Deroy, Isidore-Laurent, artistBiblio.com
225 résultats
5709Nogent-sur-Oise and Paris France. Ca. 1861-1864. Oblong 4to 11" x 16" original pebbled burgundy morocco raised Gothic Revival strapwork with applied brass ornaments and two brass clasps at fore edge title stamped in black at upper cover a.e.g. 20 original watercolors 6" x 9.25" to 6.5" x 9.75" 3 tinted lithographs 5.875" x 5.625"; 4" x 5.75"; 7.25" x 5.25" all plus margins. CONDITION: Very good light wear to cover extremities. <p>A lovely and historically valuable "estate portrait" album of original watercolor views by painter and lithographer Isidore-Laurent Deroy depicting the grounds of the Parc de Nogent and its residence noted for its incorporation of the façade of a 16th century château rescued from demolition at the eleventh hour in 1833.</p> <br /> <p>Constructed in the 1500s as an expansion and modernization of a fortification dating back to the Roman invasion the Château de Sarcus boasted twenty-two arches in total. It was designed by Martin Chambiges who worked in the high Gothic style and is known for the façades of several cathedrals. In 1833 its owner elected to demolish it and-so the story goes-Armand-Gustave Houbigant the mayor of Nogent-sur-Oise and the son of a famous early perfumer rushed nearly fifty miles to save it arriving in time to prevent the last three arches as well as several other architectural elements from being destroyed. Houbigant integrated the arched façade into his residence and as a historian wrote an account of what he had rescued. The Gothic façade appears in two of Deroy's watercolors and is the subject of all three of the lithographs one of which is captioned in the lower margin: "Trois des arcades du château de Sarcus Transportées et relevées par Mr. Houbigant à Nogent les Vierges Oise et formant un des façades de son habitation." After the second world war the Houbigant residence was vandalized and the façade was moved to the nearby parc Hébert à Nogent.</p> <br /> <p>Deroy's charming watercolors painted over the course of several years provide a comprehensive record of the Parc's many picturesque views and are almost always populated by figures-presumably meant to represent members of Houbigant's household-strolling with parasols along paths or across meadows boating on gentle waterways resting on the steps of a castle ruin playing with children or enjoying the view together often accompanied by their dog. In addition to the many lush and finely detailed landscapes Deroy's views show the Houbigant residence the Church at Nogent-sur-Oise exterior and interior and two other buildings as well as the distant town from within an octagonal or hexagonal porch with stained glass Gothic arches. In the captioned lithograph two male figures standing before the arched façade-one holding an open sketch book-likely represent Houbigant and Deroy themselves who were evidently artistic collaborators and friends.</p> <br /> <p>Armand-Gustave Houbigant who did not follow his father into the perfume business was a historian and visual artist. After inheriting his fortune he established himself at Nogent-sur-Oise in 1812. He is best known for designing a new set of playing cards in 1816 but he also produced numerous watercolors and views several of which Deroy lithographed and at least one of which "Lescar. Ruines du Château des Évêques de Béarn" 1854 Deroy actually retouched-"but only a little" according to an ink note on the painting: "he only touched the trees."