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19th Century Artworks

686 results
  14. La revue blanche N°38 de la 5ème année
    Maurice DENIS, COLLECTIF

    La revue blanche N°38 de la 5ème année

    La Revue Blanche|Paris Décembre 1894|16.50 x 25.50 cm|broché
    First edition.
    Contributions by Henri Albert "Auguste Strindberg", Victor Barrucand "Buddhist Writings", Gustave Kahn "The Mad King (continued)", Romain Coolus "Dramatic Notes"...
    Minor worming and stains to boards.
    Our copy is complete with the original print by Maurice Denis.
    €450
  15. Shunkyuzu (Images du palais du printemps)
    ANONYME

    Shunkyuzu (Images du palais du printemps)

    1890|12 x 18 cm|autre
    Album of five Japanese erotic prints, mounted on cardboard, anonymous.
    Accordion binding, which can be fully unfolded to display all five paintings. Very thick cardboard imitating the rigidity of wood, the prints on paper have been mounted on cardboard. Covered on the upper and lower boards with yellow patterned silk fabric. Old ochre label with manuscript title in India ink. Spotting on the prints
    The five prints depict five couples in action in close-up shots, most without furniture or other décor, in the manner of Kuniyoshi for example. The palette uses green, yellow, red and blue. The whole is printed in line, in a rather mannered way, the limbs languid in delicate expressions.
    €800
  16. [Shunga] Chungong (palais du printemps)
    ANONYME

    [Shunga] Chungong (palais du printemps)

    1920|11.50 x 18.30 cm|autre
    Album of five Chinese erotic prints, mounted on cardboard, anonymous.
    Accordion binding, which can be completely unfolded to display all five prints. Very thick cardboard imitating the rigidity of wood, the paper prints have been pasted onto the cardboard. Covered on the upper and lower boards with silk fabric with brown motifs. Old ochre label with manuscript title in India ink. Upper board darkened at top over 1cm. Red ink offsetting over a few millimeters at the top of the prints. Rubbing on some prints with color loss.
    The five paintings depict five couples, four of which are coupling, in richly furnished decorative settings. The palette uses numerous colors. Chinese erotic art
    €800
  17. Acteur de Kabuki jouant un seigneur
    UTAGAWA KUNISADA

    Acteur de Kabuki jouant un seigneur

    S. n.|s. l. 1850 (S.d.)|24.20 x 34.50 cm|une feuille
    Original print. Actor dressed as a lord carrying an umbrella (wagasa) and a lantern. Rich black, red and blue kimono. Several cartouches with inscriptions, including the artist's; the play and role performed by the actor have unfortunately remained indecipherable.
    Very handsome condition with rubbing in the cream areas of the ground. The print is presented under an ivory mat. Orange varnished beech frame (41.5x52cm) with some rubbing. Under glass.
    Utagawa Kunisada (1786-1865), also known by the artist name Utagawa Toyokuni III. Undisputed master of Japanese printmaking, he is one of the most popular and prolific artists of the floating world, justly celebrated for his representati
    €600
  18. Acteur de Kabuki. Seigneur en armure
    UTAGAWA KUNISADA

    Acteur de Kabuki. Seigneur en armure

    S. n.|s. l. 1850 (S.d.)|24.20 x 34.50 cm|une feuille
    Original print. Actor dressed as a lord, in armor, holding a lance. Rich black, red and blue kimono. The scene takes place at night, with black and blue background. Several cartouches with inscriptions, including the artist's; the play and role performed by the actor have unfortunately remained indecipherable.
    Very handsome condition. The print is presented under an ivory mat. Orange varnished beech frame (41.5x52cm) with some rubbing. Under glass. Oban format print.
    Utagawa Kunisada (1786-1865), also known by the artist name Utagawa Toyokuni III. Undisputed master of Japanese printmaking, he is one of the most popular and prolific artists of the floating world, justly celebrated f
    €600
  19. Makemono de 11 scènes chinoises érotiques. Rêve de printemps
    ANONYME

    Makemono de 11 scènes chinoises érotiques. Rêve de printemps

    Chine [China] s. d. [1920]|24 x 250 cm|autre
    Scroll unrolling horizontally with a title leaf of 3 ideograms (Spring Dream) and 11 colored prints mounted on silk (actually a single print consisting of 11 scenes). When fully unrolled, the ensemble reaches 250cm. The scroll is held closed by a string, the paper is rolled around a piece of wood.
    The scroll, made of relatively thick paper is covered with fine silk on the side where the engraving is mounted. The 11 scenes consist of a single long printing on 180 cm, one can perceive by the presence of the lower margin that these 11 scenes were thus printed several times on a large sheet, which were then cut out. This type of printing required a large press. Each scene measures approxima
    €1,200
  20. Oeuvres choisies. Etudes de moeurs contemporaines.
    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.

