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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 Some annotations by Gobin and two photos of unpublished Daumier lithographs that Maurice Gobin transferred or donated to the BNF, based on his annotations.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 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 GOYA Y LUCIENTES, Francisco. 

GOYA Y LUCIENTES, Francisco. 

Lot de 7 ouvrages relatifs à Goya, dont Nouveaux Caprices de Goya. Suite de trente-huit dessins inédits. 1907. 

s.l., s.n., s.d.>
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120 €

Seven books related to Goya.

1. LAFOND, Paul. Nouveau Caprices de Goya. Suite de trente-huit dessins inedits. 1907. 4to , (4)-12-(6) pages and 38 plates. Contemporary printed hardcovers, upper joint split at the extremities. Copy N. 534 (on 600)
2. BOIX, Félix. La primera edicion de Los Caprichos. 1929. Covers soiled.
3. MALRAUX, André. Dessins de Goya au Musée du Prado. 1947.
4. Sanchez Cantón. Maitres d' Autrefois. GOYA. 1930. Fold mark on the upper cover.
5. The london mercury. August 1935. with a plate of the drawing "Mala Noche" of Goya.
6. La Revue des Arts. 1954. Extrait n°1 : Goya
7. GASSIER, Pierre. Vie et oeuvre de Francisco Goya. L'oeuvre complet illustré: peintures, dessins, gravures. 1970

Due to the weight of this set (arround 9 kg) , no shipping out France or with shipping extra cost (please ask confirmation).

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 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 CUYP, Aelbert. 

CUYP, Aelbert. 

VI Stüks koitjer Geetst door A. Cuyp. 

s.l, s.n, [v. 1660].
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1000 €

Complete series of 6 engravings by Aelbert Cuyp (1620-1691) Dutch painter, preceded by a title vignette.
Dimensions of the etchings: 67x75 mm
Dimensions of the paper: 170x135 mm

This complete set is rarely found with its margins preserved.

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 GRETRY, André-Ernest. 

GRETRY, André-Ernest. 

Mémoires ou essai sur la musique. 

Paris, Prault, 1789.
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150 €

First edition.
The Memoirs of Gretry constitute a document of particular importance for the musical and literary history of the 18th century. There are indeed many details concerning not only the life of Gretry, his feelings, his musical works, but also music in general, comedy, painting, travel .... and various writers and composers.

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 [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 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 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 CHARLET, Nicolas-Toussaint. 

CHARLET, Nicolas-Toussaint. 

Lettre autographe signée adressé à Regnier. 

Viroflay, s.n., 23 juillet 1844.
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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 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 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 TÖPFFER, Rodolphe. 

TÖPFFER, Rodolphe. 

M. CREPIN. 

Paris, Imprimerie Caillet, [v. 1860].
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60 €

Reissue around 1860 of one of the first comics ever published by Rodolphe Töpffer, the inventor of the genre.

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 BOCCACE. 

BOCCACE. 

Les Dix Journées de Jean Boccace. 

Paris, Librairie des bibliophiles Joaust, 1873.
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450 €

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

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 KAULBACH, William || JAEGER, C. || Mueller, A. || PIXIS, Th. || BAYSCHLAG, R. || LINDENSCHMIT, W. 

KAULBACH, William || JAEGER, C. || Mueller, A. || PIXIS, Th. || BAYSCHLAG, R. || LINDENSCHMIT, W. 

Schiller-Gallery. 

Munich, Bruckmann, [v. 1880].
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50 €

Beautiful photographic reproductions of drawings illustrating the work of Schiller.

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 GRASSET, Eugène || GILLOT, Charles. 

GRASSET, Eugène || GILLOT, Charles. 

Histoire des quatre fils Aymon - très nobles et très vaillans chevaliers. Illustrée de compositions en couleurs par Eugène Grasset. Gravure et impression par Charles Gillot. Introduction et Notes par Charles Marcilly. 

Paris, H. Launette, 1883.
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2000 €

The story of the four Aymon sons is a legendary tale, which was originally a gesture song from the French Carolingian era. The four heroes, sons of Duke Aymon, are introduced to the emperor Charlemagne and will live many adventures accompanied by an enchanter and a magical horse.
Their adventures are finely illustrated by Eugène Grasset (1845-1917), one of the representatives of Art Nouveau. It combines, with delicacy and simplicity, iconography inspired by the Middle Ages and the Knighthood with Art Nouveau style (with stylized forms and characteristic ornamental motifs such as flowers).

