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Edité par Paris, 1896
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Etat : Fine. Mucha (illustrateur). This first edition, folio lithograph after a poster is from "Les Maitres de l'Affiche". The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph features the blind embossed stamp of Maitres de l'Affiche designed by Cheret. Celebrated artists of the time contributed to the work including Steinlen, Mucha, Toulouse-Lautrec, Bonnard, Forain, Grasset, Meunier, Louis Rhead, Dudley Hardy, Beggarstaff, Edward Penfield et al. --- Jules Cheret was considered the father of poster art. "He dominated the series, with one in every four Maitres by him, the first in each monthly instalment, and 7 of the Special plates, a total of 67. With over 1000 poster designs to his credit, his large representation in the series is justified, although some critics have pointed out that, as the artistic director, he may have been biased towards selecting his own work." (Appelbaum p.iii) Cheret demonstrated a unique combination of artistic, technical, and entrepreneurial talent that spearheaded the poster industry. He opened his own print shop in 1866 in Paris and from 1881 on his shop operated as part of the Chaix firm which gave us "Les Maitres de l'Affiche". --- Among the most sought after plates in the work are the "Job" and "Moulin Rouge" by Toulouse Lautrec. Rennert noted of the "Job" by Mucha that "more than any other work of Mucha's, this beauty established him as the master of convoluted hair and the creator of unforgettable popular images; the poster was used for years in many variants all over the world, sometimes with marginal text in various languages. A classic by any standard." (Rennert, PAI-XLIX 389) "Jane Abdy called it "a secular icon," and indeed it is a magnificent production, considering that it advertises cigarette paper. "The background, in a dull imperial purple is a perfect foil for the golden curls of the smoking girl, whose locks are spread over the poster like the delicate filigree work of an Indian bracelet"(Abdy, p.136) --- This art subscription was created during the Belle Epoque period in France. "There was nothing exclusive about the 'joie de vivre' that swept Paris, at a delirious pace, out of the 19th century into the 20th. As Victor Hugo had observed, the city lived by, and for, the whole human race. Haussman's great boulevards had opened up a spacious stage where Paris made a spectacle of herself by day and night. Outdoors and indoors the walls of buildings flowered with posters that took their themes from the passing show of 'La Vie Parisenne.' Advertising never knew happier days. The most ephemeral of the arts has left us with a vision of the 'good old days' that vanished forever in the gunsmoke of 1914. Those gay nineties and naughty noughts that will always be remembered as 'La Belle Epoque.'(The beautiful era)" (Horizon p. 97) --- "By the 1890s the streets of every great metropolis were enlivened by large colourful posters (see The Great Poster Movement). The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published "Les Maitres de l'Affiche" (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life." (Appelbaum p.iii) --- The work is in very good to excellent condition. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 11 1/4" by 15 1/2".
Edité par De Bray, Paris, 1788
Vendeur : Libreria BACBUC - Studio bibliografico, Roma, RM, Italie
Titolo completo: Traité / d Agriculture. Considerée tant en elle meme que dans / ses rapports d économie politique. Avec les preuves, tirées de la comparaison de / l Agriculture, du Commerce et de la Navi/gation de la France et de l Angleterre. Par M. de Fresne. Principes sur lesquels on doit établir la / répartition des impots et des dépenses pu/bliques, pour encourager la Culture et le / Commerce, dans la situation où la France / se trouve. -Tome premier, première partie. Impositions, Dépenses et Economies des / Campagnes. Agriculture, Commerce d Economie, pre/miere source de notre richesse. Tome premier, seconde partie. Impositions, Dépenses et Economies des / Villes. Arts, Spectacles, Commerce de luxe et d hos/pitalité, seconde source de notre richesse. -Tome second. Plan général. Principes d économie, fondés sur le succés / des Peuples qui se sont les plus enrichis. Application de ces principes à la situation / actuelle de la France. (A Paris. Chez De Bray, Libraire, au Palais Royal, Galeries de bois, N°235. Les Libraires qui tiennent des Nouveautés. Il se trouvera incessement dans les Capitales. 1788. Avec Approbation et Privilege du Roi). - Tre parti in due volumi in 8° (133x217). Primo volume: (12, con una pag. di Avis, sigillo e firma autografa dell Autore)-XCVI-143pp.(1)-(4 per Table)-una tavola ripiegata fuori testo; (4)-XXXI-(1)-riprende alla numerazione 133 fino a 492pp.-X- 2ff per Planches I e II- «Errata» con numerazione 399-400. Secondo volume: (6)-350pp, con 337-38 in doppia numerazione. Due Planches III e IV, (2)-VIII per «Extrait»-(2). Una grande tavola ripiegata fuori testo. Brossura verde del tempo. Mancanza di carta al dorso del 1° volume. In barbe. Firma di appartenenza all occhiello "Desfroments». (///Un altro esemplare Tre parti in due volumi (120x200). Mezza pelle del tempo, dorso liscio dorato con titolo iscritto per orizzontale. Qui mancano le tavole fuori testo ripiegate al termine del primo e del terzo volume e manca la planche III. Qualche altra differenza rispetto all esemplare precedente (manca per esempio l Avis con il sigillo e la firma del De Fresne al primo volume) lascia credere che questo sia un esemplare di contraffazione. La presenza di simili esemplari viene indicata dallo stesso autore: «.j ai appris qu on en avoit fait à la hate une contrefaçon»). //// Edizione originale di uno dei più straordinari trattati di economia del XVIII secolo, che è nello stesso tempo anche un saggio di futurologia, di urbanistica e perfino di ecologia. «Je vais essayer de jeter les premières bases d un nouveau plan de culture et d économie». E in effetti de Fresne descrive una vera e propria «economia di piano», che ha alla sua base un riequilibrio dei rapporti tra città e campagna. Primo elemento, una drastica riduzione dei cavalli (delle automobili, si direbbe oggi) nella città di Parigi. «On peut diminuer le nombre des chevaux des villes de plus de moitié.». I cavalli vanno rispediti in campagna per fare i lavori agricoli, destinando così i buoi ad altro uso: si possono cioè macellare a tre anni, procurando sei o sette volte più produzione di carni e di materie prime (pelli). Risultato: un popolo meglio nutrito, un terreno più coltivato, più grano, ecc. Un circolo economico virtuoso che non serve solo alle campagne ma anche alle città. La ristrutturazione delle grandi città, in pratica di Parigi, è l aspetto più sorprendente delle tesi di de Fresne. Il suo piano urbanistico prevede la concentrazione degli «spettacoli» nel centro della città, vicino alla reggia (il re dovrebbe lasciare Versailles); particolare attenzione viene riservata alla viabilità, con lo sviluppo dei trasporti sull acqua, con delle gondole, e la costruzione di canali; nuove strade più larghe e soprattutto dotate di marciapiede e di fogne laterali, che permettono un migliore transito e di tenere la città più pulita. Propone la costruzione di case alte, a più piani, per contenere l espansione delle città; tetti piatti per risparm.
Edité par Paris, 1896
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Etat : Fine. T.A. Steinlen (illustrateur). This first edition, folio lithograph after a poster is from "Les Maitres de l'Affiche". The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph features the blind embossed stamp of Maitres de l'Affiche designed by Cheret. Celebrated artists of the time contributed to the work including Steinlen, Mucha, Toulouse-Lautrec, Bonnard, Forain, Grasset, Meunier, Louis Rhead, Dudley Hardy, Beggarstaff, Edward Penfield et al. --- Jules Cheret was considered the father of poster art. "He dominated the series, with one in every four Maitres by him, the first in each monthly instalment, and 7 of the Special plates, a total of 67. With over 1000 poster designs to his credit, his large representation in the series is justified, although some critics have pointed out that, as the artistic director, he may have been biased towards selecting his own work." (Appelbaum p.iii) Cheret demonstrated a unique combination of artistic, technical, and entrepreneurial talent that spearheaded the poster industry. He opened his own print shop in 1866 in Paris and from 1881 on his shop operated as part of the Chaix firm which gave us "Les Maitres de l'Affiche". --- Among the most sought after plates in the work are the "Job" and "Moulin Rouge" by Toulouse Lautrec. Rennert noted of the "Job" by Mucha that "more than any other work of Mucha's, this beauty established him as the master of convoluted hair and the creator of unforgettable popular images; the poster was used for years in many variants all over the world, sometimes with marginal text in various languages. A classic by any standard." (Rennert, PAI-XLIX 389) "Jane Abdy called it "a secular icon," and indeed it is a magnificent production, considering that it advertises cigarette paper. "The background, in a dull imperial purple is a perfect foil for the golden curls of the smoking girl, whose locks are spread over the poster like the delicate filigree work of an Indian bracelet"(Abdy, p.136) --- This art subscription was created during the Belle Epoque period in France. "There was nothing exclusive about the 'joie de vivre' that swept Paris, at a delirious pace, out of the 19th century into the 20th. As Victor Hugo had observed, the city lived by, and for, the whole human race. Haussman's great boulevards had opened up a spacious stage where Paris made a spectacle of herself by day and night. Outdoors and indoors the walls of buildings flowered with posters that took their themes from the passing show of 'La Vie Parisenne.' Advertising never knew happier days. The most ephemeral of the arts has left us with a vision of the 'good old days' that vanished forever in the gunsmoke of 1914. Those gay nineties and naughty noughts that will always be remembered as 'La Belle Epoque.'(The beautiful era)" (Horizon p. 97) --- "By the 1890s the streets of every great metropolis were enlivened by large colourful posters (see The Great Poster Movement). The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published "Les Maitres de l'Affiche" (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life." (Appelbaum p.iii) --- The work is in very good to excellent condition. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 11 1/4" by 15 1/2".
