From the 19th century onwards, the invention of lithography transformed the art of illustration. Artists soon embraced this technique, which offered almost total freedom of creation. The livre d'artiste made its appearance and colour came to shine upon literature...
First edition illustrated with 11 original black woodcut engravings by Paul-Emile Colin and 15 original engravings and typographical ornaments printed in bistre by Pierre-Eugène Vibert, one of 25 numbered copies on Japan paper containing a collection of artist's proofs by both painter-engravers on China paper.
Full mauve morocco binding, faded spine with five raised bands, gilt date at foot, some rubbing to bands and joints, watered silk endpapers in mauve, brown morocco doublure decorated with vegetal and floral frieze executed with brown and violet mosaic morocco pieces, covers and spine preserved, all edges gilt, slipcase with mauve morocco entry, faded, marbled paper boards, binding signed Canape.
Copy perfectly executed in a full morocco binding with doublure by Canape.
First edition illustrated with 38 hors-texte engravings (10 in color) after Fragonard, Eisen, Boucher, Moreau le jeune, Huet, Schall, one of 275 numbered copies on Holland paper, the only issue after 25 Japan.
Full midnight blue morocco binding, spine with five raised bands set with gilt dots decorated with double gilt compartments enhanced with gilt typographic motifs enriched with red, place, and blue mosaic morocco pieces, publisher and date gilt at foot, gilt roulettes on headcaps, three small nicks on joints and bands, triple gilt fillet frame on boards, marbled paper endpapers and pastedowns, gilt dentelle frame on pastedowns, covers and spine preserved, top edge gilt, contemporary binding signed Stroobants.
Handsome copy perfectly executed in a full mosaic morocco binding by Stroobants.
Edition illustrated with 10 original color lithographs hors-texte by Jean-Gabriel Domergue, one of 40 numbered copies on Rives vellum.
Half red morocco binding with bands, smooth spine, date gilt at tail, boards, endpapers and pastedowns of moiré and gilt effect paper, covers and spine preserved, top edge gilt, contemporary binding signed Gauché.
The work is also ornamented with 26 illustrations in the text, in one or two tones, as chapter headpieces, tailpieces in red by Jean-Gabriel Domergue.
Handsome copy containing the full suite of 18 in-text illustrations.
Manuscript annotation in blue ballpoint pen on the title page: unique copy.
Indeed, on two hors-texte lithographs (including the frontispiece) and two in-text illustrations representing women clothed or nude, pieces of tulle have been added as dresses.
Furthermore, at the end of the volume, numerous press clippings relating to the life and style of Jean-Gabriel Domergue have been pasted onto the endpapers.
Signed autograph inscription by Pierre Harel-Darc, the dedicatee's name having been properly erased enriched with a signed autograph inscription by Jean-Gabriel Domergue enhanced with an original drawing representing the face of a Parisian woman.
First edition printed with 750 numbered copies on Arches Velin and planned for the exhibition of Léger's works organised at the Louis Carré gallery from 19 November to 31 December 1954, for which the catalogue has been published only two years after the retrospective.
Work illustrated with original lithographs by Fernand Léger: 6 unpaged colour plates, two of which are double pages, 5 black and white unpaged plates and 10 within the text.
A beautiful copy despite slight rubbing to the caps.
First edition, one of 50 numbered copies reimposed on Japan Imperial paper, ours being one of the few hors commerce copies, deluxe edition after 1 unique copy on Japan Imperial and 19 old Japan.
Illustrated work, as frontispiece, with a portrait of Charles Maurras consisting of an original drypoint by Edouard Chimot and original lithographs by Wassily Schoukhaeff.
Half chocolate brown morocco binding with corners, spine with five raised bands, gilt date at foot, black roulettes on headcaps, black fillet frame on wood-effect paper boards, wood-effect paper endpapers and pastedowns, covers and spine preserved, top edge gilt, perfect unsigned binding.
Very handsome copy perfectly executed and complete, as stipulated in the justification page, with the double state of Edouard Chimot's drypoint with remarques, 1 proof of the cancelled plate and 1 suite of the lithographs on Japan.
French translation by Adolphe Van Bever and illustrated with 40 original wood engravings by Louis Jou, one of the numbered copies on Rives vellum.
Half black morocco binding, spine with two thick raised bands set with gilt fillets, imitation white wood paper boards, small foxing to boards, marbled endpapers and pastedowns, top edge gilt, original wrappers preserved, elegant contemporary binding signed by Creuzevault.
Handsome copy in a beautiful Art Deco binding by Creuzevault.
