La Gazette Des Beaux-Arts (1859-2002)
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Reliures Originales Livres Illustrés Modernes Estampes Et Dessins
Reliures originales Livres illustrés modernes dont quelques ouvrages des Cent une Estampes et dessins originaux 125 Librairie Giraud-Badin 22, rue Guynemer 75006 Paris Tél. 01 45 48 30 58 - Fax 01 45 48 44 00 [email protected] - www.giraud-badin.com Exposition à la librairie Giraud-Badin du jeudi 3 novembre au jeudi 10 novembre tous les jours sauf le dimanche 6 novembre de 9 h à 13 h et de 14 h à 18 h (jusqu’à 16 h uniquement le jeudi 10 novembre) Exposition publique Salle Rossini pour les lots 1 à 183 uniquement le lundi 14 novembre de 10 h à midi Sommaire Première partie : Seconde partie : Reliures originales : nos 1 à 69 Reliures originales : nos 184 à 218 Livres illustrés modernes : nos 70 à 150 Livres illustrés modernes : nos 219 à 305 Les Cent une : nos 151 à 160 Estampes & dessins originaux : nos 306 à 319 Estampes & dessins originaux : nos 161 à 183 [Index des illustrateurs et des relieurs à la fin du catalogue] En couverture, reproduction du n° 72, Le Chef-d’Œuvre inconnu, illustré par Pablo Picasso. ALDE Maison de ventes spécialisée Livres-Autographes-Monnaies Reliures originales Livres illustrés modernes dont quelques ouvrages des Cent une Estampes et dessins originaux Vente aux enchères publiques Première partie le lundi 14 novembre 2016 à 14 h Salle Rossini 7, rue Rossini 75009 Paris Tél. : 01 53 34 55 01 Seconde partie du 3 au 15 novembre 2016 à 14 h vente en ligne uniquement sur drouotonline.com Commissaire-priseur Jérôme Delcamp ALDE Belgique ALDE Philippe Beneut Maison de ventes aux enchères Boulevard Brand Withlock, 149 1, rue de Fleurus 75006 Paris 1200 Woluwe-Saint-Lambert Tél. -
MALENCONIA I IL·LUSTRACIÓ El Per Què Del Canvi
MALENCONIA I IL·LUSTRACIÓ El per què del canvi Mireia Aznar Cano Treball Final de Grau NIUB 14742733 Silvia Canalda Llobet 1 ÍNDEX 1. Introducció .......................................................................................................... Pàgina 3 1.1. Antecedents ........................................................................................... Pàgina 3 2. LA IL·LUSTRACIÓ I LES REPRESENTACIONS DE LA MALENCONIA ...................... Pàgina 8 2.1. Douce mélancolie ................................................................................ Pàgina 15 2.2. Malenconia furiosa .............................................................................. Pàgina 21 2.3. Malenconia religiosa ........................................................................... Pàgina 25 2.4. Malenconia amorosa ........................................................................... Pàgina 30 3. LA MALENCONIA DESPRÉS DEL SEGLE XVIII ..................................................... Pàgina 32 4. CONCLUSIONS .................................................................................................. Pàgina 33 5. BIBLIOGRAFIA ................................................................................................... Pàgina 35 6. ANNEXES ........................................................................................................... Pàgina 37 6.1. Obres d’art ............................................................................................ Pàgina 37 6.2. Índex iconogràfic ................................................................................. -
DESTINATION PROVENCE : Des Villes En Concurrence
17.03 > 14.04.18 > 17.03 ZIBELINE N°116 Mensuel culturel engagé du Sud-Est marionnettes Tricastin châteauvallon à Mougins danger en Liberté DESTINATION PROVENCE : des villes en concurrence 3€ L 11439 - 116 - F: 3,00 - RD CONTEXTE[ S ] 13 & 14 ART / TERRITOIRE AVRIL 2018 RENCONTRES & DÉBATS menés par Anne Quentin « Que faire quand la laïcité s’eff rite, que le racisme avance et que les problèmes sociaux s’aggravent ? Comment s’émanciper, grandir, rêver pour créer d’autres possibles ? De plus en plus de théâtres tentent de trouver de nouveaux ancrages à leur action pour que les lieux de l’art deviennent des lieux de vie, d’échange, de partage. CONTEXTE[S] réunit