jacques lemercier (11 Ergebnisse)

Hardcover. Zustand: Très bon. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Ammareal gives back up to 15% of this item's net price to charity organizations.

Broché. Zustand: Bon État. Jacques Lemercier (illustrator). Ouvrage broché de 133 pages, abondamment illustré en n&b de photos et de documents d'époque par Jacques Lemercier, chronique d'une famille bruxelloise dans les derniers temps de l'occupation et pendant la libération. En bon, voire très bon état. Poids : 420 grammes.

Couverture rigide. Zustand: Très bon. Thérèse GUERIN - Jacques LEMERCIER SCHAERBEEK EN CARTES POSTALES ANCIENNES 1972, Zaltbommel, Edition Bibliothèque Européenne, bilingue français néerlandais Format : In-12 (21 x 15 cm), relié, 2 pages et planches Reliure cartonnage éditeur, ex dono collège de Schaerbeek illustré de 116 reproductions de cartes postales anciennes Etat : très bon état poids : 500g.

Zustand: Neuf.

Couverture souple. Zustand: bon. RO30314399: 1996. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 145 pages. . . . Classification Dewey : 610-Sciences médicales. Médecine.

No Binding. Zustand: Good. First Edition. 33.8 X 23.8 Cm. Dampstaining In Upper Right Corner, Small Intrusion Into The Printed Area. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Charles Nicolas Lemercier (1797-1859) Was Known As A Printmaker, Painter And Draughtsman. He Was A Pupil Of Regnault And Lethière. Achille Jacques-Jean-Marie Devéria (1800 - 1857) Was A French Painter And Lithographer Known For His Portraits Of Famous Writers And Artists. Devéria Became A Student Of Anne-Louis Girodet-Trioson And Louis Lafitte. In 1822, He Began Exhibiting At The Paris Salon. At Some Point, He Opened An Art School Together With His Brother Eugène, Who Was Also A Painter. By 1830 Devéria Had Become A Successful Illustrator And Had Published Many Lithographs In The Form Of Notebooks And Albums (E.G., His Illustrations To Goethe's Faust, 1828) And Romantic Novels. He Also Produced Many Engravings Of Libertine Contents. Devéria's Experience In The Art Of The Vignette And Mezzotint Influenced His Numerous Lithographs, Most Of Which Were Issued By His Father-In-Law, Charles-Etienne Motte (1785-1836). Most Of His Work Consisted Of "Pseudo-Historical, Pious, Sentimental Or Erotic Scenes". (Wright) Since He Rarely Depicted Tragic Or Grave Themes, He Appears Less Romantic Than Many Other Artists Of The Time. His Paintings Were Mainly Done Using Watercolours. The French Poet And Critic Charles Baudelaire Referred To His Portrait Series As Showing "All The Morals And Aesthetics Of The Age". Devéria Was Also Known For Doing Portraits Of Artists And Writers, Whom He Entertained In His Paris Studio On Rue De L'ouest. The List Of His Sitters Includes Alexandre Dumas, Prosper Mérimée, Sir Walter Scott, Jacques-Louis David, Alfred De Musset, Charles Augustin Sainte-Beuve, Honoré De Balzac, Théodore Géricault, Victor Hugo, Marie Dorval, Alphonse De Lamartine, Alfred De Vigny, Jane Stirling, And Franz Liszt. In 1849 Devéria Was Appointed Director Of The Bibliothèque Nationale's Department Of Engravings And Assistant Curator Of The Louvre's Egyptian Department. In The Following Years, He Taught Drawing And Lithography To His Son, Théodule Devéria, And Both Worked On A Family Portrait Album From 1853 Until His Death. They Applied Ink Wash To Several Of The Portraits In The Album, Possibly In Preparation For Printing Lithographs From The Photographs. The Album Photographs By Théodule Devéria Are Dated 1854. Devéria Spent His Last Days Traveling In Egypt, Making Drawings And Transcribing Texts.