    J. Hetzel & Cie|Paris 1846 - 1848|18 x 26.80 cm|4 tomes en 2 volumes reliés
    First edition and first printing of the 320 wood engravings. Publication of the 4 volumes from 1846 to 1848, which explains why they are found separately.
    Contributions by Théophile Gautier, Laurent-Jan, Léon Gozlan, Auguste Lireux and Jules Hetzel under the pseudonym P.-J. Stahl among others.
    Contemporary half black shagreen bindings. Flat false raised bands spine decorated with ornate compartments. Gilt titles and volume labels. Gilt edges. Blind ruling frame on boards. A. Gaillard at foot. Roulettes on bands. Very fine gold and grey decorative endpapers. Pale scattered foxing on very white paper.
    Work illustrated with a general frontispiece, 14 vignettes including one repea
    €850
  21. The works of William Hogarth ; in a series of one hundred engravings and fifty by the first artists
    John TRUSLER, William HOGARTH

    The works of William Hogarth ; in a series of one hundred engravings and fifty by the first artists

    The London printing and publishing company|London • And New-York [New York] 1844 (S.d.)|22 x 28 cm|2 tomes en un volume relié
    First edition illustrated with 2 engraved titles by J. Moore, a frontispiece portrait and 150 plates on vellum. Several engravers and numerous unsigned plates: Engleheart, Armstrong, Adlard, Davenport, Chevalier, Chavanne...
    Publisher's binding in full brown shagreen. Spine with raised bands decorated with 5 small fleurons framed by blind tooling, roulettes at head and foot and on the raised bands. Large decorative panel composed of foliage and geometric ornaments on the boards with a large central cartouche, Hogarth's name in gold on the upper board, in blind on the lower board. Edges gilt. Very fresh copy, with its tissue guards, with occasional rare small worming. Some traces of rubb
    €1,200
  22. The rivers of France, from drawings by Turner
    Joseph Mallord William TURNER, Leitch RITCHIE

    The rivers of France, from drawings by Turner

    Henry G. Bohn|London 1857|18.50 x 28 cm|relié
    New edition, after the first published in 1835 (appearing to be the third issue) and illustrated with an engraved title with a vignette of Château Gaillard and 61 plates on steel by Turner and engraved by Higham, Brendard, Smith, Willmore... All on strong vellum. The second title bears another title: Liber fluviorum; or river scenery of France.
    Publisher's binding in full green morocco-style shagreen. Spine with false raised bands richly decorated. Gilt title. Double fillet border and triple gilt fillet frame on boards. Gilt edges chased with a pattern of fleur-de-lis. Traces of rubbing. The first endleaf and the engraved title partly detached. Some foxing, notably on the outer margins
    €700
  24. Carte à jouer érotique à secret - Trois de trèfle
    ANONYME

    Carte à jouer érotique à secret - Trois de trèfleSecret erotic playing cards - Three of Clubs

    s. l. • [France] s. d. [circa 1860]|5.50 x 8.60 cm|une carte à jouer
    Secret erotic playing cards - Three of Clubs
    [France] s.d(circa 1860), 5.5 x 8.6 cm, one playing card
    Secret erotic playing card, unknown manufacturer, produced in France around the 1860s. Lithograph coloured by stencil, white verso.
    In the light, the transparent card reveals an erotic scene: a chimney sweep in a hat and clogs, hard like a stag, assaults a lady sitting on a chair, dressed hitched up, who tries to withstand him.
    A curiosity!
    €120
  25. Cartes à jouer érotiques à secret - Carré d'as
    ANONYME

    Cartes à jouer érotiques à secret - Carré d'asDisguised erotic playing cards - Four aces

    s. l. • [France] s. d. [circa 1860]|5.50 x 8.60 cm|4 cartes à jouer
    Disguised erotic playing cards – Four aces
    [France ca 1860] | 5.5 x 8.6 cm | 4 playing cards
    Disguised erotic playing cards, maker unknown, produced in France circa 1860. Lithographs colored with stencil, versos blank.
    In the light, the transparent cards reveal humorous erotic scenes:
    - Ace of Spades: an intellectual, with a beard and glasses, sharpens the tip of his virile member on a grindstone driven by a young, naked woman while another, at the same stone, brandishes a pair of scissors.
    - Ace of Hearts: a clothed man flees, straddling his monstrous member, before two laughing, exhibitionist and flatulist young ladies.
    - Ace of Diamonds: a good nun, dressed o
    €800
  26. Album orné
    ANONYME

    Album orné

    Branston|London 1840 (S.d)|24 x 30.50 cm|relié

    Collection assembled by an anonymous hand of chromolithographs and engravings. Numerous pages with various frames, Gothic and ornamental, intended to receive engravings. Frontispiece in chromolithography heightened with colors. The papers intended to receive drawings, engravings or chromos are of various colors: blue, green, cream, pink. The collection ends with music sheets that have remained blank.



