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19th Century Artworks

686 results
  1. Greniers d'abondance - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER

    Greniers d'abondance - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original black and white lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Some marginal worming, otherwise a handsome copy.
    €90
  2. Docks de la Villette - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Albert ADAM

    Docks de la Villette - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
    Some marginal soiling, otherwise a handsome copy.
    €100
  3. Colonne de la Place Vendôme - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Albert ADAM

    Colonne de la Place Vendôme - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original black and white lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
    Some marginal soiling, otherwise a handsome copy.
    €90
  4. Ministère des Finances - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER

    Ministère des Finances - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original color lithograph drawn and engraved by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
    Handsome copy.
    €80
  5. La Sainte Chapelle - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Albert ADAM

    La Sainte Chapelle - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|33.50 x 48.80 cm|une feuille
    Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier and used as illustration in Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
    Some marginal worming and a small tear without loss to lower margin, not affecting the image.
    €80
  6. Palais des Tuileries - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Jules GAILDRAU

    Palais des Tuileries - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original lithograph in colors engraved by Jules Gaildrau after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Some marginal foxing spots, otherwise a handsome copy.
    €120
  7. Hôtel de ville, Grande salle des fêtes - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Charles-Claude BACHELIER

    Hôtel de ville, Grande salle des fêtes - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original lithograph in colors engraved by Charles-Claude Bachelier after a drawing by Léon Jean-Baptiste Sabatier and used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Some marginal soiling, otherwise a handsome copy.
    €90
  8. Hôtel de Ville - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Albert ADAM

    Hôtel de Ville - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original color lithograph engraved by Albert Adam after a drawing by Léon Jean-Baptiste Sabatier, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Some marginal worming, otherwise a handsome copy.
    €80
  9. Exposition universelle de 1867 - Paris et ses ruines, Lithographie originale
    Léon Jean-Baptiste SABATIER, Albert ADAM

    Exposition universelle de 1867 - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original color lithograph by Albert Adam, Léon Jean-Baptiste Sabatier and Félix Benoist, used as an illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Some marginal worming, otherwise a handsome copy.
    €150
  10. Nouveau Pavillon de Flore - Paris et ses ruines, Lithographie originale
    Philippe BENOIST

    Nouveau Pavillon de Flore - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|33.50 x 48.80 cm|une feuille
    Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the ravages of the Paris Commune.
    Handsome copy despite some worming.
    €80
  11. Nouvelle église de la Trinité - Paris et ses ruines, Lithographie originale
    Philippe BENOIST

    Nouvelle église de la Trinité - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|33.50 x 48.80 cm|une feuille
    Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Handsome copy despite some worming.
    €100
  12. Eglise St Laurent - Paris et ses ruines, Lithographie originale
    Philippe BENOIST

    Eglise St Laurent - Paris et ses ruines, Lithographie originale

    Charpentier|Nantes • Paris 1874|48.80 x 33.50 cm|une feuille
    Original black and white lithograph drawn and engraved by Philippe Benoist and used as illustration for Paris et ses ruines by Victor Fournel, a work documenting the devastation of the Paris Commune.
    Handsome copy despite some discreet worming.
    €120
  13. Charles Perrault, Contes, Le Petit Poucet, "L'Ogre et sa Femme" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "L'Ogre et sa Femme" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on chine collé mounted on Holland laid paper commissioned by publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A light marginal dampstain, not affecting the design.
    These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known
    €90
  14. Charles Perrault, Contes, Frontispice, "La lecture des contes en famille" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, Frontispice, "La lecture des contes en famille" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on chine collé mounted on Holland laid paper commissioned by publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A light marginal dampstain, not affecting the design.
    These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known
    €80
  15. Charles Perrault, Contes, Le Petit Poucet, "Tu vois bien que nous ne pouvons plus nourrir nos enfants" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Tu vois bien que nous ne pouvons plus nourrir nos enfants" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving on end-grain wood signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A pale marginal dampstain, not touching the image, as well as a discreet black spot in the center of the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details
    €90
  16. Charles Perrault, Contes, Le Petit Poucet, "Le Petit Poucet se leva de bon matin & alla au bord d'un ruisseau, où il remplit es poches de petits cailloux blancs" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Charles MAURAND, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Le Petit Poucet se leva de bon matin & alla au bord d'un ruisseau, où il remplit es poches de petits cailloux blancs" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving on end-grain wood signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Charles Maurand on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A pale marginal dampstain, not touching the image.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the t
    €90
  17. Charles Perrault, Contes, Le Petit Poucet, "Lorsque les enfants se virent suls, sil se mirent à crier & à pleurer de toutes leurs forces" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PIERDON, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Lorsque les enfants se virent suls, sil se mirent à crier & à pleurer de toutes leurs forces" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pierdon on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A pale marginal dampstain, not touching the image, as well as some worming in the margin.
    These illustrations for the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying
    €90
  18. Charles Perrault, Contes, Le Petit Poucet, "Le Petit Poucet grimpa en haut d'un arbre pour voir s'il ne découvrirait rien" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Héliodore PISAN, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Le Petit Poucet grimpa en haut d'un arbre pour voir s'il ne découvrirait rien" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A pale marginal dampstain, not touching the image, as well as a small tear without loss and not affecting the engraving at the bottom and wormhole in the lower margin.
    These illustrations for the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theat
    €100
  19. Charles Perrault, Contes, Le Petit Poucet, "Ils mangèrent d'un appétit qui faisait plaisir à voir au père et à la mère" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Hélène BOETZEL, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Ils mangèrent d'un appétit qui faisait plaisir à voir au père et à la mère" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition by Gustave Doré and engraved by Hélène Boetzel on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A pale marginal dampstain, not touching the image.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate a terrifying realism through the technique known as "tinted w
    €80
  20. Charles Perrault, Contes, Le Petit Poucet, "Une bonne femme vint leur ouvrir" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Héliodore PISAN, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Une bonne femme vint leur ouvrir" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A pale marginal dampstain, not touching the image.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate a terrifying realism through the technique known as "tinted
    €120
  21. Charles Perrault, Contes, Le Petit Poucet, "Il les tira de dessous le lit l'un après l'autre" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Georges Léon Alfred PERRICHON, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Il les tira de dessous le lit l'un après l'autre" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Georges Perrichon on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A faint marginal dampstain, not affecting the design.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique know
    €100
  22. Charles Perrault, Contes, Le Petit Poucet, "En disant ces mots, il coupa, sans balancer, la gorge de ses septs filles" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "En disant ces mots, il coupa, sans balancer, la gorge de ses septs filles" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A faint marginal dampstain, not affecting the design, as well as some spotting in the margins.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terr
    €100
  23. Charles Perrault, Contes, Le Petit Poucet, "Le Petit Poucet, s'étant approché de l'ogre, lui tira doucement ses bottes" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Gustave DORÉ

