2017, ISBN: 9782850472275

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1974. First American Edition. New York, Leon Amiel Publisher, 1974. 22.5cm x 29.5cm. 149, (50) page with 316 illustrations, 28 in colour. Original Hardcover with original dustjacket in … Meer...

1974. First American Edition. New York, Leon Amiel Publisher, 1974. 22.5cm x 29.5cm. 149, (50) page with 316 illustrations, 28 in colour. Original Hardcover with original dustjacket in protective collector's mylar. Very good condition with only some stronger signs of wear to the dustjacket (minor tears). From the library of Margot Fonteyn-photographer and artist Keith Money. With his name to the endpaper. Includes for example: Appearances and Reflections: From Caricature to Painting/ Monet and the vegetable world/ The Sky and the Atmosphere/ Water and Reflections/ The Water Lilies/ Beyond Painting: Approaches to Monet/ The Rebirth of Monet/ The Inventor of the Future/ Claude Monet (14 November 1840 - 5 December 1926) was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term Impressionism is derived from the title of his painting Impression, Sunrise (Impression, soleil levant). Claude Monet was born on 14 November 1840 on the 5th floor of 45 rue Laffitte, in the 9th arrondissement of Paris.[3] He was the second son of Claude Adolphe Monet and Louise Justine Aubrée Monet, both of them second-generation Parisians. On 20 May 1841, he was baptized in the local parish church, Notre-Dame-de-Lorette, as Oscar-Claude, but his parents called him simply Oscar.[3][4] In 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the family grocery business, but Monet wanted to become an artist. His mother was a singer. On 1 April 1851, Monet entered Le Havre secondary school of the arts. Locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a former student of Jacques-Louis David. On the beaches of Normandy in about 1856/1857, he met fellow artist Eugène Boudin, who became his mentor and taught him to use oil paints. Boudin taught Monet "en plein air" (outdoor) techniques for painting. Both received the influence of Johan Barthold Jongkind. On 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed childless aunt, Marie-Jeanne Lecadre. When Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would instead go and sit by a window and paint what he saw. Monet was in Paris for several years and met other young painters who would become friends and fellow impressionists; among them was Édouard Manet. In June 1861, Monet joined the First Regiment of African Light Cavalry in Algeria for a seven-year commitment, but, two years later, after he had contracted typhoid fever, his aunt intervened to get him out of the army if he agreed to complete an art course at an art school. It is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter. Disillusioned with the traditional art taught at art schools, in 1862 Monet became a student of Charles Gleyre in Paris, where he met Pierre-Auguste Renoir, Frédéric Bazille and Alfred Sisley. Together they shared new approaches to art, painting the effects of light en plein air with broken color and rapid brushstrokes, in what later came to be known as Impressionism. Monet's Camille or The Woman in the Green Dress (La femme à la robe verte), painted in 1866, brought him recognition and was one of many works featuring his future wife, Camille Doncieux; she was the model for the figures in Women in the Garden of the following year, as well as for On the Bank of the Seine, Bennecourt, 1868, pictured here. Camille became pregnant and gave birth to their first child, Jean in 1867. After the outbreak of the Franco-Prussian War (19 July 1870), Monet took refuge in England in September 1870, where he studied the works of John Constable and Joseph Mallord William Turner, both of whose landscapes would serve to inspire Monet's innovations in the study of color. In the spring of 1871, Monet's works were refused authorisation for inclusion in the Royal Academy exhibition. In May 1871, he left London to live in Zaandam, in the Netherlands, where he made twenty-five paintings (and the police suspected him of revolutionary activities). He also paid a first visit to nearby Amsterdam. In October or November 1871, he returned to France. Monet lived from December 1871 to 1878 at Argenteuil, a village on the right bank of the Seine river near Paris, and a popular Sunday-outing destination for Parisians, where he painted some of his best known works. In 1874, he briefly returned to Holland. In 1872, he painted Impression, Sunrise (Impression, soleil levant) depicting a Le Havre port landscape. It hung in the first Impressionist exhibition in 1874 and is now displayed in the Musée Marmottan Monet in Paris. From the painting's title, art critic Louis Leroy coined the term "Impressionism", which he intended as disparagement but which the Impressionists appropriated for themselves. Also in this exhibition was a painting titled Boulevard des Capucines, a painting of the boulevard done from the photographer Nadar's apartment at no. 35. There were, however, two paintings by Monet of the boulevard: one is now in the Pushkin Museum in Moscow, the other in the Nelson-Atkins Museum of Art in Kansas City. It has never become clear which painting appeared in the groundbreaking 1874 exhibition, though more recently the Moscow picture has been favoured. Monet and Camille Doncieux had married just before the war (28 June 1870) and, after their excursion to London and Zaandam, they had moved to Argenteuil, in December 1871. It was during this time that Monet painted various works of modern life. Camille became ill in 1876. They had a second son, Michel, on 17 March 1878, (Jean was born in 1867). This second child weakened her already fading health. In that same year, Monet moved to the village of Vétheuil. On 5 September 1879, Camille Monet died of tuberculosis at the age of thirty-two; Monet painted her on her death bed. (Wikipedia), 1974, 0, Paris: Aux Éditions du Monde Nouveau, 1923. Fourth edition. Softcover. g- to g+. Small octavo (7 1/2 x 5 3/4"). xix, [1], 130, [2], [16]pp (Publisher's catalogue). Original illustrated wrappers by Becan. The front cover depicts a stunning woodblock portrait of actress Ève Francis (Louis Delluc's wife) by French illustrator