he seems to have adopted Vigny's belief that 'A woman more or less is always Delilah.' They made little impression but three years later Gavarni returned to the theme in a subtler and more amiable way with one of his most searching and amusing series. In no. 37 he offers this exchange: 'How did you know papa that I loved Mr. Leon-Because you always talked to me about Mr. Paul.' Gavarni's playful mastery of female psychology is not the only attraction of the series. If Daumier could not draw a pretty woman as is sometimes alleged Gavarni at this period could hardly draw an ugly one" Ray pp. 220-221. <br /> <br /> Armelhault & Bocher 662-702; Ray The Art of the French Illustrated Book 151. Paris: Chez Aubert gal. Véro-Dodat, 1837 unknown