    Charles Perrault, Contes, Le Petit Poucet, "Le Petit Poucet, s'étant approché de l'ogre, lui tira doucement ses bottes" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A light marginal dampstain, not affecting the design, as well as some foxing in the margin.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the
    €100
  24. Charles Perrault, Contes, La Belle au bois dormant, "Cette bonne femme n'avait point entendu parler des défenses que le roi avait faites de filer au fuseau" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, La Belle au bois dormant, "Cette bonne femme n'avait point entendu parler des défenses que le roi avait faites de filer au fuseau" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    A very light marginal dampstain, not affecting the design, as well as some soiling in the left margin.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that gener
    €120
  25. Charles Perrault, Contes, La Belle au bois dormant, "Le fils du roi qui régnait alors demanda ce que c'était que ces tours qu'il voyait au-dessus d'un grand bois fort épais" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, La Belle au bois dormant, "Le fils du roi qui régnait alors demanda ce que c'était que ces tours qu'il voyait au-dessus d'un grand bois fort épais" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Very faint marginal dampstain not affecting the drawing and foxing in upper margin not affecting the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details
    €100
  26. Charles Perrault, Contes, La Belle au bois dormant, "Il entra dans la salle des gardes" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Emile DESCHAMPS, Gustave DORÉ

    Charles Perrault, Contes, La Belle au bois dormant, "Il entra dans la salle des gardes" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Emile Deschamps on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Occasional light foxing in margins, not affecting the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the techn
    €100
  27. Charles Perrault, Contes, La Belle au bois dormant, "Ce n'étaient que des corps étendus d'hommes & d'animaux qui paraissaient morts" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, La Belle au bois dormant, "Ce n'étaient que des corps étendus d'hommes & d'animaux qui paraissaient morts" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Light lack to lower right corner of margin not affecting the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thank
    €100
  28. Charles Perrault, Contes, Cendrillon, "Ne pouvant deviner comment cette citrouille pourrait la faire aller au bal" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Héliodore PISAN, Gustave DORÉ

    Charles Perrault, Contes, Cendrillon, "Ne pouvant deviner comment cette citrouille pourrait la faire aller au bal" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Rare and light worming to margins not affecting the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the tech
    €120
  29. Charles Perrault, Contes, Cendrillon, "On n'entendait qu'un bruit confus : 'Ah ! qu'elle est belle !' " - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Jules FAGNION, Gustave DORÉ

    Charles Perrault, Contes, Cendrillon, "On n'entendait qu'un bruit confus : 'Ah ! qu'elle est belle !' " - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Jules Fagnion on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Excellent condition.
    These illustrations of the Contes are considered the most successful treatment of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique called "tinted wood." He uses
    €90
  30. Charles Perrault, Contes, Le Chat botté, "Bonnes gens qui moissonnez, si vous ne dites pas que tous ces blés appartiennent à M. le marquis de Carabas, vous serez tous hachés menu comme chair à pâté" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Jean François Prosper DELDUC, Gustave DORÉ