Edité par Paris, 1896
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Etat : Fine. Alphonse Mucha (illustrateur). This first edition, folio lithograph after a poster is from "Les Maitres de l'Affiche". The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph features the blind embossed stamp of Maitres de l'Affiche designed by Cheret. Celebrated artists of the time contributed to the work including Steinlen, Mucha, Toulouse-Lautrec, Bonnard, Forain, Grasset, Meunier, Louis Rhead, Dudley Hardy, Beggarstaff, Edward Penfield et al. --- Jules Cheret was considered the father of poster art. "He dominated the series, with one in every four Maitres by him, the first in each monthly instalment, and 7 of the Special plates, a total of 67. With over 1000 poster designs to his credit, his large representation in the series is justified, although some critics have pointed out that, as the artistic director, he may have been biased towards selecting his own work." (Appelbaum p.iii) Cheret demonstrated a unique combination of artistic, technical, and entrepreneurial talent that spearheaded the poster industry. He opened his own print shop in 1866 in Paris and from 1881 on his shop operated as part of the Chaix firm which gave us "Les Maitres de l'Affiche". --- Among the most sought after plates in the work are the "Job" and "Moulin Rouge" by Toulouse Lautrec. Rennert noted of the "Job" by Mucha that "more than any other work of Mucha's, this beauty established him as the master of convoluted hair and the creator of unforgettable popular images; the poster was used for years in many variants all over the world, sometimes with marginal text in various languages. A classic by any standard." (Rennert, PAI-XLIX 389) "Jane Abdy called it "a secular icon," and indeed it is a magnificent production, considering that it advertises cigarette paper. "The background, in a dull imperial purple is a perfect foil for the golden curls of the smoking girl, whose locks are spread over the poster like the delicate filigree work of an Indian bracelet"(Abdy, p.136) --- This art subscription was created during the Belle Epoque period in France. "There was nothing exclusive about the 'joie de vivre' that swept Paris, at a delirious pace, out of the 19th century into the 20th. As Victor Hugo had observed, the city lived by, and for, the whole human race. Haussman's great boulevards had opened up a spacious stage where Paris made a spectacle of herself by day and night. Outdoors and indoors the walls of buildings flowered with posters that took their themes from the passing show of 'La Vie Parisenne.' Advertising never knew happier days. The most ephemeral of the arts has left us with a vision of the 'good old days' that vanished forever in the gunsmoke of 1914. Those gay nineties and naughty noughts that will always be remembered as 'La Belle Epoque.'(The beautiful era)" (Horizon p. 97) --- "By the 1890s the streets of every great metropolis were enlivened by large colourful posters (see The Great Poster Movement). The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published "Les Maitres de l'Affiche" (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life." (Appelbaum p.iii) --- The work is in very good to excellent condition. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 11 1/4" by 15 1/2".
Edité par Paris, A. Morel, 1870., 1870
Vendeur : Bernard Quaritch Ltd ABA ILAB, London, Royaume-Uni
Edition originale Signé
First Edition. Folio, pp. [iv], 27, [3], with 56 plates (numbered to 73), of which eleven are chromolithographed and four are double-page; some light spotting and dust-soiling (generally restricted to plate margins), but a very good copy in recent red morocco-backed marbled boards, spine richly gilt. `First edition. This is a presentation copy, inscribed on the half-title to the author's friend Charles Garnier, architect of the Paris opera house that bears his name: 'A son ami Ch. Garnier. Souvenir affectueux A. Normand'. The two men had known each other since they were both 'pensionnaires' at the Academy of France in Rome in the late 1840s and early 1850s.Normand's work is a detailed record of the principal edifices of the vast architectural theme park constructed for the Exposition Universelle of 1867, 'a spectacle without equal which, in all probability, future generations will never have the opportunity to witness' (translated from Normand's preface). The 1867 exhibition was the first such event to feature actual buildings (temples, palaces, houses, schools) rather than mere models or architectural drawings. Normand devotes most attention to the Egyptian section (designed by Jacques Drevet) and to those of Tunisia and Morocco (both designed by Alfred Chapon).'In 1867 Tunisia's and Morocco's displays in Paris seemed to some observers a deliberate escape from the economic and political upheavals the two countries were experiencing. Agricultural, industrial, and commercial spheres were omitted: instead, there were palaces with exuberant interiors and furniture, royal costumes, and armour simply "everything that glitters, shines, and adorns". Others noted the artistic value of the Tunisian and Moroccan pavilions. Alfred Normand claimed that they "were important not only for their size, but also for their tastefulness, their picturesque effect, and especially the brand new and charming sensation that they arouse in us . . . . [Here was] a particular type of dwelling, where art was not excluded . . . from everyday activities" ' (Zeynep Çelik, Displaying the Orient: architecture of Islam at nineteenth-century World's Fairs, pp. 122 3).Alfred Normand (1822 1909) was an architect and a photographer. His most notable commission was the celebrated Pompeian-style villa (now demolished) built for the prince Jérôme Bonaparte on the Avenue Montaigne in Paris. Language: French.
Edité par The Situationist Times, Hengelo (Netherlands() Copenhagen, Paris, 1964
Vendeur : ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, Etats-Unis
Edition originale
Softcover. Etat : Near fine condition. First edition. Quartos. Original illustrated stiff wraps with lettering in variant colors on covers, protected by modern mylar. The Situationist International (SI) was formed by a group of international social revolutionaries from a variety of fields, including avant-garde artists, intellectuals, and political theorists in 1957. The theoretical foundation was derived from so-called libertarian Marxism and avant-garde art movements like Dada and Surrealism. Its theoretical underpinnings relate to the concept of the spectacle as it was developed by Guy Debord in his book "The Society of the Spectacle." Jacqueline de Jong, a Dutch artist and graphic designer, had joined the movement in 1960 and advanced quickly into its Central Committee. She decided to start "a completely free magazine, based on the most creative of the Situationist ideas," and published the first issue in 1962, a broad representation of the movement and its efforts to synthesize the diverse fields and theoretical disciplines into a comprehensive critique of advanced capitalism. Six issues of the magazine were published until 1967 before the student uprising of May 1968, leaving the seventh issue compiled but unpublished. The first two issues were co-edited by the French pataphysician Noël Arnaud. The magazines contained literary contributions, artwork, found objects and used quotations relating to such issues as topology, politics and "spectacle culture." It was originally released in offset print and starting with issue # 4 switching to full color lithography, printed to different quality paper of variant color and weight with text in English, French and German. Issue one: 30 leaves. Includes an essay by Noel Arnaud, an extensive certified transcript of the Criminal Court in Munich relating to accusations of production and distribution of lewd writings in the magazine "Spur" and public slander against Dieter Kunzelmann, Helmut Sturm, Heimrad Prem and Hans-Peter Zimmer, including facts of the case and an answer of the court, comics by R. Gasché and others, a Proclamation for L'Internationale Situationiste! and other contributions. Small strip of sunning along top and foredge. Issue two: 32 leaves, two folding. Includes a declaration concerning the conviction and imprisonment of the Situationist Uwe Lausen, various contributions relating to the trial mentioned in issue one, including the verdict and a reaction to the trial by Rodolphe Gasché, artwork by Gail Singer and others, a musical concept on two folding pages, poetry by Marcel and Gabriel Piqueray, among other contributions. Issue three (International British Edition): 48 leaves. Includes an essay by Anton Ehrenzweig "Meditations on the Future of Art," artwork by Ann Hagen, an extensive contribution on the patterns of Situological Aspects found in a) the "Early Christian monuments in Scotland and b) the "Principles of topological psychology" by Kurt Lewin, with a mathematical (analysis situs) introduction by Max Brucaille, and other contributions. Some light staining on front cover. Issue four: 184pp. Focusing on labyrinths this issue includes contributions Lech Tomaszewski, by Italian artist Piero Simondo, the Max Bucaille, W. Lietzmann, H. L. C. Jaffé, the Dutch architect Aldo van Eyck, Lars-Ivar Ringbom, Julius Schwabe, Gaston Bachelard, Kalevalla (A Finnish Myth), and Franz Kafka (An Imperial Message) and James Joyce, among other contributions. Profusely illustrated with drawings and photographs throughout. Issue five: 110 leaves. Articles by Asger Jorn "Mind and sense" and "Art and Orders," various contributions by Max Bucaille, excerpts from the opera "The Labyrinth" by Jim Ryan, "Kreisen, Kreissegmenten und Wellenlinien etc." by F. van der Waals, "Some mathematical aspects" by H. C. Doets, drawings and poems by Karl Pelgrom and Jim Ryan, and many other contributions. Editor's note at rear: "In this No. of the Situationist Times (5) do we try to open up the problem of the ring, interlaced rings and consequently, chains. Half an inch chip on edge of back cover. Issue six: 32 card stock leaves: Contains thirty-three full page original lithographs, including cover, in color and b/w by Pierre Alechinsky, René Bertholo, Martin Engelmann, Maurice Henry, Jacqueline de Jong, Asger Jorn, Peter Klasen, Wilfredo Lam, Lea Lublin, Milvia Maglione, Roberto Matta, Lucio del Pezzo, Antonio Saura, Yasse Tabuchi, and others. Cover by Ulf Trotzig.
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Unbound. Etat : Very Good. 21 original pen and ink drawings on 12 bi-foliums of artist's paper stock. Nine of the bi-foliums consist of one larger drawing and one vignette; three of the bi-foliums contain a single drawing. Some modest soiling, dampstaining mostly in the margins of a couple drawings, encroaching on only one vignette, very good. Each large drawing is signed "C.R. Macauley"; each vignette is initialed "C.R.M." The Canton, Ohio-born artist won the Pulitzer Prize in 1930 for editorial cartooning in the Brooklyn *Daily Eagle*, and is perhaps best known for popularizing the caricatured image of Teddy Roosevelt brandishing his "big stick." He concentrated on book illustration between 1901-1905. Titles he wrote and illustrated include *Fantasma Land*, *The Red Tavern*, *Whom the Gods Would Destroy*, *Keeping the Faith*, *The Man Across the Street*, and *The Optimistic Spectacles*. Among the many books he illustrated were editions of *Dr. Jekyll and Mr. Hyde* by Robert Louis Stevenson, *Romance: A Novel* by Joseph Conrad and Ford M. Hueffer, *Emblemland* by John Kendrick Bangs, and *The Return of Sherlock Holmes* by Arthur Conan Doyle. A group of nonsense drawings, some of fantastic subjects. It is unclear from which book these illustrations came from, although they are almost certainly from the period when he was concentrating on book illustration (1901-1905), purchased by us with other book art from the estate of a publisher. A few of the drawings are similar, and may be studies for *Emblemland* (images of John Bull and another of a talking oyster), but we have been unable at this date to locate some of his other works that might contain the drawings. Provenance on request.