    English publisher's binding in full burgundy shagreen. Smooth spine decorated with a large ornamental Romantic plaque. Boards with a central raised rectangle decorated with a large stamp with the inscription: Album orné, blind-stamped frame. Rich Renaissance frieze in framin

    €450
  27. 15 lithographies d'après Degas
    Edgar DEGAS, Georges William THORNLEY

    15 lithographies d'après Degas

    Boussod, Valadon & Cie|Paris s. d. [1889]|41 x 59 cm|en feuilles sous portefeuille de l'éditeur
    15 lithographies d'après Degas [15 lithographs after Degas]
    Boussod, Valadon & Cie | Paris [1889] | folio (41 x 59 cm) | loose leaves under the publisher's portfolio
    First and only edition published of this remarkable set of 15 original lithographs from the post-impressionist painter George William Thornley, only 100 copies printed.
    Publisher's portfolio bound in boards very skilfully restored.
    14 of the 15 lithographs are printed in colour (black, blue, green, mauve and different browns) on broadside China paper laid on pale blue thick paper, one is directly printed on thick paper.
    All except the last, bear the stamp of Tho
    €20,000
  28. Suite de six eaux-fortes de Albert Laurens pour Aphrodite de Pierre Louÿs
    Paul-Albert LAURENS, Pierre LOUŸS

    Suite de six eaux-fortes de Albert Laurens pour Aphrodite de Pierre Louÿs

    Pierre Duffau|Paris 1897|23 x 32 cm|en feuilles
    First edition, one of 40 copies on China, ours one of the 10 copies out of business literati with remark and signature of Paul Albert Laurens .
    Nice copy despite tiny marginal freckles not serious at the head of some leaflets.
    €500
  29. La vie de N. S. Jésus Christ. Edition Nationale.
    James TISSOT

    La vie de N. S. Jésus Christ. Edition Nationale.

    Alfred Mame et fils|Tours 1902|27 x 34 cm|2 reliés
    Second edition by the same publisher as the first, which appeared in only 1000 copies as a deluxe issue. This new edition, following the author's wishes, was intended to be more accessible. It is illustrated with 365 compositions in lithography & engraving, in color and camaïeu, including 37 full-page color plates outside the text under tissue guards, 15 engravings and 22 lithographs. Very numerous monochrome vignettes in the text and decorated initial letters. The editing and printing are particularly fine.
    Vulgate text in Latin with French translation facing.
    Contemporary brown half morocco with corners, armorial of the Collège Stanislas in Paris on boards. Spine with raised band
    €900
  30. Mévisto - Le Café Concert
    Henri-Gabriel IBELS

    Mévisto - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €180
  31. Ouvrard - Le Café Concert
    Henri-Gabriel IBELS

    Ouvrard - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €200
  32. Polin - Le Café Concert
    Henri-Gabriel IBELS

    Polin - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €200
  33. Kam-Hill - Le Café Concert
    Henri-Gabriel IBELS

    Kam-Hill - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €250
  34. Libert - Le Café Concert
    Henri-Gabriel IBELS

    Libert - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri-Gabriel Ibels, from the series Café-Concert published by the Publications de l'Estamppe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €200
  35. Mary Hamilton - Le Café Concert
    Henri de TOULOUSE-LAUTREC

    Mary Hamilton - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Mary Hamilton - Le Café Concert
    An original print by Henri de Toulouse-Lautrec from the Le Café-Concert series, published by Publications de l'Estampe Originale. A very rare and handsome lithograph, one of 500 original proofs printed on vélin paper by Edouard Ancourt printers.
    Portrait of Mary Hamilton by Toulouse-Lautrec. This cabaret singer is here presented in full flow, dressed in men's clothes. Lautrec was fond at this time of lithographic ink, drawing simple lines full of movement, reminiscent of Japanese ukiyo-e prints.
    A veritable ode to the café-concert, this series by Toulouse-Lautrec and Henri-Gabriel Ibels captures the essence of the Parisian life
    €1,350
  36. Une spectatrice - Le Café Concert
    Henri de TOULOUSE-LAUTREC

    Une spectatrice - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €1,000
  37. Paula Brebion - Le Café Concert
    Henri de TOULOUSE-LAUTREC

    Paula Brebion - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €1,000
  38. Mme Abdala - Le Café Concert
    Henri de TOULOUSE-LAUTREC

    Mme Abdala - Le Café Concert

    L'Estampe originale|Paris 1893|31.50 x 43 cm|Lithographie(s)|en feuilles
    Original print by Henri de Toulouse, from the series Le Café-Concert published by the Publications de l'Estampe Originale. Very rare and beautiful lithography is one of the 500 original proofs drawn on vellum by Edouard Ancourt's printing press.
    €1,350
  39. L'hermitage des Camaldoli
    T.C. SALUCCI, Charlotte BONAPARTE