    Charles Perrault, Contes, Le Chat botté, "Bonnes gens qui moissonnez, si vous ne dites pas que tous ces blés appartiennent à M. le marquis de Carabas, vous serez tous hachés menu comme chair à pâté" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Jean Delduc on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Tales in 1862.
    Very rare foxing in the margin not affecting the design.
    These illustrations of the Tales are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism thanks to the technique called "t
    €100
  31. Charles Perrault, Contes, Le Chat botté, "L'ogre le reçut aussi civilement que le peut un ogre" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, Le Chat botté, "L'ogre le reçut aussi civilement que le peut un ogre" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by François Pannemaker on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Tales in 1862.
    Some soiling and foxing in the margins not affecting the engraving.
    These illustrations of the Tales are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the
    €100
  32. Charles Perrault, Contes, Riquet à la houppe, "Elle vit sous ses pieds comme une grande cuisine pleine de cuisiniers, de marmitons, & de toutes sortes d'officiers nécessaires pour faire un festin magnifique" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, Riquet à la houppe, "Elle vit sous ses pieds comme une grande cuisine pleine de cuisiniers, de marmitons, & de toutes sortes d'officiers nécessaires pour faire un festin magnifique" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition by Gustave Doré and engraved by François Pannemaker on China paper and laid down on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Worming to margins not affecting the engraving.
    These illustrations of the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism thanks to the technique known as "ti
    €80
  33. Charles Perrault, Contes, Peau d'Âne, "Les grands de l'Etat s'asemblèrent & vinrent en corps prier le roi de se remarier. Cette proposition lui parut dure" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    François PANNEMAKER, Gustave DORÉ

    Charles Perrault, Contes, Peau d'Âne, "Les grands de l'Etat s'asemblèrent & vinrent en corps prier le roi de se remarier. Cette proposition lui parut dure" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition by Gustave Doré and engraved by François Pannemaker on China paper and laid down on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Rare worming to margins not affecting the engraving and crease to lower left corner of margin.
    These illustrations of the Contes are considered the most successful for this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifyi
    €100
  34. Charles Perrault, Contes, Peau d'Âne, "Le roi, qui s'était mis en tête ce bizarre projet, avait consulté un vieux druide" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    BOETZEL, Gustave DORÉ

    Charles Perrault, Contes, Peau d'Âne, "Le roi, qui s'était mis en tête ce bizarre projet, avait consulté un vieux druide" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Boetzel on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Occasional light worming in margins not affecting the engraving.
    These illustrations for the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the composition to the smallest details that generate terrifying realism through the techniq
    €100
  35. Charles Perrault, Contes, Peau d'Âne, "La joie de se trouver si belle lui donna envie de s'y baigner, ce qu'elle exécuta" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Héliodore PISAN, Gustave DORÉ

    Charles Perrault, Contes, Peau d'Âne, "La joie de se trouver si belle lui donna envie de s'y baigner, ce qu'elle exécuta" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition executed by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Fold in the lower right corner and very rare worming.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique know
    €90
  36. Charles Perrault, Contes, Peau d'Âne, "Il vint des rois de tous les pays" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    HEBERT, Gustave DORÉ

    Charles Perrault, Contes, Peau d'Âne, "Il vint des rois de tous les pays" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and engraver. Composition executed by Gustave Doré and engraved by Hébert on China paper and mounted on Holland laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Fold in the lower left corner and very rare and pale worming.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the tableau to the smallest details that generate terrifying realism through the technique known
    €100
  37. Charles Perrault, Contes, Les Fées, "Un jour qu'elle était à cette fontaine, il vint à elle une pauvre femme qui lui pria de lui donner à boire" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Charles MAURAND, Gustave DORÉ

    Charles Perrault, Contes, Les Fées, "Un jour qu'elle était à cette fontaine, il vint à elle une pauvre femme qui lui pria de lui donner à boire" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved by Charles Maurand on China paper and mounted on laid Holland paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Occasional worming and soiling to lower right corner, not affecting the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realis
    €80
  38. Charles Perrault, Contes, La Barbe bleue, "Les voisines & les amies tant elles avaient d'impatience de voir toutes les richesses de sa maison" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Gustave DORÉ

    Charles Perrault, Contes, La Barbe bleue, "Les voisines & les amies tant elles avaient d'impatience de voir toutes les richesses de sa maison" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed on the plate by the artist and engraver. Composition created by Gustave Doré and engraved on China paper and mounted on laid Holland paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Small fold to lower right corner not affecting the engraving and occasional light worming to margin.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré presents an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism
    €100
  39. Charles Perrault, Contes, La Barbe bleue, "Ils lui passèrent leur épée au travers du corps" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Héliodore PISAN, Gustave DORÉ

