2 054 résultats
[iv] 133pp.+ 16pp.illustrations hors-texte, 27cm., reliure cart., bel état, [relié avec: 1) Estampes anciennes collections O.Brenner et C.M.Van Gogh première partie; estampes, portraits et eaux-fortes des écoles hollandaise, flamande, française et anglaise, Vente a Amsterdam 21-24 juin 1910, De Vries, [iv] 236pp.+ 12 pp.illustrations hors-texte, avec qqs.annotations en crayon dans le marge du texte & 2) Dessins anciens et modernes gravures et eaux-fortes appartenant à Madame Vve Galippe, première partie, vente à Amsterdam les 27, 28 et 29 mars 1923, De Vries, 86pp.+ 48pp.illustrations hors-texte], S54148
Catalogue de l'exposition "Ukiyo-e, images d'un monde éphémère - Estampes japonaises des XVIIIe et XIXe siècles" présentée en 2008 au Centre cultural Caixa Catalunya La Pedrera, à Barcelone, et à la Bibliothèque Nationale de France (Paris): 126 n°s avec notices, commentaires et reproductions couleurs, souvent pleines ou doubles pages; en classement thématique: technique de l'estampe, théâtre et sumô, "Les beautés féminines et la vie quotidienne", "Estampes parodiques, poèmes et surimono: la culture ludique à l'époque d'Edo", estampes érotiques, "L'avènement de l'estampe de paysage au XIXè siècle": Hokusai et Hiroshige, chaque thème étant introduit par un texte de Gisèle LAMBERT, Christophe MARQUET (pour les estampes érotiques) ou Jocelyn BOUQUILLARD (pour les paysages du XIXè); textes introductifs de Gisèle LAMBERT sur l'histoire de la collection "estampes et livres illustrés de l'art ukiyo-e" de la B.N.F. et sur "L'apparition de l'ukiyo-e à l'époque Edo"; publié sous la direction de Gisèle Lambert et Jocelyn Bouquillard, conservatrices au Département des Estampes de la Bibliothèque nationale de France; index des biographies des principaux dessinateurs; glossaire; bibliographie. Français
PAYOT LAUSANNE. NON DATE. In-12 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. environ 20 pages - nombreuses reproductions en couleurs hors texte - Couverture contrepliée - COLLECTION ORBIS PICTUS N°18.
Jean-Louis Picard. 1992. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 64 pages. Illustré de nombreuses reproductions en couleur et en noir et blanc, dans et hors texte. Avec feuillet tiré à part (estimations). Vente aux enchères, oct. 1992, Hôtel Drouot. Bonnard. Degas. Matisse. Daumier. Toulouse-Lautrec. Denis...
Jean-Louis Picard. 1993. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 66 pages. Illustré de nombreuses photos en noir et blanc et en couleur, dans et hors texte. Avec 2 feuillets volants (estimations). Vente aux enchères, juin 1993, Hôtel Drouot. Bonnard. Dufy. Renoir. Signac. Laboureur. Manet. Matisse...
Acquaforte su zinco facente parte delle pubblicazioni edite in occasione del 50° anniversario della fondazione del PCI nel 1977 Firma a matita. Esemplare 65/100. Cm 31,7 x 24,7 (Foglio cm 70x50). . . . Fioriture ai bordi del foglio non interessanti l'incisione. Tiratura 100. .
- Lucien Vogel éditeur, Paris Avril 1920, 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 haut à droite de la planche. Gravure originale réalisée pour l'illustration
ORIGINAL EDITION of the catalogue raisonne of Duvet's prints. 78 items thoroughly described. 8vo. Original wraps. Uncut, unopened, fine, and bright. Scarce.
SIGNED by Erhard Frommhold. Contains b&w and color pictures. 200X190mm. 83 pages. Softcover. Cover rubbed. Cover corners slightly wrinkled. Few pen marks on pages. Else in good condition.
