Contes Boccace, Signed (8 results)

Hardcover. Condition: Very Good. Tony Johannot, H. Baron, Eug. Laville, Célestin Nanteuil, Grandville, Geoffroi, etc. (illustrator). Condition: Very Good. 0. In-4°, pages [4], VIII, 505, [3], with 32 plates outside the text and 120 illustrations in the text by Beautiful coeval cloth binding with gold decoration on the spine and plates, gold cuts. Tight Binding. Some signs of use at edges of cover. Corners of cover shows use. Some foxing- however clear pages without marks, notes underlining etc. Signed by Author(s).

Un volume de format petit in 8° de 170 pp.; 16 hors texte en couleurs et 19 dessins in-texte par Brunelleschi. Reliure en plein maroquin brun clair à coins; couverture entièrement conservée; tête dorée. Reliure parfaitement exécutée, signée Jean Etienne. Comme neuf. Voir les photos. Tirage limité; exemplaire numéroté.

Softcover. Condition: Sehr gut. Dust Jacket Condition: Sehr gut. 1. Auflage, Limitierte Ausgabe. Edition limitée à 25 exemplaires numérotés à la main (justifiés par d'Essertine). Texte calligraphié (par Philippe Gonin). Illustré de nombreuses lithographies originales peintes à la main dans chacun des 25 exemplaires de l'édition par d'Essertine. Exemplaire No. 23/25, 28 x 19cm, 60 pp., en feuilles, sous couverture imprimée, chemise et étui; à très bon état; Etui avec petits dommages aux bord. L'un des plus rares livres enluminés de l'artiste Claire Gonin-Vergès, de la famille des éditeurs Gonin de Lausanne, qui illustra (au moins) sept livres sous divers noms, Claire Vergès et J. Smith étant les deux autres que nous connaissons. Celui-ci présente la particularité d'etre intégralement lithogrphié en sépia, textes calligraphiés à l'ancienne et images. Ces dernières, ainsi que diverses lettrines, sont copieusement réhaussées de couache. L'illustration la plus réussie parmi les quelques-une que nous connaissons de cette artiste. Elle se compose d'une petite trentaine de compositions un brin coquines dont un tiers a pour orétexte des lettrines, celles-ci néanmoins réalisées avec un grand luxe de détails. --- Limited edition of 25 hand-numbered copies (justified by d'Essertine). Calligraphic text (by Philippe Gonin). Illustrated with numerous original lithographs hand-painted in each of the 25 copies of the edition. Copy No. 23/25, 28 x 19 cm, 60 pp. in leaves, in printed cover, folder and slipcase; in very good condition (slipcase with minor edge damage). One of the rarest illuminated books by the artist Claire Gonin-Vergès, of the Gonin publishing family of Lausanne, who illustrated (at least) seven books under various names, Claire Vergès and J. Smith being the other two known to us. This one has the particularity of being entirely lithographed in sepia, with texts written in old-fashioned calligraphy and images. The latter, as well as various initials, are copiously enhanced with colour. This is the most successful of the few illustrations we know of this artist. It is made up of around thirty slightly naughty compositions, a third of which are set against a background of lettering, although the latter is executed with great attention to detail. Signatur des Illustrators.

Couverture souple. Condition: Bon. Edition originale. Illustrés par Mariette Lydis. un des ex. numérotés sur vélin d'Arches. On yjoint: Planches libres. 14 Dessins couleurs, pour Le Decamerone de Boccace. Dédicacé par l'illustrateur.

Hardcover. Condition: Fine. Umberto Brunelleschi (illustrator). 1st Thus. a very fine set in Full crushed levant deep blue morocco signed by Max Ponesque of Paris. Tradiut from the Italian into French by Antoine de Macon. Illustrations by the Italian master, Umberto Brunelleschi. 1 of 2500 sets. limited 2 large 4to volumes housed in Morocco tipped marlbed slipcases, full marbled endsheets, dentils, 32 color plates 138 chapter heads and tail pieces He moved to Paris in 1900 and was famous for his erotica and stage design, for Josephine Baker and others at the Folies bergere and else in Paris. Erotic and alluring art nouveau plates, full color seriagraphs. Very fine set. By the Binder.

In-8° pp. 166-4 con 16 tav. a col. f.t. e 19 dis. in nero n.t. tutti ill. da Brunelleschi. Legatura in mezza pelle coeva con nervatuire l dorso, con lievi segni. Conservata tutta la bross. edit. a col. all'interno. Sul retro dell'occhiello vi è la dedica autografa del Brunelleschi.

Avignon, sans nom d'éditeur, 1781. Un volume relié in 8 de xi-256 pp. Reliure signée Berthault, plein maroquin lavallière, dos à nerfs, titrage doré, dentelles dorées sur les contre plats, tête et tranches dorées, Ouvrage illustré d'un front., d'une figure hors-texte et de 4 vignettes par DESRAIS, gravés par PATAS. Deux ex libris dont celui de Marcel Bertrand.Reliure légèrement passée, une déchirure avec manque au frontispice (la partie manquante est conservée), frontispice roussi. Livres.

First Edition. "CHAGALL, Marc. Verve. Contes de Boccace. Paris: Éditions de la Revue Verve, 1950. Folio, original lithographic dust jacket over boards. $5800.First edition of this exceptional volume of 26 Chagall heliogravures, accompanied by 26 tipped-in color prints from a medieval miniaturist, boldly signed by Chagall on the half title. From the collection of Joseph Liverant, a fellow Russian Jewish emigré and friend of Chagall.The art critic Stratis Eleftheriades, under the nom de plume Tériade, published the art journal Verve in Paris from 1937 to 1960. He commissioned famous artists of the day, from Matisse to Picasso and Chagall, to provide works for the journal, with numerous lithographs appearing for the first time in his publications. This volume is particularly notable for the unusual medium (for Chagall) used: "New washed drawings in India ink, which are quite unrelated to anything he had done before. Using black diluted in every possible degree from onyx to the palest shade of gray, he produced sheets that give an intensely colorful effect These drawings were a response to what he saw in his new environment and stemmed from the urge to render in a spontaneous fashion the overwhelming impact of the profusion and light. They also reveal, paradoxically, the increased importance of color as a medium of expression. In these drawings, 'light' does not signify a diminution of the colorfulness, but an advance into the zone from which it springs. One might say that the heart of the color is light and from this light Chagall created the colorfulness of his sheets. What this means is visibly demonstrated by the drawings he did at Tériade's suggestion for the number of Verve dedicated to Boccaccio's Decameron. What Chagall produced was a present-day counterpart to colored reproductions of the miniatures in a fifteenth-century manuscript of Boccaccio's work. For each of his drawings he drew inspiration from the miniature of the same scene and the old and new illustrations are reproduced side by side in the pages of Verve. In Chagall, however, everything attains a new meaning. A new logic links the objects of the anecdotic 'tale,' and the plot of the love story gives rise to ardent desire and serene joy. What is more, in Chagall's large black-and-white plates the light radiates in a far richer modulation of color than the full coloring of the miniaturist's precise magic-lantern pictures" (Meyer, 499). From the collection of Joseph Liverant, a fellow Russian Jewish emigré and close friend of Chagall. Liverant and Chagall both fled Europe in World War II, Liverant to Canada and Chagall to the United States. After the war, both acquired residences in Provence, where shared social circles, similar ages, and a mutual love of Yiddish combined to forge a lasting bond of friendship between the two.About-fine condition.". Signed.