georges painter (40 Ergebnisse)

Paperback. Zustand: Good. Good with wear, no marking. Looks like an interesting title!

Zustand: Bon. Ancien livre de bibliothèque. Traces d'usure sur la couverture. Salissures sur la tranche. Couverture différente. Edition 1966. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Signs of wear on the cover. Stains on the edge. Different cover. Edition 1966. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hard back binding in publisher's original white cloth covers, black lettering to spine and upper panel. Folio 12'' x 9''. Colour and monochrome illustrations. Ex-library with usual stamps, tape marks to edges of boards, no dust wrapper. Member of the P.B.F.A. ART [French].

Broché. Zustand: Etat moyen. in-8 Description :Poinçons M.F. sur la couverture insolé et sale. Langue : Français Nb de volumes : 1.

Zustand: Très bon état. in-8, broché, couverture illustrée, 224 pp.

Zustand: très bon. édition originale. 1 volume in-8° Broché sans couverture illustrée.

Zustand: Bon. Tome 2 : 1904-1922; Les années de maturité. 1 volume in-8° Broché sous couverture illustrée.

Zustand: Bon. Tome 1 : 1871-1903 ; Les années de jeunesse. 1 volume in-8° Broché sous couverture illustrée.

First edition hard back binding in publisher's original colour illustrated stiff card wrap covers [soft back]. 8vo. 9½'' x 7½''. Contains 160 printed pages of text with colour and monochrome illustrations and photographs throughout. In Fine condition, no dust wrapper as issued. Member of the P.B.F.A. ISBN 1854441434 ART [French].

Couverture souple. Zustand: bon. R150226939: 1979. In-8. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 436 pages - ACHEVE D'IMPRIMER LE 19 NOVEMBRE 1979 - 1 annotation à l'encre n'altérant pas la lecture - quelques tâches de rousseurs. . . . Classification Dewey : 840.091-XX ème siècle.

Couverture souple. Zustand: bon. RO30326232: 1968. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 224 pages. Quelques coupures de presse. . . . Classification Dewey : 928-Ecrivains.

Couverture souple. Zustand: bon. ROD0137588: 1979. In-8. Broché. Etat d'usage, Coins frottés, Dos frotté, Intérieur frais. 436 pages - annotations à l'encre sur la page de titre - une carte en noir et blanc en double page au début de l'ouvrage. . . . Classification Dewey : 928-Ecrivains.

Couverture souple. Zustand: bon. R320054792: 1966. In-8. Broché. Etat d'usage, Plats abîmés, Dos satisfaisant, Intérieur frais. 517 pages - Taches "brunies" sur les plats. . . . Classification Dewey : 928-Ecrivains.

Couverture souple. Zustand: bon. R160112057: 1966. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 517 pages. . . . Classification Dewey : 840-Littératures des langues romanes. Littérature française.

Zustand: bon. Broché, 440p. tome 1 seul.

Zustand: BE. Paris, broché, couverture illustr (ptes usures) (traces de pliures); in-8, 466-517 pp. Les 2 volumes.

Zustand: 3. MARCEL PROUST 1871-1903 LES ANNEES DE JEUNESSE MERCURE DE FRANCE 1966 Brochà annotation sur page de garde plis sur couverture et dos, interieur propre.

Zustand: 2. BROCHE.

Zustand: 3. BROCHE.

First edition hard back binding in publisher's original rebacked half scarlet leather, scarlet cloth sides, the spine divided into five panels, gilt lettered in the second, tools to the others, original re-inforced lemon lining papers, top edge gilt. Quarto. 10¼'' x 7½''. Contains illustrated additional title-page, (xxxiii), [i], 292 pp illustrated by 150 designs by Victor Adam over 38 single-sided plates of engravings, illustrating 150 birds, each plate exquisitely hand-coloured. White paper label to the front free end paper with the name 'A. J. Warnock', ink name above, one gathering slightly proud, two loosely enclosed letters, one typed, one hand written from 'Jacques Delmand' referring to the contents of the book, rubbing to the leather corners, hinges sound and in Very Good. Member of the P.B.F.A. ORNITHOLOGY.

