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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 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 CHEVREUL, Michel Eugène. 

CHEVREUL, Michel Eugène. 

Mémoire sur la vision des couleurs matérielles en mouvement de rotation et des vitesses numériques de cercles. 

Paris, Firmin-Didot, 1882 [1881].
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3000 €

First edition of Chevreul's last works on color.
A rare offprint with its own title page published by Firmin-Didot in 1882, of an article presented to the Academy of Sciences in December 1880 and January 1881 (one generally only finds the article extracted from the Mémoires de l'institut published in 1883). Chevreul is interested here in physiological optics, trying to analyze how the contrast between complementary colors is affected by movement.
In his conclusion, in which he calls himself "the dean of students in France" (he was then 95 years old), he sees a direct application of his work to signaling for train drivers.

Photo DUCHENNE, Guillaume-Benjamin. 

DUCHENNE, Guillaume-Benjamin. 

Mécanisme de la physionomie humaine ou analyse électro-physiologique de l’expression des passions. 

Paris, Baillière, 1876.
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18000 €

Rare copy of the deluxe edition of the second edition with the atlas.
It's the first medical book illustrated with photographs of living subjects.
The celebrated work by Duchenne de Boulogne on facial expressions induced by electrification.
Duchenne de Boulogne’s research was intended both for anatomists and scientists (Darwin would later use Duchenne’s findings in his The Expression of the Emotions in Man and Animals) and for artists, who, as he said, “have not always been able to find the fundamental lines” of an expressive face.
Using his electrodes and induction coil, Duchenne assigned the precise role of each facial muscle in animating the human face.
He thus aimed to “make known, through electro-physiological analysis and with the help of photography, the art of accurately painting the expressive lines of the human face—a kind of orthography of physiognomy in motion” (from the preface).

A copy from the deluxe edition, issued by the publisher, accompanied by its atlas; the regular edition contained only the frontispiece and the nine plates in the text volume.
Our copy is complete with its atlas of 82 additional plates (the last eleven "aesthetic" plates are often missing).

The atlas reproduces the original photographs, whose portraits had been extracted to create the nine synoptic plates, now printed in large format on albumen paper and mounted.
The electrically induced emotions of the six models literally leap off the page.

The first series of experimental photographs (plates 3–73), featuring an old cobbler with a wrinkled face, was deemed too coarse when Duchenne first presented it. He was persuaded to create a second series (plates 74–84) showing young women in various poses—ecstatic to imitate Saint Teresa or cruel to mimic Lady Macbeth.
“Striving to satisfy those with a sense of beauty, and wishing to please while instructing, I have undertaken some new electrophysiological studies in which, as far as possible, I hope to meet the principal requirements of aesthetics: beauty of form, combined with the truth of facial expression, attitude, and gesture.” (p. 133)
He called this part of his work the aesthetic section.
Perhaps unconvinced of its scientific value, he did not always distribute these 11 “aesthetic” photographs with the atlas; for example, the copies sent to Darwin and Charcot stop at plate 73.
The publisher himself only anounced on the title page 74 plates. Copies with plates 74 to 84 are rare.

Duchenne stands at the crossroads of three recent scientific revolutions (electrical induction, physiology, and photography), yet here he has composed one of the true photographic masterpieces of the 19th century.

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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2200 €

First Edition.
Beautifully book illustrated with twenty-two large plates.

"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 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 CASSOU, Jean || MARQUET, Albert. 

CASSOU, Jean || MARQUET, Albert. 

Rhapsodie Parisienne. 

Paris, Édition de la galerie Charpentier, 1950.
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2500 €

Edition illustrated by Henri Deluermoz with 142 woodcuts printed in color in Théo Schmied's studio.

Limited edition (150 copies), our, n° 10, one of the 20 first copies with an additional suite on Malacca paper and an an original drawing from A.Marquet.

Presentation copy. Incribed by the author, Jean Cassou to Lucien Muguet.

Photo RONSARD, Pierre de || [DUNOYER DE SEGONZAC André]. 