    Charles Perrault, Contes, La Barbe bleue, "Ils lui passèrent leur épée au travers du corps" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and the engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Worming in margins not touching the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smallest details that generate terrifying realism through the technique known as "ti
    €80
  40. Charles Perrault, Contes, La Barbe bleue, "Dieu soit loué ! s'écria-t-elle, ce sont mes frères" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande
    Héliodore PISAN, Gustave DORÉ

    Charles Perrault, Contes, La Barbe bleue, "Dieu soit loué ! s'écria-t-elle, ce sont mes frères" - Gravure originale sur bois debout, tirée sur chine et contrecollée sur vergé de Hollande

    Hetzel|Paris 1862|29.90 x 42.10 cm|une feuille
    Original wood engraving signed in the plate by the artist and the engraver. Composition created by Gustave Doré and engraved by Héliodore Pisan on China paper and mounted on Dutch laid paper at the request of publisher Hetzel to illustrate his folio edition of Perrault's Contes in 1862.
    Two scratches in the margin, a small tear in the upper margin without loss and very rare worming not touching the engraving.
    These illustrations of the Contes are considered the most successful of this text: Gustave Doré offers an unprecedented dramatic vision. With him, everything contributes to the dramatization of the tale, from the theatrical staging of the scene to the smalle
    €100
  41. L'Estampe Moderne. Jeune fille aux coquelicots. Lithographie Originale
    Gaston DARBOUR

    L'Estampe Moderne. Jeune fille aux coquelicots. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Août 1897)|30 x 40 cm|une feuille
    Original color lithograph executed especially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper, publisher's blind stamp in lower margin.
    Artist's signature in the plate. Fine copy in the artist's Belle Époque style.
    Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne constitute one of the finest lithographic achievements of the period. Each print is an original work created especially for the journal by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.
    €100
  42. Oeuvres choisies. Etudes de moeurs contemporaines. 1- Les enfants terribles. Traductions en langue vulgaire. Les lorettes. Les actrices. Notices par Théophile Gautier et Laurent-Jan. 2- Fourberies de femmes en matière de sentiment. Clichy. Paris le soir. Notices par Laurent-Jan, Auguste Lireux et Léon Gozlan. 3- Le Carnaval à Paris. Paris le matin. Les étudiants de Paris. Notices par Théophile Gautier, A. Barthet et A. de Soubiran. 4- La vie de jeune homme. Les débardeurs. Notices par P.J. Stahl.
    Paul GAVARNI

    Oeuvres choisies. Etudes de moeurs contemporaines. 1- Les enfants terribles. Traductions en langue vulgaire. Les lorettes. Les actrices. Notices par Théophile Gautier et Laurent-Jan. 2- Fourberies de femmes en matière de sentiment. Clichy. Paris le soir. Notices par Laurent-Jan, Auguste Lireux et Léon Gozlan. 3- Le Carnaval à Paris. Paris le matin. Les étudiants de Paris. Notices par Théophile Gautier, A. Barthet et A. de Soubiran. 4- La vie de jeune homme. Les débardeurs. Notices par P.J. Stahl.

    Hetzel|Paris 1845-1848|17.70 x 26.80 cm|4 volumes reliés
    First edition and first printing of the engravings.
    Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
    Contemporary publisher's binding in full black shagreen. Smooth spine decorated with 3 ornate compartments, blind and gilt fillets. Large rocaille composition on boards, thick triple fillet frame. Interior frieze. White watered silk endpapers. All edges gilt. Perimeter of watered silk endpapers brown-stained. Tailcap of volume 2 with a loss. Traces of rubbing. Thin scratch on the upper board of volume 1, lower board of volume 2. Some very occasional foxing on clean white paper. The binder inve
    €1,800
  43. Voyage en Italie en 1822. 30 dessins lithographiés par lui
    Jean-Baptiste ISABEY

    Voyage en Italie en 1822. 30 dessins lithographiés par lui

    Chez L'auteur|à Paris 1823 (S.d)|29.50 x 43 cm|en feuilles
    First edition, rare. The 30 plates show views and remains of Rome, Pratolino, Naples, Vesuvius Crater, Pisa, Lake Como, Terni, Arona, Ferrara, Tivoli, Paestum, Salerno, Lake Maggiore, Cadenabbia and Florence. The plates have different dimensions but most: 15.5x21cm, 17x25cm.
    Original chemise in grey-brown heavy paper with the plates loose inside. The upper cover has been used as title page. One leaf with the list of the 30 lithographs. Some pale foxing. The spine with several tears, mainly 11cm at center. Plate 12 with restorations to small marginal tears on verso. Old adhesive traces to inner joint.
    Handsome copy in original condition, full-margined.
    Jean-Baptiste Isabey was
    €2,000
  44. Lanterne magique - Red riding hood (Le petit chaperon rouge) 12 Lantern slides
    (Charles PERRAULT)