Vendeur : White Fox Rare Books, ABAA/ILAB, New York, NY, Etats-Unis
Full Decorated Morocco. Etat : Very Good. A wonderful monogram album in which crest and monograms are incorporated into idiosyncratic and whimsical artwork done in watercolors and/or pen-and-ink. 4to. 28.5 by 25.5 cm. 33 pages of such artwork. Among the more spectacular and/or imaginative illustrations are of two Scotsman dancing a jig (the Scotsman, both in kilts, are painted, cut out and mounted, as opposed to done directly onto the album paper); a pen-and-ink cat wearing spectacles, sitting at a spinning wheel, surrounded by a monogram-composed tea kettle; a page of butterfles, watercolored, but decorated also with cut-out monograms; a queen of hearts card whose attire is bedecked with monograms; a beehive, with bees flying outside; the tomb of a knight; an ark, presumably Noah's; an art gallery with a Victorian couple oblivious to the art and an earnest man scrutinizing a painting closely. Some of the imagery is more pedestrian for such augmented monogram albums -- a chair, an anchor, a pile of letters, a flag, various geometric patterns, etc. Facing a few illustrated pages are keys indicating whose monograms or crests are exhibited. Condition: 1 to 2 cm loss of leather, upper spine tip, and a few cm's of loss of leather along upper joint. Fading of gilt on spine.
Edité par Yves Klein Paris, France, 1960
Vendeur : Specific Object / David Platzker, New York, NY, Etats-Unis
[4] pp.; 55.5 x 38 cm; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed As part of the theatrical presentations of the Festival of Avant-garde Art in November-December 1960, I have decided to present the ultimate form of collective theater: a dimanche for everybody. I did not wish to limit myself to an afternoon or evening performance. On dimanche, 27 November 1960, from midnight to midnight, I thus present a full day of festival, a true spectacle of the Void, as a culminating point of my theories. However, any other day of the week could have been used. I wish that on this day joy and wonder will reign., that no one will get stage fright, and that everyone, conscious as well as unconscious actors-spectators of this gigantesque presentation, should have a good day. That everyone will come and go, move about, or remain still. Everything I write in this diary today precedes the presentation of this historic day for the theater. The theater should be or at least rapidly attempt to become the pleasure of being, of living, of spending wondrous moments, and with each passing day of better understanding the beauty of each moment. Everything I write in this dairy represents my own steps towards this glorious day of realism and truth: the field of operations of my proposed conception of theater is not only the city, Paris, but also the countryside, the desert, the mountains, even the sky, and even the entire universe. Why not? I know that everything inevitably is going to work out very well for everyone, spectators, actors, stagehands, directors, et. al. I would like to thank Mr. Jacques Polieri, the director of the Avant-garde Festival, for his enthusiasm and for proposing to me that I present this ?dimanche, November 27.? Yves Klein References : "The Myth of Nouveau Réalisme : Art and the Performative in Postwar France" by Kaira M. Cabañas. New Haven, CT : Yale University Press, 2013, pp. 158 - 159. No. 253 in "Extra Art : A Survey of Artists' Ephemera 1960 - 1999" by Steven Leiber, Ralph Rugoff, Anne Moeglin-Delcroix, Todd Alden, Ted Purves. San Francisco / Santa Monica, CA : California College of Arts and Crafts [CCAC] / Smart Art Press, 2001, pp. 2, 93. "Artists' Magazines : An Alternative Space for Art" by Gwen Allen. Cambridge / London, MA / United Kingdom : The MIT Press, 2011, pp. 254. Very Good. Light yellowing to newsprint. Flattened sheet, folded in eight with small holes at the three fold points in vertical center.
Edité par Barraud,, Paris,, 1873
Vendeur : Librairie l'Art et la Manière, BOYNES, France
Livre Signé
Ouvrage bien complet de ses 144 planches hors-texte, aquarellées, de Favart, Dutertre, Coeuré, etc. Chaque portrait est accompagné d?une notice biographique de 2 à 3 feuillets. L?illustration se compose également de 84 gravures dans le texte, dont 18 dessinées et gravées exprès pour l?ouvrage ; les 66 autres sont de ravissantes vignettes d?Eisen, Boucher, Halle, Baron, Français, Janet-Lange, etc. Colas, 1165. Ex-libris de Dranem signé Cami. Armand Ménard dit Dranem (1869-1935) est un chanteur et fantaisiste français. Son répertoire de chansons à l'humour incongru et souvent scabreux a fait de lui une des vedettes les plus populaires du café-concert, où il lance le genre du comique niais et malicieux. Il crée au music-hall de nombreuses revues et opérettes, et interprète plusieurs rôles au cinéma. Il est le fondateur de la maison de retraite des artistes du spectacle de Ris-Orangis. Humoriste français, doué pour la caricature, mais plus particulièrement encore pour le théâtre loufoque, Pierre Henri Cami (1884-1958) jouit d'un immense succès populaire dès 1914. Il crée des personnages burlesques fort appréciés jusqu'à la Seconde Guerre mondiale. Il est l'auteur de « la semaine Camique » dans L'Illustration et le fondateur de l'Académie de l'Humour. En 1953, il est le lauréat du Grand Prix d'Humour International. Charlie Chaplin le qualifie de « plus grand humoriste in the world » et Jacques Prévert propose le terme de « camisard » pour désigner ses admirateurs. Ce portrait de Dranem, caricaturé par Cami, a été utilisé en couverture de plusieurs titres composés par Gabaroche dans les années 1915-1920 (édités par Gaston Gabaroche ou par Roger Myra). Chers clients Abebooks, le poids et le volume important de cet ouvrage entraîneront des frais postaux additionnels, merci de le prendre en considération avant votre achat. Dear Abebooks customers, the weight and volume of this book will entail additionnal shipping fees, thank you for taking it into consideration before ordering. Clients Livre Rare Book : Les frais postaux indiqués sont ceux pour la France métropolitaine et la Corse, pour les autres destinations, merci de contacter la librairie pour connaître le montant des frais d'expédition, merci de votre compréhension. Livre Rare Book Customers : The shipping fees indicated are only for France, if you want international shipping please contact us before placing your order, thank you for your understanding. Reliures signées Pouillet, en demi-maroquin rouge à coins, dos à 5 nerfs ornés de riches caissons dorés, doubles filets dorés sur les plats, têtes dorées. 2 ff., frontispice, VII, III, 141 ff. non chiffrés, 73 pl. h.-t.; 2 ff., III, 136 ff. non chiffrés, 71 pl. h.-t. Rares rousseurs sur certaines notices, sans conséquence, quelques petites traces de frottements, notamment sur les mors, coins très légèrement émoussés, une pâle petite mouillure marginale sur les 4 derniers feuillets et les pages de garde in fine du second volume, sinon très bel exemplaire à l?intéressante provenance.
Edité par Paris, 1896
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Etat : Fine. Toulouse-Lautrec (illustrateur). This first edition, folio lithograph after a poster is from "Les Maitres de l'Affiche". The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph features the blind embossed stamp of Maitres de l'Affiche designed by Cheret. Celebrated artists of the time contributed to the work including Steinlen, Mucha, Toulouse-Lautrec, Bonnard, Forain, Grasset, Meunier, Louis Rhead, Dudley Hardy, Beggarstaff, Edward Penfield et al. --- Jules Cheret was considered the father of poster art. "He dominated the series, with one in every four Maitres by him, the first in each monthly instalment, and 7 of the Special plates, a total of 67. With over 1000 poster designs to his credit, his large representation in the series is justified, although some critics have pointed out that, as the artistic director, he may have been biased towards selecting his own work." (Appelbaum p.iii) Cheret demonstrated a unique combination of artistic, technical, and entrepreneurial talent that spearheaded the poster industry. He opened his own print shop in 1866 in Paris and from 1881 on his shop operated as part of the Chaix firm which gave us "Les Maitres de l'Affiche". --- Among the most sought after plates in the work are the "Job" and "Moulin Rouge" by Toulouse Lautrec. Rennert noted of the "Job" by Mucha that "more than any other work of Mucha's, this beauty established him as the master of convoluted hair and the creator of unforgettable popular images; the poster was used for years in many variants all over the world, sometimes with marginal text in various languages. A classic by any standard." (Rennert, PAI-XLIX 389) "Jane Abdy called it "a secular icon," and indeed it is a magnificent production, considering that it advertises cigarette paper. "The background, in a dull imperial purple is a perfect foil for the golden curls of the smoking girl, whose locks are spread over the poster like the delicate filigree work of an Indian bracelet"(Abdy, p.136) --- This art subscription was created during the Belle Epoque period in France. "There was nothing exclusive about the 'joie de vivre' that swept Paris, at a delirious pace, out of the 19th century into the 20th. As Victor Hugo had observed, the city lived by, and for, the whole human race. Haussman's great boulevards had opened up a spacious stage where Paris made a spectacle of herself by day and night. Outdoors and indoors the walls of buildings flowered with posters that took their themes from the passing show of 'La Vie Parisenne.' Advertising never knew happier days. The most ephemeral of the arts has left us with a vision of the 'good old days' that vanished forever in the gunsmoke of 1914. Those gay nineties and naughty noughts that will always be remembered as 'La Belle Epoque.'(The beautiful era)" (Horizon p. 97) --- "By the 1890s the streets of every great metropolis were enlivened by large colourful posters (see The Great Poster Movement). The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published "Les Maitres de l'Affiche" (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life." (Appelbaum p.iii) --- The work is in very good to excellent condition. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 11 1/4" by 15 1/2".