intellectuels, artistes, acteurs socio-culturels, enseignants et professionnels pour croiser points de vue et expériences et inventer ensemble des alternatives au prêt-à-consommer et au prêt-à-penser. Deux jours pour rebattre les cartes au Merlan qui fait le pari de son “contexte” pour irriguer son territoire et inventer d’autres voies à l’art. » Anne Quentin VENDREDI 13 AVRIL 14H30 ART / TERRITOIRE > TABLE 1 accueil > 14h VIVRE, RENCONTRER, INVESTIR Des habitants de Marseille et des artistes s’interrogent ensemble sur les réalités et la fonction d’un théâtre qu’ils côtoient de près ou de loin. Un temps pour faire vivre la rencontre en paroles, en récits ou témoignages autour d’un thème : le territoire peut-il réinventer l’art ? 16H30 ART / TERRITOIRE > TABLE 2 IRRIGUER, ENTREPRENDRE, AGIR Ils sont acteurs de leur territoire. Entrepreneurs, bailleurs, enseignants, travailleurs sociaux et culturels, traversent tout autant qu’ils participent du territoire. -
Bibliothèque De Flers Et À Divers
BEAUSSANT LEFÈVRE Commissaires-Priseurs Bibliothèque de Flers et à divers Alain NICOLAS Expert PARIS – DROUOT – 13 JUIN 2014 Ci-dessus : Voltaire, n° 203 En couverture : Mucha - Flers, n° 168 BIBLIOTHÈQUE DE FLERS et à divers VENDREDI 13 JUIN 2014 à 14 h Par le ministère de Mes Eric BEAUSSANT et Pierre-Yves LEFÈVRE Commissaires-Priseurs associés Assistés de Michel IMBAULT BEAUSSANT LEFÈVRE Société de ventes volontaires Siren n° 443-080 338 - Agrément n° 2002-108 32, rue Drouot - 75009 PARIS Tél. : 01 47 70 40 00 - Télécopie : 01 47 70 62 40 www.beaussant-lefevre.com E-mail : [email protected] Assistés par Alain NICOLAS Expert près la Cour d’Appel de Paris Assisté de Pierre GHENO Archiviste paléographe Librairie « Les Neuf Muses » 41, Quai des Grands Augustins - 75006 Paris Tél. : 01.43.26.38.71 - Télécopie : 01.43.26.06.11 E-mail : [email protected] PARIS - DROUOT RICHELIEU - SALLE n° 7 9, rue Drouot - 75009 Paris - Tél. : 01.48.00.20.20 - Télécopie : 01.48.00.20.33 EXPOSITIONS – chez l’expert, pour les principales pièces, du 5 au 10 Juin 2014, uniquement sur rendez-vous – à l’Hôtel Drouot le Jeudi 12 Juin de 11 h à 18 h et le Vendredi 13 Juin de 11 h à 12 h Téléphone pendant l’exposition et la vente : 01 48 00 20 07 Ménestrier, n° 229 CONDITIONS DE LA VENTE Les acquéreurs paieront en sus des enchères, les frais et taxes suivants : pour les livres : 20,83 % + TVA (5,5 %) = 21,98 % TTC pour les autres lots : 20,83 % + TVA (20 %) = 25 % TTC La vente est faite expressément au comptant. -
The Library of Professor Eric G. Carlson
The Library of Professor Eric G. Carlson Part II: Rare Illustrated Books and Print Portfolios, ca. 1850-1930 405 titles, in ca. 585 physical volumes The Library of Professor Eric G. Carlson Part I: Art of France from the French Revolution to the End of the Third Republic, 1790-1940. General Reference Works and Monographs on Artists, with a special emphasis on prints and printmaking The art historian and art dealer Eric G. Carlson (1940-2016) was a noted specialist in French and American prints and drawings of the nineteenth and early twentieth centuries. A mediaevalist by training (Ph.D. Yale University), and professor at the State University of New York at Purchase from 1978 to 2006, Carlson brought a scholar's acumen to his exploration of lesser-known fields and figures of French art. His library reflects this, being exceptionally rich not just on the major artists of the era, but on the many painters and printmakers who remain to this day little known to the general public. Its coverage of the art of Romanticism, Realism, and Post-Impressionism, with very impressive concentrations on Géricault, Delacroix, Courbet, Degas and Gauguin, among others, is matched by a fascinating depth in the Symbolist and Nabi movements and the School of Pont-Aven, and the myriad Academic and Salon artists, illustrators and caricaturists who flourished between the start of the Second Empire and the end of the Third Republic. The library is unusually complete and sophisticated in the documentation and critical study of all aspects of the period, with rare exhibition and auction catalogues, and scarce early monographs, as well as the latest academic scholarship. -
