Categories
FREE SHIPPING WORLWIDE
WE ACCEPT
Visa Mastercard

Art & Artist's Books

Results (1 - 30) of 142
TilesList
Photo ARNOUX, Alexandre || FRELAUT, Jean. 

ARNOUX, Alexandre || FRELAUT, Jean. 

Le Promeneur accompagné. 

Paris, Textes et Prétextes, 1948.
More Details >
120 €

First edition of illustrations.
11 full-page black lithographs and 11 color text engraving. Jean Frélaut (1879-1954) is a painter illustrator member of the group of Independent Painters-engravers, founded by Jean Émile Laboureur and Raoul Dufy.
One of the 200 copies on Lana paper, ours n°163.

Photo BASTIA, Georges. 

BASTIA, Georges. 

Le Zoo des Vedettes. 

Monaco, Éditions Héracléïa, [ca. 1946].
More Details >
350 €

First edition printed at 450 numbered copies (n° 435), with 30 original lithographs by Georges BASTIA (1904-1980), representing animal caricatures of the stars of the show of the time such as Michel Simon, Fernandel, Marguerite Moreno, Cécile Sorel, Jean-Louis Barrault, Fernand Ledoux, Maurice Chevalier, Raimu, Mistinguett, Edith Piaf, etc.

Presentation copy to to Marc Gilbert Sauvageon, French playwright, screenwriter and director.

Photo BASTIA, Georges. 

BASTIA, Georges. 

Le Zoo des Vedettes. 

s.l., s.n., [v. 1950].
More Details >
2000 €

First edition printed at 400 numbered copies (n° 35), with 68 caricatures by Georges BASTIA (1904-1980), on 61 plates, , representing the stars of the show of the time such as Sacha Guitry, Jean Gabin, Gérard Philippe, Madeleine Renaud, Jean-Louis Barrault, Brigitte Bardot, Jean Marais, Simone Signoret, Yves Montand, Yvonne Printemps, Bourvil, Michel Simon, etc.

Although bearing the same title and including the same preface as the work published by Éditions Héracléïa v. 1946, this work is completly different.

The rarity of this edition comes from the fact that the quality of the plates which compose it is such that they are often sold separately and sometimes by mistake as original works.
Indeed, each lithograph has een enhanced with gouache by the artist, which gives a kind of uniqueness to each copy.

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.
More Details >
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 [BEAUMONT, L. de] || ROBIDA, Albert. 

[BEAUMONT, L. de] || ROBIDA, Albert. 

Le cas du vidame, par l'Académicien d'estampes. 

Paris, A la librairie illustrée, [ca. 1889].
More Details >
550 €

Copy on Japan paper.
Presentation copy to Monsieur Achille by Albert Robida, with a fine drawing by the artist (Profile of a woman wearing a nice hat).

Robida (1848-1926) illustrates here, with his characteristic style full of life, the funny story of a mismatched wedding, which begins with a disastrous wedding night.

Photo BENOIT, Pierre. 

BENOIT, Pierre. 

Axelle. 

Paris, Editions Mornay, 1932.
More Details >
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 BERAUD, Henri. 

BERAUD, Henri. 

Le Vitriol de lune. 

Paris, Editions Mornay, 1931.
More Details >
150 €

Edition illustrated by Guy Arnoux.

One of the 60 copies on Japan paper, ours n°12.

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 BERGERET, Gaston || HENRIOT. 

BERGERET, Gaston || HENRIOT. 

Les Evénements de Pontax. 

Paris, Librairie Conquet-Carteret, 1899.
More Details >
450 €

First edition.
Illustrations, “handwriting and watercolors” by Henri Maigrot aka Henriot.

One of the 175 copies on marsh vellum, ours n°155.

Photo BERTALL. 

BERTALL. 

Cahier des charges des chemins de fer. Pamphlet illustré. 

Paris, J. Hetzel, 1847.
More Details >
50 €

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

Photo BEUCLER, André || DIGNIMONT, André. 

BEUCLER, André || DIGNIMONT, André. 

Un Nouvel Amour. 

Paris, Au sans pareil, 1927.
More Details >
30 €

First edition. 718 copies
One of the 600 on "Vélin Montgolfier" paper.

Photo BIRAN, Michèle de || TOUCHAGES, Louis. 

BIRAN, Michèle de || TOUCHAGES, Louis. 

Seuls à deux. 

Paris, Editions du Mouflon, 1947.
More Details >
200 €

12 illustrations after Louis Touchagues colored by Nervet.

One of the 33 copies on Chiffon d'Auvergne, accompanied by the suite of twelve engravings printed in black on Chiffon d'Auvergne and two original initial drawings (instead of an one announced drawing). Our copy n°31.

Photo BOCCACE. 

BOCCACE. 

Les Dix Journées de Jean Boccace. 

Paris, Librairie des bibliophiles Joaust, 1873.
More Details >
450 €

Beautiful edition by Jouaust of the work of Boccace.
Paul Lacroix signs the introduction and Flameng who gives eleven very beautiful etchings.

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 BRINK, Louise. 

BRINK, Louise. 

Women Characters in Richard Wagner - A Study in "The Ring of the Nibelung". 

New York, Nervous and Mental Disease Publishing Company, 1924.
More Details >
30 €

First edition.
Presentation copy.

Photo BUCAILLE, Max. 

BUCAILLE, Max. 

Le Scaphandrier des Rêves. 

Paris, GLM, 1950.
More Details >
200 €

First edition.
Twelve collages by Max Bucaille with a preface by J. Laude
One of 465 copies on vellum paper (No. 228).