Edité par Paris, 1896
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Etat : Fine. Toulouse-Lautrec (illustrateur). This first edition, folio lithograph after a poster is from "Les Maitres de l'Affiche". The work was published by Imprimerie Chaix under the direction of Jules Cheret in Paris between 1896 and 1900. The prints were published as a monthly subscription, with 4 sent each month to subscribers. On 16 occasions "bonus" plates of original designs by noted artists were also included. Each lithograph features the blind embossed stamp of Maitres de l'Affiche designed by Cheret. Celebrated artists of the time contributed to the work including Steinlen, Mucha, Toulouse-Lautrec, Bonnard, Forain, Grasset, Meunier, Louis Rhead, Dudley Hardy, Beggarstaff, Edward Penfield et al. --- Jules Cheret was considered the father of poster art. "He dominated the series, with one in every four Maitres by him, the first in each monthly instalment, and 7 of the Special plates, a total of 67. With over 1000 poster designs to his credit, his large representation in the series is justified, although some critics have pointed out that, as the artistic director, he may have been biased towards selecting his own work." (Appelbaum p.iii) Cheret demonstrated a unique combination of artistic, technical, and entrepreneurial talent that spearheaded the poster industry. He opened his own print shop in 1866 in Paris and from 1881 on his shop operated as part of the Chaix firm which gave us "Les Maitres de l'Affiche". --- Among the most sought after plates in the work are the "Job" and "Moulin Rouge" by Toulouse Lautrec. Rennert noted of the "Job" by Mucha that "more than any other work of Mucha's, this beauty established him as the master of convoluted hair and the creator of unforgettable popular images; the poster was used for years in many variants all over the world, sometimes with marginal text in various languages. A classic by any standard." (Rennert, PAI-XLIX 389) "Jane Abdy called it "a secular icon," and indeed it is a magnificent production, considering that it advertises cigarette paper. "The background, in a dull imperial purple is a perfect foil for the golden curls of the smoking girl, whose locks are spread over the poster like the delicate filigree work of an Indian bracelet"(Abdy, p.136) --- This art subscription was created during the Belle Epoque period in France. "There was nothing exclusive about the 'joie de vivre' that swept Paris, at a delirious pace, out of the 19th century into the 20th. As Victor Hugo had observed, the city lived by, and for, the whole human race. Haussman's great boulevards had opened up a spacious stage where Paris made a spectacle of herself by day and night. Outdoors and indoors the walls of buildings flowered with posters that took their themes from the passing show of 'La Vie Parisenne.' Advertising never knew happier days. The most ephemeral of the arts has left us with a vision of the 'good old days' that vanished forever in the gunsmoke of 1914. Those gay nineties and naughty noughts that will always be remembered as 'La Belle Epoque.'(The beautiful era)" (Horizon p. 97) --- "By the 1890s the streets of every great metropolis were enlivened by large colourful posters (see The Great Poster Movement). The poster had not only caught the fancy of the broad public, but its best examples were already being regarded as works of art (specifically, as fine prints) to be exhibited, reviewed in journals, collected and reprinted in a manageable form. In the last five years of the century, the Imprimerie Chaix was to play great part in codifying, hallowing and perpetuating the ebullient period of 'La Belle Epoque.' It was in those years that the firm published "Les Maitres de l'Affiche" (Masters of the Poster) reduced lithographic versions, in authentic colours, of the best posters of Europe and America, by more than 90 great artists, posters that bring the period to life." (Appelbaum p.iii) --- The work is in very good to excellent condition. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 11 1/4" by 15 1/2".
Edité par Jacques de Brunhoff, chez Jules Meynial, 1933
Vendeur : Librairie de l'Avenue - Henri Veyrier, Saint-Ouen, FR, France
Edition originale
Couverture rigide. Etat : Bon état. Grand in-4 demi-chagrin cerise rel. mod., couverture conservée, 95 pp. 32 planches couleurs en héliogravure et 48 illustrations dans le texte en noir. Couvertures brunies. Infimes rousseurs. Alexandre Iacovleff (1887-1938) est surtout connu comme le dessinateur des expéditions Citroën. Portraitiste avant tout, passionné par le monde du spectacle, il avait déjà effectué un voyage en Asie et rapporté ces grands portraits d acteurs à la sanguine qui témoigne de sa virtuosité. Edition originale tiré à 500 exemplaires numéroté sur Arches. in-4°.
Edité par Paris (Imprimerie d A. Vernant), 1917
Vendeur : Ars Libri, Ltd. (ABAA), Charlestown, MA, Etats-Unis
Signé
xi, (7)pp., 9 original copperplate etchings, each numbered in pencil, printed on titled folded sheets. All contents loose, as issued. 4to. Publisher s portfolio (marbled boards with supralibros label, ties; light wear) and chemise. New fitted cloth clamshell case. One of 120 copies of the "état définitif," signed and numbered in ink by Laboureur in the justification, apart from proofs of various states, the etchings printed by A. Vernant, the text by Franzier-Soye. Presentation copy, inscribed "à André Mare au bon/ témoignage de guerre/ Laboureur," with a little sketch of two crossed flags.
#1 Moscow: Trud i kniga, 1929. 64 pp.: ill. 26x17,5 cm. In original illustrated wrappers. Very good, spine and tears of covers restored. One of 5000 copies. #8 Moscow: Trud i kniga, 1929. 64 pp.: ill. 26x17,5 cm. In original illustrated wrappers. Very good, spine and tears of covers restored. One of 3100 copies. One of the repertoire collections compiled and published by the agitprop theater organization "Blue Blouse" for its provincial branches, as well as local vaudeville theaters and living newspapers (1928-1929). The edition was later replaced with a magazine "Za agitbrigadu i tram" (1931-1932). The "Blue Blouse" rallied the agitprop theater collectives between 1923 and 1933, promoting revolutionary art and contraposing the professional stage. By 1927, there were 5000 troupes with more than 100 000 actors involved. They performed on the streets during celebrations, and organized shows at factories and clubs. Gradually, most Soviet factories of the period had their own collectives inspired by the "Blue Blouse", whose principles they followed. All the printed matter of the organization - the magazine "Siniaia bluza", the periodical collections "Malye formy klubnogo zrelishcha", and the advertising posters - were designed in the constructivist style and were illustrated with photographs of collectives in impressive poses, photomontages, and costume designs. Description of issue #1:â â This issue contains three photomontages in total. Two of them depict performers during spectacles about the Red Army, while the last page features a photomontage design relating to a 1928 repertoire collection combining pictures of some Blue Blouse collectives. The issue published a picture of six performers who posed together to make with their bodies the shape of an anchor. There are also other group photographs of Moscow blue-blousists. Among them is an uncommon photograph (for Blue Blouse periodicals) depicting a performance on stage also showing a full hall of spectators (usually only performers only were shown). The designs of national clothes by the artist Dani (caricaturist Daniil Smirnov), relating to the performance "Songs of the Peoples of the USSR", also feature. To create minimalist costumes, Blue Blouse collectives used considerable imagination and might produce almost everything from cardboard and cheap fabrics. The costume designs of Russian, Ukrainian, Jewish, Georgian, Kyrgyz, Crimean Tatar and Samoyedic woman are demonstrated. Some pages of sheet music are also reproduced. Satirical verses and songs of the repertoire were written on relevant topics, criticizing the enemies of socialist ideology or otherwise promoting Soviet values. The back cover advertises how to subscribe to the publication and to the magazine. "Radioliubitel" [Radio Enthusiast]. Worldcat does not track this issue. Description of issue #8:â â Striking anniversary issue of the repertoire collections compiled and published by the agitprop theater organization, "Blue Blouse", for its provincial branches, as well as local vaudeville theaters and living newspapers (1928-1929). It was replaced by the magazine, "Za agitbrigadu i tram" (1931-1932). There were ten Moscow groups divided by category: Basic, General, Central, Industrial, Producing, Operative, Variety Stage, Concert, Music Hall, and Tenth. Group photographs of these groups by Debabov and Usov are published in this issue along with photomontages. The last page lists all the Moscow collectives and credits all authors, directors, artists and composers who worked with the groups mentioned. At the center of the page is printed a constructivist alternative version of the logo. In total, the issue comprises seven photomontages. An impressive photomontage on the back wrapper combines photographs of a magazine, a montaged performer carrying a small advertising poster, and a slogan written in the constructivist style, "Whenever and Wherever, Lead in One Direction- Ask a Blue Blouse for a Club". This design was.
Date d'édition : 1936
Vendeur : Budapest Poster Gallery, Budapest, Hongrie
Art / Affiche / Gravure
Paper, stone lithography. Etat : Fine, light wear. Size: Pre-war 1 Sheet (cca. 95 x 63 cm). A unique and legendary travel poster from 1936 designed by Gy rgy Konecsni and Antal Fery These two artists made numerous travel posters together but this particular one is their most interesting collaboration The subject here is the country itself which is a typical theme of the 1930s It is remarkable that Hungarian tourism posters were really characteristic in the period and for a good reason Tourism became a significant industry in the interwar period due to changes the society had undergone alteration of habits availability of the modern lifestyle to wider ranges of social classes and the technical development of the era Tourism of Hungary was in a terrible condition after World War I The country lost a large amount of territories which had been attracting tourists before and the population were more likely to go on holiday abroad thus Hungarian tourism industry didn t have a chance to provide profit The government soon realised the major role of Budapest the capital city in the local tourism so significant steps to attract more tourists hade been made The development of infrastructure and the emphasised propaganda played equally important roles in the process Numerous events were held promotional brochures were spread inside and outside the country The Metropolitan Tourism Office set up a new office in Vienna because experts became aware that plenty of foreign tourists travel to Vienna but don t go further to visit Budapest The plan was to lure people to continue their journey by charming advertising campaign The poster art of the era was an important part of this tourism propaganda countless attractive posters were created to advertise the spectacles of the Hungarian capital city and of course of the country itself as well Gy rgy Konecsni was one of the most important and outstanding poster designers of the era and he was also one of the artists who formed the image of Budapest and Hungary by excellent tourism posters This travel poster is a fine Art Deco piece As in case of numerous other examples of Hungarian Art Deco the influence of folk art can easily be detected on this piece as well The aim of this design was obviously to emphasize the country s attractiveness and what else could be more appropriate to catch a country s atmosphere than its folk art The highly decorative rhythm and pattern of the poster is created with ethereal women figures in their white traditional costumes The use of paintspray made it possible to create extremely soft shades and tones The artists employed figures without facial features which is a great tool to generalize the message of the poster Together with the paintsprayed soft shades and bright colours it also contributes to the etherealness of the figures which creates a special dream like aura of the design This poster is an outstanding piece by Konecsni and Fery of Hungarian travel posters and of Hungarian poster art of the 1930s as well.
