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Oblong 8vo. (170 x 106 mm). In pencil. Charming page from a notebook showing sketches of flowers and shadings with indications of colours: "bleu bleu garance vert bleu foncé vert jaune transparent". The highly stylized petals and the colours indicated suggest Dufy's beautiful post-impressionist watercolour flower bouquets. - On the verso, a sketch of a marine horizon with a ship and some buildings on the shore. Minimal browning.
Ca. 135:145 mm. Strichätzung. Montiert in Passpartout-Sammelmappe (ca. 240:320 mm). Bukolische Szene mit zwei Schafen und einer Ziege neben einem Zaun sowie einem Hirten in Rückenansicht im Hintergrund. Signiert "K DU J f". - Leicht braunfleckig und knittrig. Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959) unter Sammlungsnr. "2515 Nr. 9" aufgenommen.
The original edition, with all the color plates, of this essential guide to identifying botanical prints. From a total edition of 2500 copies, this is one of 750 copies with the additional color folding plate with the list of subscribers. Folio, publisher's cloth with large leather label on front cover. Binding sunned and lightly worn, with leather spine label gone. Top edge gilt. Internally clean.
The long-awaited fourth and final volume of the catalogue raisonne. New, in dj and slipcase. Includes two original woodcuts.
Edizione originale; 3 volumi; In-12°; pp. VII, 121, (14); 122-242, (16); 243-325; brossura originale e legatura in mezza pelle rossa con angoli e titolo in oro a dorso
français 0 Paris, Rapilly, 1875, In-8 broché, 162 pages, non coupé. GRAVURE ESTAMPES BIBLIOPHILIE FRANCE
LIMITED EDITION OF 600 COPIES. RARE 28th issue of Philographic, featuring 5 large and 2 small original woodcuts by Carlos Duss (1932-1990) - Swiss painter, sculptor and illustrator born in Spain of emigrant Swiss parents. Duss studied at the Kunstgewerbeschule Zürich (Polytechnic) and in 1957 became an independent painter, mostly of landscapes. 400x400mm. 8 pages [7 woodprints] wrapped in transparent foil. Foil rear bottom corner slightly creased. Foil spine slightly (25-30mm) torn. Foil front bottom corner creased and slightly (5mm) torn. Small crease mark on woodcuts bottom edge. [SUMMARY]: This extremely rare collection of original woodcuts by an eminent artist is otherwise in very good condition.
Incudes 29 colour illustrations. 47 pages. Rubbing to cover surfaces.
Acquaforte Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Carta delle Cartiere Filicarta. Esemplare 13/30. Cm 27,5x20,5 (Foglio 50x35,5). . . Ottimo (Fine). . Tiratura 30 + 8 p.d.a.. .
Book is in excellent condition with front upper corner slightly bumped as the only flaw. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind. Previous owner's name or sticker in front section of the book. Dust jacket is as new, now wrapped in clear protective cover. 223 pages.
LIMITED EDITION OF 32 COPIES SIGNED BY POET AND ARTIST! RARE poetry book by the acclaimed Israeli poet Israel Eliraz (1936-2016), winner of the Bialik Prize (2008), the Brenner Prize (2013), the ACUM lifetime achievement award (2003), the Nathan Alterman Award (2002), the Jerusalem Foundation-Jerusalem Municipality's Belles-Lettres Award (1992 and 1999), the Israeli Council of Culture and Art Award (1963 and 1965), the Ministry of Culture and Sport Award (2009), and the Prime Minister’s Prize for Creative Work (1994, 2008, and 2009). The illustrations and art works which accompany this de-luxe publication are by an eminent Swiss painter and graphic artist Catherine Bolle (b.1956). This copy is marked C (5 exemplaires réservés à l'auteur, lettré A à E) and contains aquarelle illustrations and a large fold-out color print on cloth. Le présent portfolio composé en Bodoni Antiqua de corps 12 a été achevé d'imprimer le 24 mars 2003 par Jo Cocconi, m+h à Chéne-Bourg sur papier BFK Rives 250g et pour la reilure, Jacques Ménétrey à Lausanne. 245x170mm. 10 unbound double sheets with softcover laid in both an illustrated grey cloth folder and illustrated grey cloth slipcase. [SUMMARY]: This extremely rare de-luxe limited edition of poems by an influential 20th-century Israeli poet, lavishly illustrated by an acclaimed Swiss artist, is in very good condition.