RONSARD, Pierre de || [DUNOYER DE SEGONZAC André]. 

Quelques sonnets. 

Paris, Chez l'artiste, 1955.
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2000 €

Edition illustrated by par Dunoyer de Segonzac with 51 original etchings.

Limited edition (210 copies), our, n° 8, one of the 35 copies with suite of the etchings on Japon paper and an other suite of 20 etchings.

Presentation copy, offer by the artist with a beautiful dedication to André Muguet and enriched with:
- an original drawing offered to André and Viviane Muguet, with a dedication inviting them to choose the drawing of their choice.
- a postcard addressed to André Muguet and signed by Dunoyer de Segonzac and his wife Thérèse Dormy
- 7 photographs of Dunoyer de Segonzac, including 3 with André Muguet
- a letter of greetings for 1952 signed by Dunoyer de Segonzac and his wife Thérèse Dormy
- an amusing note signed "André" (Dunoyer de Segonzac): "My dear Alexandre, to climb the 5 floors, please use this small folding chair which will allow you to sit on each landing.".

Photo DARAGNES, Jean Gabriel || FARGUE, Léon Paul || COLETTE. 

DARAGNES, Jean Gabriel || FARGUE, Léon Paul || COLETTE. 

Rencontres. 

Paris, Presses de Madame Daragnès, 1954.
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600 €

First edition illustrated with a double-page black and white drawing on the title page and 28 color woodcuts in the text and with an original gouache hand-signed by Daragnès (258x220 mm).

Book in the form of a tribute published by his friends after the death of Jean Gabriel Daragnès. Woodwinds from the artist accompanied by texts by Colette, Fargue, Segonzac...


One of the 130 copies printed on Vélin blanc with an original painting, ours n°41.

Photo UTRILLO, Maurice || CARCO, Francis. 

UTRILLO, Maurice || CARCO, Francis. 

Montmartre vécu par Utrillo. 

Paris, Editions Pétridès, 1947.
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9000 €

First edition, limited edition of 240 copies.
Our copy (b), illustrated with 22 color lithographs based on gouaches by Maurice Utrillo.

Photo DESGODETZ, Antoine. 

DESGODETZ, Antoine. 

Les Édifices antiques de Rome, mesurés et dessinés très exactement sur les lieux. 

Paris, Claude Antoine Jombert, 1779.
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3000 €

Second edition.
A new edition by Claude Antoine Jombert, who had just acquired the original copperplates from the descendants of the architect.
Antoine Desgodetz was sent to Rome, where he stayed for sixteen months in 1676–1677, to survey and measure ancient monuments with great precision. The purpose was well conceived, as he had already observed discrepancies in the dimensions—and thus the proportions—given in classical works on the subject.
The result was a work of obvious utility and great beauty: Desgodetz’s drawings were engraved by excellent artists, including Louis de Chastillon, Nicolas Guérard, and Jean and Pierre Lepautre. Each plate is accompanied by a facing descriptive notice specifying the measurements of the various elements and pointing out the errors in earlier treatises.
The work was justly admired and underwent several reissues. It is all the more surprising to learn that, unlike most ancient treatises, it has not lost its value: even today’s archaeologists—far more demanding than the amateurs of the past—still recognize its accuracy and usefulness.

A complete copy, with all 137 required plates.

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 NICERON, Jean-François. 

NICERON, Jean-François. 

La Perspective curieuse ou magie artificielle des effets merveilleux de : L’optique par la vision directe, la catoptrique, par la réflexion des miroirs plats, cylindriques & coniques, la dioptrique, par la réfraction des crystaux. 

Paris, Pierre Billaine, 1638.
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2500 €

First edition.
This work is a treatise on optical illusions and anamorphic perspectives, written by Nicéron, a monk of the order of Minims and mathematician of the 17th century. In it, he explores the principles of geometry applied to perspective, in particular the deformations of images that are only correctly revealed from a certain angle or through a mirror.
La Perspective Curieuse is a major work in the history of visual perception and art, influencing both artists and scientists of its time.
The discussion in the fourth part is particularly famous for being the first reference to the law of refraction developed by Descartes that same year.
A title-frontispiece engraved by Daret.