Date d'édition : 2009
Livre Edition originale Signé
couverture souple. - s.l. s.d. (ca 2009), divers, en feuillets. - Turn the lights on ! Important et unique ensemble de croquis, tous de la main de Thierry Mugler pour la création de costumes de scène pour la tournée « I Am. World Tour » de Beyoncé en 2009. Un grand dessin (21,6x56 cm) original réalisé au crayon de papier et rehaussé aux feutres brun et rose sur deux pages A4 collées à l'aide d'une bande d'adhésif. La gaine du modèle consiste en un collage rehaussé, par Mugler lui-même, au feutre doré et au correcteur blanc. Un dessin (21,6x27,9 cm) original au crayon de papier représentant plusieurs silhouettes de Beyoncé, en mouvement, probablement des études pour des jupons. Un dessin (21,6x27,9 cm) original au crayon de papier figurant plusieurs croquis d'un très beau costume composé de lingerie et d'un long manteau repris dans une infographie que nous joignons. Ce costume initialement réalisé pour l'interprétation de la chanson « Sweet Dreams (Beautiful Nightmare) » a finalement été utilisé lors d'un shooting pour le magazine Paris Match. Le scan (21,6x27,9 cm) d'un dessin titré « Police Be » et enrichi de plusieurs dessins originaux de la main de Manfred Thierry Mugler au feutre fin noir. Sur la feuille est collé un post-it à en-tête « Supermanfred » sur lequel Mugler a écrit : « Can U send that to Bighair, then put it to Guyom table. Thanks. » On joint l'infographie de ce costume de policière réalisée par « Guyom » (Guillaume Vellard) Une infographie en couleurs abondamment redessinée et annotée par Mugler (« Choucroute trop haute », « il trop montant et trop maquillé, trop long », « Il faut arranger le make-up on ne dirait pas la même fille. », « Bout de la culotte », « changer comme dit ! »). On joint 16 infographies imprimées en couleurs sur papier fort dont trois rehaussées aux feutres noir et doré et au correcteur blanc par Mugler, ainsi que la photographie imprimée sur papier du styliste aux côtés de Beyoncé. Superbe ensemble de croquis et documents, témoignage du titanesque travail que nécessita la préparation de la plus importante tournée de Queen B. C'est après être tombée sous le charme des créations de Mugler lors de l'exposition « Superheroes » qui se tenait en 2008 au Metropolitan Museum de New-York que la chanteuse texane décida de collaborer avec le créateur français, évinçant de grands noms de la mode tels qu'Alexander McQueen et Jean-Paul Gaultier. En 2002, Thierry Mugler avait fait le choix de se retirer de l'industrie de la mode pour se consacrer à ses deux passions : la photographie et le spectacle. Ses collaborations avec de grandes personnalités ne se comptaient plus alors sur les doigts d'une main et c'est avec enthousiasme qu'il accueillit la proposition de Beyoncé. Il réalisa non seulement 78 costumes pour la diva elle-même, ses danseurs et ses musiciens, mais il fut également nommé à la direction artistique du show. « Supermanfred », très heureux de mettre son art au service de la star, déclara : « Féminine. Libre. Guerrière. Féroce. En tant que directeur artistique de cette tournée, je me dois de faire de sa vision des choses une réalité [.] Sasha Fierce [le titre de son dernier album, mais aussi un alter ego de scène que la chanteuse s'est créé] est un autre aspect de la personnalité de Beyoncé [.] Elle est « Fierce » (féroce) sur scène et Beyoncé dans la vie. J'ai tenté de comprendre ces deux aspects de sa personnalité, en y apportant ma propre perception des choses. » Dans un documentaire retraçant cette incroyable tournée constituée de 104 shows, on surprend Beyoncé et Thierry Mugler parcourant les infographies présentes dans notre ensemble. [ENGLISH TRANSLATION FOLLOWS] Turn the lights on! Important and unique set of stage costumes sketches by Thierry Mugler for Beyoncé's "I Am. World Tour" in 2009: - A large original drawing (21,6x56 cm) in pencil, brown and pink markers on two A4 pages glued with a piece of adhesive. The sheath of the model is a collage.
Edité par Chez Abraham Pacard, A Paris, 1619
Edition originale
1 vol. in-4 de (8)-718-(2) pp., vélin dur (reliure de l'époque). Édition originale imprimée du vivant de l'auteur. Théodore Godefroy (1580-1649), sous la direction de son père, devint de bonne heure un jurisconsulte distingué. Lorsqu'il eut terminé à Strasbourg ses études de droit, il se rendit à Paris (1602), où il se trouva presque constamment en contact avec des catholiques et abjura le protestantisme. Vers la même époque, il se fit recevoir avocat au parlement de Paris mais ne tarda pas à négliger le barreau, qui avait pour lui peu d'attrait, afin de s'adonner entièrement à des recherches historiques. Godefroy publia successivement divers écrits. Nommé en 1617 historiographie de France, Godefroy s'occupa de réunir tous les matériaux d'une histoire nationale, oeuvre colossale que la mort l'empêcha d'accomplir. Tous les usages concernant l'ordonnancement des sacres et des couronnements y sont décrits en détail. De même que les entrées solennelles dans les villes, les mariages, les naissances, les Te Deum, les réceptions du pape, des rois, des empereurs, des ambassadeurs, des gouvernements, etc. « Ceux-là s'abusent lourdement qui s'imaginent que ce ne sont là que des affaires de cérémonie, écrivait Louis XIV dans ses Mémoires. Les peuples sur qui nous régnons, ne pouvant pénétrer le fond des choses, règlent d'ordinaire leurs jugements sur ce qu'ils voient au-dehors et c'est le plus souvent sur les préséances et les rangs qu'ils mesurent leur respect et leur obéissance ».Provenance : Notes manuscrites anciennes sur la garde suivi d'un commentaire bibliographique : « Ce livre a été vendu à la vente de M. Colbert de Villacerf en 1727? 20?10'. Il est rare » ; en effet on trouve dans la Bibliotheca Colbertinae datée 1728 sous le numéro 11581, un exemplaire du Cérémonial vendu au prix de 20?10'. Bel exemplaire grand de marges. Cerne clair marginal sur les quatre premiers feuillets.
éprouvés par Mr Borval [sic], artificier du Roy. Manuscrit. S.l.n.d., [XVIIIe siècle], petit in-4 (23,4 x 16 cm), broché, couvertures muettes de l'époque. 1 f. de titre, 34 pp.ch. et 4 pp.n.ch. de table. Mémoire très détaillé sur les différentes formes d?artifices et leurs recettes, mises au point par un artificier du Roi. Les sujets traités sont : manière de connaître le salpêtre, et de faire la poudre; sur l?utilisation du charbon, du moule, de la culasse, des baguettes à rouler et des cartouches; composition pour faire des fusées volantes; des baguettes, de l?éclatante, des fusées à 2 ou 3 volées et des jumelles; de la flamboyante; fusée qui porte Vive le Roi pour garniture, fusée qui porte une girandole, un soleil fixe ou un soleil tournant; fusées qui imitent l?éclair et le tonnerre; des lardons, fougues, étoiles, pluie de feu, marrons, étoiles à jets; du globe pour garnir une fusée; sur les lances à feu, les globes luisants, les rougeons; sur l?étoile à l?italienne, etc.; suivis de la manière de faire les mèches et d'autres compositions de fusées volantes, pots à feu, dragon volant, etc. L'artificier mentionné au début du mémoire est très vraisemblablement Jean-Charles PERRINET D'ORVAL, né à Sancerre en 1707, mort vers 1780, auteur de plusieurs ouvrages de pyrotechnie dans lesquels Diderot et d'Alembert ont puisé pour leurs articles de l'Encyclopédie. Ces ouvrages sont : Essai sur les feux d'artifice (Paris, 1745), Traité des feux d'artifice pour le spectacle et pour la guerre (Berne, 1750) et Manuel de l'artificier (Neuchâtel, 1755). L'auteur du présent manuscrit, anonyme, s'est certainement inspiré de ces ouvrages. Manuscrit bien conservé et lisible.
Vendeur : Antiquariat J.J. Heckenhauer e.K., ILAB, Tuebingen, Allemagne
Photographie Signé
75 x 100 cm. Digital Photographie. Large format digital photograph. Original Pigment Druck. Archival pigment print on paper (Harman Fine Art Matt Cotton Textured). Sehr gut erhalten, gerahmt. Mint condition, framed. Verso signiert, Signed verso. Auflage 1, + 1 Künstlerexemplar. Edition of 1 plus 1 artist's proof. In ihrer neuen Serie "Erasure" arbeitet die Genfer Künstlerin Mauren Brodbeck mit experimentellen Fotografien (via Pigment Druck), sie spielt bewußt mit Mustern und bricht mit althergebrachten Kategorien. Die Ästhetik der Bilder ist verstörend und zugleich glamourös. Sie hinterfragt Normen der sozialen Wahrnehmung des Individuums. In der Serie "Erasure" erforscht sie die Entstehung einer Identität, wie sie gebrochen wird, de- und rekonstruiert wird, als Ausdruck der inneren Taktung, ein Schrei nach Leben und Authentizität. "Ich entdecke menschliche Emotionen, das menschliche Sein, die Möglichkeiten des Individuums, seine Träume und Freiheiten. Entering the present in "presence", recognising and letting one's emotions flow, freeing oneself from convention, traversing urban mythologies with the ephemeral, the spectacle: this is the whole intention of these "modules" comprising at once performance, video, music and installation. Embodied in the "letting go" of improvisation, these Urban Tales call upon the plasticity of bodies, on their interactions, and explore the "sensitive" surfaces that allow us to be in relationship with the world. These are "purifying" rituals, concrete experiments that invite us to exercise the gaze of others, their judgement, the power plays linked to our physical appearance. Arbeiten von Mauren Brodbeck sind in internationalen Privat- und institutionellen Sammlungen vertreten, u.a. der Auer Fondation, Geneva Contemporary Art Fund, The Elysée Museum Lausanne, der Vaudoise Insurance etc Mauren Brodbeck, born 1974 in Geneva. Lives and works in Geneva Trained in painting and drawing at the Collège de Saussure in Geneva, with a diploma in film production at Vancouver Film School in Canada, in photography and imaging from the Center College of Design in Pasadena, followed by postgraduate study in interactive arts and new media at the Geneva Haute Ecole d'Arts et de Design (HEAD). Among her major exhibitions are: Photo Miami, Paris Photo, Art Cologne, Andata Ritorno Laboratory for Contemporary Art and Auer Photo Foundation (Geneva). Mauren Brodbeck is a total artist, multisensory, multimedia explorer, crossing lines and transgressing categories by working with photography, performance, installation and music. Mauren Brodbeck's work is held in a variety of private and public collections, including Geneva Contemporary Art Fund, The Elysée Museum in Lausanne, Vaudoise Insurance, and Auer Photo Foundation. Mauren Brodbeck, wurde 1974 in Genf geboren, wo sie auch lebt und arbeitet. Sie hat am Collège de Saussure in Genf ein Diplom in Film Production absolviert. Es folgte ein Post Graduate Studium in Interactive Art und Neuen Medien an der Genfer Kunst & Design Hochschule. (HEAD). Brodbeck arbeitet als Multimedia Künstlerin mit Video Installationen, Fotografie, Performances sowie als Musikproduzentin Mauren Brodbeck. All Rights Reserved, Courtesy of the artist. International orders: Please mention, the indicated shipping rates are not weight based and could be higher. We will contact you. Thank you. * 200 Jahre J.J. Heckenhauer *.