25 sections of each 2 inserted loose doublesheets of thick paper 'Vélin Arjomari' (=200 pages in total) with 193 (2 +5) partly numbered pages of texts, autograph- and musical-score facsimiles and 28 mostly colour lithographs; first 4 and last 5 blank sheets included (of which the very first and the very last one is laid under the interior large flaps of the dustjacket). - Loose in cardboard-cover with titled cardboard-dustjacket in a gilt-titled strong half-leatherette folder with marbled panels which again is protected by the publishers stiff cardboard-slipcase with fullsize colour-lithographs by Marcelle Oury on both sides; Folio (ca. 32 x 25 x 6 cm; ca. 3 kg.). *** [FRÜHLINGSVERKAUF-Endspurt, noch bis Montag den 25.05.2026 / Ultimate SPRING-SALE, only until Monday May 25th 2026: um über 33% REDUZIERTER PREIS / PRICE-REDUCTION of over 33%; ehemaliger Preis / previously EUR 650,-] --- FIRST EDITION, ELABORATE ARTIST'S CELEBRATION BY THE WHO-IS-WHO OF FRENCH TWENTIETH-CENTURY ARTISTS IN VARIOUS FIELDS; WITH A TOTAL OF 29 ORIGINAL LITHOGRAPHS, COMPLETE: ''Il a été tiré des cet ouvrage 25 . . . [+] 975 exemplaires sur vélin B. F. K. de Rives . . . [+] 5000 exemplaires sur vélin Arjomari numérotés de 1001 à 6000. . . Exemplaire No 3982''['Justification du tirage on page (6)']. ''La typographie de cet ouvrage est due à L'IMPRIMERIE NATIONALE, Monsieur André Brignole étant Directeur & Paul Lajuncomme responsable de la typographie. La composition aété faite avec le Garamont corps 20 propriété exclusive du grand Établissement d'État sur les presses duquel lìmpression a été achevée le 22 juillet 1965. Les lithographies en couleurs et les dessins en noir ainsi que les manuscrits sortent des presses de Fernand Mourlot. Henri jadoux a été l'ouvrier responsable de l'ouvrage.''[colophone on page (195)]. - A BEAUTIFUL COPY; ALSO IN STOCK 'RAOUL DUFY / Louis CARRÉ: DESSINS ET CROQUIS EXTRAITS DES CARTONS ET CARNETS'(Paris 1944); the artists copy 'hors commerce #I', lengthly inscribed and signed by Dufy to the art-collectors and artist's-patrons ''. . . Madame et au Monsieur Bernard Reis. . .'' on the occasion of their meeting at Louis Carné's house in New York. . .

Various formats. Altogether 50 pp. With four autograph envelopes. In French. Correspondence with his art dealer and friend Raymond Nacenta (1899-1979), director of the Galerie Charpentier in Paris, concerning upcoming exhibitions, artistic projects, payments, and holidays (among other subjects). Mathieu's style of writing is hyperbolic and bursts with enthusiasm, often matched by expressive calligraphy. In the longest letter in this collection, one of only two dated letters, Mathieu showers Nacenta with thanks and compliments: "The benefits of which I found myself the object by your care [.] are too great to be the external mark of my merit in spite of the very particular esteem that you seem to have made of my person [.] Happy; yes, you have made me happier than I can say [.] Your generosity is so much greater in intention than that of the Great Alexander that it can never be rewarded by the thanks I could give. Ah, if I were allowed at least to grant you the diadem of the Persians or the praises of Homer! [.]" (25 April 1966). In a letter in red ink, dated to 24 June with no year, Mathieu describes his anticipation of a coming exhibition: "I am thus living my last days of calm before undertaking the greatest battles of my history. Bloody adventure, where it will please me to triumph with You". - In a letter that can be dated to 1971-72, Mathieu mentions to Nacenta that he had met President Pompidou and told him that "he will receive a charming medal". The letter closes with one of Mathieu's starkest hyperboles: "I curse the merchants who make me work in the cold of my icy workshop, and I curse the muses who seem to have abandoned me. In this season the cows would keep me warmer. What am I, alas, the little Jesus!". In 1972, a tin medal designed by Mathieu was issued to commemorate the 10th anniversary of the Fifth Republic. Five years earlier, Mathieu had designed a bronze medal for the French railway company SNCF. On 20 Nov. 1967 Mathieu sent to Nacenta a zinc mould and some proofs necessary for casting the medal. In the accompanying letter, Mathieu states that he had talked to the general secretary of SNCF, Jules Antonini, and was ready to accept his payment in vouchers. - Mathieu was highly interested in French art and design of the 17th and 18th centuries. In the letters he mentions Charles LeBrun, Antoine Watteau, and the sculptors Philippe Caffieri and Pierre Lepautre who, for Mathieu, is "the incarnation of that so French measure which I flee from and which I need so much". In a postcard from Gstaad that is embellished with a beautiful calligraphic drawing in blue and red ballpoint, Mathieu exclaims: "Long live the masterpieces and artisanal rehabilitation", a motto that resonates with his art historical interests. A contemporary artist mentioned in the correspondence is Pierre-Yves Trémoin who "seems to be enchanted by the commission that you gave him". With respect to his own work, Mathieu reminds Nacenta: "You have forgotten that I was 'anti lithography of luxury numbered even for good works'" and therefore instead offered a gouache that "will not be multiplied". The two postcards are co-signed by a mutual friend named Solange, possibly the former actress and collector Solange Turenne. - All letters on Mathieu's personal stationery with an embossed print of his design "Moult de Parte". This design reappears in three red seals on one of the envelopes. The brown ink and calligraphy of the address on this large cardboard envelope match the letter from 25 April 1966. Minor browning to the margins and occasional minor tears. Well preserved with traces of folds and some buckles.

