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Art, Artist's Books, Architecture, Gardening

Results (1 - 30) of 149
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Photo [NICOLAS] || IRIBE, Paul. 

[NICOLAS] || IRIBE, Paul. 

- Blanc et rouge
- Rose et noir
- Bleu, blanc, rouge. 

Paris, Etablissements Nicolas, 1930-1932.
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First edition.
Brochures published at the initiative of the Nicolas company for the promotion of wine.
The illustration was left to Paul Iribe, one of the leading figures of the Art Deco movement.

Photo PICARD, Charles. 

PICARD, Charles. 

- L'ACROPOLE. L'Enceinte - L'entrée, Le Bastion d'Athéna, Niké - Les Propylées.
- L'ACROPOLE. Le plateau supérieur, l'Erechtheion, les annexes sud. 

Paris, Albert Morancé, [1929-1932].
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850 €

First edition.

Photo BULLART, Isaac. 

BULLART, Isaac. 

Académie Des Sciences et des Arts. 

Bruxelles, Fr. Poppens, 1682.
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First edition..
Decorated with more than 200 portraits engraved in the text.
Remarkable work for which Bullart worked for 30 years and which was published by his son. We will find, alongside humanists, navigators, scientists and inventors, printers, all the artists classified by school, Leonardo da Vinci, Magellan, Copernicus, Columbus, A. Paré, Gutenberg, etc.

Photo LASSUS, Jean-Baptiste-Antoine || DARCEL, Alfred. 

LASSUS, Jean-Baptiste-Antoine || DARCEL, Alfred. 

Album de Villard de Honnecourt. 

Paris, Imprimerie impériale, 1858.
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Beautiful facsimile reproduction of the famous manuscript of Villard de Honnecourt, a 13th-century architect.
This manuscript, preserved at the Bibliothèque nationale de France, is a valuable source on the construction techniques and know-how of medieval builders. It contains sketches and notes that reveal the empirical and artistic approach to Gothic architecture. Jean-Baptiste-Antoine Lassus, architect and fervent defender of the revival of medieval art in the 19th century, annotated this publication, which was then finalized by Alfred Darcel after his death.
The work is part of the movement of rediscovery and promotion of Gothic heritage, led in particular by Viollet-le-Duc and his contemporaries.

Photo SALVAGE, Jean-Galibert. 

SALVAGE, Jean-Galibert. 

Anatomie du gladiateur combattant, applicable aux beaux-arts, ou traité des os, des muscles, du mécanisme des mouvemens, des proportions et des caractères du corps humains. 

Paris, Chez l'auteur, 1812.
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500 €

First Edition.
Beautifully book illustrated with twenty-two large plates.
Salvage uses several famous classical sculptures for his anatomical subjects.
"The 'Planche d'introduction' and the fifteen plates immediately following it are struck off from two plates so as to bring out the bones in black and the body contours and muscles in red." (Choulant-Frank).

"The effect is striking and the text, engraved along with the plates, was printed in the same manner." (Heirs).

Photo MAURRAS, Charles || JOSSO, Camille-Paul. 

MAURRAS, Charles || JOSSO, Camille-Paul. 

Anthinéa, d'Athènes à Florence. 

Paris, Aux dépens de l'artiste (presses Daragnès), 1955.
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250 €

First edition of illustrations.
Book printed on Daragnès presses in 200 copies decorated with 29 chisel engravings by Camille Paul Josso (1902-1986) orientalist painter, two of which are double-paged.
Unnumbered copy printed for the playwright Marc-Gilbert Sauvajon.

Accompanied by the presentation folder of the edition with a sample of the text and engravings.

Photo PARKER, K.T. || MATHEY, Jacques. 

PARKER, K.T. || MATHEY, Jacques. 

Antoine Watteau. Catalogue complet de son oeuvre dessiné. 

Paris, F. de Nobele, 1957-1959.
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300 €

First edition of this reference work comprising a catalogue raisonné of 934 drawings from Watteau. of the Camille Pissarro works.
Copy n.874 of 1000.

We add the n°LXX of July 1936 of the "la revue de l'art" devoted to Watteau. Disbound.

Photo BAUDOT, Anatole de || PERRAULT-DABOT, Anatole. 

BAUDOT, Anatole de || PERRAULT-DABOT, Anatole. 

Archives de la Commission des Monuments Historiques. 