</p> <br /> <p>Isidore-Laurent Deroy 1797-1886 was a painter draftsman and lithographer from Paris. He studied painting under Louis-François Cassas and architectural drawing under an artist cited in several sources simply as "Félix." His lithographs were exhibited at the Paris Salon from 1827 to 1866 and he received third class medals for lithography in 1836 and 1861. Some sources suggest he traveled to North America but this seems to be based on various lithographs of American views to his credit after August Kollner Köllner and others. All of these were produced by French lithographic firms-Gouptil and Vibert in the case of Kollner's "Views of American Cities"-but were often published by New York London and sometimes Berlin firms as well. From 1860 into the 1880s Deroy appears in the Paris trade directory Bottins as an "artiste-lithographe."</p> <br /> <p>A splendid collection of watercolor views of an impressive French country house and its grounds.</p> <br /> <p>REFERENCES: Houbigant A.-G. Notice sur le portique dit de Sarcus existant a Nogent-les-Vierges et faisant partie de l'habitation de M. Houbigant Portique élevé au moyen de quelques débris provenant de l'ancien château de Sarcus abattu en 1833 Nogent-les-Vierges 1857; Karel David. Dictionnaire des artistes de langue française en Amérique du Nord Musée du Québec 1992 p. 231; Lescar. Restes du château et des fortifications des évêques Dessins du musée national du château de Pau online.</p> Nogent-sur-Oise and Paris, France. Ca. 1861-1864 unknown
51-4180Paris: L'Artiste 1834. 4to. 27 x 20.5 cm. 2 vols. Elaborate contemporary Romantic binding with gilt and blind stamping. 308 308 pp. about 108 of 110 original graphic works. Missing appear to be 1834-1 Clerget and 1834-68 Alophe. Among the other works is the original lithograph by Delacroix: Le jeune Clifford trouvant le corps de son père 1834-104; Delteil no. 99 first state of 3; Young Clifford Finding the Body of his Father image of Shakespeare King Henry VI Part IICatalogued in "Les Estampes de L'Artiste 1831-1904" by Pierre Sanchez and Xavier Seydoux nos. 1834- 2 to 1834-110. Textes des grands écrivains romantique tel que Gérard de Nerval Théophile Gautier qui est rédacteur en chef de 1856 à 1859 Jules Janin Étienne Eggis Théodore de Banville Henri Murger Charles Monselet Champfleury Charles Baudelaire Joseph Méry Eugène Sue Alphonse Esquiros Hector de Callias entre autres.Illustrés de lithographies et de gravures sur bois des plus grands artistes de l'époque puisque le fondateur Hector Brame fut l'associé de Durand-Ruel et que le repreneur de la revue n'est autre qu'Armand Houssaye qui a voulu faire de cette revue un véritable musée de la gravure. Nos volumes comptent des gravures de :Thomas Gavarni Prout Deveria Alophe Préault Dessain Deroy Beaume Noël Johannot Debacq Roqueplan Gsell Livet Champin Perrières Perlet Champmartin Bellange Dreux Charlot Boulanger Guët Delaroche Raffet Brume Scheffer Carrier Newton Peroy Vernet Decamps Leroy Grenier pour le premier volume et Giraud Alophe Noël Roqueplan Debacq Lerac Grenier Decamps Lebreton Pingret Leroy Francis Dauzat Cattemole Gavarni Provost Jaime Frey Gigoux Gintrac Delacroix Leclerc Boulanger Bourge Charlier Wilkie. Le second volume est incomplet d'une gravure page 48. Par contre il contient deux gravures d'Eugène Delacroix. .Fondée en 1831 aux plus beaux jours de la révolution romantique la revueL'Artiste connut une longue vie se transformant et se renouvelant plusieurs fois au cours du XIXe siècle pour ne s'éteindre définitivement que dans les toutes premièresannées du XXe siècle. C'est dire que durant ses soixante-quatorze ans d'existence cetterevue porte un témoignage direct sur l'évolution des mouvements artistiques etlittéraires ayant joué souvent un rôle actif soit dans la légitimation de la modernité et de l'innovation soit au contraire dans la défense des principes proclamés et propagés par les organes officiels de l'Institut et du gouvernement. Paris: L'Artiste, 1834. unknown
186918641Paris, Alphonse Lemerre, 1869. In-8 de [4]-109-[7] pages, demi-maroquin lie-de-vin à coins, dos à nerfs, tranches dorées, couvertures et dos conservés. Reliure signée Semet & Plumelle.
