On Paintings and Sculptures

First edition.
Half cloth contemporary binding signed by Cabry.
Illustrated with a drawing by Pierre Puvis de Chavannes as frontispiece.
Occasional foxing.
Rare.

Created by Charles Landelle, one of the most famous and sought-after academic artists of the Second Empire, this handsome portrait of a woman seated in an armchair adopts all the codes of the genre and shows the strong influence of Ingres, the great master of portraiture in his time, who was nevertheless not his teacher. The detail of the hands in particular makes direct reference to the style of the painter of the Odalisque and the Turkish Bath. The work, which is signed and dated 1849 in the lower right, also recalls another famous painting: The portrait of the Widow Clicquot painted by Léon Cogniet two years later. That year the painter exhibited two portraits of women at the salon and we believe that due to the often public anonymity of the models (simply titled with the initial of their name) and the important format of this painting that it could be one of them.

Born in 1821 in Laval, Charles Landelle moved to Paris at the age of four, then entered the École Royale des Beaux-Arts in 1837 as a student of Paul Delaroche and Ary Scheffer. At the beginning of his career, Landelle painted several portraits to make ends meet. Very influenced by Italian painting after travels in the South of France and Italy, he copied some canvases by the great masters of the Renaissance at the Louvre. Awarded at the Salon from his first exhibitions for Fra Angelo recevant les inspirations de Dieu (1842) or Sainte Cécile (1848), he distinguished himself through religious and historical subjects that allowed him to gain recognition from the high society of his time. His critical successes at the Salon quickly assured him numerous State commissions, notably Le Repos de la Vierge in 1854 which earned him decoration with the cross of Knight of the Legion of Honor. That same year he created in pastel the portrait of Alfred de Musset, today preserved at the Louvre Museum. The artist thus embraced a career as an official painter between State commissions and portraits of members of high society. Capable of adapting to the taste and fashions of his time, Landelle quickly gained a notoriety that he knew how to maintain, never forgetting to offer a portrait or a canvas to his benefactors. In the second part of his career, after the official part of it had somewhat run out of steam, the artist made numerous trips to Morocco, Egypt, Algeria and devoted himself to Orientalism which would occupy a large part of his production until his death in 1908.

Today a certain number of his works is preserved in museums. An important collection was bequeathed to his native city, Laval, but we also find some of his works at the Louvre Museum, the Ingres Museum in Montauban, the Museum of Fine Arts in Grenoble, Pau, Rouen or at the Palace of Versailles.

Warning: We do not ensure transport of this work.

First edition with 25 illustrations in black and white and colors by Moïse Kisling, one of 35 numbered copies on Japon super nacré paper, the tirage de tête.
Preface by André Salmon.
This copy, as called for by the justification, is complete with its suite of color hors-texte illustrations on Hollande paper, its suite of color hors-texte illustrations on Arches, its suite of textual illustrations in black and white on China paper, one unpublished plate, a suite of plates not used for the final work on Hollande paper, and a cancelled copper plate.
The illustrations by Moïse Kisling consist of: one painted folded cover, a color portrait frontispiece, 11 illustrations hors-texte in colors and 12 textual illustrations in black and white.
A fine copy.

First edition, one of 10 copies numbered and justified by the artist containing an original drawing by Ricardo Mosner on the title page, deluxe copy.
Signed autograph inscription by Ricardo Mosner.
Illustrations hors-texte by Ricardo Mosner.
Rare and handsome copy.

SEVERINI Gino & BOCCIONI Umberto
Les Peintres futuristes italiens
[The Italian Futurist Painters]
Bernheim jeune, Paris 1912, 12 x 16 cm, stapled
First edition, for which there were no grand papier (deluxe) copies, of the catalogue of the first and most important foreign futurist exposition.
Two tiny marginal spots, not serious, to upper cover, otherwise a good copy.
$ 500

First edition, one of 200 numbered copies on pur fil, tirage de tête.
Illustrated with 195 heliogravures, a very good copy retaining its dustjacket.

Oil on wood, signed lower right
This original work was used to illustrate a scene from “The Earth” in the first illustrated edition of Emile Zola's work, published by Marpon & Flammarion in 1889.