196 p. Over 188 p. 152 of the illustrations are printed in full color. Of special interest to us is the one illustration by Kevin Grey that shows a White English Bull Terrier. Folio. 320 mm. Original full cloth binding. Original dust jacket, very slightly soiled at the edges. Near fine. European Illustration is an annual that brings together the best in European illustration art from magazines, newspapers, advertising, books, posters, packaging and animation art. It is a revealing collection handsomely presented. Included is an index of artists, art directors, designers, publications, publishers, writers editors, and clients, etc. The concept for this Annual was created and promoted by Edward Booth-Clibborn, chairman of the Art Directors Club of Europe, and a cutting-edge publisher. The itroduction is by Peter Blake. The illustrations included are often quite remarkable, and always reproduced and printed in the best possible manner. First Edition. The original retail price was $60.00. **PRICE JUST REDUCED! W72
196 p. Over 183 p. Most printed in colors. Folio. 320 mm. Original full cloth binding. Original dust jacket, very slightly soiled at the edges. Near fine. European Illustration is an annual that brings together the best in European illustration art from magazines, newspapers, advertising, books, posters, packaging and animation art. It is a revealing collection handsomely presented. Included is an index of artists, art directors, designers, publications, publishers, writers editors, and clients, etc. The concept for this Annual was created and promoted by Edward Booth-Clibborn, chairman of the Art Directors Club of Europe, and a cutting-edge publisher. The itroduction is by Peter Blake. The illustrations included are often quite remarkable, and always reproduced and printed in the best possible manner. First Edition. The original retail price was $60.00. **PRICE JUST REDUCED! W72
33X24.5 cm. Unnumbered pages. Hardcover in dust jacket. In good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Litografia originale a colori. Una delle 4 litografie della cartella di Eugenio Carmi, su testo di Grytzko Mascioni. Firma, data e numerazione a matita. Litografia stampata a braccia su torchio litografico. Carta della cartiera Magnani di Pescia. Timbro a secco della stampatoria Il Torchio di Porta Romana. Tiratura: 99 + XXV + copie ad personam num. A/Z. Esemplare C/Z. Lastre biffate dopo la stampa.. Cm 53,5x35 (Foglio 70x50). . . Molto buono (Very Good). Alcune piccole fioriture ai margini bianchi del foglio. . . Eugenio Carmi ha fatto la sua prima mostra alla Galleria Numero di Firenze nel 1958. Nel 1963 fonda il Gruppo Cooperativo di Boccadasse, di cui è emanazione la Galleria del Deposito, una galleria sperimentale della quale fanno parte artisti europei, fra cui Max Bill e Victor Vasarely, critici, fotografi e architetti, fra cui Konrad Wachsmann. Nel 1966 partecipa alla Biennale di Venezia, nel 1970 riceve il premio alla Biennale internazionale di Cracovia e nel 1974 alla Triennale internazionale di Wroclaw. Molte le sue mostre e seminari in Europa e negli USA. "L'arte, è libertà di farcene quello che ce ne pare: io ho preso i coriandoli (pur nel loro estro lieto e fantastico, rigorosissimi) di Eugenio Carmi - coriandoli ritagliati con minuziosa maestria dalla mappa universale di un raffinatissimo sentimento estetico - per farne un carnevale di volatili riflessioni erotiche, di corte ma intensamente sentite divagazioni intorno a quell'ombelico amoroso del tutto, che l'opera e l'occasione mi è sembrato imponessero come chiave di volta (più che di lettura) di una ricostruzione e rivisitazione di ciò che siamo, ponte vitale (di viscere e umori e pensieri) che transita sugli abissi del mistero o del vuoto. Carmi sara d'accordo?" (Grytzko Mascioni, Origlio, 15 giugno 1984: testo che accompagna lam cartella)
- Lucien Vogel éditeur, Paris 1921, 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. Gravure originale réalisée pour l'illustrat
24 puntesecche originali applicate su carta pesante, firmate a matita dall'Artista (cm 8x6,5, foglio 15x11,5). Testo di Luigi Filippo Bolaffio . Cm 20x30. pp. 12 + 24 plates. . Ottimo (Fine). . Edizione originale di 150 es. numerati. .