STLB0029Paris Jeannin s.d. ca 1860. ANSICHTENWERKE - gr.-querfolio 29 x 358 cm. Titel 20 lithographische Tafeln Halbfranzband Ecken u. Rücken etw. berieben. Die Tafeln breitrandig teils etw. stockfleckig Die Tafeln von Deroy 1797-1886 nach der Natur gezeichnet u. eigenhändig lithographiert Größe der Darstellung ca 23 x 27 cm zeigen: 1. Rom Piazza Navona. 2. Rom Trinita di Monti. 3. Rom Arco di Settimio Severo. 4. Rom Foro Romano. 5. Rom Ponte Rotto. 6. Rom Campo Vaccino. 7. Rom Castel e Ponte S. Angelo. 8. Rom Colonna Trajana. 9. Rom S. Pietro. 10. Rom Veduta del Tempio della Pace. 11. Rom Arco di Constantino. 12. Rom Avanzi del Tempio di Giove Statore. 13. Rom Avanzi del foro di Nerva. 14. Rom Arco di Tito. 15. Rom Pantheon. 16. Rom Tempio di Antonino e Faustina. 17. Lago di Como. 18. Milano Arco della Pace.19. Milano Corso di Servi. 20. Milano Il Duomo. - Differenzbesteuert Paris, Jeannin s.d. [ca 1860]. unknown
11127Suite de 62 Lithographies et gravures sur acier numérotée 30 à 100, en deux albums, de format 24x26cm, pleine toile noire de l’éditeur, titre et décor dorés sur le premier plat, filets à froid;(petits raccommodages).62 Lithographies et gravures sur acier finement coloriées et gommées, par Melle Rose d’Ostervald, W.H Bartlett, Weber, Cognet, Himey, G Lory, Bettinger, Milbert, Salathé, Deroy, F Benoit….Toutes ces gravures sont finement coloriées et rehaussées à la gomme, certaines avec quelques rousseurs en marges, coloris très frais
137088aafGenève, chez Charnaux, Place de Bel-Air; Imprimerie Lemercier, (aussi, Paris, Wild, ou impr. Frick frères), s.d. vers 1850/60, in-8vo, (vues: 10x13.5 cm), 49 planches de vues lithogr. en couleurs, reliure en toile ornée, impr. de titre ( 14.5x18 cm).
1861P2517Paris: L. Turgis c. 1861. Some discolouration of the margins otherwise in very good condition. Notes: View of Jerusalem taken from the Mount of Olives. Image Size : 380x498 mm 14.96x19.61 Inches Platemark Size : Paper Size : 458x628 mm 18.03x24.72 Inches Coloring: Original Hand Coloring Medium: Lithograph Categories: Views Asia Middle East Holy Land & Palestine; L. Turgis unknown
1857528301 vol. in-8 format à l'italienne cartonnage éditeur pleine percaline rouge, Chez Dusacq et Cie, Imp. Lemercier, Paris, s.d. [circa 1857], 1 f. de titre, avec 20 vues (dont 5 doubles) en lithographies en couleurs. Lucerne, vue prise de Gutch - Panorama du Lac de Lucerne (planche double) - Lucerne. Hôtel de Schweizerhof - Lucerne. Vue des Remparts - Le Lion de Lucerne - Vue du Lac de Lucerne prise du Kussnacht - Chapelle de Guillaume-Tell - Veggis, au Lac des Quatre-Cantons - Vue du Rigi, entre le Rigi Kulm et le Rigi Staffel - Les Bains Froids sur le Rigi - Le Rigi Culm - Rigi Staffel (planche double) - Rigi Kulm (planche double) - Panorama des Alpes Bernoises vue du Rigi (planche double) - Brunnen (planche double) - Le Grutli. Lac des 4 Cantons - Chapelle de Guillaume Tell sur le Lac des 4 Cantons - Fluelen Lac des 4 Cantons - Stanztadt. Lac des 4 Cantons - Am Ort Lac des 4 Cantons
16-4903Paris: Aumont and London: Ch. Tilt circa 1831. Small folio. 25.5 x 34.6 cm. Contemporary gilt roan. Title page by Victor Adam and 38 plates with 2 lithographs per page on rag paper by Adam and others. Light foxing. Very rare. Nont in OCLC.Inventaire du fonds français après 1800. Tome premier Abbéma-Beaumont Reprod. en fac-sim. / Bibliothèque nationale Département des estampes ; par Jean Laran. 1930.________________________________________Extract 1 : La Variété nouveau recueil de croquis par divers artistes chez Aumont et chez Tilt 1831 : 1e Lon n° 3 Le Bac Le taureau échappé.Album de lithographies comportant de sujets divers. Paysages bateaux animaux sauvages métiers et scènes animés.Superbes tirages en lithographie le tout sur beau papier.Titré et 38 planches superbement imprimées par la Maitre de la lithographie LEMERCIER.Volume in-folio reliure du temps en maroquin vieux rouge Paris: Aumont and London: Ch. Tilt, circa 1831 unknown