    Lanterne magique - Red riding hood (Le petit chaperon rouge) 12 Lantern slides

    Millikin & Lawley|London 1880 (S.d)|9 x 14.50 cm|autre
    Magic Lantern Red Riding Hood – 12 Lantern slides
    Millikin & Lawley | London [ca 1885] | 9 x 14.5 cm | 12 plates in publisher's box
    Complete series of illustrations the tale of Red Riding Hood hand-painted on 12 glass plates intended for a magic lantern, the ancestor of the projector and the cinema.
    Publisher's cardboard box, with the titles on the top board: “12 Superior English Made lantern slides”. Handwritten: “Red Riding Hood”. Signs of rubbing on the box. A stop in the split lid at 2cm. On plate 9, paper is missing which circles the plate in a border. On plate 12, the black part has a small scratch, this part encircling the medallion which is pro
    €1,500
  45. "La Ronde" - Lithographie originale sur Chine - L'Estampe Moderne
    Henri LE SIDANER

    "La Ronde" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|34.50 x 21 cm|une feuille
    Rare original lithograph, executed by Henri Le Sidaner Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe copies printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe issue on verso, some foxing.
    Lithograph inspired by a poem by Van Lerberghe entitled "Les entrevisions".
    A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike
    €500
  46. "Bal de barrière" - Lithographie originale sur Japon - L'Estampe Moderne
    Théophile Alexandre STEINLEN, Edmond & Jules de GONCOURT

    "Bal de barrière" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|19.50 x 36 cm|une feuille
    Rare original lithograph, executed by Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe copies printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, with the numbered stamp of the deluxe issue on verso, some foxing.
    Lithograph inspired by an extract from Germinie Lacerteux by the Goncourts.
    A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of previously unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l
    €800
  47. "La Ronde" - Lithographie originale sur Japon - L'Estampe Moderne
    Henri LE SIDANER

    "La Ronde" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|34.50 x 21 cm|une feuille
    Rare original lithograph, executed by Henri Le Sidaner Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe proofs printed on Japan paper with full margins, artist's signature and date in the plate, publisher's blind stamp representing a child's profile in the lower margin, with the numbered stamp of the deluxe printing on the verso.
    Lithograph inspired by a poem by Van Lerberghe entitled "Les entrevisions".
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche
    €800
  48. Aquatinte, épreuve sur papier vergé signée Félicien Rops
    Félicien ROPS

    Rêve de pion ou LinguistiqueOriginal aquatint printed on laid paper with wide margins

    S. n.|s. d. [1883]|46 x 35.20 cm|une feuille

    First edition of this aquatint, printed on laid paper with wide margins. Félicien Rops' characteristic signature is present below the plate in red.
    Plate mark dimensions: 18.7x13.9cm. Sheet dimensions: 46x35.2cm
    Tense face of a young professor bound by the tongue to the lower body of another figure with strong legs and arms. The latter is visible only from behind and seems to be breaking free from the grip of two strange tentacles emerging from the bulb from which the professor's head protrudes. These surround the main action and create an impression of movement.
    Fourteen busts of highly expressive figures, all different from one another, form a circle around t

    €1,200
  49. Le massage - Héliogravure, épreuve sur Japon d'après Félicien Rops
    Félicien ROPS

    Le massage - Héliogravure, épreuve sur Japon d'après Félicien Rops

    s. d. [1908]|13 x 19 cm|une feuille
    Heliogravure, proof on Japan paper with wide margins before letters, Félicien Rops signature at bottom left in the plate.
    Plate mark dimensions: 13x19cm. Sheet dimensions: 24.7x32cm
    Illustration reproduced for Félicien Rops L'homme et l'artiste by Camille Lemonnier.
    Fine proof.
    €100
  50. Manuscrit autographe inédit et complet intitulé "Cinq semaines de vacances - Journal d'un voyage en Suisse et dans le Sud de l'Allemagne avec les élèves de mon bien cher et regretté institut"
    Jules MALIGNON

    Manuscrit autographe inédit et complet intitulé "Cinq semaines de vacances - Journal d'un voyage en Suisse et dans le Sud de l'Allemagne avec les élèves de mon bien cher et regretté institut"Complete and unpublished handwritten manuscript

    s. l. 1836|22 x 27 cm|relié
    Complete and unpublished handwritten manuscript entitled “Cinq semaines de vacances - Journal d'un voyage en Suisse et dans le Sud de l'Allemagne avec les élèves de mon bien cher et regretté institut”
    s.l1836, 22 x 27 cm, bound
    Complete and unpublished 240-page manuscript neatly handwritten in black ink and entitled “Cinq semaines de vacances - Journal d'un voyage en Suisse et dans le Sud de l'Allemagne avec les élèves de mon bien cher et regretté institut” Our manuscript is filled with a herbarium sheet, an original colour watercolour, an original pencil drawing and 25 engravings including one erased and in colour. The engravings illustrate the different stages of the journey: Tha
    €2,800
  51. Napoleon's grand state funeral
    Panorama de 15 lithographies figurant le cortège funéraire ou Retour des cendres de l'Empereur Napoléon Ier
    [NAPOLEON BONAPARTE] (Adrien PROVOST)