1 p. on 6ff. Printed wrappers. Small 4to. Apparently a letter draft, written on the next-to-last page (entitled "Notes"): "[.] Today 10th July in the year of our Lord one thousand nine hundred thirty four I told Tristan [?] that I would spend a weeks holiday with him [.]". - In pencil; somewhat brown-stained, cover rather browned and spotty.

Eigenhändige Postkarte (Ansichtspostkarte) in Tinte mit Ort, Datum, Unterschrift signiert love, GEORGES - an M. Leon S. Aubey im Hotel de France a Cadiz, Espana.

(Oblong) 8vo. 3 pp. on 4 ff. In ink and pencil. The postcard with autograph address. The letter, containing a sketch of a painted fan, is written to a friend about an order for the sister of the railway president Derville and her niece, for two painted fans that Cain has completed: "Je viens de faire 2 éventails pour Mlle Derville (sur de notre ami le président du PLM) [.] C'est un extrait d'un chef d'uvre que je vous signale! [.] Et aussi les éventails desous exquis! Grace à Vous [.]". - Humorous invitation for tea with a portrait caricature, written to a friend whom Cain needs to see as soon as possible: "Que devenez vous donc affreux lacheur. J'ai à vous parler, les plus tôt possible SVP. Je vous avertis que Vendredi vous étiez de soirée chez moi, 20 sous et 2 tasses du thé [.]". - The postcard to a Madame Japy at Montreux Palace with a half-page profile portrait in pen and ink: "Envoi de George Cain". - Slightly browned; the invitation with slight inkstains; the postcard and a letter with collector's note in pencil.

8vo and small 12mo. Together 5½ pp. With autograph envelope. The duodecimo letter with an envelope is addressed to the French journalist and bibliophile Pierre Dauze (1852-1913). Thanking him for unspecified information, Cain asks Dauze to lend him for some hours a catalogue that he would return "with his instructions". In closing, Cain apologizes for an undelivered earlier letter, assuring Dauze that the fault was not his, but that of the postal service: "Mille fois merci du bon renseignement que vous voulez me donner. Mettez je vous en prie le comble à votre obligeance et pretez moi ce catalogue pendant quelques heures. Après l'avoir parcouru je donnerai mes instructions le bas. Une chose me desole: vous n'avez pas reçu la lettre ou je vous remerciais devotre charmant envoi. La faute n'en est pas à moi, qui vous ai répondu comme je le devais, mais bien à la Poste [.]". - The second letter, to an unnamed recipient and dated 3 February, concerns business with a M. Koch who was "quite tough and set a veritable ultimatum" in a meeting with Cain just before the letter was written. Cain gives a summary of Koch's demands, apparantly for the resale of a work of art, and explains that Koch, who seemed "irritated and impatient", told him that he wrote the anonymous article in Le Figaro. Cain has no answer to his demands: "Nous n'avions rien à répondre - Que pourrait-on faire, c'est bien délicat!". - The second letter with small tears to the margins, some browning and stains.