Photo [STENDHAL (Henry Beyle, dit)]. 

[STENDHAL (Henry Beyle, dit)]. 

Histoire de la peinture en Italie. Par M. B. A. A. 

Paris, Didot l'Aîné, 1817.
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2500 €

First edition.
A full margin copy, untrimmed.

Photo ROBAUT, Alfred. COROT, Camille. 

ROBAUT, Alfred. COROT, Camille. 

L'oeuvre de Corot.
Catalogue raisonné et illustré précédé de l'histoire de Corot et de ses oeuvres par Étienne Moreau-Nélaton. 

Paris, H. Floury, 1905.
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8000 €

First edition printed at of only 400 copies.

One of the only five copies on old Japanese paper, the first large paper.
The reference catalogue raisonné of Jean-Baptiste Camille Corot's work preceded by an extensive biography of the artist's life and artwork by Etienne Moreau-Nelaton.
With descriptions and black-and-white reproductions of more than 3,000 of the artist's paintings, drawings, and engravings.
The fifth and final volume is devoted to the tables.

Our copy is bound with :
- in volume 1, two original photographs of Corot, the original Corot burial certificate, and finally two specimens for subscription to the book, dated 1904 (8 pages), one on vellum paper, the other on Japanese paper.
- in volume 4, p. 329, a photograph of Corot (Coll. Nadar, reproduced in 1910), three autograph letters signed by Corot with two stamped envelopes, and three sketches, attributed according to a pencil note to Robaut after Corot for the first and to Corot for the other two (without warranty for these attributions).
One of the letters is addressed to the parents of his student Emmanuel Damoye, in which Corot expresses concern that he has been drafted (in 1870).

A unique collection to which we are including, in paperback, the first supplement (ex. 18 of 600 copies) published 40 copies later in 1948.

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 JOYANT, Maurice || TOULOUSE-LAUTREC, Henri de. 

JOYANT, Maurice || TOULOUSE-LAUTREC, Henri de. 

Henri de Toulouse-Lautrec, 1864-1901: Peintre, Dessins, Estampes, Affiches. 

Paris, H. Floury, 1926-1927.
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2000 €

First edition.
Copy n. 18, (one of the 175 for volume 1 and of the 200 for volume 2) Deluxe edition on japan paper with 6 original etchings, each present in two states. Without the portfolio of four original lithographs, as always.
We add :
- Exposition H. De Toulouse-Lautrec - Du 9 Avril Au 17 Mai 1931. Chipped.
- O'Connor, Patrick. Toulouse-Lautrec Plaisirs nocturnes. 1991.

Photo DAUMIER, Honoré || (GOBIN, DELTEIL, MAISON, ...). 

DAUMIER, Honoré || (GOBIN, DELTEIL, MAISON, ...). 

Lot de 28 ouvrages relatifs à Daumier provenant de la bibliothèque de documentation de Maurice Gobin. 

s.l., s.n., s.d.>
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1500 €

Twenty-eight books and exhibition catalogs relating to the work of Honoré Daumier.

This collection comes from the documentation library of the art dealer Maurice Gobin (later his son Francis).
Maurice Gobin wrote a book with a catalogue raisonné of the Daumier's Sculpture (see 5).

1. DELTEIL, Loys. Oeuvre lithographié de Honoré Daumier. 1925- Paris. Complete run of 11 volumes of the lithographs of Daumier. Published in the series 'Le peintre-graveur illustré"+ volume 20 up to 29 bis (Tables).
Quarter clothes, original printed wrappers bound in.
Copy printed for Maurice Gobin, as a member of the patronage committee formed specifically by Loys Delteil for this publication on Daumier.
Copy filled with two letters from Loys Delteil to Maurice Gobin. The first thanking him for joining the patronage committee and the second requesting information on the prices achieved at auctions in Germany for Daumier's lithographs.
Also filled with four leaves from the manuscript of the book. Some annotations by Gobin and two photos of unpublished Daumier lithographs that Maurice Gobin transferred or donated to the BNF, based on his annotations.