Paysages D'italie. Les Peintres Du Plein Air (1780 - 1830)
Bianchini, Marie-Claude; Foulon, Béatrice (Hrsg.): Paysages d'Italie. Les peintres du plein air (1780 - 1830). Galeries nationales du Grand Palais 3 avril -9 juillet 2001. Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantoue, 1er septembre-16 décembre 2001/ Dirigé par Béatrice Foulon.Coordination éditorale Marie-Claude Bianchini., Milano,Paris: Electa 2000 ISBN-13: 978-2-7118-4196-7, XLVIII, 384 p Paysages d'Italie. Les Peintres du plein air (1780-1830) (Paris) Galeries nationales du Grand Palais, Apr 3–Jul 9, 2001 Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantua 01.09.-16.12.2001 Reviewed by: Helen Josephine Langdon In a small painting, "The Artist in His Room at the Villa Medici in Rome", (Cleveland Museum of Art) the French painter, Leon Cogniet, Prix de Rome pensionnaire, shows himself leaning against his bed, reading his first letter from home. Around his monk like room are emblems of his occupa- tion; a palette, a guitar, props for future history paintings - a helmet, shield, and sword - and a walk- ing stick, hat and cloak, suggesting his excursions in the Campagna. Above all the window is flung open, framing two cypress trees and a stretch of Roman countryside, and filling the shadowy space with bright sunlight. It is an intensely evocative work, which seems to crystallise the inter- ests of the painter in Italy in the early 19th century, suggesting both the lingering demand for his- torical compositions, and a growing passion for direct and spontaneous landscape painting, a vision newly revealed by the light and beauty of the South. -
Robert Louis Stevenson By
iriLOUISiSTEVENSON ! BY J^ MARGARET OYES BIACK FAMOUS •SCOT5« •SERIES' THIS BOOK IS FROM THE LIBRARY OF Rev. James Leach ROBERT LOUIS STEVENSON ': J ROBERT LOUIS STEVENSON BY : MARGARET MOVES BLACK ^"^'famous (^^ •SCOTS- •SERIES' PUBLISHED BY W OUPHANT ANDERSON IfFERRIEREDINBVRGH AND LONDON ^ '^;^ 3) n/^'^^' The designs and ornaments of this volume are by Mr Joseph Brown, and the printing from the press of Messrs TurnbuU & Spears, Edinburgh. PREFACE AND DEDICATION In so small a volume it would be somewhat hopeless to attempt an exhaustive notice of R. L. Stevenson, nor would it be desirable. The only possible full biography of him will be the Life in preparation by his intimate friend Mr Sidney Colvin, and for it his friends and his public look eagerly. This little book is only a remini- scence and an appreciation by one who, in the old days between 1869 and 1880, knew him and his home circle well. My earlier and later knowledge has been derived from his mother and those other members of his mother's family with whom it was a pleasure to talk of him, and to exchange news of his sayings and doings. In the actual writing of this volume, I have received most kind help for which I return grateful thanks to the givers. For the verification of dates and a few other particulars I am indebted to Mr Colvin's able article in the Dictionary of National Biography. It is dedicated, in the first instance, to the memory 6 PREFACE AND DEDICATION of Mr and Mrs Thomas Stevenson and their son, and, in the second, to all the dearly prized friends of the Balfour connection who have either, like the household at 1 7 Heriot Row, passed into the ' Silent Land,' or who are still here to gladden life with their friendship. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
University of Warwick Institutional Repository: a Thesis Submitted for the Degree of Phd at The
