One of 100 copies of the magazine printed on China paper for issues 1 to 11. The specimen issue and no. 12 are on laid paper. Our copy is complete with the spine and covers of the general binding, and the twelve illustrated covers.
First edition of the complete collection of L'image, published between 1896 and 1897.
All issues of the magazine are bound together under a half sheep binding with corners, spine with five raised bands titled in gilt, marbled paper boards. Some rubbing.
Scattered foxing and marginal tears.
Complete copy of this magazine founded by the young French corporation of wood engravers, and published by the publisher of Toulouse-Lautrec's lithographs (Au pied du Sinaï, Histoires naturelles, Café-Concert).
Photographic portrait of Eugène Delacroix
Original photograph on albumen paper, in carte de visite format, mounted on a board. Some small foxing.
Rare copy of this photograph, only found at Carnavalet, Louvre and Orsay museums.
First edition, one of 50 numbered copies on japon paper, the only deluxe issue.
Tawny half sheep binding with corners, spine in three compartments with gilt fillets, typographical motif stamped in blind at the centre of the spine (faded), author’s label and title label in red Russian morocco, minor repair at head of spine along one joint, marble-covered paper boards, combed-paper endpapers, original wrappers and spine preserved, one upper corner slightly rubbed, contemporary binding.
Illustrated with 18 plates, here in double state as in the other japon paper copies; text illustrations also present.
New edition after the first published in 1768. Printed on strong laid paper. One frontispiece, one engraved title and 76 head-piece vignettes engraved by Corbould and Dent.
Contemporary English full dark green morocco binding with straight grain. Spine with false flat bands very richly decorated with 3 complex decorative compositions and various fillets, roulette at tail and head. Gilt titles. Red morocco onlay at tail bearing a library number. Wide blind and gilt border frame on covers, series of blind and gilt fillets. All edges gilt. Traces of rubbing. A slight tear at headcap. Several scratches on covers. Pale foxing on frontispiece and title otherwise the rest perfectly fresh and free from foxing.
Very handsome copy.
Commentary on Hogarth's works. The subtitle of the edition published in 1768 read: With an explanation, pointing out the many beauties that may have hitherto escaped notice; and a comment on their moral tendency. Calculated to improve the minds of youth, and, convey instruction, under the mask of entertainment. Now first published, with the approbation of Jane Hogarth, widow of the late Mr. Hogarth.
First edition of this exhibition catalogue held at 32, place Saint Georges in November–December 1903.
Bound in contemporary chocolate brown morocco-backed marbled boards, spine plain, corners in matching morocco, marbled endpapers, gilt top edge, original wrappers and spine preserved; signed binding by Lortic.
Pasted on the rear pastedown is the invitation card to the exhibition, illustrated by Théophile-Alexandre Steinlen.
Preface by Anatole France.
A handsome copy finely bound by Lortic, son of Charles Baudelaire’s bookbinder.
Henri Floury, Paris 1904, 20x26cm, bound.
First edition, one of 50 numbered copies on Japon, the only deluxe issue, complete with the double set of full-page engravings.
Illustrated with 19 full-page engravings after Whistler par H. de J. W., Prunaire, Henry Wolf, H. Guérard, T. Beltrand, Thomas R. Way, Clot and numerous drawings within the text.
Half red morocco with binding, smooth spine, gilt date at foot, red marbled paper boards, endpapers and pastedowns, very discreet scratch to the second board, original soft covers preserved, gilt top edge, contemporary binding signed Pouillet.
A fine, perfectly bound copy.
Copy signed and inscribed by Théodore Duret to Monsieur A. Jung.
Original drawing dated and signed by Louis Pons, to his friend art critic Georges Raillard, specialist in the works of Joan Miro and Antoni Tapies, which he dedicated to him on the invitation card for the opening of the exhibition of his works at the Château de Vascoeuil on Saturday, March 29, 2008.
Louis Pons drew, in black ink, on the recto and verso, a curious bird: a magpie huddled in on itself and apparently convalescent surmounted by this manuscript dedication: "Paris ? ? Mars 2008, j'espère que ta santé est meilleure. Amitiés de Nelly et Louis Pons." ["Paris ? ? March 2008, I hope your health is better. Friendship from Nelly and Louis Pons."]
Autograph letter signed by Antoni Tàpies addressed to Georges Raillard, his close friend and greatest French specialist of his work. Sheet written in blue ballpoint pen on letterhead paper bearing the author's name with his Barcelona address at the bottom "C. Zaragoza, 57 - Tel. 217 33 98 - Barcelona-6". Traces of folds inherent to the letter's envelope insertion.
The Catalan artist writes to his friend about newspaper articles, including one published in the Catalan daily l'Avui: "Voici l'article que tu m'as demandé. J'ajoute un de l'AVUI où j'amplifie quelques détails. Merci encore pour ta présence à Sénanque. Nous pensons beaucoup à vous et envoyons nos félicitations pour le petit-fils..." ["Here is the article you asked me for. I'm adding one from l'AVUI where I expand on some details. Thank you again for your presence at Sénanque. We think of you often and send our congratulations for the grandson..."]
An exhibition by Antoni Tàpies had been organized at Sénanque Abbey from July 9 to August 29, 1983.
Recto verso fragments of a manuscript Book of Hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production of Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: the border is divided into bands decorated with floral motifs and leafy designs, gilt initials painted in alternating red and blue and rubriques.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of Hours were at the time jewels of piety, both an instrument of religious practice and a social claim affirmed by the richness of the artists' work. A veritable small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
Here we find a fragment of the Hours of the Virgin between the end of the office of none and the beginning of vespers. Despite the antiphon "Missus est", different from the classical usage of the Roman ritual, we find following it the usual psalm eight: "Dixit dominus...". This antiphon is found rather in the liturgy of the diocese of Die, but with the announcement of the rubric preceding vespers, we can suppose a minor Roman usage.
Writing called cursiva libraria on long lines. Witness to the formalization of cursive writing at the dawn of the French Renaissance, this writing is emblematic of the production of French copyists for laypeople during the period.
Recto verso fragments of a manuscript book of hours on parchment with sumptuously illuminated full-page borders. This compartmentalized division of ornaments is representative of the production from Rouen and Parisian workshops at the turn of the 16th century.
Two illuminated pages on a recto verso leaf: border divided into bands and lozenges decorated with floral motifs, fruits and leafy designs, gilt initials painted in alternating red and blue, line fillers and rubrics.
The richness of the illumination characterizes these liturgical books intended for laypeople. Books of hours were at the time jewels of piety, both an instrument of religious practice and a social statement affirmed by the richness of the artists' work. A true small painting, this leaf is probably extracted from a luxurious volume where each page was carefully painted.
We find here a fragment of the suffrages which contains four prayers to the Saints: to St. John the Baptist, St. John the Evangelist and two others "Pulchre salutationes ad xpm. videlicet in elevatione corporis ipsius" followed by "Alia salutatio. Salue sancta caro dei..."
Script called cursiva libraria on long lines. Witness to the formalization of cursive script at the dawn of the French Renaissance, this script is emblematic of the production of French scribes for laypeople during the period.
First edition.
Handsome copy.
Illustrated with 34 plates and 14 figures in the text.