2. MAISON, Karl Eric. Honoré Daumier: Catalogue Raisonné of Paintings, Watercolours & Drawings. 1968. Paris.
Set of two books in original slipcase
3. MAISON, Karl Eric. Daumier studies. 1954. Offprint from "The Burlington Magazine - january, march and Aprill 1954". Presentation copy.
4. CHAMPFLEURY. Catalogue de l'oeuvre lithographié et gravé de H. Daumier : avec une eau-forte inédite. 1878. (4)-52 pages and 1 etching. Poor copy, disbound without the upper cover. Only 100 copies printed. This one for A.Bareaux
5. GOBIN, Maurice. Daumier Sculpteur 1808-1879, avec un catalogue raisonné et illustré de l'oeuvre sculpté. 1952, Cailler, Genève.
6. Galerie Sagot-Le-Garrec. Daumier sculpteur, lithographe et dessinateur. 1957. Exposition catalogue. With an introduction written by Maurice Gobin.
7. Bibliothèque Nationale. DAUMIER. Lithographies, Gravures sur bois, Sculptures. 1934. Exposition catalogue.
Poor copy. Spine broken with lacks. With add in a manuscript sheet from Maurice Gobin to Marcel Lecomte (see n. 23) dated 19533 in which is discuss the date of the lithigraphy n°142 of this book.
8. DAUMIER, Jean Baptiste. Un matin de printemps. 1815. 27 pages. Stain p. 23/24.
First edition of this poem by Daumier's father. Copy that belonged to Léo Larguier (author of works on Corot, Cézanne, etc.) who then gave it to Maurice Gobin.
9. ALEXANDRE, Arsène. Honoré Daumier, l'homme et l'eouvre. Ouvrage orné d'un portrait à l'eau-forte, de deux héliogravures et de 47 illustrations. Paris, Renouard - H. Laurens, 1888.
8vo, (8)-383-(1) pages and 6 plates. Foxings.
Fine contemporary half morocco bindong signed Canapa. Originals wrappers bound in.
10. FUCHS, Edouard. Der Maler Daumier. 1927 + Supplement. 1930.
First volume in the original printed cloth and the supplement with original printed paper hardcover.
11. LE GARREC, Maurice . Trente-Six Bustes de H. Daumier, reproduits en phototypie grandeur nature. 1932. Spine chipped. 325 copies. Plates are captioned in pencil.

12. ESCHOLIER, Raymond. Daumier Peintre et Lithographe. Paris, Floury, 1923.
8vo, frontispiece, 202-(2) pages and 63 plates. Few pencil annotations.
Contemporary quarter morocco. Original wrappers bound in.
13. ESCHOLIER, Raymond. Daumier et son Monde. 1965.
14. ROGER- MARX, Claude, Daumier. 1938. Spine broken with lacks. Presentation copy to Maurice Gaubin : "Pour Maurice Gobin qui lutte pour l'art vrai avec l'amitié de CRM".
15. Burlington Magazine n°613. Avril 1954. Contain : Daumier Studies III par K.E. Maison
16. ROSENTHAL, Leon. Daumier (L' Art De Notre Temps). 1911.
17. The Journal Walter Art Gallery. Vol. XI.1948. With a paper from Marceau and Rosen : "A Terracotta by Daumier". With a manuscript paper from Gobin who give is advise on this Terracotta (par et truffé d'un page manuscrite de commentaire de Gobin sur cette terre cuite (Le Fardeau).
18. Arts et Livres de Provence. Premier Bulletin Daumier. 1949.