LIMITED EDITION OF 32 COPIES SIGNED BY POET AND ARTIST! RARE poetry book by the acclaimed Israeli poet Israel Eliraz (1936-2016), winner of the Bialik Prize (2008), the Brenner Prize (2013), the ACUM lifetime achievement award (2003), the Nathan Alterman Award (2002), the Jerusalem Foundation-Jerusalem Municipality's Belles-Lettres Award (1992 and 1999), the Israeli Council of Culture and Art Award (1963 and 1965), the Ministry of Culture and Sport Award (2009), and the Prime Minister’s Prize for Creative Work (1994, 2008, and 2009). The illustrations and art works which accompany this de-luxe publication are by an eminent Swiss painter and graphic artist Catherine Bolle (b.1956). This copy is marked E (5 exemplaires réservés à l'auteur, lettrés A à E) and contains many illustrations and a large fold-out color print on cloth. Le présent portfolio composé en Bodoni Antiqua de corps 12 a été achevé d'imprimer le 22 avril 2003 par Jo Cocconi, m+h à Chéne-Bourg sur papier BFK Rives 250g et pour la reilure, Jacques Ménétrey à Lausanne. 245x170mm. 10 unbound double sheets with softcover laid in both an illustrated grey cloth folder and illustrated grey cloth slipcase. [SUMMARY]: This extremely rare de-luxe limited edition of poems by an influential 20th-century Israeli poet, lavishly illustrated by an acclaimed Swiss artist, is in very good condition.
LIMITED DE-LUXE EDITION OF 20 COPIES SIGNED BY ISRAEL ELIRAZ AND JEAN-LUC HERMAN. CONTAINS 7 ORIGINAL PAINTINGS! This copy is numbered 2/20. RARE poem by the acclaimed Israeli poet Israel Eliraz (1936-2016), winner of numerous awards, such as the Bialik Prize (2008), the Brenner Prize (2013), the ACUM lifetime achievement award (2003), the Nathan Alterman Award (2002), the Jerusalem Foundation-Jerusalem Municipality's Belles-Lettres Award (1992 and 1999), the Israeli Council of Culture and Art Award (1963 and 1965), the Ministry of Culture and Sport Award (2009), and the Prime Minister’s Prize for Creative Work (1994, 2008, and 2009). This de-luxe edition is illustrated with seven original paintings by an eminent Belgian-French painter and engraver Jean-Luc Herman (1936-2014), especially renowned for his book designs. The casing for this artist's book was especially designed by Armand Danze and the typography is by René Jeanne. 210x120mm. 18 unbound double sheets with especially designed double-layer. Mulberry paper (Papier Thaï) Softcover laid in wood & plastic case sized 255x165mm. [SUMMARY]: This extremely rare artist's book with a poem by an influential Israeli poet and illustrations by an acclaimed Belgian-French artist is in very good condition.
Single sheet, ca. 191 x 232 mm. The drawing shows a simple farmhouse built of wood and stone, signed and dated in the artist's own hand on the verso: "Elise. 1848". At the time, Elisabeth, later famous as "Sisi", Empress of Austria, was ten years old and lived at Possenhofen Castle on Lake Starnberg. - Minor stains and a little browned. Provenance: House of Wittelsbach (former Royal Family of Bavaria).
1 Blatt. Ca. 190:227 mm. Die Zeichnung zeigt ein einfaches Gebäude, ein Gehöft aus Holz und Stein an einem Bach, und ist auf der Verso-Seite eigenh. bezeichnet und datiert in Tinte mit "Elise / Possenhofen 24. August 1848" und zusätzlich mit einem Doppelrahmen in Bleistift versehen. Das Blatt dokumentiert die künstlerische Ausdrucksweise der neunjährigen Elisabeth, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und zur genannten Zeit in Schloss Possenhofen am Starnberger See lebte. - Minimal finger- und braunfleckig und mit kaum sichtbaren Spuren einer alten Quetschfaltung am rechten Rand; papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz.
1 Blatt. Ca. 148:165 mm. Dargestellt ist ein kleines Steinmarterl mit umgebender Vegetation. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.