2126Publié par Alphonse Gatineau, Imprimeur-Libraire, Éditeur des Panoramas de la Loire, Orléans, Rues Royales et Jeanne d'Arc, sans date (1830-1850?).Un volume relié format à l'italienne (25,5 x 34 cm) de 15 planches lithographiées en couleurs. Reliure demi chagrin vert, dos lisse muet. Reliure légèrement usée sinon bon état.Les vues sont lithographiées en forme de médaillon. Vues d'Orléans, de la source du Loiret, du chateau de Chambord, d'Amboise, de Blois, de Tours, de Chenonceaux , de Saumur...Les planches sont lithographiées par ou d'après A. Deroy, certaines comportent un cachet à froid du Libraire Gatineau représentant la cathédrale d'Orléans.Quelques rares rousseurs sinon planches en très bel état.
2126Publié par Alphonse Gatineau, Imprimeur-Libraire, Éditeur des Panoramas de la Loire, Orléans, Rues Royales et Jeanne d'Arc, sans date (1830-1850?).Un volume relié format à l'italienne (25,5 x 34 cm) de 15 planches lithographiées en couleurs. Reliure demi chagrin vert, dos lisse muet. Reliure légèrement usée sinon bon état.Les vues sont lithographiées en forme de médaillon. Vues d'Orléans, de la source du Loiret, du chateau de Chambord, d'Amboise, de Blois, de Tours, de Chenonceaux , de Saumur...Les planches sont lithographiées par ou d'après A. Deroy, certaines comportent un cachet à froid du Libraire Gatineau représentant la cathédrale d'Orléans.Quelques rares rousseurs sinon planches en très bel état.
1870LBW-7618Paris et New-York, L. Turgis J.ne, [vers 1870]. 375 x 497 mm.
1850P3474Paris: L.Turgis 1850. Very Good. Notes: 19th century French view of Moscow showing people watch a military parade. <br>The Moscow Kremlin also referred to as simply the Kremlin is a historic fortified complex at the heart of Moscow overlooking the Moskva River to the South Saint Basil's Cathedral and Red Square to the East and the Alexander Garden to the West. It is the best known of Kremlins Russian citadels and includes four palaces four cathedrals and the enclosing Kremlin Wall with Kremlin towers. Image Size : 292x476 mm 11.50x18.75 Inches Platemark Size : Paper Size : 394x536 mm 15.50x21.10 Inches Coloring: Original Hand Coloring Medium: Lithograph Categories: Views Europe Russia; L.Turgis unknown
184017230Paris: V. Turgis editeur 10 rue Serpente 1840. Tinted lithograph with original hand colouring. Printed on wove paper. In excellent condition. Image size: 12 3/8 x 17 5/8 inches. A picturesque view of Lyon from the Guillotiere after a drawing by the celebrated French painter Nicolas-Marie Joseph Chapuy.<br/> <br/>Chapuy has chosen to depict Lyon from the Guillotiere neighborhood with the winding river running through the middle of the image. The docks next to the bridge are scattered with large stones and lumber and many small boats are moored along the banks. The bridge is crowded with pedestrians who make their way across the busy thoroughfare. Domes and spires crowd the horizon and two large boats hurry down the river. This sweeping view is a wonderful example of Chapuy's considerable talents and picturesque eye and a beautiful glimpse of Lyon in the early decades of the nineteenth century. Nicolas-Marie Joseph Chapuy was born in Paris in 1790 and in his early life became an officer in the Navy. An accomplished architect and landscape painter Chapuy is perhaps best known for his stunning lithographs. He exhibited regularly at the Salon and in 1833 won a third class medal for his lithography. He produced a wide array of lithographs which varied in subject from historical scenes to architectural views. Yet it was his landscape prints which received the most praise and garnered him his celebrated reputation. This impressive view of Lyon is a fantastic example of Chapuy's talents. The image includes a numbered key at the bottom of the sheet which lists all the principal buildings and monuments in the image and provides their exact location.<br/> <br/>Benezit. Dictionnaire Critique et Documentaire Des Peintres Sculpteurs Dessinateurs et Graveurs Vol. 3 p. 487. V. Turgis, editeur, 10 rue Serpente unknown books
1850LBW-1139Paris L. Turgis circa 1850 380 x 501 mm.