Photo BULLART, Isaac. 

BULLART, Isaac. 

Académie Des Sciences et des Arts. 

Bruxelles, Fr. Poppens, 1682.
More Details >
Sold

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 BUYSSE, Cyriel || CASSIERS, Henri. 

BUYSSE, Cyriel || CASSIERS, Henri. 

Contes des Pays-Bas. 

Paris, H. Piazza, 1910.
More Details >
400 €

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

Presentation copy.

Photo CARCO, Francis || ASSELIN, Maurice. 

CARCO, Francis || ASSELIN, Maurice. 

Rien qu'une femme. 

Paris, G.Crès et Cie, 1923.
More Details >
450 €

1228 copies, this one of the 36 on "japon impérial" paper.

Photo CARCO, Francis || DARAGNES, Jean Gabriel. 

CARCO, Francis || DARAGNES, Jean Gabriel. 

Les Jours & les Nuits. 

Paris, Textes et Prétextes, 1946.
More Details >
100 €

First edition of illustrations.
21 color lithographs by Daragnès including 10 full-page.
One of the 200 copies on Lana paper, ours n°184.

Photo CARCO, Francis || DIGNIMONT, André. 

CARCO, Francis || DIGNIMONT, André. 

Dignimont. 

Monte Carlo, André Sauret, 1946.
More Details >
250 €

First edition.
Monograph devoted by Francis Carco to the work of his friend André Dignimont.

One of the 385 numbered copies on Vélin de Rives, ours n° 331 containing in frontispiece a lithograph signed and numbered by the artist and theset of the 41 reproductions drawing from the work of Dignimont.

Photo CARTON, Jean || MONTHERLANT, Henry de. 

CARTON, Jean || MONTHERLANT, Henry de. 

Encore un instant de bonheur. 

Paris, Société du Livre d'Art, 1955.
More Details >
500 €

Limited edition (150 copies).
Our one the only 20 with the additionnal two suite of the engravings.
With an original drawing from Jean Carton.

Photo CASSOU, Jean || MARQUET, Albert. 

CASSOU, Jean || MARQUET, Albert. 

Rhapsodie Parisienne. 

Paris, Édition de la galerie Charpentier, 1950.
More Details >
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 CAUËT, Christiane et Louis-Frédéric. 

CAUËT, Christiane et Louis-Frédéric. 

Rodin.
Photographies de Louis-Frédéric,
Poèmes de Christiane Cauët. 

Paris, Collection "Argiles", [1952].
More Details >
100 €

Edition limited to 109 copies.
Copy 27.
With 11 pictures from Louis-Frédéric.

Photo CHAMPION, E.-A. 

CHAMPION, E.-A. 

Suggestions d'intérieurs modernes. 

Paris, Ch. Massin et Cie, [v. 1925].
More Details >
1500 €

First edition.
Georges Champion (1889–1940) was a French decorator and furniture designer. He was born in Chaumont. He was professionally active in Paris. Champion’s designs were known for their sleek lines and modern aesthetic. The Art Deco movement, which was well-liked in the early 20th century, had a significant influence on him. His furniture pieces often featured geometric shapes and bold colours, which made them stand out from more traditional designs. In addition to his work as a furniture designer, Champion was also a skilled decorator. He worked on numerous high-profile projects throughout his career, including the interior design of several Parisian hotels and restaurants.

Photo CHARLET, Nicolas-Toussaint. 

CHARLET, Nicolas-Toussaint. 

Lettre autographe signée adressé à Regnier. 

Viroflay, s.n., 23 juillet 1844.
More Details >
150 €

Handwritten autograph letter from Nicolas-Toussaint Charlet (1792-1845) French painter and lithographer to Mr. Regnier Maison de Tableaux at 20 Boulevard des Italians.
Written in July 1844, Charlet says she is weakened but on the road to recovery. There he concluded an agreement on honor with Regnier, a gallery owner, for the distribution of his paintings and drawings but did not want to commit himself to a contract.
This letter does not appear in the correspondence published by La Combe.

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.
More Details >
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. 

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.
More Details >
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. 

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

Paris, Firmin-Didot, 1882 [1881].
More Details >
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 COCTEAU, Jean || LHOTE, André. 

COCTEAU, Jean || LHOTE, André. 

Escales. 

Paris, Éditions de la Sirène, 1920.
More Details >
3000 €

440 copies.
This (n° xviii) one of the 25 on Hollande paper, with an additionnal text 'Musée Secret' containing 5 erotical drawing in black from Lhote that is not in the normal paper.

Photo COLERIDGE, Samuel Taylor || DARAGNES, Jean-Gabriel. 

COLERIDGE, Samuel Taylor || DARAGNES, Jean-Gabriel. 

La Chanson du Vieux marin. 

Paris, Société des francs-bibliophiles, 1951.
More Details >
250 €

First edition of the illustrations.
Jean Gabriel Daragnès (1886-1950) is undoubtedly one of the most famous illustrator of the middle of the XXth century, he signs here one of his last creations with sixteen original compositions. He died during the publication and did not have time to engrave them himself

One of the 160 copies on pur fil by Vidalon, ours n°155.

Results (1 - 30) of 142
TilesList
About
Sell your books
Contact
Newsletter
Blog
Facebook Français English
52 rue des Ecoles   75005 Paris
tel. +33 (0)1 43 54 22 23
Terms and conditions
European VAT number: FR87515091171
© Eric Zink, Antiquarian Bookseller