1 Blatt. Ca. 285:242 mm. Dargestellt ist ein einfaches bäuerliches Gebäude aus Holz und Stein mit umgebender Vegetation. Zusätzlich ist die Zeichnung mit einem Doppelrahmen in Bleistift versehen. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Minimal braunfleckig. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.
Ca. 42 Skizzen (3 aquarelliert) und 2 Texte auf 30 Bll. Original marmorierter Pappeinband mit Bleistifthalter. 8vo. Charmantes Skizzenbuch der jungen Herzogin mit zahlreichen Landschafts- und Architekturzeichnungen, Darstellungen von Haustieren sowie Karikaturen und Porträts besonders ihrer Schwestern. Neben den Zeichnungen umfasst das Büchlein ein amüsantes Gedicht ("In Lautenbach habe ich mein Strumpf verloren / Und ohne Strumpf geh ich nicht heim [...]"), eine Art Tagebucheintrag und den Entwurf für eine Glückwunschkarte mit Namenszug "Elisabeth" zum Namenstag ihres jüngeren Bruders Carl Theodor, genannt Gackel. - Das Skizzenbuch erlaubt einen seltenen, oft humorvollen Einblick in Elisabeths Kindheit in Possenhofen. Ihre Liebe zur Natur wird besonders durch die geschickten Skizzen von Bäumen verdeutlicht, die sie an verschiedenen Orten in Bayern anfertigte. Wie eine Sammlernotiz in Bleistift verdeutlicht, stammt das Skizzenbuch aus dem Nachlass der Gräfin Camilla von Otting, die als Erzieherin im herzöglichen Haushalt wirkte: "Kindliches Zeichenbuch der späteren Kaiserin Elisabeth v Oesterreich Herzogin in Bayern stammt aus dem Nachlass der Gräfin Camilla v Otting ihrer Erzieherin und Hofdame". - Einband berieben und bestoßen, Vorderdeckel mit Fehlstellen im Marmorpapier. Einige Bll. lose. Teils leicht fleckig und vereinzelte Einrisse. Durchgehend gebräunt.
This is a very good hardcover copy in a very good dust jacket with almost no wear. Completely clean inside and out. Dust jacket not price-clipped. Stated first edition. This catalogue raisonne of Jim Dine's prints, continues the work of the first Jim Dine print catalogue raisonne, Jim Dine Prints: 1970- 1977, also published by Harper and Row (1977). Illustrated in color and black & white with 206 prints catalogued and illustrated. 11" high X 9" wide, 182 pages. This book will be securely packed and shipped with tracking.
Oblong 7 inches by 9.5 inches. 40 unnumbered pages. Black and white reproductions of photos of artists and two-colour (black and red) reproductions of the prints of these artists, who include: Ken Mowatt, Neil Sterritt, Walter Harris, Vernon Stephens, Art Sterritt, and Earl Muldoe. "The first of what is hoped will be many annual collections of original graphics of the talented artists of 'Ksan." - Introduction. Average wear. Unmarked. A sound vintage copy. Book
A clean, unmarked book with a tight binding. Previous owner's address stamp inside. 9 3/8"w x 6 7/8"h. Includes artwork by Ken Mowatt, Neil Sterritt, Walter Harris, Vernon Stephens, Art Sterritt, and Earl Muldoe.
200x150mm. 277 pages. Hardcover. Cover yellowing, stained and curved. Cover edges and corners wrinkled and worn. Spine yellowing and slightly stained. Spine edges worn. Inner cover stained. Binding slightly visible between cover and pages. Ex-libris on first whitepage. Pages yellowing. Else in good condition.
Small 4to (131 x 150 mm). 16 unnumbered pp. on 8 ff. with numerous pen-and-ink drawings in original hand colour. Original boards with coloured cover illustration. Meticulously drawn and coloured pen illustrations of a "story of flowers and bug people" (as the title-page states), written by the artist herself. - Includes ten printed, illustrated leaves of poetry (one a duplicate) and three printed bookmarks issued by the Viennese publisher Waldheim-Eberle, who published several of Emmer's books, including this one.
2 vols., folio, First and Sole Edition, with 277 reproductions of engravings and 25 head- and tail-pieces; original white buckram, covers mildly age-soiled else a very good, clean copy. EDITION LIMITED TO 210 COPIES.
- Lucien Vogel éditeur, Paris 1922, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. La Gazette du bon ton, l'une des plus belles et des pl