Edité par Nella Stamperia di Gio. Battista de Caporali, per andare all'Orso, Rome, 1729
Vendeur : Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, Etats-Unis
Edition originale
Hardcover. Etat : Fine. FIRST EDITION. Bound in later carta rustica. A fine, fresh copy on crisp paper. Very faint soiling to upper margin. A large historiated initial, decorative head- and tail-pieces. With the arms of Cardinal Polignac on the title page. A very rare account of the elaborate transformation of Piazza Navona to celebrate the birth of the Dauphin Louis, son of King Louis XV of France (1715-1774) and his royal consort María LeszczyÅ ska (1703-1768). The Rococo painter Pier Leone Ghezzi (1674-1750), charged with staging the events, had the piazza "restored" to its ancient glory as the stadium of Domitian, the foundations of which are buried beneath the piazza and give the modern space its distinctive, oblong shape. The spectacle was captured by the Roman painter Giovanni Paolo Pannini (1691-1765), who produced a painting of the Piazza in its glory, of which two copies exist. One is in the Louvre, the other in the National Gallery of Ireland. The piazza was transformed by the erection of magnificent columns, quadriform temples (all painted to look like marble), monumental statuary, and fountains that flowed with wine (which was distributed to the spectators). The center-piece of the scene, Bernini's Fountain of the Four Rivers; Borromini's church of Sant'Agnese served as the imposing backdrop for this splendid display. All of these elements, including the inscriptions, the symbolism of the statuary, the royal blazons, the festoons of laurel, flowers, and flowers that unified the components, the torches and candelabra that illuminated the whole scene, the various instruments played, etc., etc. are described in detail. The performances are also described. Musicians played from elevated stages, delighting the crowd with song. There were fireworks (conducted by the papal bombardieri of Castel Sant'Angelo), a cavalry parade, and a dramatic performance written by the celebrated librettist Pietro Metastasio (1698-1782), with music by Leonardo Vinci (1690-1730). The performance took place in the French ambassador's residence, Palazzo Altemps, at the northern end of the piazza. The final page of the account names the performers, the set designer, and the engineers in charge of the fireworks. The second part of the volume comprises sonnets composed in honor of the Dauphin, the boy's mother, María LeszczyÅ ska, and the French ambassador to the Vatican, Cardinal Melchior di Polignac.
Date d'édition : 1841
Vendeur : Le Manuscrit Français, Versailles, France
Membre d'association : ILAB
Manuscrit / Papier ancien Edition originale Signé
Pas de couverture. Etat : Bon. Edition originale. [DELACROIX] SAND, George (1804-1876) Lettre autographe signée « G.S. » à Eugène Delacroix
[Paris] Cachet postal [23 décembre 1841], 1 p. 1/2 in-8°, à son en-tête, gaufré « G.S »
Adresse autographe sur la quatrième page (cachet de cire) : « Monsieur Delacroix rue des Marais S[ain]t Germain, 17 » Riche lettre de Sand à son ami Delacroix sur ses envies d écrire « quelques pages sur la peinture », les Femmes d Alger, son mépris pour l école ingresque et autres actualités artistiques « Vous avez bien fait, cher ami, de ne pas venir à l Opéra. C était ennuyeux à crever malgré la beauté et la pompe du spectacle. J espère que vos truffes vous auront donné de meilleures inspirations musicales que la reine de Chypre n en a donné à Mr Halevy.(1)
Venez ce soir comme vous me l avez promis. J ai à vous parler sur des matières artistiques !!! [le mot est entouré par Sand d un triple trait de plume]. Sans plaisanterie, j écris quelques pages sur la peinture, et j ai besoin de vous pour savoir si je ne déraisonne pas. (2) 
Bonjour et bonne nuit. Il est 6h du matin. Vous devriez venir dîner avec nous. Nous avons embelli notre existence d un pot-au-feu quotidien et avec le dîner de l anglais(3) et du bon café c est supportable.
G.S.
La Lélia(4) avec son moine et son mort, me frappe et me plaît de plus en plus, c est ce qui m a mise en veine d écrire sur la couleur et ce qu il faut entendre par la forme. Avec ça j ai vu vos femmes d Alger(5) ce matin. Si vous m encouragez, je suis capable de faire le prochain salon dans notre revue [La Revue indépendante], et vous savez que je ne caponnerai pas [ne se montrera pas lâche] avec tout cette école silhouettiste(6) qui se dit en possession du dessin ». [1] La Reine de Chypre, opéra en cinq actes de Halévy sur un livret de Saint-Georges, a eu lieu la veille, le 22 décembre 1841. À l inverse de George Sand, Richard Wagner, qui fut également présent à la première, jugea la musique « noble, émue et même nouvelle et exaltante », même s il critique les défaillances d Halévy qui aboutirent à une orchestration simple.
[2] Dans Horace, que George Sand est alors en train d écrire, elle met en scène un rapin, élève de Delacroix, mais on n y trouve pas les « quelques pages sur la peinture ». S agit-il d un article destiné à la Revue indépendante qu elle vient de créer mais auquel elle aurait renoncé ? Le mot écrit en post-scriptum confirme bien qu il s agit d une réflexion esthétique qui porte sur la « couleur » et la « forme ».
[3] Allusion possible à un restaurateur ou à un traiteur anglais fréquenté par George Sand.
[4] Lélia avec son moine et son mort est la troisième uvre offerte par Delacroix à George Sand pour les étrennes de 1842. Il s agit d un pastel représentant Lélia agenouillée près du cadavre de Sténio, pendant que le moine Magnus, « dans l ombre, adossé avec raideur au mur de la grotte, dardait sur elle ses yeux étincelants ». Le sujet a été traité plusieurs fois par Delacroix.
[5] Il s agit des Femmes d Alger dans leur appartement, tableau présenté au Salon de 1834, où il fait sensation. Synthèse d orientalisme et de romantisme, ce tableau exprime une profonde « mélancolie » pour le poète et critique d art Baudelaire.
[6] George Sand désigne l école d Ingres en parlant « d école silhouettiste ». On connaît l adversité entre les deux peintres qui anima la scène artistique du XIXe siècle. L écrivaine avait résolument pris le parti de Delacroix, celui de la « forme » et de la « couleur ». Bibliographie :
George Sand Correspondance, t. V, Lubin, Garnier, p. 529-531, lettre n°2369
Correspondance, éd. Françoise Alexandre, Les éditions de l Amateur, p. 117-118, n°50 Provenance :
Achille Piron (légataire universel de Delacroix)
Bibliothèque Marc Loliée. Signé par l'auteur.
Edité par o. O., November 1957, 1957
Vendeur : Kotte Autographs GmbH, Roßhaupten, Allemagne
Manuscrit / Papier ancien
4to. 2 SS. An den franz. Maler Pierre Sicard (1900-1980): Lorsque je regardais vos toiles américaines où New York ressemble tour à quelque merveilleuse femme nocturne couverte de bijoux et à quelque planète inconnue d où partent les astronefs et les soucoupes, je ne savais pas que vous aviez peint jadis les lieux où naissait le spectacle d un nouveau monde, spectacle dont le premier jazz exécutait l ouverture. Peut-être serons-nous bientôt ceux qui obtinrent du sort l étrange privilège de voir le premier film, la première automobile, le premier avion, le premier voyage dans la lune. Et de notre époque un peu effrayante mais qui fera sourire un jour comme uns sorte de 1900 et, avec le recul, paraîtra pleine de charmes, vous aurez été un témoin et l historiographe. S il vous amuse de citer les lignes de CARTE BLANCHE QÙ JE SALUAIS L APPARITION DES RYTHMES NOIRS qui possèdent actuellement en France leur académie, je vous y autorise [ ]" - Jean Cocteau kam am 5. Juli 1889 in der Nähe von Paris zur Welt. Er machte mit seiner Mutter ausgedehnte Reisen, wodurch seine dichterische Begabung früh erkannt wurde. Jean besuchte das Lyzeum Condorcet. Neben seinem drei Jahre älteren Bruder Jean Luc hatte er keine weiteren Geschwister. Sein Vater, ein erfolgreicher Anwalt, beging Selbstmord, als Jean zehn Jahre alt war. Mit 17 Jahren veröffentlichte er erste Gedichte. Mit 19, im Jahre 1909, erschienen seine ersten Gedichtbände Lampe d Aladin und Le prince frivol, diese machten ihn bekannt. Weitere wertvolle Anregungen gaben ihm seine literarischen Freundschaften, die er mit Edmond Rostand, Marcel Proust, Mendés und André Gide schloss. Nebenher versuchte er sich in der Darstellung des Balletts und lernte Igor Strawinski kennen. Seinen ersten Roman Potomac verfasste er 1913.Als der Erste Weltkrieg ausbrach, meldete er sich freiwillig. Cocteau wurde als untauglich befunden, an der Front zu kämpfen, und organisierte daher den Verwundeten-Dienst mit Privatwagen. Er wurde an der Front wegen illegaler Betätigung verhaftet und später rehabilitiert. Als er zurückkam, schrieb er 1917 das Libretto für das kubistische Ballett Parade. Das Bühnenbild und die Kostüme schuf Pablo Picasso, die Musik Erik Satie, und die Choreografie war von Léonide Massine. Die Tänzer gehörten zur Truppe der Ballets Russes. Jean Cocteau schrieb außergewöhnliche Theaterstücke wie Orphée (1926) und La machine infernale (1932), er verfasste weitere Gedichtbände und wurde als Romanautor bekannt.Cocteau war als Universalkünstler bekannt und entwickelte sich immer mehr zum maître de plaisir von Paris. Er hatte als Schriftsteller in allen Bereichen seine Begabung, sei es in der Lyrik, beim Aphorismus, bei einer Kurzgeschichte, einer Novelle, einem Roman, Drama oder einem Drehbuch. Dabei gehörte auch das Reich der Malerei zu seinen Begabungen, wie Zeichnen. Alle Stilarten der letzten Jahrzehnte probierte er aus, dabei blieb er immer im Austausch mit Künstlern, dazu zählten auch Picasso und Chaplin.Anfang der 1930er Jahre drehte Cocteau seinen ersten Film, Le sang d un poéte (dt. Das Blut eines Dichters), und suchte dabei nach neuen Wegen. Diese lösten beim Publikum zuerst Protest aus, doch folgten darauf einige Filme, die alle Filmgeschichte geschrieben haben. Im Laufe der Zeit wirkte er als Regisseur, Drehbuchautor bzw. als Schauspieler bei mehreren Filmen mit. In dem Film Der Zauberlehrling mit dem ins französische Exil geflüchteten, sehr erfolgreichen deutschen Tänzer Jean Weidt entwarf Cocteau die Figur des Zauberlehrlings. Regie führte der ebenfalls ins Exil geflüchtete Max Reichmann 1933. Cocteau war mit Jean Marais befreundet, dem er gerne Rollen auf den Leib schrieb. Daher gilt Cocteau auch als Entdecker von Jean Marais.[1] Bis an sein Lebensende war Cocteau zudem eng mit dem deutschen Bildhauer Arno Breker befreundet. Cocteau und Marais saßen Breker Modell für die Gestaltung von Porträtbüsten.Seine Kostüme und Bühnenbilder entwarf er oft selber. Für Aufsehen sorgten seine monumentalen Decken- und Wandgemälde, zum Beispiel im Trauungssaal des Rathauses von Menton (1958) und in der Kirche Notre Dame de France in London (1956).1954 wurde er Mitglied der Akademie der Künste in Frankreich und Belgien. 1955 wurde er als Nachfolger von ''Jérôme Tharaud'' in die ''Académie Française'' aufgenommen und damit im gesamten Land endgültig als geistige und künstlerische Autorität anerkannt.Mit 70 Jahren wurde Cocteau am 30. Juni 1960 in Forges les Eaux zum französischen Dichterfürsten gewählt.Wegen einer Opiumvergiftung musste Cocteau, der viele Jahre drogenabhängig war, medizinisch behandelt werden. Cocteau war bisexuell und hatte neben Beziehungen zu Männern (u.a. Jean Marais) auch mehrere Beziehungen mit Frauen, darunter Natalia Pawlowna Paley (1905 1981), einer Romanow-Prinzessin. Er veröffentlichte mehrere Werke, in denen er Homophobie scharf kritisierte.