19. BALZER, Wolfgang. Der junge Daumier und seine Kampfgefährten. Politische Karikatur in Frankreich 1830 bis 1835. Dresden. 1965.
20. REY, Robert. Daumier. 1968.
21. FOGG ART MUSEUM. Daumier Sculpture - a Critical and Comparative Study. 1969. With ballpoint annotations on the book and on some loose sheets.
22. Catalogue vente Maurice Loncle. 22 novembre 1977. With in particular important sculptures by Daumier, with the auction prices noted in ballpoint pen.
23. SAGOT-LE GARREC. Daumier Sculpteur. * Les bustes des Parlementaire et LECOMTE, Marcel. ** Les figurines et autres sculptures. 1979. Joint exhibition of these two galleries opened on October 10, 1979
24. PASSERON, Roger. Daumier: Témoin de son temps. 1979
25. CHERPIN, Jean. Daumier et la sculpture. 1979. Presentation copy : "A Francis Gobin en témoignage de gratitude pour les conseils amicaux reçus de Maurice Gobin et l'admiration pour son oeuvre. En cordial hommage".
26. The Metropolitan Art Museum. Daumier Drawings. 1992.
27. Colta Ives. Honoré Daumier : Zeichnungen (German). 1992. German version of the catalogue of this joint exhibition (see no. 26) between the Städtische Galerie im Städelschen Kunstinstitut in Frankfurt and the Metropolitan Art Museum.
28. LOYRETTE, Henri [ under the direction ]. Daumier, 1808 -1879 - Album de l'exposition [ Musée des Beaux-Arts du Canada, Ottawa, 11 juin-6 septembre 1999 ; Galeries nationales du Grand Palais, Paris, 5 octobre 1999-3 . Washington, 19 février-14 mai 2000 ]

Due to the important weight of this set (arround 60 kg) , no shipping out France or with important shipping extra cost.

Photo GOERG, Edouard || POE, Edgar. 

GOERG, Edouard || POE, Edgar. 

L'Ange du Bizarre, suivi d'autres contes. Eaux-fortes originales d'Edouard Goerg.
Et un ensemble de dessins et de documents de ou relatifs Goerg. 

Paris, Marcel Sautier, 1947.
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1200 €

Limited edition of 275 copies (No. 192) illustrated with 28 original etchings by Edouard Goerg (1893-1969), expressionist painter, printmaker, and illustrator.

Presentation copy from Edouard Goerg and his wife Elana to Francis Gobin: "à Francis Gobin et son épouse charmante avec nos voeux les meilleurs pour 1959 et l'expression de nos sentiments de fidèle amitié."

We add :
- 6 preparatory drawings intended to illustrate "Le Manteau de Parade" by Francis Lafavery, with an introduction by Jeau Cassou. [1954] with 2 original lithographs by Goerg). The 6 preparatory pencil drawings are indeed three versions of these two illustrations. We also enclose this book (other provenance). Spine broken.
- GEORGE, Waldemar. Goerg. 1965. Presentation copy from Goerg and Waldemar George to Francis Gobin.
- An original lithograph signed in pencil by Ed. Goerg and printed in an edition of 15 (our number 8)
- In an envelope addressed to Francis Gobin: a greeting card from Edouard and Elena Goerg with an original drawing.
- Wedding announcement of Goerg's daughter, Clause-Lise, with Christian Germak. 1961. Illustrated by Goerg. Printed in 190 copies according to the 1989 exhibition catalog, no. 106 (see end)
- A business card from Christian Germak
- Copy of a letter from Héléna Goerg to Francis and Thérèse Gobin in which she requests their assistance in the conflict with her daughter-in-law concerning Edouard Goerg's estate, with a copy of the latter's will and Francis Gobin's response
- Catalog of the "Edouard Goerg" exhibition from November 7 to 25, 1989, in Paris.

Photo MANET, Edouard || (MOREAU-NELATON, GUERIN, JAMOT, ...). 

MANET, Edouard || (MOREAU-NELATON, GUERIN, JAMOT, ...). 

Lot de 6 ouvrages relatifs à Edouard Manet provenant de la bibliothèque de documentation de Maurice Gobin. 

s.l., s.n., s.d.>
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1000 €

Six books relating to the work of Edouard Manet.

This collection comes from the documentation library of the art dealer Maurice Gobin (later his son Francis).

