isabelle récit andrégideavec dix sept lithographies de gide andre (1 résultats)

Elie Lascaux. An excellent unsophisticated copy of the 'deluxe' issue of this limited edition with an important provenance: the edition as a whole limited to 600 copies, of which 30 were printed on 'japon impérial' paper and accompanied by the illustrations in two suites, this being number 2 of 22 copies numbered from 1-22. Text vol.: pp.[i-ii, 1-]10-152[-158], printed in red and black, on 'japon impérial' paper. Lithographic title vignette, 16 lithographic illustrations (9 full-page; 7 presented as headpieces), some other decorations printed in red, EXTRA-ILLUSTRATED with an original black and red ink drawing, inscribed and signed by Lascaux, and dated '47; atlas volume: without text, the 16 lithographic illustrations presented in two states: in black on a warm-toned 'annam' paper, and in 'carmin' (red) on a cooler toned 'chine' paper). 4to. Provenance: ?Donald C. Gallup (original drawing inscribed 'Le livre de AndréGideavec / des illustrations de votre ami cher Gallup / Elie Lascaux / 47'). The inscription probably refers to Donald C. Gallup, bibliographer and Yale library curator, a strong advocate for the artist Elie Lascaux and a keen collector of his work. In addition, Gallup mounted two exhibitions of Lascaux's work at Yale. 'Isabelle', first published in 1911, tells the story of a young man whose studies take him to the remote country home of an eccentric family, where he falls in love with a portrait of their absent daughter. As he unravels the mystery of her absence, he is forced to abandon his passionate ideal. The illustrations are by Elie Lascaux. "Gertrude Stein once described the paintings of French artist Lascaux (1888-1968) by saying that in all his works there is 'that white light which is the light that Elie Lascaux has inside him.' Donald Gallup, wrote that this light 'is at once the key to the charm which his work holds for his admirers and a hindrance to his gaining the appreciation of those who do not instinctively understand him.' In a catalogue for an exhibition celebrating the 100th anniversary of Lascaux's birth at the Galérie Louise/Leiris in Paris in 1988, Gallup wrote: 'In the main, he was content to portray only scenes long familiar and well understood: the streets and buildings of Paris, especially Montmartre and the Ile de la Cité, Versailles, Limoges (where he was born) and the surrounding towns and countryside. In these pictures, there is a sureness, sensibility, and sincerity, born of deep knowledge and true affection, set down in his own inimitable, unique way.' Lascaux moved from his village to Paris in 1905 when he 17 and took jobs as an actor and singer before he became an architect's draftsman. After being wounded in World War I, he was held prisoner by the Germans early in 1915. A German officer of the prison camp allowed Lascaux to spend his time painting, and Lascaux made a career out of art when he returned to Paris after the Armistice. In 1921, the artist Max Jacob brought Lascaux to the attention of Kahnweiler, who represented many Cubist artists. Lascaux's work was subsequently shown in the art dealer's gallery. This is the second time Lascaux's work is being shown at Yale. In 1951, Jonathan Edwards College hosted a larger exhibit of his work, also drawn from Gallup's collection. " ('Yale Bulletin & Calendar, January 21, 2000 Volume 28, Number 17". Gide Both volumes unbound within original pink paper wrappers, both contained within a single pink paper-covered board 'chemise', all within a matching pink paper-covered board slipcase. (Spine of 'chemise' and some areas of the slipcase faded). Very good indeed Text vol.: pp.[i-ii, 1-]10-152[-158], printed in red and black, on 'japon impérial' paper. Lithographic title vignette, 16 lithographic illustrations (9 full-page; 7 presented as headpieces), some other decorations printed in red, EXTRA-ILLUSTRATED with an original black and red ink drawing, inscribed and signed by Lascaux, and dated '47; atlas volume: without text, the 16.