    Panorama de 15 lithographies figurant le cortège funéraire ou Retour des cendres de l'Empereur Napoléon Ier Panorama of 15 lithographs depicting the funeral procession or Return of the ashes of the Emperor Napoleon I

    S. n.|Paris s. d. [ca 1840]|14.50 x 18.50 cm|un panorama sous reliure
    binding: 14.5 x 18.5 cm / panorama: 2,06 m (80 inches)
     

    A very rare first edition of 15 lithographed views in bistre tint, mounted in an accordion pleat, forming a panorama of 6.75 ft and showing the Parisian procession of the return of Napoleon's mortal remains (his "ashes" used here as a metaphor since he was not cremated). The parade started from the Arc de Triomphe to his resting place in Invalides. In the lower margin, the caption presents the different groups forming the procession: Ajaccio delegation, Paris Municipal Council, Prince of Joinville Commission of Saint-Helena...in the centre of the panorama stands the spectacular

    €2,800
  55. "Liseuses" - Lithographie originale sur Chine - L'Estampe Moderne
    Louis-Welden HAWKINS (Paul DELAROCHE)

    "Liseuses" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Février 1899)|25.50 x 31 cm|une feuille
    Rare original lithograph, executed by Louis Welden Hawkins for L'Estampe Moderne, series number 22 published in February 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's blind stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the reverse, some foxing.
    Lithograph inspired by an excerpt from Aux champs by Paul Delaroche.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affic
    €400
  56. "Dans les bois" - Lithographie originale sur Japon - L'Estampe Moderne
    Eugène GRASSET (Armand SILVESTRE)

    "Dans les bois" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1899)|19.50 x 22 cm|une feuille et une serpente
    Rare original color lithograph, executed by Eugène Grasset for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered stamp of the deluxe edition on the verso, small tears at head, fold marks at lower corners; print preceded by a tissue guard captioned with the artist's name, the title, and a poem.
    Lithograph inspired by a poem Les tendresses by Armand Sylvestre, reproduced on the print's tissue guard.
    Magnificent French monthly publication edited between May 1897 and A
    €2,000
  57. "Dans les bois" - Lithographie originale sur Chine - L'Estampe Moderne
    Eugène GRASSET (Armand SILVESTRE)

    "Dans les bois" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1899)|19.50 x 22 cm|une feuille
    Rare original lithograph, executed by Eugène Grasset for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, printed in blue ink, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on the verso, some foxing.
    Lithograph inspired by a poem, Les tendresses, by Armand Sylvestre.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines such as Le
    €1,000
  58. "Portrait" - Lithographie originale sur Japon - L'Estampe Moderne
    Félix BRACQUEMOND (Pierre de RONSARD)

    "Portrait" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars) 1899|21 x 29.50 cm|une feuille et une serpente
    Rare original lithograph in crayon manner, executed by Félix Bracquemond for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's initial and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on the reverse; engraving preceded by a tissue guard captioned with the artist's name, title, and a poem.
    Lithograph inspired by a poem Les amours de Marie by Pierre de Ronsard, reproduced on the print's tissue guard.
    Magnificent French monthly publication edited between May 189
    €700
  59. "Portrait" - Lithographie originale sur Chine - L'Estampe Moderne
    Félix BRACQUEMOND (Pierre de RONSARD)

    "Portrait" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars) 1899|21 x 29.50 cm|une feuille
    Rare original lithograph, executed by Félix Bracquemond for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, printed in blue ink, artist's initial and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the reverse, some foxing.
    Lithograph inspired by a poem, Les amours de Marie, by Pierre de Ronsard.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazi
    €500
  60. "L'aïeule" - Lithographie originale sur Japon - L'Estampe Moderne
    Jeanne GRANES (Jean KERVADEC)

    "L'aïeule" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars) 1899|25.50 x 34 cm|une feuille et une serpente
    Rare original color lithograph, executed by Jeanne Granès for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on the reverse; engraving preceded by a tissue guard captioned with the artist's name, title, and text.
    Lithograph inspired by an extract from a work by Jean Kervadec, reproduced on the print's tissue guard.
    Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolith
    €400
  61. "L'aïeule" - Lithographie originale sur Chine - L'Estampe Moderne
    Jeanne GRANES (Jean KERVADEC)

    "L'aïeule" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars) 1899|25.50 x 34 cm|une feuille
    Rare original lithograph, executed by Jeanne Granès for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the reverse, some foxing.
    Lithograph inspired by an extract from a work by Jean Kervadec.
    Magnificent French monthly publication issued between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as s
    €200
  62. "La voix des sources" - Lithographie originale sur Japon - L'Estampe Moderne
    Lucien Hector MONOD (Henri de RÉGNIER)