No Binding. Zustand: Good. First Edition. 34.7 X 27.8 Cm. Dampstaining In Lower Right Corner, Outside The Printed Area. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Charles Nicolas Lemercier (1797-1859) Was Known As A Printmaker, Painter And Draughtsman. He Was A Pupil Of Regnault And Lethière. Achille Jacques-Jean-Marie Devéria (1800 - 1857) Was A French Painter And Lithographer Known For His Portraits Of Famous Writers And Artists. Devéria Became A Student Of Anne-Louis Girodet-Trioson And Louis Lafitte. In 1822, He Began Exhibiting At The Paris Salon. At Some Point, He Opened An Art School Together With His Brother Eugène, Who Was Also A Painter. By 1830 Devéria Had Become A Successful Illustrator And Had Published Many Lithographs In The Form Of Notebooks And Albums (E.G., His Illustrations To Goethe's Faust, 1828) And Romantic Novels. He Also Produced Many Engravings Of Libertine Contents. Devéria's Experience In The Art Of The Vignette And Mezzotint Influenced His Numerous Lithographs, Most Of Which Were Issued By His Father-In-Law, Charles-Etienne Motte (1785-1836). Most Of His Work Consisted Of "Pseudo-Historical, Pious, Sentimental Or Erotic Scenes". (Wright) Since He Rarely Depicted Tragic Or Grave Themes, He Appears Less Romantic Than Many Other Artists Of The Time. His Paintings Were Mainly Done Using Watercolours. The French Poet And Critic Charles Baudelaire Referred To His Portrait Series As Showing "All The Morals And Aesthetics Of The Age". Devéria Was Also Known For Doing Portraits Of Artists And Writers, Whom He Entertained In His Paris Studio On Rue De L'ouest. The List Of His Sitters Includes Alexandre Dumas, Prosper Mérimée, Sir Walter Scott, Jacques-Louis David, Alfred De Musset, Charles Augustin Sainte-Beuve, Honoré De Balzac, Théodore Géricault, Victor Hugo, Marie Dorval, Alphonse De Lamartine, Alfred De Vigny, Jane Stirling, And Franz Liszt. In 1849 Devéria Was Appointed Director Of The Bibliothèque Nationale's Department Of Engravings And Assistant Curator Of The Louvre's Egyptian Department. In The Following Years, He Taught Drawing And Lithography To His Son, Théodule Devéria, And Both Worked On A Family Portrait Album From 1853 Until His Death. They Applied Ink Wash To Several Of The Portraits In The Album, Possibly In Preparation For Printing Lithographs From The Photographs. The Album Photographs By Théodule Devéria Are Dated 1854. Devéria Spent His Last Days Traveling In Egypt, Making Drawings And Transcribing Texts.

Soft Cover. Zustand: Good. De Versailles à Locarno. Les Éditions du Monde Moderne. Paris. 1926. De 18,5x12 cm. Com 236, [ii] págs. Brochado. Texto em francês sobre a paz na Europa após a Primeira Guerra Mundial, da Sociedade das Nações à problemática do desarmamento europeu. Language: Francês / French Location/localizacao: I-181-B-48.

Zustand: Très bon. édition originale. dessiné sur la statue de bronze faite et érigée à St Jean de Latran à Rome. Pièce très rare, ici en premier état. Le Blanc 530-1; R.D. VI-2 (de la plus grande rareté). On ne connaît de lui que trois estampes. 36 x 17 cm Beau papier filigranné; pliure transversale.

Zustand: Good. Small oblong folio. 33 x 25.5cm. Six leaves and text and 18 double page plates. Contemporary calf, worn. The pages are now detached and the binding serves as a chemise. Perfect for display. Reference: Fowler no. 192, Edition A of C.[1] f. of title on double page, [1] f. on double page (dedication), [1] f. on double page (reader's note), 18 (out of 19) engraved plates on double page (views, plans and sections). All the leaves and plates (formerly mounted on tabs) are detached. Brown calf, decorated ribbed spine (contemporary binding). Very worn binding. Scattered foxing and light marginal water stains.Work dedicated to the Château de Richelieu in Indre-et-Loire, commissioned in 1631 by the Cardinal and completed by Armand-Jean Du Plessis, Duke of Richelieu, heir and nephew of the former, to Jacques Lemercier (circa 1582-1654), architect of the Sorbonne, the Château de Rueil, the Hôtel de Liancourt, the town of Richelieu and the Palais Cardinal, which became the Palais Royal. The château housed the cardinal's collections including his library before being almost entirely destroyed during the Revolution.OCLC Number / Unique Identifier:1064308985:.Contents:.1. 'Plan General Dv Chasteav de Richeliev' - Plan of the Chateau de Richelieu and the surrounding grounds, showing internal rooms within the chateau, courtyards, the moat, formal gardens and parterres and lawns. A scalebar below.2. View of the cour d'honneur at the Chateau de Richelieu, the elegant courtyard enclosed on two sides by matching ranges with central domes and end pavilions, the stately chateau beyond with pavilions at each corner and a domed corps de logis, the curving walls of the basse-cour to the foreground ruined in the plate to show the view, numerous figures throughout the scene including gentlemen riding to the hunt, elegantly dressed figures in conversation, and a man driving a donkey to the foreground.3. 'Plan du Chasteau, et de la principale Cour de Richelieu.' - A plan of the ground floor and the inner court of the Chateau de Richelieu, showing the numerous rooms, such as bedchambers, the chapel, offices, kitchens, halls, and latrines, bridges across the moat. A scalebar below4. 'Veve Generale en Perspective dv Chasteav, des Basse-Covrs, de l'Anti-Covr, des Parterres, des Iardins, &c. de Richeliev.' - View of the Chateau de Richelieu, the elegant chateau beyond the cour d'honneur enclosed on two sides by matching ranges with central domes and end pavilions, the basse cour enclosed on two sides by separate courtyards with stables and offices, a wide avenue leading through towards the house, the gardens and parterres beyond with woods to the left and right, numerous figures throughout the scene, the whole framed to the left and right with architectural elements with statues of sphinxes.5. 'Eleuation en Perspectiue de la principale Cour du Chasteau de Richelieu, des feu Aisles, de ses Pauillons, de ses corps de logis, et de son grand Escalier' - View of the inner court of the Chateau de Richlieu with the domed corp de logis beyond, wings enclosing the courtyard with end pavilions with squared domes, a bridge leading over the moat, the parterres and woodlands beyond, several figures throughout the scene.6. View of the Chateau de Richelieu from the parterres behind the chateau, the corp de logis excised to allow the view, wings enclosing the inner courtyard with end pavilions with squared domes, the basse cour beyond the gatehouse, parterres to the right and lawns to the left, woodlands beyond, figures throughout the scene7. 'Eleuation en Perspective du Chasteau de Richelieu, de son Anti-cour, de ses Bassecours, et de tous ses autres accompagnemens.' - View of the Chateau de Richelieu, the domed corp de logis beyond the moat, parterres and lawns to the right, the other buildings of the chateau beyond, numerous figures throughout the scene includding two men with lances in the wide court beyond, three men in the shade of the large tree to the left.8. View of the gardens of the Chateau de Richelieu, the semi-circular court with elegant parterres surrounding a central fountain, the pavillon de l'orangerie and the pavillon du chai et des caves to the left and right, a wide avenue beyond leading through the thick woodlands, mountains in the distance, figures throughout the scene including noblemen and gardeners.9. 'Eleuation de la principale entrée du Chasteau de Richelieu.' - Elevation of the domed gatehouse of the Chateau de Richelieu, Hercules and Mars in niches on either side and a statue of Louis XIII above, with a statue of Fame crowning the dome, the domed end pavilions of the wings to the left and right, smaller buildings on either side.10. 'Eleuation du grand corps de logis, et du grand Escalier, veu? de la Cour du Chasteau' - Elevation of the corp de logis of the Chateau de Richelieu, the corp de logis with a domed central pavilion, statues set into niches to the walls between the windows, a cross-section through the wings to the left and right showing the interiors, a cross-section through the moat to the left and right. A scalebar below.11. 'Eleuation de l'entrée du pont-leuis du Chasteau de Richelieu de l'ordonnance de Iaq. le Mercier Architecte du Roy.' - View of the domed gatehouse of the Chateau de Richelieu, Hercules and Mars in niches on either side and a statue of Louis XIII above, with a statue of Fame crowning the dome, decorative rostra and urns to the walls, the gates finely carved with steps leading up to them. A plan below.12. 'Eleuation de l'ordre Dorique du Dosme de la terraße dedans la cour du Chasteau de Richelieu, de l'ordonnance de Jaques le Mercier Architecte du Roy.' - View of the domed gatehouse of the Chateau de Richelieu, Venus and Apollo in niches on either side and a statue of three male figures above, with a statue of Fame crowning the dome, decorative rostra and urns to the walls. A plan below.13. 'Eleuation d'une partie des faces, d'un coste de la Cour reduit a? ses mesures et proporti.