4to. 1 p. The letter in the shape of a painter's palette. To Blaise Cendrars: "Dear old friend. Your letters bring us great joy. It feels like they bring the sun and revive fond memories of our stay [.] The news is good; we've thought a lot about Mme du Château (Raymone Duchateau, who Cendrars married in 1949). We're happy to hear she's recovering and that you're reassured. You must be pleased about Boulinguer [Cendrars' recent work], it's widely discussed here as the book everyone hoped from you. Here I am a champion (Venice), they told Marcelle I avenged Cerdan [.]"Written shortly after the 1948 Venice Biennale, where the author received the Grand Prize for his life's work.

Large 8vo. 1 p. To the French actor and director Sacha Guitry, probably concerning a commission for Guitry's art collection. Rouault cynically - and somewhat cryptically - remarks that "the taboo, as some of my contemporaries are wont to underline, is not to paint flowers unless in a somewhat decorative manner". He announces that his daughter will explain to Guitry "what is possible considering the current retrospective" and Rouault's ill health: "Considérez que le maudit comme le soulignaient parfois certains de mes contemporains n'est pas peintre de fleurs sinon quelque peu décoratives cependant ma fille - vous expliquera mieux que moi avec cette retrospective actuelle et mon état de santé ce qu'il est possible de faire. En vous souhaitant meilleur état de santé je vous prie [.]". - No direct connection between Rouault and Guitry is known, but Guitry was an avid collector of modern art. - With collector's number in pencil. Well preserved.

4to. 6 pages, 1 page in-12 avec adresse au verso (carte-lettre). À l'éditeur tchèque Josef Florian. [11.X.1919], nouvelles de sa santé et de sa famille après la guerre Il donne l'adresse d'Ambroise Vollard et évoque son travail sur Miserere : « J'ai encore 60 eaux-fortes à faire il faut encore des années de labeur. Cela paraîtra en albums de 50 l'un et l'autre : Miserere et Guerre ». Le prix sera « très élevé », mais il essaiera de lui obtenir 15 %. Il va lui envoyer une photo « du portrait à l'huile de moi ». Quant au Léon Bloy, il ne sait s'il le publiera chez Vollard ou d'autres, mais ce ne sera pas avant la fin de l'année. Il compatit à la souffrance de Florian : « Je sais ce que c'est que la maladie et je peux très très très bien faire ceci et plus si vous désirez et avec joie ». Il conclut « en souvenir de Léon Bloy et aussi un peu de moi votre serviteur dans la douleur que je connais si bien » ; et il ajoute : « Je suis content du poème sur vous. Cela porte pour l'instant ce titre - Litanies du malheur » 1er mai 1925 : à la suite d'une lettre de Léon Lehmann parlant du portrait qu'il a fait de Rouault, il donne son accord pour que Lehmann en fasse une copie : « si c'est pour un amateur cossu comme disait Léon Bloy dites moi le prix qu'on pourrait le faire payer ? Si c'est pour vous c'est différent » Lundi. Il lui a envoyé l'estampe La belle-mère : « Sur les petites une quinzaine je note ma prédilection pour 8 estampes marquées derrière d'un rond rouge [] Vous avez à vous dédié tout l'album Miserere et ma meilleure chanson si du moins mon coeur ne m'a pas trompé ». Il lui demande, en vue d'une exposition, de copier dans les cinq albums de ses Chansons « les plus typiques avec votre belle écriture dans un format maniable » ; et il conclut : « Espérance et charité : soeurs bien aimées ». - On joint 2 L.A.S de Léon Lehmann, qui se fait l'intermédiaire de Rouault (1921-1925) ; et la copie manuscrite (9 pages in-4, par Mme Rouault et Léon Lehmann), avec corrections autographes de Rouault, du long poème dédié à Josef Florian.

390 : 295 mm. Large vintage glossy 11.5 x 15.5 half-length photo of Braque in a contemplative outdoor pose, signed and inscribed in fountain pen, "Pour Max Gelloquer avec mes amities, G. Braque." In fine condition, with three circular spots of emulsion irregularity to the right of his head. A tremendous portrait of Braque, who remains rare in signed photographs.