    L'hermitage des Camaldoli

    Florence circa. 1825|23.20 x 16.80 cm|une feuille sous marie-louise
    Original lithograph signed Florence Lit. Salucci 97 ° 515 in the lower right corner and Chatlotte in the lower left corner.
    View of the hermitage of Calmadoli in the upper valley of the Arno in Tuscany. It was made in Florence by Salucci, a lithographer who worked for the Bonaparte family, and who, among other things, produced a portrait of Napoleon III (Bibliothèque nationale de France). This lithograph of exceptional quality was realized for Charlotte Bonaparte (mention Charlotte lower left).
    The Tuscan village of Camaldoli, the cradle of the Benedictine order of the Ca
    €500
  40. Veduta interna del Duomo di Milano
    Carlo GILIO RIMOLDI

    Veduta interna del Duomo di Milano

    (Milan) 1810|25 x 19 cm|une feuille sous marie-louise
    Original signed etching Gilio Rimoldi inc. In the lower left corner.
    View inside Lake Maggiore, between Switzerland and the regions of Piedmont and Lombardy. Surrounded by the mountains, one can admire its famous islands: Isola Bella on the right, Isola Madre and Isola dei Pescatori on the left. In the foreground, walkers relax in the hills.
    Directed by Jean-François Bosio (1764-1827), painter, draftsman and pupil of François David. Professor of drawing at the Ecole Polytechnique, he realizes landscapes, religious compositions, scenes of genre and history, watercolors and drawings. The print is executed by P. Za
    €180
  41. Veduta della Certosa presso Pavia
    Carlo GILIO RIMOLDI, Domenico LANDINI

    Veduta della Certosa presso Pavia

    Milan 1810|25 x 19 cm|une feuille sous marie-louise
    Original etching signed by Gilio Rimoldi inc. In the lower left corner and Dom Landini acquire. In the lower right corner.
    Exterior view of the Charterhouse of Pavia, whose visible façade was completed at the end of the 15th century. Worshipers strolling in the church are enhanced with bright colors.
    Directed by Carlo Gilio Rimoldi (1787-1841), Milanese architect and artist, famous for his watercolors of Cremona, Milan and Pavia, which he engraved himself.
    This engraving is part of a collection of lacustrine landscapes and views of Italian monuments (Este villa, Chartreuse de Pavie ...) gathered in an amicorum album among engravings,
    €150
  42. Vue de Bâle

    Vue de Bâle

    circa. 1825|23 x 16.40 cm|une feuille sous marie-louise
    Original pencil drawing, numerous stings.
    This print, depicting the Bay of Naples overlooking the bluish silhouette of Vesuvius, was later added to a set of Italian landscapes in an amicorum album among engravings, lithographs, drawings, and washings.
    Executed in the first quarter of the 19th century, these prints summarize the stages of the "Grand Tour" of Italy, the obligatory journey of the post-Napoleonic nobility who came to Italy to make an artistic and bucolic pilgrimage to the great achievements of the Renaissance, City views and charming Lombard and Piedmont mountain lakes. The European aristocracy was therefore fond of these prints of good graphi
    €230
  43. La confession
    Alfred JOHANNOT

    La confession

    1831|18.60 x 15.40 cm|dessin au lavis et lithographie
    Original wash drawing by Alfred Johannot, a study entitled La Confession for a lithograph published in volume 2 of L'Artiste (22nd issue).
    Attached: a lithographed proof of the drawing (slightly spotted) executed by J. Lion and Bichebois the elder, signed Alfred Johannot pinx. in the lower left corner, and J. Lion lith. in the lower right corner.

    Alfred Johannot worked with his brothers Tony and Charles as an illustrator, engraver and vignettist. The Johannot brothers occupy an important place in the history of the Romantic illustrated book for their work on celebrated works by Walter Scott, Beaumarchais, Bernardin de Saint
    €1,500
  44. Les portraits dessinés de J.-A.-D. Ingres
    Henry LAPAUZE, Jean Auguste Dominique INGRES

    Les portraits dessinés de J.-A.-D. Ingres[Ingres's portraits]

    Chez J.-E. Bulloz|à Paris 1903|37 x 48 cm|en feuilles sous chemise
    Les Portraits dessinés de J.-A.-D. Ingres [Ingres's portraits]


    Chez J.-E. Bulloz | à Paris 1903 | 37 x 48 cm | loose leaves with custom slipcase
    The very rare first edition, consisting of only 100 numbered copies, the text on Arches paper with 100 charcoal portraits laid down on thick grey-blue paper, margins slightly soiled, gilt listel frame to each portrait, Bulloz stamp to lower right.
    This copy has a half red morocco chemise with flaps, spine soiled, double gilt fillet to covers, title giltstamped on upper cover, cloth and paper flaps heavily damaged (lower flap lacking), headpieces rubbed with lacks to head and foot
    €6,000
  45. Un seigneur et son écuyer regardant trois femmes à l'éventail près de l'eau
    Utagawa TOYOKUNI III KUNISADA