225176Paris, E. Morier [Imprimerie Lemercier], s.d. (vers 1861) in-4 oblong (30 x 21 cm), 29 lithographies en couleurs, demi-basane havane, dos lisse muet orné de filets à froid, double filet à froid sur les plats (reliure de l'époque). Dos insolé et très frotté, manque de cuir en queue du dos, coins abîmés. Rousseurs sur certaines planches.
1860LBW-7314Paris et New-York, L. Turgis J.ne, [circa 1860]. 380 x 498 mm.
129966aafGenève, Charnaux, / Paris, Imp. Lemercier / Paris Wild, s.d. (vers 1855-60), pt. in-8vo oblong, 37 lithographies en couleurs, non chiffr., souvent animées de calèches, touristes ou occupations journalières, impression en couleurs, (les panoramas sont comptés doubles), reliure en d.-toile simple, lithogr. en couleur d’une femme bernoise en costume collée sur la couverture devant.
1872LBW-7570Paris, Becquet, [circa 1872]. 322 x 418 mm et 316 x 383 mm.
3973aafParis WILD Rue de la Banque 15 près la Bourse, - Imp. Lemercier, Paris. s.d. (env. 1830-40). 23 x 16 cm, lithographie originale en couleur (tirée de ’Vues de Suisse’ planche N° 165), 1 feuille 31.7 x 23.2 cm.
184017230Paris: V. Turgis editeur 10 rue Serpente 1840. Tinted lithograph with original hand colouring. Printed on wove paper. In excellent condition. Image size: 12 3/8 x 17 5/8 inches. A picturesque view of Lyon from the Guillotiere after a drawing by the celebrated French painter Nicolas-Marie Joseph Chapuy.<br/> <br/> Chapuy has chosen to depict Lyon from the Guillotiere neighborhood with the winding river running through the middle of the image. The docks next to the bridge are scattered with large stones and lumber and many small boats are moored along the banks. The bridge is crowded with pedestrians who make their way across the busy thoroughfare. Domes and spires crowd the horizon and two large boats hurry down the river. This sweeping view is a wonderful example of Chapuy's considerable talents and picturesque eye and a beautiful glimpse of Lyon in the early decades of the nineteenth century. Nicolas-Marie Joseph Chapuy was born in Paris in 1790 and in his early life became an officer in the Navy. An accomplished architect and landscape painter Chapuy is perhaps best known for his stunning lithographs. He exhibited regularly at the Salon and in 1833 won a third class medal for his lithography. He produced a wide array of lithographs which varied in subject from historical scenes to architectural views. Yet it was his landscape prints which received the most praise and garnered him his celebrated reputation. This impressive view of Lyon is a fantastic example of Chapuy's talents. The image includes a numbered key at the bottom of the sheet which lists all the principal buildings and monuments in the image and provides their exact location.<br/> <br/> Benezit. Dictionnaire Critique et Documentaire Des Peintres Sculpteurs Dessinateurs et Graveurs Vol. 3 p. 487. V. Turgis, editeur, 10 rue Serpente unknown
183322167Nantes SEBIRE 1833 -in-4 demi-chagrin un Album, demi-chagrin violet foncé à coins in-quarto à l'italienne Editeur (27 x 35 cm), dos long muet orné d'un filet large à froid en place des nerfs avec un filet "or" de part et d'autre et en tête et en pied, plats décorés "or" d'un filet "or" aux mors et aux coins, papier imitation percale noir aux plats, titre frappé "or" au centre du 1er plat, toutes tranches lisses, album de 17 lithographies en noir sur chine contrecollée d'après les dessins de Deroy, légère trace de mouillure ancienne en bas à gauche de chaque gravure sans atteinte à la gravure elle-même, sans lieu ni date ni Editeur (1833 Nantes SEBIRE Editeur),
1850015220Blois : Arthur Prevost 1850. No published date circa 1850. Book measures 26.5x16.5.cm. 24 coloured plates. Bound in original publishers embossed cloth with gilt lettering on top cover. Cloth lightly rubbed wear loss on head and tail of spine. Binding in good clean condition. Internally previous owners bookplate tanning to endpapers occasional minor spotting. Plates in good clean condition. A nice copy. . Cloth. Near Very Good. Oblong 8vo. Arthur Prevost Hardcover