Photo LACROIX, Paul de (éditeur). 

LACROIX, Paul de (éditeur). 

Galerie contemporaine des illustrations françaises. 

Paris, Paul de Lacroix, [1884].
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6000 €

First edition.
Masterpiece of 19th century photography.

200 biographical chapters of 132 historical figures.

Copy complete with all the required notices and photographs.
Each chapter has 4 pages of text (8 for Corot 2 and Corot 3).

The series is therefore complete with the 200 entries for 132 biographies and is illustrated with 267 photographs:
- 131 portraits (65 in full-page and 66 in medallion in text)
- 136 reproductions of art works (135 in full-page and 1 in medallion the text).

Coming from the greatest photographic workshops (Nadar, Carjat, Goupil, Petit...) they are reproduced by photoglypie which is then the only printing process allowing such a faithful reproduction of photographic plates.

The portraits include the famous portrait of Baudelaire by Carjat but also those of Victor Hugo, Gustave Doré, Edmond de Goncourt, Ferdinand de Lesseps, Georges Sand, Sarah Bernhardt, Alexandre Dumas, Gustave Eiffel, Victor Hugo, Louis Pasteur, Emile Zola, ...
We added a rare "specimen" volume ( a commercial presentation volume).

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].
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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 GAUTIER, Théophile. 

GAUTIER, Théophile. 

Le Roi Candaule. 

Paris, A. Ferroud, 1893.
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200 €

Illustrated edition of 21 compositions by Paul Avril.

"King Candaule has become drunk with the beauty of his wife Nyssia. He conceives the strange project of sharing his admiration as an aesthete by proposing to the young and handsome Gyges, the head of the palace guards, to come and secretly see his wife in her simple nudity. Horrified by this sacrilegious request, Gyges refuses at first but can only obey his king. Hidden in the bridal chamber, Gyges discovers the incredible beauty of Nyssia and immediately falls in love with her."

One of the 250 copies on Arches, ours n°338.

Good copy in signed binding.
​.

Photo GAUTIER, Théophile. 

GAUTIER, Théophile. 

Une Nuit de Cléopatre. 

Paris, A. Ferroud, 1894.
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Illustrated edition of 21 compositions by Paul Avril.
"Crossing the Nile on her royal cange to go to her summer palace, Cleopatra "is horribly bored." Meïamoun, in love with the queen, is caught spying on her in her bath. Having the whim of To be merciful, Cleopatra grants him an orgiastic night. When morning arrives, the men enter the room. Meïamoun then drinks the poisoned glass and dies."

One of the 250 copies on Arches, ours n°354.

Good copy in signed binding.
​.

Photo GAUTIER, Théophile. 

GAUTIER, Théophile. 

Jean et Jeannette. 

Paris, A. Ferroud, 1894.
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Illustrated edition of 24 compositions by Lalauze.
"Tired of her formal and rococo suitors, the Marquise de Champrosé, a young widow, decides to accompany her servant and confidant, Justine, to the ball at the Moulin-Rouge. For his part, the Viscount de Candale, also tired , one of her dancers from the Opera, accompanies Master Bonnard to this same ball. Under the name of Jeannette, dressed as a grisette, the marquise is invited to dance by the viscount posing as M. Jean, arriving from his province. ."

One of the 250 copies on Arches, ours n°438.

Good copy in signed binding.
​.

Photo ROSTAND, Edmond || MUCHA, Alfons. 

ROSTAND, Edmond || MUCHA, Alfons. 

La Samaritaine. Evangile en trois tableaux en vers. 

Paris, Charpentier et Fasquelle, 1897.
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300 €

First edition.
Piece designed at the request of Sarah Bernhardt, the author's friend. The cover features an illustration by Alfons Mucha.

Photo BERGERET, Gaston || HENRIOT. 

BERGERET, Gaston || HENRIOT. 

Les Evénements de Pontax. 

Paris, Librairie Conquet-Carteret, 1899.
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450 €

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

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

Photo RAGUENET, Antonin. 

RAGUENET, Antonin. 

Les principaux palais de l'exposition universelle de Paris. 

Paris, Eugène Bigot, 1900.
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300 €

First edition.
Complete copy of the 96 architectural plates.

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