1. JAMOT,Paul & WILDENSTEIN, Georges. MANET. Catalogue critique. L'oeuvre de l'artiste en quatre cent quatre-vingts phototypies. Paris. 1932. Two 4to, vi-202-(2) pages / (8)-(4) pages and 487 phototypies on 220 plates.
Contemporary quarter clothes, original printed wrappars bound in.
Copy with Maurice Gobin's pencil monogram, which he peppered with:
- A newspaper "Les lettres françaises. Arts Spectacles. No. 585 Sept. 1955. (4) pages, with a papper by Charles Péruseaux on the lost painting "Les Gitanos," from which Manet cut out several fragments after making an etching. With a handwritten dedication from Péruseaux "En hommage à Monsieur Gobin possesseur de la belle nature morte "Le Cabas aux oignons" ", which is actually a fragment and is reproduced in this article.
- A photograph of this same painting, with notes on the back by Maurice Gobin, and a late reproduction of "Les Gitanos." Indeed, in 1905, Alfred Strölin reissued 30 etchings by Manet, printing 100 copies before pierced the copperplates.
Ours, with pierced copperplate, is therefore later than 1905.
2. MOREAU-NELATON, Etienne. Manet raconté par lui-même. 1926. Two 4to, original printed wrappers.
3. MATHEY, Jacques. Graphisme De Manet. Essai De Catalogue Raisonné Des Dessins. 1961-1966. Vol. I and III only.
I. Graphisme de Manet. Essai de catalogue raisonné de dessins.1961. Avec tampon "Exemplaire d'hommage"
III. Graphisme de Manet. III: Dessins et peintures réapparus. 1966. Presentation copy to Francis Gobin.
4. MATHEY, Jacques. Bulletin de la Societe d'Etudes pour la Connaissance d'Edouard Manet. N°. 1. 1967
5. GUERIN, Marcel. L'Oeuvre Grave de Manet. 1944. Spine fadded. Copy n.96 (on 600).
6. REY, Robert. Choix de Soixante-quatre Dessins de Edouard Manet (Dessins et Peintures des Maitres du XIXe Siècle a Nos Jours). 1932

Due to the important weight of this set (arround 11 kg) , no shipping out France or with important shipping extra cost.

Photo DUNOYER DE SEGONZAC, André. 

DUNOYER DE SEGONZAC, André. 

Lot de 7 ouvrages relatifs à Dunoyer de Segonzac provenant de la bibliothèque de documentation de Maurice Gobin. 

Paris, s.n., s.d.>
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1000 €

Seven books related to Dunoyer de Segonzac.

This collection comes from the documentation library of the art dealer Maurice Gobin (later his son Francis).


1. LIORE Aimé & CAILLER Pierre. Catalogue de l'oeuvre grave de Dunoyer de Segonzac. Genève 1958-1970.
8 volumes. Catalogue raisonne of the prints of Andre Dunoyer de Segonzac.

2. DELAHAUT, Jean-Robert. A. Dunoyer de Segonzac. [1962]. Presentation copy to Maurice Gobin. O the upper cover : "Pour Maurice Gobin avec mon fidèle et amical souvenir et mes meilleurs voeux pour l'an 1963 andré Dunoyer de Segonzac. Noël 1962". Maurice Gobin just passed away, didn't read these words
3. Art et Style. Dunoyer de Segonzac. 1960. Presentation copy to Maurice Gobin : "Pour Maurice Gobin qui a un sens aigu et profond des Arts graphiques et Plastiques".
4. JAMOT, Paul. Dunoyer de Segonzac. Paris, Floury, 1929.
5. ROGER-MARX. Claude. Dunoyer De Segonzac. 1951. One of the 25 copies of the luxury edition (No. X) with four etchings specially engraved for this book. The justification for the edition indicates a suite on Marais paper, a print on Japanese paper, on China paper and in crossed state. Our copy contains the etchings on Arches paper, a print on Japanese paper and the crossed stare on Arches paper
6. Orangerie des tuileries . Dunoyer de Segonzac. Exposition du 20 février au 3 mai 1976.
7. Dragonette de Varine. Dunoyer de Segonzac 1884-1974. Publications filmées d'art et d'histoire. 1976. complete with 36 slides.