8pp. de texte + 100 planches dont quelques-unes en couleurs + [100] pp. de notices descriptives, tirage limité à 525 exemplaires numérotés; ceci est no.223/500 sur papier vélin, 42cm., sous portefeuille verte d'éditeur (titre doré au plat supérieur), qqs.rousseurs aux tranches et aux pages (surtout dans le marge), bon état, S80110
Gestochene Kupferplatte (98:150 mm). Wohl Teil einer Stichserie zum "Stabat Mater", hier zu einer Zeile aus der fünften Strophe ("Eja Mater, fons amoris, me sentire vim doloris fac ut tecum lugeam" - "Gib, o Mutter, Born der Liebe, dass ich mich mit dir betrübe, dass ich fühl die Schmerzen dein"). Die dazugehörige Darstellung zeigt eine Madonna mit Schwert in der Brust. - Mit Druckvermerk "In Roma al Gesu N. 80".
Acquaforte, acquatinta e puntaseccaoriginale a colori Firma e numerazione a matita. Impressa nella stamperia della Pergola di Piergiorgio Spallacci, Pesaro. Timbro a secco dell'editore. Esemplare IX/X. Cm 120x81 (Foglio cm 150x98). . . Ottimo (Fine). . . .
- Pompes funèbres générales de Fontainebleau, Fontainebleau septembre 1898, 19,6x26,1cm et 12,9x10,1cm, une feuille et une carte. - Announcement of Stéphane Mallarmé's death Pompes funèbres générales de Fontainebleau, Fontainebleau September 1898, 19.6 x 26.1 cm and 12.9 x 10.1 cm, one leaf and one card Announcement of Stéphane Mallarmé's death, whose funeral took place in Valvins (Seine-et-Marne) on Sunday 11 September. We attach the mourning card showing the names of the poet's relatives. Central fold from having been sent. Beautiful copy of this very rare document. [FRENCH VERSION FOLLOWS] Faire-part de décès de Stéphane Mallarmé dont l'enterrement eut lieu à Valvins (Seine-et-Marne) le dimanche 11 septembre. On joint la carte de deuil présentant les noms des proches du poète. Pliure centrale inhérente à l'envoi. Très bel exemplaire de ce rare document.
- Lucien Vogel éditeur, Paris 1921, 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
- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - 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 plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : 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, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, des lettres et de la mode et impose, par cette alchimie, une toute nouvelle image de la femme, élancée, indépendante et audacieuse, également portée par la nouvelle génération de couturiers Coco Chanel, Jean Patou, Marcel Rochas... Reprise en 1920 par Condé Montrose Nast, la Gazette du bon ton inspirera largement la nouvelle composition et les choix esthétiques du « petit journal mourant » que Nast avait racheté quelques années auparavant : le magazine Vogue. [ENGLISH DESCRIPTION ON DEMAND]
Acquaforte tradizionale ed elettrochimica / Traditional and electrochemical etching. L'incisione è stata realizzata presso la Kansas State University (Manhattan, Kansas) Timbro a secco dell'Artista. Firma, titolo e numerazione a matita. Esemplare p.d.a.. Cm 40,4x30 (Foglio 53x38). . . Ottimo (Fine). . Edizione originale di 25 es. numerati e firmati . .
An exhibition catalogue which includes a complete reprint of Hediard's 1906 catalogue raisonne of Fantin-Latour's prints, with each print reproduced (the original edition is unillustrated, and thus very difficult to use). 193 lithographs and 2 etchings described and reproduced, as well as 8 additional lithographs not included in the 1906 edition. Square 4to. Original wraps. FINE AND BRIGHT.
Acquaforte, vernice molle, puntasecca Firma e data a matita. Esemplare p.d.a.. Cm 17,5x26,5 (Foglio 35x50). pp.. . Ottimo (Fine). . Tiratura non nota. .
As New English Paperback. Pbo. Mint. Oblong 4to. (21 x 27 cm). 100 p. Color ills. In Turkish. Fatih Mika. Dönüs. CKSM. [Engraving exhibition catalogue].
