Isabelle by Gide Andre: Signed (8 results)

In-8, broché, couverture imprimée.16 bois originaux de Daragnès, dont un frontispice et 7 hors-texte. Tirage limité à 1.226 exemplaires numérotés. Un des 60 exemplaires sur hollande, enrichi d'un envoi autographe de l'artiste au bas du frontispice. Dos légèrement passé.

1st Edition. Jean-Gabriel Daragnès. 1st Edition. A finely produced limited and numbered edition, this being No. 12, printed on Papier du Marais-a unique subset of the edition, with only numbers 2-30 printed on this fine handmade stock. [30 copies on Papier du Marais (numbered 2 to 31 - No. 1 reserved for the artist or publisher] and 280 copies on vergé d'Arches (numbered 32 to 311) A superb example of the French livre d'artiste tradition, featuring bold and expressive original wood engravings by Jean-Gabriel Daragnès, a central figure in the Parisian fine press and illustration movement of the 1920s. Quarto. In the original printed wrappers, protected by the original glassine jacket, both remarkably well-preserved. The book is in near fine condition, uncut pages, with only slight curling to the page edges - likely due to the inherent quality of the handmade stock.199 pages. Laid in is a handwritten letter signed (ALS) by Daragnès, written in French on beige paper. In the letter, Daragnès responds with a mix of warmth and wry wit, thanking the writer for their kind words while gently correcting an error: French text: "Cher monsieur, Je reçois avec plaisir le numéro du Studio ou vous avez eu l'amabilité de parler de moi en termes si obligeants que je suis un peu confus. Je suis heureux que mes travaux vous plaisent - Puissent quelques Anglais jeunes comme vous. Croyez moi cher Monsieur amicalement.Daragnès .Je regrette simplement que vous m'avez appelé George alors que je me prénomme Jean-Gabriel" English translation: "Dear Sir, It is with pleasure that I receive the Studio's number in which you had the kindness to speak of me in such obliging terms that I am embarrassed by. I am happy that my work pleases you - few English as young as you do. Believe me dear Sir, Sincerely. Daragnès. I simply regret that you called me George when my first name is Jean-Garbriel" In 1925, Daragnès had set up his workshop on avenue Junot, in Montmartre which was the hub for many an artist of that time. Gide-Daragnès collaboration is an important example of the synergy between modern French literature and book art - and ISABELLE stands as one of the most elegant results of that movement. Jean-Gabriel Daragnès (illustrator). Signed.…

Couverture rigide. Nrf | Paris 1911 | 10.50 x 16.50 cm | relié | Nouvelle "édition originale", impimée à 500 exemplaires sur vergé d'arches et consistant en le deuxième tirage de ce texte (achevé d'imprimer le 20 Juin 1911). Cette édition postérieure de moins d'un mois à l'originale parue le 29 Mai 1911, est considérée comme l'originale de ce texte, car cette dernière a été presque entièrement détruite, André Gide étant mécontent du tirage car trois pages n'avaient pas le nombre régulier de lignes. Reliure en demi maroquin marron à coins, dos à cinq nerfs sertis de filets noirs, date et nom du relieur doré en queue, plats de papier caillouté, gardes et contreplats de papier peigné, ex-libris encollé sur un contreplat, couvertures et dos bleus non passés comme généralement conservés, tête dorée, élégante reliure de l'époque signé Huser. Précieux envoi autographe signé d'André Gide au poète symboliste André Fontainas rédigé à Cuverville le 3 Juillet. Bel exemplaire parfaitement établi. | [ENGLISH DESCRIPTION FOLLOWS] New "first edition", printed in 500 copies on laid Arches paper and consisting of the second printing of this text (completed on June 20, 1911). This edition, published less than a month after the original which appeared on May 29, 1911, is considered the first edition of this text, as the latter was almost entirely destroyed, André Gide being dissatisfied with the printing because three pages did not have the regular number of lines. Half brown morocco binding with corners, spine with five raised bands set with black fillets, date and binder's name gilt at foot, pebbled paper boards, combed paper endpapers and pastedowns, bookplate pasted on one pastedown, blue covers and spine unfaded as generally preserved, top edge gilt, elegant contemporary binding signed Huser. Precious autograph inscription signed by André Gide to the symbolist poet André Fontainas written at Cuverville on July 3rd. Handsome copy perfectly established. *.…

Paris, Éditions de la Nouvelle revue Française, 1911. 17 x 11 cm, 192 pp. Reliure modeste demi skyvertex à coins, dos lisse, étiquette de titre manuscrite, couvertures conservées. Bon exemplaire. Nouvelle "édition originale", imprimée à 500 exemplaires sur vergé d'arches, en réalité deuxième tirage de ce texte (achevé d'imprimer le 20 Juin 1911). Cette édition postérieure de moins d'un mois à l'originale parue, elle, le 29 mai 1911, est considérée comme l'originale de ce texte, car cette dernière a été presque entièrement détruite, André Gide étant mécontent du tirage car trois pages n'avaient pas le nombre régulier de lignes. Envoi autographe signé d'André Gide à Louis Delattre né à Fontaine-l'Évêque le 24 juin 1870 et décédé le 18 décembre 1938 à Uccle, médecin et auteur belge ami d'Albert Giraud et de Georges Eekhoud. Ex-libris de Louis Delattre contrecollé sur le deuxième plat, conçu par Georges Lemmen. Livres.…

Original-Broschur. Condition: Gut. auf Vortitel mit Ort und Datum signiert von dem französischen Autor und Nobelpreisträger Andre Gide (1869-1951) . leichte Gebrauchsspuren. signed by author . Size: 8°. Vom Autor signiert. Buch.

In-12, 192p. Un des 500 exemplaires sur vergé d'Arches filigrané. Exemplaire enrichi d'un envoi autographe signé de Gide (daté de février 21) en page de faux-titre. Très bel exemplaire. Reliure demi-veau bleu, dos lisse, couverture bleue et dos conservés.

Condition: Good. 12mo. Half morocco. Edition of 500; presentation copy from the author to the wife of Octave Mau, the Belgian polymath.New "first edition"; one of 500 copies on laid Arches paper and consisting of the second edition of this text (completed June 20, 1911).This posterior edition of less than a month after the original published May 29, 1911, is considered the original of this text, because the latter was almost completely destroyed, André Gide being dissatisfied with the printing because three pages had not the regular number of lines.Petit in-12, demi-maroquin vert bouteille à coins, dos lisse, tête dorée, couverture conservée (griffures, dos passé).ENVOI D'ANDRÉ GIDE À MADAME OCTAVE MAUS.Octave Maus, né à Bruxelles le 12 juin 1856 et mort dans cette ville le 26 novembre 1919, est un avocat, un écrivain et critique d'art et musical belge.«Nouvelle» édition originale avec l'achevé d'imprimer du 20 juin 1911. L'édition originale, dont l'achevé d'imprimer date du 29 mai 1911, a presque entièrement été détruite car trois pages n'avaient pas le nombre régulier de lignes. Notre édition fut tirée à 500 exemplaires sur vergé d'Arches, un de ceux-ci.…

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 André Gide avec / 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 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 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. Signed.…