Paris, Henri Laurens, Charles Schmid, [vers 1900].
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600 €

First edition of this monumental work published under the patronage of the Administration of Fine Arts.
A complete copy

The five volumes, published in twenty parts, includes 500 plates of views, plans, sections and elevations of French monuments, distributed as follows:
- I. Île-de-France, Picardy.
– II. Normandy, Brittany, Anjou, Poitou.
– III. Champagne, Lorraine, Burgundy, Franche-Comté, Nivernais, Orléanais, Touraine.
– IV. Lyonnais, Berry, Bourbonnais, Auvergne, Dauphiné, Angoumois, Aunis, Saintonge.
– V. Périgord, Languedoc, Provence, Guyenne, Gascony.

Each volume also includes a notice and a table of plates.

Photo BENOIT, Pierre. 

BENOIT, Pierre. 

Axelle. 

Paris, Editions Mornay, 1932.
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150 €

Edition illustrated by Lucien Boucher.

One of the 50 copies on Japan paper, ours n°23.

Editions Mornay was a French publishing house founded in 1919 by Georges and Antoinette Mornay. The company was particularly known for its exquisitely designed and illustrated books, which featured the work of some of the leading illustrators of the time.

Photo TERRASSE, Charles || [BONNARD, Pierre]. 

TERRASSE, Charles || [BONNARD, Pierre]. 

Bonnard. 

Paris, H. Floury, 1927.
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First edition, regular issue of this important study on the painter Pierre Bonnard.

Photo BERTALL. 

BERTALL. 

Cahier des charges des chemins de fer. Pamphlet illustré. 

Paris, J. Hetzel, 1847.
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50 €

Second edition.
Frontispiece and numerous drawings in the text by Bertall.

Photo PISSARRO, Ludovic Rodo || VENTURI, Lionello. 

PISSARRO, Ludovic Rodo || VENTURI, Lionello. 

Camille Pissarro, son art, ses oeuvres. 

Paris, Paul Rosenberg, 1939.
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250 €

First edition of the first Catalogue raisonné of the Camille Pissarro works.
Copy n.874 of 1000.

We add the n°IV 11 of April 1936 of the "revue de l'art" devoted to Pissaro.

Photo DICKENS, Charles || DORE, Gustave. 

DICKENS, Charles || DORE, Gustave. 

Cantiques de Noël. 

Paris, Editions Textes Prétextes, 1946.
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100 €

Very beautiful illustration of this classic of ancient literature by Gustave Doré

Copy n°1 printed on pure Auvergne rag by hand, accompanied by a suite in black of illustrations on pure vellum and an original watercolor, first paper printed in 21 copies.

Photo ROBAUT, Alfred || DUTILLEUX, Constant. 

ROBAUT, Alfred || DUTILLEUX, Constant. 

Carnet de dessins. 

s.l., s.n., [v.1840-1900].
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4500 €

Drawing album bellonging to Alfred Robaut, with his blind-stamped monogram on the upper cover.

A draftsman and lithographer, Robaut is best known as the author of the first catalog of works by Eugène Delacroix and Jean-Baptiste Camille Corot, painters for whom he greatly admired.

He learned to paint from his father, Felix Robaut, who taught embroidery design at the Douai Academy. In 1853, he married the eldest daughter of the painter Constant Dutilleux, through whom he came into contact with Delacroix and Corot.

This album contains numerous drawings by Alfred Robault's close friends and artists from the North (Alfred Robaut, Felix Robaut, and some of his students, as well as Constant Dutilleux).
We thus find about twenty drawings by Constant Dutillleux (3 are signed, the others attributed in the margin) by his father, 10 are attributed to Félix Robaut, 18 to Alfred Robaut, others to northern artists or former students of Felix Robaut. (2 drawings signed HP attributed to Henry Pluchard, 1 sketch by Henri Regnault with the stamp of the sale of his studio, 1 signed by De La Rochenoire, 1 signed by Célestin Lepollart, 2 drawings attributed to Caullet, 1 attributed to Abel de Pujol, 1 signed by Ambroise Détrez, 3 attributed to Pierre Billet, ...).

Photo PETITJEAN, Charles || WICKERT, Charles. 

PETITJEAN, Charles || WICKERT, Charles. 

Catalogue de l'oeuvre gravé de Robert Nanteuil. 

Paris, Loys Delteil et Maurice Le Garres, 1925.
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220 €

First edition.
Copy with a few handwritten annotations by Maurice Gobin and several loose sheets of his notes.

Photo GASQUET, Joachim. 

GASQUET, Joachim. 

Cézanne. 

Paris, Les Editions Bernheim-Jeune, 1921.
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First edition printed at of 250 copies.

Photo RAMUZ, Charles Ferdinand || BROSSHARD, R.Th. 

RAMUZ, Charles Ferdinand || BROSSHARD, R.Th. 

Chant des Pays du Rhône. 

Paris, Les Bibliophiles Régionaux, 1929.
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230 €

Edition limited to 226 copies.
With 33 lithography from Gaston Proust drawned by R.Th Bosshard.