    Un seigneur et son écuyer regardant trois femmes à l'éventail près de l'eau

    1854|23 x 35 cm|une feuille
    Original print printed between 1847 and 1854. Cut with a one-centimeter margin. Modern framing done in Tokyo with label on the back: Jinbocho Kanda Tokyo. Japan. Kingyokudo & co. Varnished mahogany frame. The print has a tiny adhesive on a margin connecting it to the mount. A polystyrene plate and a Japanese wood panel on the back. Small pivoting rivets allow quick access to the engraving. A removable fabric cord allows hanging the engraving. The whole is housed in a cardboard box.
    Print on rice or mulberry paper. One vertical fold. Frame dimensions: 35x50cm. Print: 23.5x35cm.
    Very handsome print with refined staging and colors. Under a flowering cherry tree, a lord and his squire
    €680
  46. Gravures de mode de l'An 10 à 1828
    COLLECTIF

    Gravures de mode de l'An 10 à 1828

    S. n.|s. l. • [Paris] 1802-1828|12.50 x 21 cm|102 planches reliées

    First edition of these 102 plates heightened in colors.
    Modern cream-colored paper boards with gilt floral motif by Thomas Boichot, black morocco title label to spine. Ex libris of the "Fashion Group of Paris" on pastedown. 
    A little worming to first plate, the other plates very fresh.
    A nicely bound copy. 

    €2,300
  47. Raccolta di N°60 vedute antiche e moderne della citta di Roma e sue vicinanze : con la giunta delle sale appartementi al Museo Pio Clementino
    Pietro & Achille PARBONI

    Raccolta di N°60 vedute antiche e moderne della citta di Roma e sue vicinanze : con la giunta delle sale appartementi al Museo Pio Clementino

    Presso Agapito Franzetti|in Roma [Rome] 1820 S.d.|15.50 x 22 cm|reliés
    First edition illustrated with 159 etched figures depicting views of Rome, plus the engraved title, totaling 160. The engravings bear different signatures: Parboni, Franzetti, Olivieri, or bear none at all, and sometimes the dates 1824, 1827 and 1829. Printed on strong laid paper. Copies found in several libraries, notably that of Quebec, contain only 60 plates, but it is known that a collection of Parboni plates was published later in 1830 containing plates from 1824, with 100 figures, another with 50 plates in 1834; our copy could have been grangerized with plates from these editions. Some plates are numbered, but do not appear to have been bound in order. The plates have relatively variab
    €1,300
  48. Cervantès, Don Quichotte, Les meuniers les tirèrent l'un l'autre, par les pieds, par la tête. Gravure originale sur bois debout. Tome 2, ch.29
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Les meuniers les tirèrent l'un l'autre, par les pieds, par la tête. Gravure originale sur bois debout. Tome 2, ch.29

    Hetzel|Paris 1863|31 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate specially created for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.
    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an avid hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled through
    €45
  49. Cervantès, Don Quichotte, Celui-ci répondit pour le singe. Gravure originale sur bois debout. Tome 2, ch.25
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Celui-ci répondit pour le singe. Gravure originale sur bois debout. Tome 2, ch.25

    Hetzel|Paris 1863|31 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate specially created for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quichotte: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il
    €45
  50. Cervantès, Don Quichotte, Montésinos me dit que tous ces gens de la procession étaient les serviteurs de Durandart et de Bélerme. Gravure originale sur bois debout. Tome 2, ch.23
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Montésinos me dit que tous ces gens de la procession étaient les serviteurs de Durandart et de Bélerme. Gravure originale sur bois debout. Tome 2, ch.23

    Hetzel|Paris 1863|31 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate specially created for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quichotte: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il
    €45
  51. Cervantès, Don Quichotte, Ils virent qu'il avait les yeux fermés comme un homme endormi. Gravure originale sur bois debout. Tome 2, ch.22
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Ils virent qu'il avait les yeux fermés comme un homme endormi. Gravure originale sur bois debout. Tome 2, ch.22

    Hetzel|Paris 1863|31 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an avid hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcouru
    €45
  52. Cervantès, Don Quichotte, Finalement, maître et valet restèrent trois jours chez les mariés, où ils furent traités comme des rois. Gravure originale sur bois debout. Tome 2, ch.22
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Finalement, maître et valet restèrent trois jours chez les mariés, où ils furent traités comme des rois. Gravure originale sur bois debout. Tome 2, ch.22

    Hetzel|Paris 1863|31 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an avid hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a parcouru
    €45
  53. Cervantès, Don Quichotte, Pour être si grièvement blessé, dit Sancho, ce garçon-là jase beaucoup. Gravure originale sur bois debout. Tome 2, ch.21
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Pour être si grièvement blessé, dit Sancho, ce garçon-là jase beaucoup. Gravure originale sur bois debout. Tome 2, ch.21

    Hetzel|Paris 1863|43 x 21 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable Hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a
    €45
  54. Cervantès, Don Quichotte, Il ne fut pas moins ravi d'un autre choeur de danse qui entra bientôt après. Gravure originale sur bois debout. Tome 2, ch.20
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Il ne fut pas moins ravi d'un autre choeur de danse qui entra bientôt après. Gravure originale sur bois debout. Tome 2, ch.20