Due to the important weight of this set (arround 14 kg) , no shipping out France or with important shipping extra cost.

Photo DE LA FAILLE, Jacob-Baart || VAN GOGH, Vincent. 

DE LA FAILLE, Jacob-Baart || VAN GOGH, Vincent. 

L'oeuvre de Vincent van Gogh. Catalogue raisonné. 

Paris, G.Van Oest, 1928.
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1000 €

First edition.
The catalog raisonné of paintings and drawings of Van Gogh . Complete.

With :
- Lettres de vincent van gogh à Emile bernard publiées par Ambroise Vollard. 1911. Disbound. Spine damaged. To be repaired
- Francis Gobain (i.e. Gobin). Vincent Van Gogh. 1947.

Photo MELLERIO, André. 

MELLERIO, André. 

Odilon Redon : peintre, dessinateur et graveur. 

Paris, H. Floury, 1923.
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650 €

First edition.
We add :
- Jacques Seligmann & Co. 20 Years in the evolution of Picasso 1903-1923. Loan Exhibition November 1 – November 20 1937. New York.
- Cirici-Pellicer. Picasso Avant Picasso . 1950.

Photo REMBRANDT. 

REMBRANDT. 

Lot de 11 ouvrages relatifs à Rembrandt provenant de la bibliothèque de documentation de Maurice Gobin. 

s.l., s.n., 1922-1979.
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500 €

Eleven books and exhibition catalogs relating to the work of Honoré Rembrandt.

This collection comes from the documentation library of the art dealer Maurice Gobin (later his son Francis).
Maurice Gobin wrote a papper on Rembrandt published in the magazine l'Art et les artistes (see no. 2)

1. HIND, Arthur. Rembrandts Etchings, An Essay And A Catalogue. 1923. 2 vol. 8vo.
Maurice Gobin's copy with many annotations on the plate volume.
Joint. An autograph letter signed by Loys Delteil to Mrs. Möller concerning the sale of Rembrandt prints.
2. GOBIN, Maurice. "Notes sur Rembrandt et son oeuvre gravé." 1922.
Papper published in "L'art et les artistes." No. 29, July 1922.
Set containing two versions of Mr. Gobin's original manuscript (first working manuscript and second fair copy), two printed versions (one without illustrations and one with), and the issue of the journal in which this article was published. With reproductions (with annotations by Maurice Gobin) of Rembrandt's works (about ten photos and three heliogravures (two bearing the stamp of Charles Amand Durand – RAPILLY PARIS)).
3. DE BRUIJN, Catalogus van de verzameling etsen van Rembrandt. 1932
Catalogue of De Bruijn's collection of Rembrandt prints. This copy includes a letter from De Bruijn to Maurice Gobin, sending him this book and inviting him to attend the upcoming exhibition of his collection.
4. LUGT, Frits. Musée du Louvre: Inventaire général des dessins des écoles du Nord. École Hollandaise, Tome III : Rembrandt, ses élèves, ses imitateurs, ses copistes. 1933.
5. Rembrandt, l'oeuvre du maître. Hachette. v.1930
6. Rembrandt - Des Meisters Handzeichnungen. Verlag. v. 1930
7. BENECH, Otto. Rembrandt Choix de Dessins. 1948
8. CUENDET, William. Rembrandt. Eaux-Fortes. 1947. Presentation copy with pencil note from W. Cuendet to Maurice Gobin : "A Monsieur Maurice Gobin, le si délicat amateur des plus belles choses j'offre ces images de Rembrandt, ces "pensées gravées" qui sont le journal intime de ce génie. En très cordial hommage".
Placed in the book are four letters, three from 1933 between Cuendet and Gobin concerning the purchase of Rembrandt prints and a copy of a letter from Gobin to Cuendet in 1949.
9. Rembrandt et son temps. Exhibition catalog of Rembrandt's works held at the École nationale supérieur des Beaux-Arts. 1955. Maurice Gobin contributed to this exhibition and is cited in the preface. Attached is a manuscript by Maurice Gobin presenting this exhibition at the Radio in 1955 in the program "L'art et la Vie".
10. Rembrandt et ses contemporains Dessins Hollandais du dix-septième siècle. 1977. Catalogue of the Frits Lugt collection at the Morgan Library and the Dutch Institute in Paris.
11. 140 Radierungen von Rembrandt der Jahre 1629 bis 1665. Exhibition catalogue at the Kornfeld Gallery in Bern. 1979

