2 054 résultats
- L'Emancipatrice, 5, rue de Pondichéry, Paris 1929, 10,5x13,7cm, une feuille. - Rarissime bulletin dépliant de souscription pour l'arbre de Noël des enfants de la République de Montmartre, surnommés les "petits poulbots", datant de l'année 1929. Sur le premier plat, figure une belle estampe originale signée Francisque Poulbot représentant deux petits enfants devant la cheminée, et légendée "-Pleure pas, y a notre arbre de Noël au mois de Janvier". Sur le second plat, une seconde estampe donne le lieu du rendez-vous : un enfant chuchote à un autre "ça sera à Médrano". Dans l'esprit de la Commune de Paris, la République de Montmartre fut créée en 1921 par les artistes parisiens Joé Bridge, Adolphe Willette, Jean-Louis Forain, Francisque Poulbot, Maurice Neumont, Louis Morin, Maurice Millière, Raoul Guérin et Jules Depaquit. Ses fêtes et banquets, souvent organisés dans les lieux mythiques de Montmartre (Moulin de la Galette, cirque Médrano, Moulin Rouge) eurent pour but de souder la communauté montmartroise par l'entraide et la sociabilité. Rare et esthétique témoignage du traditionnel "Arbre de Noël" des enfants défavorisés de la République de Montmartre, qui se déroulait non pas en décembre mais en janvier. [ENGLISH DESCRIPTION ON DEMAND]
- Lucien Vogel éditeur, Paris Avril 1914, 19x24,5cm, 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'illustration
RARE illustrated edition of Omar Khayyam's rubaiyat neatly rebound in green cloth with gilt lettering on spine. Contains 12 high-quality mounted illustrations by Edmund Dulac (1882-1953), the renowned French book illustrator. 298x230mm. Unpaginated 72 pages & 12 color plates with transparent protective sheets). Green cloth rebound Hardcover with gilt lettering on spine. Cover edges and corners bumped and rubbed. Spine slightly wrinkled. Spine edges and corners bumped and rubbed. Second whitepage and title page age-stained. One of the protective sheets taped. Some pages bottom corner bumped/wrinkled. Pages slightly yellowing. [SUMMARY]: This extremely rare beautifully illustrated copy of the quatrains by the celebrated 11th century Persian polymath, scientist, philosopher, and poet, is otherwise in good condition.
The first volume (of two) of the standard catalogue raisonne of the prints of Georges Rouault. 213 items described and illustrated, many in several states. ONE OF ONLY 220 COPIES OF THE DELUXE EDITION (there was no deluxe edition of volume 2) WITH AN ORIGINAL ETCHING BY ROUAULT ("Acrobate", 1919, R. 3 iii/III, printed on extremely fine wove paper), SIGNED AND AUTHENTICATED IN PENCIL BY ISABELLE ROUAULT. This is one of Rouault's very first prints. Folio. Publisher's cloth, dustjacket, and protective cover. FINE AND BRIGHT, WITH NO DEFECTS.
The first volume (of two) of the standard catalogue raisonne of the prints of Georges Rouault. 213 items described and illustrated, many in several states. Folio. Publisher's cloth, dustjacket, and protective cover. FINE AND BRIGHT, WITH NO DEFECTS.
Litografia originale in sanguigna, inserita nel n. 1 della rivista "Piccola Galleria. Pagine d'arte mooderna", pubblicata a Venezia nel maggio 1945, direttore Carlo Betocchi. Firma e sigla S. B. nella pietra Opera pubblicata con il n. 35 in apertura del catalogo "L'opera grafica di Filippo De Pisis", a cura di Manlio Malabotta, Edizioni di Comunità, 1969. Cm 16,8 x 12. . . Ottimo (Fine). . Tiratura non nota. .
- Lucien Vogel éditeur, Paris 1924-1925, 18x24cm, une feuille. - Original color print, printed on vergé paper, non signed. 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, non-signée. Une petite déchirure sans manque en marge gauche de la planche. Gravure o
Litografia originale Tiratura 15o esemplari. Firma a matita dell'Artsta. Timbro a secco dello stampatore Il Torcoliere, Roma. Cm 34,5x43,5 (Foglio 50x70). . . Ottimo (Fine). . Tiratura: 150. .