    Hetzel|Paris 1863|43 x 21 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable Hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a
    €45
  55. Cervantès, Don Quichotte, L'hidalgo se décida à piquer sa jument. Gravure originale sur bois debout. Tome 2, ch.17
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, L'hidalgo se décida à piquer sa jument. Gravure originale sur bois debout. Tome 2, ch.17

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. Light foxing to lower right margin, not touching the plate.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré first travelled to Spain in 1855, accompanied by Théophile Gautier and the publisher Paul Dalloz. In 1861, fulfilling a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an experienced hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the hom
    €45
  56. Cervantès, Don Quichotte,Don Quichotte qui s'était déjà jeté à genoux au côté de Sancho. Gravure originale sur bois debout. Tome 2, ch.10
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte,Don Quichotte qui s'était déjà jeté à genoux au côté de Sancho. Gravure originale sur bois debout. Tome 2, ch.10

    Hetzel|Paris 1863|43 x 21 cm|une feuille
    First edition. Wood engraving signed on the plate by the artist. Light foxing not affecting the engraving.
    Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this ill
    €45
  57. Cervantès, Don Quichotte, De l'aventure, Sancho resta moulu, Don Quichotte épouvanté, le grison meurtri de coups et rossinante fort peu catholique. Gravure originale sur bois debout. Tome 2, ch.58
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, De l'aventure, Sancho resta moulu, Don Quichotte épouvanté, le grison meurtri de coups et rossinante fort peu catholique. Gravure originale sur bois debout. Tome 2, ch.58

    Hetzel|Paris 1863|43 x 21 cm|une feuille
    First edition. Wood engraving signed on the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places
    €45
  58. Cervantès, Don Quichotte, S'il vous plaît, seigneur, de devenir notre hôte, vous serez accueilli avec courtoisie et libéralité. Tome 2, ch.58
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, S'il vous plaît, seigneur, de devenir notre hôte, vous serez accueilli avec courtoisie et libéralité. Tome 2, ch.58

    Hetzel|Paris 1863|43 x 21 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. Pale foxing in the upper margin not affecting the engraving.
    Plate created specifically for the illustration of Don Quixote by Cervantes for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable Hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la p
    €45
  59. Cervantès, Don Quichotte, Un jour donc il demanda au duc et à la duchesse la permission de prendre congé d'eux. Tome 2, ch.57
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Un jour donc il demanda au duc et à la duchesse la permission de prendre congé d'eux. Tome 2, ch.57

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. Some pale spotting in the margin of the plate.
    Plate created specifically for the illustration of Don Quixote by Cervantes for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable Hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet i
    €45
  60. Cervantès, Don Quichotte, Retirez-vous, Seigneur Don Quichotte ; la pauvre enfant ne reviendra point à elle tant que votre grâce restera là. Tome 2, ch.46
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Retirez-vous, Seigneur Don Quichotte ; la pauvre enfant ne reviendra point à elle tant que votre grâce restera là. Tome 2, ch.46

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed on the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, accompanied by Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an avid hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily for the illustration of Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the places he traveled th
    €45
  61. Cervantès, Don Quichotte, Le gouverneur Sancho Panza rendant la justice. Tome 2, ch.45
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Le gouverneur Sancho Panza rendant la justice. Tome 2, ch.45

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. A small foxing spot in the upper margin, not touching the engraving.
    Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré traveled to Spain first in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there mainly with a view to illustrating Don Quixote: "I am therefore going to
    €45
  62. Cervantès, Don Quichotte, Là se termine le chant de l'amoureuse Altisidore. Tome 2, ch.44
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Là se termine le chant de l'amoureuse Altisidore. Tome 2, ch.44

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. Some very discreet worming.
    Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

    Gustave Doré first travelled to Spain in 1855, in the company of Théophile Gautier and the publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a learned hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour ét
    €45
  63. Cervantès, Don Quichotte, Puis il alla prendre la bénédiction de son seigneur. Tome 2, ch.44
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Puis il alla prendre la bénédiction de son seigneur. Tome 2, ch.44

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.
    Plate created specifically for the illustration of Cervantes' Don Quixote in the Hachette edition of 1863.

    Gustave Doré first travelled to Spain in 1855, in the company of Théophile Gautier and the publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a learned hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a
    €45
  64. Cervantès, Don Quichotte, Mort de Don Quichotte.
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Mort de Don Quichotte.

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.

    Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

    Gustave Doré first traveled to Spain in 1855, accompanied by Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an informed hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de cet illustre hidalgo pour étudier tous les lieux qu'il a
    €45
  65. Cervantès, Don Quichotte, On releva Don Quichotte et on lui découvrit le visage qu'on trouva pâle, inanimé et inondé de sueur. Tome 2, ch. 64
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, On releva Don Quichotte et on lui découvrit le visage qu'on trouva pâle, inanimé et inondé de sueur. Tome 2, ch. 64

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. A long tear without loss to the left margin of the plate.