    "La voix des sources" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars 1899)|30.50 x 25 cm|une feuille et une serpente
    Rare original color lithograph, executed by Lucien Hector Monod for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, numbered luxury edition stamp on the verso; engraving preceded by a tissue guard captioned with the artist's name, the title, and text.
    Lithograph inspired by an extract from a work by Henri de Régnier, reproduced on the print's tissue guard.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromoli
    €600
  63. "La voix des sources" - Lithographie originale sur Chine - L'Estampe Moderne
    Lucien Hector MONOD (Henri de RÉGNIER)

    "La voix des sources" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Mars) 1899|30.50 x 25 cm|une feuille
    Rare original lithograph, executed by Lucien Hector Monod for L'Estampe Moderne, series number 23 published in March 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered luxury edition stamp on the verso, some foxing.
    Lithograph inspired by an extract from a work by Henri de Régnier.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as sti
    €400
  64. Couverture de L'Estampe Moderne n°24 avril 1899
    Alfons MUCHA

    Couverture de L'Estampe Moderne n°24 avril 1899Cover of L'Estampe Moderne n224 April 1899

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris Avril 1899|41 x 56 cm|une feuille
    Cover of L'Estampe Moderne n°224 April 1899

    L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H.Piazza, Paris April 1899, 41 x 56 cm, one leaf

    Original large margin print in black and white serving as the cover of the famous monthly publication Estampe Moderne. Entirely printed in black and white, our print is the cover of the rare collection in a large-margin luxury print of the first year of publication. Artist's signature on the board and number of the luxury print added in pencil.
    A magnificent monthly French publication published between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs which, unlike o
    €450
  65. "Salomé" - Lithographie originale sur Japon - L'Estampe Moderne
    Luc-Olivier MERSON (Gustave FLAUBERT)

    "Salomé" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1899)|19.50 x 35 cm|une feuille et une serpente
    Rare original color lithograph, executed by Luc Olivier Merson for L'Estampe Moderne, "Second complimentary premium reserved for one-year subscribers to L'Estampe Moderne".
    One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; engraving preceded by a tissue guard inscribed with the artist's name, title, and text.
    Lithograph inspired by an extract from Hérodias by Gustave Flaubert, reproduced on the print's tissue guard.
    Magnificent French monthly publication issued between May 1897 and Ap
    €2,000
  66. "L'enfant" - Lithographie originale sur Chine - L'Estampe Moderne
    Guillaume DUBUFE (Edmond PILON)

    "L'enfant" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1899)|20.50 x 31.50 cm|une feuille
    Rare original lithograph, executed by Guillaume Dubufe for L'Estampe Moderne, series number 24 published in April 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, some foxing and small corner defect.
    Lithograph inspired by an extract from La maison d'exil by Guillaume Pilon.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe Moderne consists of original chromolithographs which, unlike other magazines su
    €450
  67. "Valmy" - Lithographie originale sur Japon - L'Estampe Moderne
    Adolphe WILLETTE (Victor HUGO)

    "Valmy" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1899)|23.50 x 30 cm|une feuille et une serpente
    Rare original lithograph, executed by Adolphe Willette for L'Estampe Moderne after the drawing exhibited at the Luxembourg Museum, series number 24 published in April 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, laid paper mounted on Japan paper, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on verso; engraving preceded by a tissue guard captioned with the artist's name, title, and text.
    Lithograph inspired by a poem extracted from the collection Chatîments by Victor Hugo, reproduced on the print's tissue guard.
    Magnificent Fre
    €500
  68. "La poupée" - Lithographie originale sur Japon - L'Estampe Moderne
    Marguerite DELORME (Julia DAUDET)

    "La poupée" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1899)|22.50 x 35 cm|une feuille et une serpente
    Rare original colour lithograph, executed by Marguerite Delorme for L'Estampe Moderne, series number 24 published in April 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's dry stamp representing a child's profile in the lower margin, numbered stamp of the deluxe printing on verso; engraving preceded by a tissue guard captioned with the artist's name, title, and text, trace of angular fold.
    Lithograph inspired by an extract from Mes poupées by Julia Daudet, reproduced on the print's tissue guard.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe m
    €700
  69. "La poupée" - Lithographie originale sur Chine - L'Estampe Moderne
    Marguerite DELORME (Julia DAUDET)

    "La poupée" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1899)|22.50 x 35 cm|une feuille
    Rare original lithograph, executed by Marguerite Delorme for L'Estampe Moderne, series number 24 published in April 1899.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature in the plate, publisher's dry stamp depicting a child's profile in lower margin, mounted on a sheet of laid paper with numbered stamp of the deluxe issue on verso, some foxing.
    Lithograph inspired by an extract from Mes poupées by Julia Daudet.
    A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as
    €450
  70. "Impéria" - Lithographie originale sur Japon - L'Estampe Moderne
    Alfred Pierre AGACHE