Photo LA COMBE, Joseph-Félix. 

LA COMBE, Joseph-Félix. 

Charlet Sa Vie, Ses Lettres suivi d'une Description Raisonnee de Son oeuvre Lithographique. 

Paris, Paulin et le Chevalier, 1856.
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60 €

First edition.
Reference bibliography on the life and work of Nicolas-Toussaint Charlet (1792-1845) French painter and lithographer.

Photo CONSTANTIN-WEYER, Maurice || FALKE, Pierre. 

CONSTANTIN-WEYER, Maurice || FALKE, Pierre. 

Clairière. 

Paris, Editions Mornay, 1929.
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250 €

Edition illustrated by George Barbier.
One of the 35 copies on Japan paper, ours n°10.

Editions Mornay was a French publishing house founded in 1919 by Georges and Antoinette Mornay. The company was particularly known for its exquisitely designed and illustrated books, which featured the work of some of the leading illustrators of the time.

Photo MERIMEE, Prosper || TRAYNIER, Jean. 

MERIMEE, Prosper || TRAYNIER, Jean. 

Colomba. 

Paris, La Tradition, 1942.
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400 €

First edition of the illustrations.

One of the 24 copies with double set of plates and 1 copper matrix, ours n°13.

Photo VERTES, Marcel. 

VERTES, Marcel. 

Complexes. 

Monte-Carlo, André Sauret, 1948.
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250 €

One of the 40 copies with an original drawing from Vertes.

Photo BUYSSE, Cyriel || CASSIERS, Henri. 

BUYSSE, Cyriel || CASSIERS, Henri. 

Contes des Pays-Bas. 

Paris, H. Piazza, 1910.
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400 €

First edition.
Very beautiful illustrations by Henri Cassiers (1858-1944), belgian painter.

Presentation copy.

Photo LA FONTAINE, Jean || BECAT, Paul Emile. 

LA FONTAINE, Jean || BECAT, Paul Emile. 

Contes. 

Paris, Georges Briffaut, 1928-1929.
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200 €

Edition given by Louis Perceau and illustrated with out-of-text color compositions by Paul-Emile BECAT.

Photo MOREAU-NELATON, Etienne. 

MOREAU-NELATON, Etienne. 

Corot raconté par lui-même. 

Paris, Henri Laurens, 1924.
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200 €

First edition.
Copy with a few handwritten annotations by Maurice Gobin and several loose sheets of his notes.

We enclose the catalog of Maurice Gobin's 1938 Corot exhibition and the n°11 of February 1936 of the "revue de l'art" devoted to Corot.

Photo FARGUE, Léon Paul || [DUNOYER DE SEGONZAC André]. 

FARGUE, Léon Paul || [DUNOYER DE SEGONZAC André]. 

Côtes rôties. 1928-1938. Gravures et aquarelles de Dunoyer de Segonzac. 

Paris, Textes Prétextes, 1949.
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900 €

First edition illustrated by par Dunoyer de Segonzac with 2 etchings an 46 printed watercolored.

Limited edition (252 copies), our, n° 24, one of the 30 copies with color suite of watercolors on Rives and a suite of three original etchings.

Copy with an added large original watercolor in color signed by the artist.

Photo LONGUS || TOUCHAGES, Louis. 

LONGUS || TOUCHAGES, Louis. 

Daphnis et Chloé. 

Paris, Editions du Bélier, 1945.
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600 €

Very beautiful illustration of this classic of ancient literature by Louis Touchages.

Copy n°1 printed on pure Auvergne rag by hand, accompanied by a suite in black of illustrations on pure vellum and an original watercolor, first paper printed in 21 copies.

Photo CHEVREUL, Michel Eugène. 

CHEVREUL, Michel Eugène. 

De la Loi du Contraste simultané des Couleurs et de l’Assortiment des Objets colorés, considéré d’après cette Loi dans ses Rapports avec la Peinture, les Tapisseries des Gobelins, les Tapisseries de Beauvais pour Meubles, les Tapis, la Mosaïque, les Vitraux colorés, l’Impression des Étoffes, l’Imprimerie, l’Enluminure, la Décoration des Édifices, l’Habillement et l’Horticulture. 

Paris, Pitois-Levrault, 1839.
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9000 €

First edition.
One of the most influential books on art in the 19th century.
Michel-Eugène Chevreul (1786–1889) is known to chemists for his research on fatty substances (1810–1823) and on immediate organic analysis (1824), but it is as a color theorist that his name achieved lasting fame.
De la loi du contraste simultané des couleurs introduced a scientific understanding of color that had a profound and lasting impact on the painters of his time.
His “law” describes how the perception of a hue is altered by the surrounding colors, each color projecting its complementary onto its immediate environment (thus, a red object tends to cast a greenish glow on nearby surfaces, a yellow one a purplish tint, and so on). This principle is clearly illustrated in plate 7 of the Atlas, where colored dots on a white background seem to emit halos of their complementary hues.