Edité par S.n., 1776
Art / Affiche / Gravure Edition originale Signé
Pas de couverture. - S.n., s.l. (circa 1776), Cadre : 32x40,5cm ; dessin : 26x28,5cm, une feuille encadrée. - Dessin original à l'encre et à l'aquarelle représentant une vue animée de bord de mer avec un village perché sur une falaise. Encadrement moderne de baguettes blondes. Dessin réalisé pendant le voyage fait avec le Marquis de Sade au cours de l'année 1776. Jean-Baptiste Tierce (1737-1794), élève à l'école des Beaux-arts de Rouen puis à l'Académie de Peinture et de Sculpture de Paris, se fit rapidement remarquer comme paysagiste pour ses vues du Sud de la France et de l'Italie. Ses tableaux sont conservés aux Offices de Florence et dans plusieurs musées français. Lorsqu'en décembre 1775 Sade quitte Rome pour Naples, il est accueilli par le gendre de son ami le Docteur Mesny, Jean-Baptiste Tierce, qui à cette époque reçoit les commandes du Cardinal de Bernis. Il trouve un logement au Marquis « [qui] entend tout voir [de la région], s'instruire de tout, juger, admirer, critiquer, aimer, haïr, bref se livrer sans frein à cette curiosité insatiable et passionnée qui le conduit aussi bien dans les musées, les galeries, les églises, les palais et les bibliothèques, que dans les grottes, les caveaux, les catacombes, et jusque dans les entrailles des volcans. Il ne se contente pas de contempler les uvres d'art, les monuments antiques ou modernes, il observe aussi les m urs, la politique, la religion, l'administration, la vie sociale. La beauté des femmes, les usages du monde, la qualité des spectacles, les manières de manger, de boire, de s'habiller, de prier, de se conduire dans le monde : rien ne le laisse indifférent. Il voudrait saisir tout le présent et tout le passé de cette civilisation, l'embrasser toute entière dans une vision unique et universelle. Programme gigantesque, à la mesure de son imagination exceptionnelle, mais qu'il n'a plus remplir, qu'il lui était impossible de remplir. Pourtant, telle est sa première ambition d'écrivain : grandiose, démesurée. En vue de ce « grand uvre », Sade prend des notes à la hâte, au bord des chemins ou dans les auberges, qu'il complète avec les fiches de ses correspondants Mesny et Iberti. Ainsi s'édifie ce monument qu'il destine au public, mais qui ne verra le jour qu'au XXème siècle. Jean-Baptiste Tierce y collabore étroitement : il relit les notes et consigne ses observations sur de petits cahiers, avec des numéros renvoyant aux uvres décrites. Sade en tient le plus grand compte. Souvent, le peintre l'accompagne dans ses randonnées, son carnet de croquis à la main, dessinant les édifices et les paysages qu'ils ont sous les yeux. Une centaine de ces dessins et gouaches ont été récemment retrouvés dans les archives de la famille de Sade. Ils confèrent au Voyage en Italie l'allure d'un véritable reportage. » (Maurice Levert, Sade, pp. 283-284). Provenance : archives de la famille de Sade. [ENGLISH DESCRIPTION ON DEMAND].
Edité par J.F. Desoer 1792-1793, Paris, Liège, Bruxelles, 1792
5 vol. in-8, basane racinée, dos lisse orné de petits fers à la patte d'oie, pièces de titre et de tomaison en maroquin fauve et vert, tranches rouges (reliure de l'époque). Première édition collective très rare publiée chez Desoer en 1792 et 1793 des travaux du magicien Henri Decremps sur la prestidigitation et la physique amusante dont les cinq parties avaient paru une première fois séparément entre 1784 et 1789 : 1. La Magie Blanche dévoilée, ou Explication des Tours surprenans qui font depuis peu l'admiration de la Capitale & de la Province. Avec des réflexions sur la Baguette Divinatoire, les Automates joueurs d'Échecs, &c. &c. Ouvrage orné de 101 figures. Paris, Liège, Desoer, 1792. In-8 de VIII-118 pp. (1) f. de table imprimé au verso des 5 tomes de la série - 2 planches hors-texte gravées sur cuivre dont 1 frontispice (léger caviardage sur la nudité féminine de la planche Fig. 17).2. Supplément à la Magie Blanche dévoilée, contenant l'explication de plusieurs tours nouveaux, joués depuis peu à Londres. Avec des éclaircissements sur les artifices des joueurs de profession, les Cadrans sympathiques, le Mouvement perpétuel, les Chevaux savans, les Poupées parlantes, les Automates dansans, les Ventriloques, les Sabots élastiques, &c. &c. Paris, Liège, Desoer, 1792. In-8 de 270-(2) pp. Petites déchirures en marge de deux feuillets sans perte de lettres.3. Testament de Jerome Sharp, Professeur de Physique amusante ; où l'on trouve parmi plusieurs tours de subtilité, qu'on peut exécuter sans aucune dépense, des Préceptes et des exemples sur l'art de faire des chansons im-promptu ; pour servir de complément à la magie blanche dévoilée ; par M. Decremps, du Musée de Paris. Paris, Liège, Desoer, 1793. In-8 de XVI-262 pp. Les 2 planches de musique manquent.4. Codicille de Jérôme Sharp, Professeur de Physique amusante ; Où l'on trouve, parmi plusieurs tours dont il n'est point parlé dans son Testament, diverses Récréations relatives aux Sciences & Beaux-Arts ; pour servir de troisième suite à la Magie blanche dévoilée ; avec 64 figures. Paris, Liège, Desoer, 1793. In-8 de (4)-244 pp., 2 planches repliées.5. Les Petites Aventures de Jérôme Sharp, Professeur de Physique amusante ; ouvrage contenant autant de tours ingénieux que de leçons utiles, avec quelques petits portraits à la manière noire ; par l'auteur de la Magie Blanche. 18 figures. Bruxelles, Liège, Desoer, 1793. In-8 de XII pp. dont 1 frontispice, 266 pp.Juriste et mathématicien, secrétaire interprète à la Cour d'Angleterre, Henri Decremps (1746-1826) publia en 1784 La Magie blanche dévoilée afin de démasquer charlatans et escrocs dont le plus fameux d'entre eux à la veille de la Révolution Joseph Pinetti, prétendu physicien et magicien de la cour de Louis XVI qui publiait la même année ses Amusements physiques. Decremps le premier démystifia l'escamoteur par l'explication de toutes ses expériences (tours de cartes, gobelets et gibecières etc.) et dressa la liste des techniques de tricherie, comme les faux mélanges, les sauts de coupe, la donne en second, etc.Très bon exemplaire en reliure d'époque de la bibliothèque du Grand Séminaire de Viviers avec son ex-libris "Ex bibliotheca n°1. Seminarii Vivariensis". Des feuillets roussis, menues restaurations à la reliure.Caillet I, 2861à 2864 pour les éditions originales ; Fechner, Bibliographie de la Prestidigitation Française, p. 152 ; Hall, Old Conjuring Books, pp. 156-158, 174 ; Ruegg, Bibliographie de la prestidigitation française, p. 31-32.