Litografia Firma a matita. Esemplare 38/90. cm 74x54. pp.. . Ottimo (Fine). . Tiratura 90. .
This is a very good softcover copy with just light cover wear. Very clean inside and out. This catalog was prepared to accompany the exhibition at the Fogg Art Museum from May 5 to May 30, 1974. Catalog edited by Konrad Oberhuber. Not illustrated. Checklist of the exhibition with 56 works fully catalogued and annotated. 11" high X 8" wide, 99 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Cartella originale, in folio, contenente 12 fogli sciolti: il frontespizio, 10 litografie numerate e firmate a matita dall’autore, un testo in fac-simile con le note sulla stampa e sulla tiratura; la cartella fa parte della collana di cartelle litografiche diretta da Libero de Libero per lo studio di Villa Giulia; il litografo è Igino Alessandrini; esemplare 12 di 80. La copertina è di Mino Maccari. Le tavole del “Romanzo nero” riportano alla memoria l’episodio di cronaca della prostituta assassinata e fatta a pezzi nella pineta del Tombolo.
RARE collection of 24 high-quality b&w prints by Antonio Carbonati, depicting the scenery of Rome at the post-war period. 415x300mm. 24 plates. No binding (folder format). Softcover. Cover worn and stained. Cover edges tattered and partly torn, spine partly torn. Some pages yellowing, with very few age-stains at edges (not touching the prints themselves). [SUMMARY]: This collection of rare and collectible prints is otherwise in good condition.
In-folio, cartella originale rigida, che contiene in fogli sciolti il frontespizio della serie, le 10 litografie, tutte numerate, firmate dall’autore e con l’indicazione del soggetto, e un ultimo foglio con indicazioni sulla stampa e la tiratura; tiratura limitata, dopo la stampa le matrici furono distrutte. Litografo Igino Alessandrini. Ottimo esemplare.
The standard catalogue raisonne. 43 items illustrated (each with a full-page plate) and exhaustively described. Text in French and English. 4to. Original wraps. FINE AND BRIGHT. Scarce.
Exhibition catalog for a show held at the publisher's gallery. Book ( 8.5" x 9") is in excellent condition, exterior shows no blemishes, text/interior is clean and free of marking of any kind. 24 pages with 14 full color, full page prints by the artist, essay by Mr. West, a few transparancies.
Exhibition catalog for a show held at the publisher's gallery. Book ( 8.5" x 9") is in excellent condition, exterior shows no blemishes, text/interior is clean and free of marking of any kind. 24 pages with 14 full color, full page prints by the artist, essay by Mr. West, a few transparancies.
ONLY EDITION OF THIS EXTREMELY IMPORTANT AND RARE MONOGRAPH ON NANTEUIL (the title page says "second edition" because Loriquet's discourse--without the documentation--had previously been published in a periodical). 2 leaves; 154 pp. Aside from Loriquet's comments, this book contains extensive documentation concerning Nanteuil, all published for the first and only time: documents concerning his family, the text of his poetry, his opinions about printmaking, catalogues of all of his works in all media, the inventory of his estate, etc. EDITION LIMITED TO ONLY 100 COPIES, OF WHICH THIS IS ONE OF ONLY TEN COPIES WITH THE ENGRAVED FRONTISPIECE PORTRAIT OF NANTEUIL (by Varin after Nanteuil) IN TWO STATES. Louis Metcalfe, writing about Nanteuil in "Prints and Their Makers" (New York: Century, 1912), states that "In 1854, Charles Loriquet, curator of the library of Rheims, who had just completed a collection of Nanteuil's portraits for the city museum, addressed the Academy at one of its public sittings and eloquently pleaded with the authorities to erect a monument to him who he considered second only to the great Colbert as the most illustrious son of Rheims. His description of the artist and his work created such enthusiasm that he was later induced to publish it, together with some interesting documents concerning Nanteuil. The unique little book found its way into many libraries, private as well as public, and has ever since been unfindable." The copy I offer was in fact Metcalfe's, with his charming engraved bookplate on the front pastedown. Large 8vo. ELEGANTLY BOUND IN 19TH-CENTURY FULL MIDNIGHT MOROCCO BY AFFERNI (signed), with spine, borders, and turn-ins beautifully gilt. (Afferni was a Venetian binder, and his work rivaled that of the best French binders of the day.) All edges gilt. Tiny traces of wear to extremities, else FINE AND BRIGHT. A rare and important book.