    "Impéria" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Avril 1899)|25 x 34 cm|une feuille et une serpente
    Rare original color lithograph, executed by Alfred Pierre Agache for L'Estampe Moderne, series number 24 published in April 1899.
    One of 50 deluxe proofs printed on Japan paper with wide margins, publisher's dry stamp depicting a child's profile in lower margin, numbered stamp of the deluxe issue on verso.
    A magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specifically by each artist for the magazine. Thus 100 prints appeared in total, covering the major artistic mo
    €700
  71. "Au pays noir" - Lithographie originale sur Japon - L'Estampe Moderne
    Jules-Gustave BESSON (Émile ZOLA)

    "Au pays noir" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin 1898)|24.50 x 32 cm|une feuille et une serpente
    Rare original color lithograph, executed by Jules-Gustave Besson for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe proofs printed on Japan paper with wide margins, artist's signature in the plate, publisher's blind stamp depicting a child's profile in lower margin, numbered luxury edition stamp on verso; engraving preceded by a tissue guard captioned with the artist's name, title, and text.
    Lithograph inspired by an extract from Germinal by Emile Zola, reproduced on the print's tissue guard.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of original chromolithogr
    €600
  72. "Au pays noir" - Lithographie originale sur Chine - L'Estampe Moderne
    Jules-Gustave BESSON (Émile ZOLA)

    "Au pays noir" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin 1898)|24.50 x 32 cm|une feuille
    Rare original lithograph, executed by Jules-Gustave Besson for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe proofs printed on China paper with large margins, artist's signature in the plate, publisher's dry stamp showing a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe edition on verso, some foxing.
    Lithograph inspired by an extract from Germinal by Emile Zola.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as st
    €300
  73. "Lutèce" - Lithographie originale sur Japon - L'Estampe Moderne
    Adolphe GIRALDON

    "Lutèce" - Lithographie originale sur Japon - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|19.50 x 36 cm|une feuille et une serpente
    Rare original color lithograph, executed by Adolphe Giraldon for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe proofs printed on Japan paper with large margins, artist's signature and date in the plate, publisher's dry stamp showing a child's profile in the lower margin, numbered stamp of the deluxe edition on verso; traces of corner folds.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards, were created specially by each artist for the magazine. T
    €700
  74. "Lutèce" - Lithographie originale sur Chine - L'Estampe Moderne
    Adolphe GIRALDON

    "Lutèce" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|19.50 x 36 cm|une feuille
    Rare original lithograph, executed by Adolphe Giraldon for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, some foxing, traces of angular creases.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazines such as Les Maîtres de l'Affiche and as stipulated on the tissue guards,
    €400
  75. "Bal de barrière" - Lithographie originale sur Chine - L'Estampe Moderne
    Théophile Alexandre STEINLEN (Edmond & Jules de GONCOURT)

    "Bal de barrière" - Lithographie originale sur Chine - L'Estampe Moderne

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris (Juin) 1898|34.50 x 21 cm|une feuille
    Rare original lithograph, executed by Théophile Alexandre Steinlen for L'Estampe Moderne, series number 14 published in June 1898.
    One of 50 deluxe proofs printed on China paper with wide margins, artist's signature and date in the plate, publisher's dry stamp depicting a child's profile in the lower margin, mounted on a sheet of laid paper with the numbered stamp of the deluxe printing on the verso, some foxing.
    Lithograph inspired by an excerpt from Germinie Lacerteux by the Goncourts.
    Magnificent French monthly publication edited between May 1897 and April 1899, L'Estampe moderne consists of unpublished chromolithographs which, unlike other magazin
    €600
  76. Costumes Historiques Des XVIe, XVIIe et XVIIIe Siecles
    Georges DUPLESSIS, Georges LECHEVALLIER-CHEVIGNARD

    Costumes Historiques Des XVIe, XVIIe et XVIIIe Siecles

    Librairie d'architecture de A. Lévy|Paris 1867|25.50 x 33.50 cm|en feuilles
    First edition illustrated with 150 superb hand-painted plates in colors, painted with gouache or watercolored by hand, printed on heavy laid paper.
    Publisher's binding with loose leaves. Half olive sheep slipcase and chemise. Gilt title on spine. Gray cardboard covers reproducing the title page. Back cover with advertisement for another book offered by the publisher. Ties. Head of spine of both volumes split at both joints and loose, more so for volume 1. Corner of lower cover of volume 1 missing with part of the border. On the last leaves of volume II, p. 247 to the end, and on the table of contents, clear traces of dampstaining. Only one plate bears the discreet trace of an old dampst
    €1,100
  82. Lithographie originale en noir et blanc - Bohémiens de Paris - "Le réfugié politique"
    Honoré DAUMIER

    Lithographie originale en noir et blanc - Bohémiens de Paris - "Le réfugié politique"

    Chez Aubert|Paris s. d. [1842]|25.90 x 34.50 cm|une feuille
    Original black and white lithograph, second state, for Le Charivari printed on heavy paper. Signed on the plate.
    Delteil, 836
    Monogrammed stamp "AB" from the collection of Dr Albert Bloch on the reverse of the plate.
    Foxing on the lower margin and verso, ink numbering in the upper right.
    €100
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