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36168 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Critical and Popular Reaction to Ibsen in England: 1872-1906 by Tracy Cecile Davis Thesis supervisors: Dr. Richard Beacham Prof. Michael R. Booth Submitted for the degree of Doctor of Philosophy, University of Warwick, Department of Theatre Studies. August, 1984. ABSTRACT This study of Ibsen in England is divided into three sections. The first section chronicles Ibsen-related events between 1872, when his work was first introduced to a Briton, and 1888, when growing interest in the 'higher drama' culminated in a truly popular edition of three of Ibsen's plays. During these early years, knowledge about and appreciation of Ibsen's work was limited to a fairly small number of intellectuals and critics. A matinee performance in 1880 attracted praise, but successive productions were bowdlerized adaptations. Until 1889, when the British professional premiere of A Doll's House set all of London talking, the lack of interest among actors and producers placed the responsibility for eliciting interest in Ibsen on translators, lecturers, and essayists. The controversy initiated by A Doll's House was intensified in 1891, the so-called Ibsen Year, when six productions, numerous new translations, debates, lectures, published and acted parodies, and countless articles considered the value and desirability of Ibsen's startling modern plays. -
On Art and Artists
A/ 'PI CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY Cornell University Library N 7445.N82 1907 On art and artists, 3 1924 020 584 946 DATE DUE PRINTEDINU.S./I Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020584946 ON ART AND ARTISTS Photo : Elhott and Fry. On A H and A rtisls. ON ART AND ARTISTS BY MAX NORDAU AUTHOR OF " DEGBNBRATION " TRANSLATED BY W. F. HARVEY, M.A. PHILADELPHIA GEORGE W. JACOBS & CO. PUBUSHERS 11 n Printed in Great Britain. CONTENTS CHAF. PACE I. The Social Mission of Art. i II. Socialistic Art—Constantin Meunier . 30 in. The Question of Style .... 44 IV. The Old French Masters . .56 V. A Century of French Art .... 70 VI. The School of 1830 ..... 96 VII. The Triumph of a Revolution— The Realists . .107 Alfred Sisley ..... 123 Camille Pissarro . .133 Whistler's Psychology . .145 VIII. Gustave Moreau ..... 155 " IX. EUGilNE CARRlfeRE . l66 X. Puvis DE Chavannes ..... i8s XL Bright and Dark Painting—Charles Cottet . 201 XII. Physiognomies in Painting . .217 XIII. Augusts Rodin ..... 275 XIV. Resurrection—BARTHOLOMi . 294 XV. Jean CarriSis ...... 308 XVI. Works of Art and Art Criticisms . 320 XVII. Mt Own Opinion ..... 336 Index ....... 349 : ON ART AND ARTISTS I THE SOCIAL MISSION OF ART There exists a school of aestheticism which laughs contemptuously at the mere sight of this superscrip- tion. Art having a mission ! What utter nonsense. A person must be a rank Philistine to connect with the idea of art the conception of a non- artistic mission, be it social or otherwise. -
48 Pages FLANDRIN.Indd
GALERIE FABIENNE FIACRE – TEFAF 2020 FIACRE – TEFAF GALERIE FABIENNE ACKNOWLEDGEMENTS Front cover illustration: GALERIE FABIENNE FIACRE FRENCH SCHOOL c. 1850 I am particularly indebted to my colleagues Portrait of Orlando di Subiaco (detail), p. 29 Guy Sainty, Richard Knight, Andreas Pampoulides, Xavier Eeckhout and Mathieu Néouze, all of whom Back cover illustration: supported me to participate at TEFAF Maastricht. LÉON BONNAT I owe a special thank you to Jean Chouraqui for Young Woman with a Blue Earring, p. 15 his advices; to René Bouchara, scenographer of the stand, for his bright ideas and encouragements; PORTRAITS to Jacques Sargos, for his trust and friendship; to Mark Brady and Thomas Le Claire for having 1820-1875 provided me with the photograph of their own version of Orlando di Subiaco. In Paris, I am grateful to the restorers Isabelle Leegenhoek, France de Viguerie, Anna Gabrielli, the framers Antoine Béchet, Christophe and Caroline Nobile (Samson) and the photographer, Michel Bury. I extend my warm thanks to my assistant, Alexandra Westendorp who has researched entries of the paintings, sharing her taste and her enthusiasm for this project, to scholars and friends who have generously given assistance with the preparation of the catalogue, specifically to Joséphine Le Foll for writing the essays on Hippolyte Flandrin’s and Léon Bonnat’s portraits. To Mary Jo Brisson 1820-1875 PORTRAITS for her rigourous translations. To Stipa for their efficiency. Without this feminine team, this catalogue would not have been possible. Je souhaiterais remercier mes collègues Guy Sainty, Richard Knight, Andreas Pampoulides, Xavier Eeckhout et Mathieu Néouze qui tous m’ont encouragée à participer à la TEFAF de Maastricht.