    Plate created specifically for the illustration of Cervantes' Don Quixote for the 1863 Hachette edition.

    Gustave Doré first traveled to Spain in 1855, accompanied by Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an informed hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "Je me rends donc dans la patrie de
    €45
  66. Cervantès, Don Quichotte, Dis-moi, toi qui réponds, était-ce la vérit, était-ce un songe ?. Tome 2, ch. 62
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Dis-moi, toi qui réponds, était-ce la vérit, était-ce un songe ?. Tome 2, ch. 62

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist. Some light foxing.

    Plate specially created for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.


    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hida
    €45
  67. Cervantès, Don Quichotte, L'on regarda la maison, où il y eut grande assemblée de dames. Tome 2, ch. 62
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, L'on regarda la maison, où il y eut grande assemblée de dames. Tome 2, ch. 62

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.

    Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, a knowledgeable hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the
    €45
  68. Cervantès, Don Quichotte, Voilà comme je châtie les insolents qui ne savent pas retenir leur langue. Tome 2, ch. 60
    Gustave DORE, Héliodore PISAN

    Cervantès, Don Quichotte, Voilà comme je châtie les insolents qui ne savent pas retenir leur langue. Tome 2, ch. 60

    Hetzel|Paris 1863|21 x 43 cm|une feuille
    First edition. Wood engraving signed in the plate by the artist.

    Plate created specifically for the illustration of Cervantes' Don Quixote for the Hachette edition of 1863.

    Gustave Doré first traveled to Spain in 1855, in the company of Théophile Gautier and publisher Paul Dalloz. In 1861, responding to a commission from the journal Le Tour du monde, he returned there with Baron Jean Charles Davillier, an experienced hispanophile, who would recount their journey in his Voyage en Espagne.
    Doré went there primarily with a view to illustrating Don Quixote: "I am therefore going to the homeland of this illustrious hidalgo to study all the p
    €45
  69. L'Estampe Moderne. Menuet d'automne. Lithographie Originale
    Manuel ROBBE

    L'Estampe Moderne. Menuet d'automne. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original black lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by Vitraux by Laurent Tailhade, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" mo
    €180
  70. L'Estampe Moderne. Kacia. Lithographie Originale
    Eugène DELÂTRE

    L'Estampe Moderne. Kacia. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by an eponymous text by Ermolaï Erémitch, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" m
    €150
  71. L'Estampe Moderne. Maris Stella. Lithographie Originale
    Maximilienne GUYON

    L'Estampe Moderne. Maris Stella. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by a poem from Trophées by José-Maria de Heredia, an excerpt of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and
    €100
  72. L'Estampe Moderne. Un Marché en Zélande. Lithographie Originale
    Fernand PIET

    L'Estampe Moderne. Un Marché en Zélande. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by an extract from a text by Pierre Burman, an excerpt of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque"
    €120
  73. L'Estampe Moderne. Au pays noir. Lithographie Originale
    Jules Gustave BESSON

    L'Estampe Moderne. Au pays noir. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original colour lithograph executed specifically by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by an excerpt from Germinal by Emile Zola, of which an extract is reproduced on the print's tissue guard.
    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 specifically for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist an
    €100
  74. L'Estampe Moderne. La Romance. Lithographie Originale
    ROEDEL

    L'Estampe Moderne. La Romance. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by a poem entitled Les Fraises by P. Dupont, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Bel
    €80
  75. L'Estampe Moderne. Le Départ. Lithographie Originale
    Raphaël COLLIN

    L'Estampe Moderne. Le Départ. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by a poem by Francis Fièlé-Griffin, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movemen
    €150
  76. L'Estampe Moderne. Liseuses. Lithographie Originale
    L.-W. HAWKINS

    L'Estampe Moderne. Liseuses. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original lithograph in colors executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
    Lithograph inspired by a text entitled Aux Champs by Paul Delaroche, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and
    €200
  77. L'Estampe Moderne. L'Enfant. Lithographie Originale
    Guillaume DUBUFE

    L'Estampe Moderne. L'Enfant. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original lithograph in colors executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
    Lithograph inspired by the poem "La Maison d'Exil" by Edmond Pilon, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epo
    €150
  78. L'Estampe Moderne. Dans les bois. Lithographie Originale
    Eugène GRASSET

    L'Estampe Moderne. Dans les bois. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
    Lithograph inspired by the poem "Les Tendresses" by Armand Sylvestre, an extract of which is reproduced on the print's tissue guard.
    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 specially for the magazine by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époq
    €280
  79. L'Estampe Moderne. L'Aïeule. Lithographie Originale
    Jeanne GRANES

    L'Estampe Moderne. L'Aïeule. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Handsome copy.
    Lithograph inspired by a text by Jean Kervadec, an extract of which is reproduced on the print's tissue guard.
    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 specially for the magazine by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" movements.
    €100
  80. L'Estampe Moderne. La Voix des sources. Lithographie Originale
    L. H. MONOD