Eugène Delacroix (1798–1863), a central figure of Romanticism, paid close attention to Chevreul’s research. According to the painter Paul Signac, Delacroix even sought to meet the chemist and acquired notes from his lectures in order to better grasp the law of simultaneous contrast. Several of his paintings feature harmonies built around complementary color pairs. For instance, The Entry of the Crusaders into Constantinople (1840) deliberately juxtaposes yellow/purple, blue/orange, and red/green to dramatize the scene—so effectively that art historian Lee Johnson called it an ideal “illustration” of Chevreul’s treatise.

But it was arguably within the Impressionist movement that Chevreul’s theories reached their highest artistic fulfillment. Claude Monet (1840–1926), in particular, used simultaneous contrast to heighten luminosity in his landscapes. He avoided black and earth tones, preferring instead to render shadows in color: purples and blues for shaded areas at sunset, accented with yellow-orange highlights in full light. This technique appears as early as Impression, Sunrise, the foundational work of the movement. One might also recall the poppy fields, a favorite motif of the Impressionists (Van Gogh, Monet, Pissarro…), where red flowers vibrantly stand out against green backgrounds.

A book heralding one of the greatest revolutions in painting.

Our copy is complete with all the color plates, most of them signed by Chevreul himself.

Photo GRAPPE, Georges || [DEGAS]. 

GRAPPE, Georges || [DEGAS]. 

Degas. 

Paris, Librairie artistique internationale, [1909].
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200 €

First edition.
Deluxe edition limited to 200 copies (no. 26), signed by the author.

Photo CHEVREUL, Michel Eugène. 

CHEVREUL, Michel Eugène. 

Des couleurs et de leurs applications aux arts industriels à l’aide des cercles chromatiques. Avec XXVII planches gravées sur acier et imprimées en couleurs par René Digeon. 

Paris, J.B. Baillière et Fils, 1864.
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5500 €

First edition of the rarest of Chevreul's publications on color.

Michel-Eugène Chevreul (1786-1889) is known to chemists for his research on fatty acids, saponification, and the discovery of stearin, but it is as a color theorist that his name will go down in history. Chevreul was appointed director of the Manufacture des Gobelins in 1824. Responsible for overseeing the production of dyes, he supported the work of dyers with his research on color perception. Thus, in 1839, he proposed a scientific approach to color complementarity and subsequently developed "color circles." A true "Pantone" color chart, a hundred years ahead of its time, Chevreul's color circles had the dual benefit of systematizing the production of hues (each with its own name) and making it easier to understand the concept of color complementarity. Thus, complementary colors are found on the same diameter of the color wheel, Red No. 2 corresponds to Green No. 2. "I believe I can affirm that it is possible to subject colors to a reasoned nomenclature, by relating them to types classified according to a simple method, accessible to the intelligence of all those who deal with colors" (extract from the preface). The standardization of color production was to interest first and foremost the industry then in full development, but it is undoubtedly in the Impressionist movement that Chevreul's theories found their finest accomplishment. Very early on, painters were inspired by Chevreul's work in their paintings, starting with Delacroix and then Monet. We will thus remember the fields of poppies dear to the Impressionists (Van Gogh, Monet, Pissaro...) where the red dots of the flowers burst out on complementary green backgrounds. The 27 spectacular plates were printed by René-Henri Digeon using chromochalcography, the process and difficulties of which are discussed in a paragraph in the book. Digeon appears to have presented a first edition of these plates at the 1855 World's Fair, for which he received a patent from the Empress. Several of the plates in our copy appear to be from this first edition and contain errors that have been corrected in other later copies that we have been able to consult.

Photo SOULAGES, Gabriel || CARLEGLE (ill.). 

SOULAGES, Gabriel || CARLEGLE (ill.). 

Des riens. 

Paris, Editions Mornay, 1926.
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450 €

Edition illustrated by Carlègle.
Gabriel Soulages is a French author of novels, stories and light collections. In his romantic work, inspired by a pleasant eroticism, he demonstrated an in-depth Greek and Latin culture.

One of 37 copies on Japon, ours n°18 accompanied by two original watercolors signed by Carlègle.

Editions Mornay was a French publishing house founded in 1919 by Georges and Antoinette Mornay. The company was particularly known for its exquisitely designed and illustrated books, which featured the work of some of the leading illustrators of the time.

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