Zustand: Good. 17 engravings and lithographs. Various sizes, largest is 44.5 x 31 cm. sheet size. Most of these not reproduced on the internet. Library of Congress text: Charlotte Corday, born Marie-Anne-Charlotte Corday d'Armont was born in Normandy on July 27, 1768 and was executed on July 17, 1793 in Paris. Corday is buried at Chapelle Expiatoire in the 8th arrondissement in Paris. Interestingly, this cemetery is dedicated to Marie Antoinette and her husband King Louis XVI, although they are buried elsewhere. .She is largely remembered as the assassin of French Revolutionary leader, Jean-Paul Marat while he rested in his bath at home. She was born into a poor but noble family in the Auvergne-Rhône-Alps region in the south east of France, but she was being educated in Caens which is in Normandy in the North. She began going to political meetings there and became inspired by the ideas of the Revolution, and in particular the Girondin faction. The Girondins were a more moderate faction that was in favor of a Constitutional government. They represented the educated provincial middle class of France (lawyers, merchants etc.) and they stood against the "Paris mob" who tended to be in line with the opposing political party, the Jacobins. Corday felt that the Jacobins were too radical and she wanted to save the Revolution by eliminating their most popular leader, Jean-Paul Marat. With this in mind, she traveled to Paris and insisted on seeing Marat, promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Regardless of how she managed to gain access to Marat, she was allowed in while he was bathing (he suffered from a skin condition) and she plunged a knife directly into his heart causing his instant death. She was arrested immediately and soon found guilty and guillotined. All accounts attest to a brave and dignified death. The assassination of Marat was memorialized in the famous painting, Death of Marat, by Jacques-Louis David which hangs in the Louvre. Initially her violent act scandalized Paris and some felt it reflected poorly on women revolutionaries. Many women distanced themselves from her for this reason. Her intention to weaken the power of the Jacobins was a failure. Marat gained martyr status overnight and the Girondins as a faction were demonized and eliminated during the subsequent Jacobin-led Terror. However, she lives on in France's popular memory through numerous works of art, poetry, plays and literature. She was given the moniker the "angel of assassination" by French writer Alphonse de Lamartine who dedicated part of his series, Histoire des Girondins (1847) to her. Regardless of her political views, Charlotte Corday changed the way women were viewed during the Revolution in terms of personal agency and having the courage of one's convictions.Provenance: Sophie Renard, Chateau-Thierry. 02400 Brasles, France.