    L'Estampe Moderne. La Voix des sources. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very fine copy.
    Lithograph inspired by a poem by Henri de Régnier, an extract of which is reproduced on the print's tissue guard.
    Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne form one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movements.
    €150
  81. L'Estampe Moderne. Bouquetière. Lithographie Originale
    Firmin-Etienne BOUISSET

    L'Estampe Moderne. Bouquetière. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very fine copy.
    Lithograph inspired by the poem "L'Or des couchants" by Armand Silvestre, an extract of which is reproduced on the print's tissue guard.
    Published by Ch. Masson and H. Piazza, the two years of l'Estampe Moderne form one of the finest lithographic achievements of the period. Each print is an original work created specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Epoque" movem
    €100
  82. L'Estampe Moderne. Cité Lacustre. Lithographie Originale
    Fernand CORMON

    L'Estampe Moderne. Cité Lacustre. Lithographie Originale

    L'Estampe Moderne • Imprimerie Champenois • pour CH. Masson & H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
    Very handsome copy.
    Lithograph inspired by Vamireh, roman des temps primitifs by J.-H. Rosny, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orient
    €120
  83. L'Estampe Moderne. La Chevelure. Lithographie Originale
    Jules FLANDRIN

    L'Estampe Moderne. La Chevelure. Lithographie Originale

    L'Estampe Moderne • Imprimerie Champenois • pour CH. Masson & H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for L'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate.
    Very handsome copy.
    Lithograph inspired by the eponymous poem by Charles Baudelaire, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle E
    €200
  84. L'Estampe Moderne. La femme au perroquet. Lithographie Originale
    A. YANK

    L'Estampe Moderne. La femme au perroquet. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by a poem from "Le Miroir" by Léo Desmarais, an extract of which is reproduced on the print's tissue guard. 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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle Époque" mo
    €160
  85. L'Estampe Moderne. Bouderie. Lithographie Originale
    Alfredo MÜLLER

    L'Estampe Moderne. Bouderie. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on strong laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. Very handsome copy.
    Lithograph inspired by Nos petites filles by Alfred Le Roux, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist an
    €120
  86. L'Estampe Moderne. La soupe à la chambrée. Lithographie Originale
    Jean BASEILHAC

    L'Estampe Moderne. La soupe à la chambrée. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original color lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. A very handsome copy.
    Lithograph inspired by Train de 8h47 by Georges Courteline, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Belle
    €80
  87. L'Estampe Moderne. Avant le ballet. Lithographie Originale
    Paul RENOUARD

    L'Estampe Moderne. Avant le ballet. Lithographie Originale

    Imprimerie Champenois • pour CH. Masson • H. Piazza|Paris 1898|30 x 40 cm|une feuille
    Original black lithograph executed specially by the artist for l'Estampe Moderne. Proof printed on heavy laid paper protected by a printed tissue guard, publisher's dry stamp in lower margin. Artist's signature in the plate. A very handsome copy.
    Lithograph inspired by La danse et les ballets by J. Reading, an extract of which is reproduced on the print's tissue guard.
    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 specially for the review by the greatest French and foreign artists representing Symbolist, Art Nouveau, Orientalist and "Bell
    €120
  88. Petites constructions : La Porte de Hall. N°1337

    Petites constructions : La Porte de Hall. N°1337

    Pellerin & Cie|Épinal s. d. [circa 1890]|23 x 30 cm|une feuille
    Épinal print, colored lithograph, small format, printed on soft paper.
    Very fine condition, colors very well preserved.
    These sheets are cardboard constructions or models, on which a pattern was printed.
    This pattern must be cut out then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy mo
    €50
  89. Petites constructions : Wagons. N°1205

    Petites constructions : Wagons. N°1205

    Pellerin & Cie|Épinal s. d. [circa 1890]|23 x 30 cm|une feuille
    Épinal print, colored lithograph, small format, printed on soft paper.
    Very fine condition, colors very well preserved.
    These sheets are cardboard constructions or models, on which a pattern was printed.
    This pattern must be cut out then assembled to build various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, ships and various vehicles. During this same period, paper theaters or "théâtre chez soi" also enjoyed great success. This toy mo
    €50
  90. Petites constructions : La Porte du Pont-Charles à Prague. N°1352

    Petites constructions : La Porte du Pont-Charles à Prague. N°1352

    Pellerin & Cie|Épinal s. d. [circa 1890]|23 x 30 cm|une feuille
    Image d'Épinal, color lithograph, small format, printed on flexible paper.
    Very fine condition, colors very well preserved.
    These sheets are cardboard constructions or models, on which a pattern was printed.
    This pattern must be cut out and then assembled to construct various objects or life scenes. The Épinal imagery published several series of cut-out models including the "Grandes Constructions" in 39 x 49 cm format, the "Moyennes Constructions" and the "Petites Constructions". From 1880 to 1908, constructions were published featuring architecture, costumes, boats and various vehicles. During this same period, paper theaters or "home theater" also enjoyed great success. Thi
    €50
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