Due to the important weight of this set (arround 19 kg) , no shipping out France or with important shipping extra cost.

Photo GUÉRIN, Marcel. 

GUÉRIN, Marcel. 

Dix-neuf portraits de Degas par lui-même Précédés de deux portraits de Degas Enfant. 

Paris, Marcel Guérin, 1931.
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500 €

First edition limited to 125 copies. Copy n.56 signed by Guérin.
Contrary to what the title suggests, there are in our copy 20 portraits of Degas by himself preceded by two portraits of Degas as a child.

Photo BAZIN, Germain || GERICAULT, Théodore. 

BAZIN, Germain || GERICAULT, Théodore. 

Théodore Géricault : Etude critique, documents et Catalogue Raisonné. 

Paris, Wildenstein Institute & La Bibliothèque des Arts, 1987-1997.
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350 €

The reference catalogue raisonné of Théodore Géricault 's work.

Due to the important weight of this set (arround 20 kg) , no shipping out France or with important shipping extra cost.

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 MOREAU-NELATON, Etienne. 

MOREAU-NELATON, Etienne. 

Millet raconté par lui-même. 

Paris, Henri Laurens, 1921.
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300 €

First edition.

Photo BONINGTON, Richard Parkes || (GOBIN, DUBUISSON, CURTIS,...). 

BONINGTON, Richard Parkes || (GOBIN, DUBUISSON, CURTIS,...). 

Lot de 11 ouvrages relatifs à Bonington provenant de la bibliothèque de documentation de Maurice Gobin.
1. Curtis. Catalogue de l'oeuvre lithographié et gravé de R.P. Bonington. 1939
2. Dubuisson. Richard Parkes Bonington: His Life and Work . 1924.
3. Dubuisson. Bonington. 1927
4. Gobin. Exposition De Peintures Aquarelles & Dessins Par R. P. Bonington. 1936
5. Gobin. Bonington 1802-1828 Collection Des Maitres. 1950
6. Sambon. Exposition d'oeuvres inédites de Ricchars Parkes Bonington (1802-1828) et de Sir David Wilke (1785-1841). 1932
7. L'amateur d'estampes. juillet 1931. p.98 à 107, notes sur Bonington
8. Musée Jacquemart-André. Bonington - Un Romantique anglais à Paris. 1966
9. Noon. Richard parkes bonington - du plaisir de peindre - musee du petit palais, paris, [5 mars-17 mai] 1992
10. Spencer. R P Bonington, 1802-1828. 1965
11. Lepoittevin. Bonington : les débuts du romantisme en Angleterre et en Normandie. 1966. 

s.l., s.n., 1924-1992.
More Details >
250 €

Eleven books and exhibition catalogs relating to the work of Richard Parkes Bonington (RPB).
This collection comes from the documentation library of the art dealer Maurice Gobin (later his son Francis).

Maurice Gobin dedicated an exhibition to RPB in 1936 (see 4) and a popular work (see 5).

The books may contain some annotations from Maurice and Francis Gobin, giving their opinion on a particular work attributed to RPB or their provenance.
Maurice Gobin added in the Dubuisson's book (4.) some photographs of RPB's works and we also find a drawing (portrait of Dubuisson) probably made by Maurice Gobin.

Photo GUÉRIN, Marcel. 

GUÉRIN, Marcel. 

L'oeuvre gravé de Gauguin. 

Paris, H.Floury, 1927.
More Details >
250 €

First edition limited to 600 copies. Copy n.156.

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