Edité par 1751-1753, 1751
Manuscrit in-4 à 28 lignes par page de (498) pp., table, veau granité, dos orné à nerfs, pièce de titre en maroquin rouge, tranches rouges (reliure de l'époque). Rare recueil manuscrit de dix parodies d'opéra parmi les plus représentées au Théâtre de la Comédie Italienne entre 1751 et 1753, à l'époque où le couple Favart entama son règne sur le genre - jusqu?à ce que Charles-Simon devienne directeur de l?Opéra-Comique en 1758 - avec la troupe d'acteurs dont les noms sont indiqués dans chaque distribution : Madame (Justine) Favart, Dehesse, Astrandi, Rochard, Carlin, Chauville etc. « Les réécritures comiques d?opéra, représentées sur les théâtres de la foire et des boulevards comme à la Comédie-Italienne de Paris et sur les théâtres privés, connaissent une vogue étonnante au siècle des Lumières. Parodier l?opéra, ce n?est pas écrire contre l?opéra, mais plutôt participer à sa promotion en jouant le double jeu de la critique et du divertissement. Les parodistes comme Fuzelier, Favart, Romagnesi ou Despréaux, manient autant l?art des vaudevilles que celui du pastiche, et possèdent une riche culture littéraire et musicale. Des opéras de Lully à ceux de Gluck, rares sont les ?uvres à succès qui n?ont pas été parodiées ». Contient : 1. Favart (Charles-Simon). Raton en Rosette, ou la vengeance inutile. Parodie de Titon et l'aurore représentée pour la première fois sur le Théâtre de la Comédie Italienne le 28 mars 1753 (66 pp.).2. Gondot (Pierre Thomas). Les Fêtes des environs de Paris. Parodie des fêtes grecques et romaines représentée pour la première fois sur le Théâtre de la Comédie Italienne le 4 juillet 1753 (54 pp.).3. Renout (Jean-Julien-Constantin). Les Couronnes, ou le Berger timide. Pastorale, parodie de la feste de l'hymen ; deuxième entrée des Amours de Tempé (47 pp.).4. Favart (Charles-Simon). Tircis et Doristhée. Pastorale, parodie d'Acis et Galatée représentée pour la première fois sur le Théâtre Italien le 4 septembre 1752 (53 pp.).5. Favart (Charles-Simon). Les Amours de Bastien et Bastienne, parodie du Devin de village représentée pour la première fois sur le Théâtre de la Comédie Italienne le 4 aoust 1753 (32 pp.).6. Favart (Charles-Simon). Les Indes dansantes, parodie des Indes galantes jouées pour la première fois sur le Théâtre de la Comédie Italienne le 26 juillet 1751 (61 pp.).7. Favart (Charles-Simon). Les Amours champêtres, Parodie de l'acte des Sauvages, joués pour la première fois sur le Théâtre de la Comédie Italienne le 1751 (37 pp.).8. Favart (Charles-Simon). Fanfale, parodie d'Homphale représenté pour la première fois sur le Théâtre de la Comédie Italienne le huit mars 1752 (46 pp.).9. Gondot (Pierre Thomas). Les Bergers de qualité. Parodie de Daphnis et Chloé représenté pour la première fois sur le Théâtre de la Comédie Italienne le 1753 (40 pp.).10. Favart (Charles-Simon). Les Amants inquiets Parodie de Thetis et Pelée joués pour la première fois sur le Théâtre de la Comédie Italienne le 1751 (52 pp.)« Le couple Favart marque durablement le genre de la parodie dramatique d?opéra jusqu?à la fin du XVIIIe siècle, puisque des parodies comme Les Amours de Bastien et Bastienne ou encore Raton et Rosette sont représentées bien après la Révolution. Dès les années 1750, Favart est perçu comme le maître de la parodie dramatique. Le duo Favart est une machine bien rodée : que Charles-Simon compose la totalité de la pièce ou ne soit qu?un correcteur au-dessus de l?épaule de son épouse, il a toujours une part au spectacle. Il compose seul ou en collaboration onze parodies entre 1751 et 1762 ; mais il supervise aussi la création des parodies d?opéra de son épouse, écrites à plusieurs mains. Son épouse est l?attraction de la Comédie-Italienne. Elle se produit dans toutes les parodies créées sur ce théâtre en l?espace de dix ans (trente de 1751 à 1762) ; les parodistes composent, à cette époque, pour ses talents. « Le rôle de Tircis est rendu dans la plus grande perfection par Mlle Favart, qui est la plus aimable chanteuse de vaudevilles que nous ayons eue : elle est aussi charmante dans son travestissement que dans son état naturel : qu?elle soit nymphe, bergère ou savoyarde, qu?elle danse, qu?elle chante, sous quelque forme qu?elle se présente, elle est sûre de plaire ». Les Amours de Bastien et Bastienne, parodie du Devin du village de Rousseau par Mme Favart et Harny de Guerville synthétise bien l?omniprésence des Favart et surtout les innovations qu?ils proposent sur la scène italienne à partir des parodies dramatiques d?opéra. Favart s?impose comme le père de la parodie ; Harny de Guerville écrit ainsi dans l?avertissement qui précède l?édition de son opéra-comique Le Petit-Maître en province : « On me pardonnera aisément de citer par préférence M. Favart. Il est permis à un écolier d?avoir quelque prédilection pour son maître. C?est lui qui m?a donné les premières leçons de l?art dramatique. Bastien a été fait sous ses yeux. » Mme Favart impose sa réforme du costume : « Ce fut elle qui, la première, observa le costume ; elle osa sacrifier les agréments de la figure à la vérité des caractères [?] Dans Bastienne, elle mit un habit de laine, tel que les villageoises le portent ; une chevelure plate, une simple croix, les bras nus et des sabots. » L?hégémonie des parodies des Favart s?observe, en outre, par leur reprise outre-Rhin et en province » (Pauline Beaucé).Manuscrit du XVIIIe siècle, d'une belle écriture, très lisible. Ex-libris manuscrit ancien à l'encre brune "Mr Teilhard de Rochecharles" (Pierre Teillard de Rochecharles ? lieutenant général du bailliage d'Andelat, auteur de La Haute-Auvergne sous l'Ancien régime).Pauline Beaucé, Parodies d?opéra au siècle des Lumières : Évolution d?un genre comique. Rennes, Presses universitaires de Rennes, 2013.
Edité par Milan
Vendeur : Arader Galleries of Philadelphia, PA, Philadelphia, PA, Etats-Unis
Livre
N/A. Etat : Very Good. Etat de la jaquette : N/A. Aquatint engraving with original hand color. Ca. 1827. Sheet size: 15 x 18 1/4". Inventory#: p485pmat. "Questa scena fu esequita pel Melodramma eroicomico, La Gioventu di Cesare, posto in musica dal Sig Stefano Pavesi, e rappresentato nell I. R. Teatro alla Scala. La Primavera dell'Anno 1817." As opera reached a height of popularity and innovation in early 19th-century Italy, stage sets and scenery were increasingly viewed as art forms unto themselves. Enterprising artists and designers competed to create the most lavish, evocative, and visually engaging opera settings, and were so successful that their stage sets often competed with the performances themselves for an audience's attention and appreciation. Public criticism of various operas often revolved as much around the quality of the set designs as the beauty of the music, and audiences became increasingly discerning about the visual aspects of grand performances. Reflecting this tendency, Alessandro Sanquirico, a Milanese artist, was inspired to document the most striking sets at Italy's most celebrated opera house, La Scala in Milan. Sanquirico's vividly colored, masterfully drafted aquatint engravings capture the sumptuousness and sheer spectacle of these extravagant sets, often including costumed singers in the midst of a concert, and at the same time the artist brings the excitement of the performance to life in these remarkably vibrant illustrations. 0.
Edité par Milan
Vendeur : Arader Galleries of Philadelphia, PA, Philadelphia, PA, Etats-Unis
Livre
N/A. Etat : Very Good. Etat de la jaquette : N/A. Aquatint engraving with original hand color. Ca. 1827. Sheet size: 15 x 18 1/4". Inventory#: p494pmat. "Questa Scena fu esequita pel Melodramma serio Gli Arabinelle Gallie del Sig. Luigi Romanelli posto in musica dal Sig. Pacini nell I. R. Teatro alla Scala. La Quaresuna dell'Anno 1827." As opera reached a height of popularity and innovation in early 19th-century Italy, stage sets and scenery were increasingly viewed as art forms unto themselves. Enterprising artists and designers competed to create the most lavish, evocative, and visually engaging opera settings, and were so successful that their stage sets often competed with the performances themselves for an audience's attention and appreciation. Public criticism of various operas often revolved as much around the quality of the set designs as the beauty of the music, and audiences became increasingly discerning about the visual aspects of grand performances. Reflecting this tendency, Alessandro Sanquirico, a Milanese artist, was inspired to document the most striking sets at Italy's most celebrated opera house, La Scala in Milan. Sanquirico's vividly colored, masterfully drafted aquatint engravings capture the sumptuousness and sheer spectacle of these extravagant sets, often including costumed singers in the midst of a concert, and at the same time the artist brings the excitement of the performance to life in these remarkably vibrant illustrations. 0.
Edité par Milan
Vendeur : Arader Galleries of Philadelphia, PA, Philadelphia, PA, Etats-Unis
Livre
N/A. Etat : Very Good. Etat de la jaquette : N/A. Aquatint engraving with original hand color. Ca. 1827. Sheet size: 15 x 18 1/4". Inventory#: p487pmat. "Questa scena fu esequita pel Melodramma serio, Li due Valdomiri, del Sig. Felice Romani, posto in musica dal Sig. Pietro De. Winter nell' I. R. Teatro alla Scala. Il Carnevale dell'Anno 1818." As opera reached a height of popularity and innovation in early 19th-century Italy, stage sets and scenery were increasingly viewed as art forms unto themselves. Enterprising artists and designers competed to create the most lavish, evocative, and visually engaging opera settings, and were so successful that their stage sets often competed with the performances themselves for an audience's attention and appreciation. Public criticism of various operas often revolved as much around the quality of the set designs as the beauty of the music, and audiences became increasingly discerning about the visual aspects of grand performances. Reflecting this tendency, Alessandro Sanquirico, a Milanese artist, was inspired to document the most striking sets at Italy's most celebrated opera house, La Scala in Milan. Sanquirico's vividly colored, masterfully drafted aquatint engravings capture the sumptuousness and sheer spectacle of these extravagant sets, often including costumed singers in the midst of a concert, and at the same time the artist brings the excitement of the performance to life in these remarkably vibrant illustrations. 0.
Edité par Milan
Vendeur : Arader Galleries of Philadelphia, PA, Philadelphia, PA, Etats-Unis
Livre
N/A. Etat : Very Good. Etat de la jaquette : N/A. Aquatint engraving with original hand color. Ca. 1827. Sheet size: 15 x 18 1/4". Inventory#: p488pmat. "Scena esequita pel Ballo grande-Sesostri-inventato, e posto sulle Scene dell' I. R. Teatro alla Scala, dal Sig. Salvatore Taglioni. L'Autunno dell'anno 1824." As opera reached a height of popularity and innovation in early 19th-century Italy, stage sets and scenery were increasingly viewed as art forms unto themselves. Enterprising artists and designers competed to create the most lavish, evocative, and visually engaging opera settings, and were so successful that their stage sets often competed with the performances themselves for an audience's attention and appreciation. Public criticism of various operas often revolved as much around the quality of the set designs as the beauty of the music, and audiences became increasingly discerning about the visual aspects of grand performances. Reflecting this tendency, Alessandro Sanquirico, a Milanese artist, was inspired to document the most striking sets at Italy's most celebrated opera house, La Scala in Milan. Sanquirico's vividly colored, masterfully drafted aquatint engravings capture the sumptuousness and sheer spectacle of these extravagant sets, often including costumed singers in the midst of a concert, and at the same time the artist brings the excitement of the performance to life in these remarkably vibrant illustrations. 0.