Oil on wood, signed lower right
This original work was used to illustrate a scene from “The Earth” in the first illustrated edition of Emile Zola's work, published by Marpon & Flammarion in 1889.

First edition on ordinary paper, only 100 copies were printed on Arches laid paper as deluxe copies.
Autograph inscription signed by Maurice Denis to Jacques-Emile Blanche: " à Jacques Blanche en toute sympathie d'art, et peut-être de pensée..." ["to Jacques Blanche with all artistic sympathy, and perhaps of thought..."]
Minimal worming on the endpapers.

First edition.

Rare handwritten inscription from Josef Pankiewicz to [Moïse] Kisling.
Illustrations. Three light, minor snags at the top of the spine, tiny marginal tears without pieces missing at the top of the first board, otherwise pleasant copy.

In 1906, Pankiewicz was appointed professor at the Academy of Fine Arts in Krakow. Notably, one of his pupils was Moïse Kisling whom he encouraged to abandon sculpture in favor of painting. He introduced the young man to French painting and more specifically Cézanne and Renoir. In 1910, on the advice of his mentor, Kisling – aged nineteen years old – left Poland for Paris where he quickly became a significant figure of Parisian artistic life.

First edition, one of the Service de Presse (advance) copies.
Precious and superb autograph inscription by the author to Moïse Kisling.
Frontispiece portrait of André Breton by Man Ray. Spine and covers slightly faded at margins, light spotting to head of front cover.

First edition of 51 numbered copies, initialed by the author on Whatman paper.
Modern pastiche Bradel binding of paper boards by T. Boichot, black morocco title piece, covers preserved.
With an original frontispiece lithograph by Paul Signac.
Worming to covers, a little foxing.
Rare.

First edition. In conjugate leaves. Outer margins browned on the title page. Dandrée discusses at length in this salon review Girodet and his Atala, and the characteristics of the French school. Denon was director general of the Napoleon museum and of the mint.

New edition, no mention of deluxe copies, a Service de Presse (advance) copy.
A small dampstain on the back cover marginally affecting the last two leaves.
Autograph inscription signed by Jean Paulhan to Paulette and René Wolfromm.

First edition on chestnut.
A small marginal tear without gravity on the second board, nice complete copy of his trailer.

First edition, one of 35 numbered copies on Ingres, the only large paper copies.
Illustrations by the author.
A good and rare copy with good margins.

(COLLECTIVE)
Théâtre de la pantomime futuriste [Futurist Pantomime Theater]
M. & J. de Brunoff, Paris n. d.
[c. 1930], 22 x 27,5 cm, stapled
First edition.
Biographies of the most celebrated futurists, richly illustrated.
A very good copy despite a light foxing to upper cover.
$ 2 500

First edition published in a small number of copies on Dutch laid paper.
Work illustrated, as frontispiece, with a sketch by A. Rodin.
The work and its adventures, Rodin as draftsman, characters and projects and commentary by Léon Riotor.
Rare and handsome copy.

First edition.
Contributions by Meyer Schapiro "On a painting of Van Gogh", Sidney Janis "Morris Hirshfield dies", Kurt Seligmann "Magic and the arts, Charles Henri Ford "Chanson pour Billie", Paul Bowles "By the water"...
Cover illustrated by Isamu Noguchi, illustrations by Yves Tanguy, Vincent Van Gogh, Esteban Frances...

Signed autograph letter from a page by Louis Pons, to his friend the art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, about a work on Monticelli that he recently received from a their mutual friend and for whom Georges Raillard wrote the text.
On the attached envelope which he recomposed in his fanciful and ornithological manner, Louis Pons drew, in black ink, on the front and on the back, two curious beasts: a magpie in a tail coat and a rat of which just the head and the tail emerge from the envelope, the place of its body being crossed by a nail.
Finally, on the sidelines of the handwritten letter, Louis Pons drew a character of human appearance with simian features.

New edition.
Bradel binding in full blue cloth, smooth spine, old rose shagreen title-label, spotted covers preserved.
Some minor foxing.
Provenance: from the library of painter and engraver Jean Frélaut with his pencil signature at the head of the half-title page.

First edition, one of 60 numbered copies on alfa paper, the only deluxe copies.
Very slight dampstains to spine, otherwise a handsome copy complete with the color reproduction of an autograph letter with drawings by André Derain.