006761Imp. Marie; Imprimerie Lemercier. Editeurs: Dutot; R. Lebrasseur; . Blindstamped Cloth. Very Good. N.d. circa 1860. Oblong 8vo 21 by 30 cm. 30 hand-colored plates of Paris and its surroundings. Basically two series of plates combined the first 24 drawn by Collette or Eichot and published by Imp. Marie with Dutot and R. Lebrasseur given as "editeurs" and the second group of six based on Deroy paintings and published by Lemercier. The collection of plates in this album were semi-standard with the binding itself and its title "Paris sous Napoleon III" being used for similar but not necessarily identical groups of plates. 30 plates in all was something of a standard number with some sets having a smaller number but obviouslly the binding is tailor-made for 30. Sets could be hand-colored or uncolored with colored plates the more desirable. It also appears quite common to combine plates from the Collette/Eichot series which are numbered 1 to 24 with Lemercier plates which are numbered but from the non-chronological numbering in this and other sets selected more randomly to reach a complement of 30. Plates are generally of the better known more magnificent sights in and around Paris with typically people horses coaches and other horse-drawn vehicles providing additional interest and perspective. Condition: some not all plates have darker age toning around the edges along with some foxing and thumb smudges. In our judgment half a dozen plates are marred by the soiling and/or ripples in the paper with the other plates clean or with non-disconcerting amounts of soil issues. The binding itself has some wear including rubbing some fading of the color and the like but remains more than passable and even attractive. <br /><br /> Imp. Marie; Imprimerie Lemercier. Editeurs: Dutot; R. Lebrasseur; hardcover books
006761Imp. Marie; Imprimerie Lemercier. Editeurs: Dutot; R. Lebrasseur;. Blindstamped Cloth. Very Good. N.d. circa 1860. Oblong 8vo 21 by 30 cm. 30 hand-colored plates of Paris and its surroundings. Basically two series of plates combined the first 24 drawn by Collette or Eichot and published by Imp. Marie with Dutot and R. Lebrasseur given as "editeurs" and the second group of six based on Deroy paintings and published by Lemercier. The collection of plates in this album were semi-standard with the binding itself and its title "Paris sous Napoleon III" being used for similar but not necessarily identical groups of plates. 30 plates in all was something of a standard number with some sets having a smaller number but obviouslly the binding is tailor-made for 30. Sets could be hand-colored or uncolored with colored plates the more desirable. It also appears quite common to combine plates from the Collette/Eichot series which are numbered 1 to 24 with Lemercier plates which are numbered but from the non-chronological numbering in this and other sets selected more randomly to reach a complement of 30. Plates are generally of the better known more magnificent sights in and around Paris with typically people horses coaches and other horse-drawn vehicles providing additional interest and perspective. Condition: some not all plates have darker age toning around the edges along with some foxing and thumb smudges. In our judgment half a dozen plates are marred by the soiling and/or ripples in the paper with the other plates clean or with non-disconcerting amounts of soil issues. The binding itself has some wear including rubbing some fading of the color and the like but remains more than passable and even attractive. Imp. Marie; Imprimerie Lemercier. Editeurs: Dutot; R. Lebrasseur; unknown