8vo., First Edition, text in French, with facsimiles in the text; original pictorial wrappers, wire-stitched as issued, a fine copy. The catalogue lists no fewer than 938 items. Scarce.
Acquaforte acquatinta a colori Firma, data, titolo e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare BAT (Bon à tirer). cm 63,5x49,5 (Foglio 90x70). . . Ottimo (Fine). . . .
8vo., First Edition, with a title-vignette and illustrations (a number full-page) in the text, some light offsetting from fold-ins to free endpapers; cloth, a very good, firm copy in unclipped and very lightly browned dustwrapper.
Acquaforte acquatinta su fondo giallino Firma e titolo a matita. Esemplare 95/100. cm 50 x 27 (Foglio 71 x 50). . . Ottimo (Fine). . Tiratura 100. .
Cartella pubblicata a seguito del volume ''Rimanenze'' di Camillo Sbarbaro con sette incisioni originali (di cui una applicata alla copertina) alla maniera nera stampate in rosso carminio di Giulia Napoleone, numerate e firmate (cm 31x44). Uno scritto della Napoleone ed uno di Anna Ziliotto Stampato a Verona presso l'Officina Bodoni di Martino Mardesteig. Incisioni stampate da Anna Ziliotto su carta Hahnemuhle. Piccola incisione firmata e numerata applicata sulla cartella (cm 10x10). Es. 88/100. cm 59 x 50. pp. 8. . Ottimo (Fine). . Prima ed. di 100 es. numerati e firmati dall'A.. .
Acquaforte dalla cartella ''Tolleranza'' composta da 4 acqueforti originali e un testo di Tommaso Chiaretti (pubblicata su ''Bruno Caruso. Acqueforti 1948-1993'', catalogo della mostra al Centro Pasolini di Agrigento, ed. Collezionisti d'Arte, Palermo 1993) Firma e numerazione a matita. Titolo e firma su lastra. Stampata dalla Stamperia F di Roma. Esemplare p.d.a.. cm 29,5x24 (Foglio 50x35). . . Ottimo (Fine). . Tiratura 80 + 4 p.d.a.. .
Puntasecca, acquaforte e acquatinta originale in nero Firma, data, titolo e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata su carta Hahnemuhle 350 g. Esemplare 7/30. cm 83x59 (Foglio 98,5x69). . . Ottimo (Fine). . Tiratura 30. .
- s.d. (1924), 93x78mm, autre. - Retour de pêche aux thons et bonites. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after a watercolor by Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved from the first watercolor of the Noa Noa manuscript, pasted on a page of text of the famous album. The final woodcut will serve as the head of chapter X of the first true illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work from Paul Gauguin and a majestic tribute to this precursor of modern art. Superb and significant engraving of the work opening Paul Gauguin's manuscript, engraved by his closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. This likely unique proof, part of 17 known test woodcuts from the project to prematurely publish Noa Noa, all made on various fine papers and annotated by the artist. Woodcut engraved from the watercolor inaugurating one of the painter's most beautiful albums, symbolizing the Tahitian art of living, between the nourishing sea and earthly pleasures. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts, until then unknown, testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: "When I saw Gauguin for the first time, I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations of this extraordinary man... You immediately felt that he was the Master" (in L'Hermitage, 1903). [FRENCH VERSION FOLLOWS] Epreuve originale probablement unique de cet état intermédiaire d'un bois dessiné et gravé d'après une aquarel