Bécan. Both covers and spine in red and black lettering. This scarce volume contains the complete screenplays of four cinematographic dramas directed by Louis Delluc between 1919 and 1921. Louis Delluc (1890 -1924) was an Impressionist French film director, screen writer and film critic. Each of the four screeplays contains one or several full-page photographic reproductions showing movie scenes, as well as one or several in-text illustrations by Bécan. Wrappers partly foxed and age-toned. Upper corner of back cover creased (not affecting pages). Pages age-toned throughout. Text in French. Wrappers in overall good-, interior in good to good+ condition. About the author: After graduating from the university, Louis Delluc became a literary critic. During the First World War, he was married to the Belgian actress Ève Francis, who acted in many of his films. In 1917, Delluc began his career in film criticism. He went on to edit "Le Journal du Ciné-club" and "Cinéa," establish film societies, and direct seven films. He was one of the early Impressionist filmmakers, along with Abel Gance, Germaine Dulac, Marcel L'Herbier, and Jean Epstein. His films are notable for their focus on ordinary events and the natural setting rather than on adventures and antics. Many of his early film writings for French newspapers were collected in the volume "Cinema et cie" (1919). He also wrote one of the first books on Charlie Chaplin (1921; translated into English in 1922). Delluc directed his seventh film, 'L'Inondation' (The Flood), in 1924. Filming took place in very poor weather conditions and Delluc contracted pneumonia. He died in Paris several weeks later, before the film was released. The French film award "Prix Louis-Delluc," created in 1937, is named in his honor., Aux Éditions du Monde Nouveau, 1923, 2.5, Japan: Mie Prefectural Art Museum. Fine+. 1996. First Edition. Softcover near fine with some pages age toned. Text in French and Japanese. Now in a protective mylar cover. Very scarce. ; Color Illustrations; 4to 11" - 13" tall; 206 pages; Eugene Boudin was born into a seafaring family, and is best known for his paintings of sea and sky. Boudin worked directly from nature on the Normandy coast, especially in the resort towns of Deauville and Trouville. He always painted outdoors and he was interested in the effects of light on the sea and sand in different seasons and times of day as well as in changing weather conditions. Monet and the other Impressionist painters held Boudin in such high esteem that he was included in the first Impressionist exhibition in 1874. He had introduced Monet and the others to plein air painting (working directly from nature, in the open air) , and he never wavered in his pursuit of depicting the effects of light in paint. Cfest pour nous, les organisateurs de lfExposition gBoudin et les peintres à Honfleurh, une joie sans pareil dfavoir pu organizer cette exposition. La ville portuaire dfHonfleur est située en Normandie, province du nord du France, et plus précisément à lfembouchure de la Seine, sur la rive gauche. Sur la rive droite, se trouve le port de commerce du Havre, le plus important du nord du la France. A lfouest, sfétendent de belles collines verdoyantes et des plages ainsi que des stations estivales comme Villerville, Trouville, Deauville, etc. Au XIX siècle de nombreux citadins amoureux de la nature fréquentaient ces villes balnéaires afin de rafraîchir leur esprit las de la civilization moderne. En 1824, Eugène Boudin qui est né à Honfleur, aspira dès son plus jeune áge à mener une carrière de peintre et produisit des oeuvres empreintes dfune grande fraicheur de coloris, inondée de lumière naturelle et représentant une atmosphère de clarté. Des nombreux artistes visitèrent cette région admirable de Nomandieà la recherche de cette qualité de lumière si pure qufils sfefforcèrent de transposer sur leur toiles, et notamment à la femme de Saint-Siméon où un groupe de peintres centré sur Boudin sfadonna à la peinture en plein air au contact direct de la nature. Cfest là que des échanges fructueusex transcendent les frontièrs des générations se sont déroulées entre de nombreux artistes et que se déploya le talent exceptionnel de peintres comme Camille Corot, lfaîné de 28 ans de Boudin, Claude Monetm son cadet de 16 ans, Constant Troyon, Johan Barthold Jongkind, Gustave Courbet, etc. Qui marquèrent profondément lfhistoire de lfart. Monet qui devait jouer plus tard un rôle central dans lfimpressionisime conservera jusqufà la fin de sa vie à lfégard de Boudin un profound sentiment de gratitude et de reconnaissance pour lui avoir fait découvrir lfimportance du coloris et de la nature et permis ainsi dfatteindre à son éveil artistique. A lfoccasion de cette exposition, en plus de la collection des oeuvre de Boudin qui attaint le nombre de 96 oeuvres nous présenteront au public 92 oeuvres réalisées par 33 peintres ayant exercé leur activité à Honfleur en espérant ainsi donner une idée représentative de leur oeuvre picturale. Nous serions ravis si les visiteurs pouvaient au contact de ces oeuvres découvrir et mieux comprendre lfun des lieux géometriques du cheminiment qui devait conduire à lfimpressionisme. Nous tenons à exprimer notre profonde reconnaissance à toutes les personnes qui ont permis grâce à leur aimable collaboration le déroulement de cette exposition, et tout particulièrement Madame Anne-Marie Bergeret-Gourbin, Conservateur du Musée Eugène-Boudin à Honfleur ainsi qufà Monsieur Laurent Manoeuvre, Ingenieur dfEtude à la Direction des Musées de France. Pour leurs remarquables efforts en qualité de responsables pour la partie française. Nous adressons également nos remerciements les plus sincères aux musées du monde entier et aux particuliers qui ont accepté de bien vouloir mettre à notre disposition pour cette exposition les oeuvres apparrtenant à leurs précieuses collections. In addition to the collection of artwork by Boudin of 96 works there are 92 works by 33 painters who have exercised their activity in Honfleur.1. ., Mie Prefectural Art Museum, 1996, 5, 1906. Etching. Printed on laid paper. Later impression from the original plate. In pristine condition. Image size: 5 1/8 x 7 ½ inches. Son of a tailor and dressmaker, Renoir moved with his family from Limoges to Paris in 1844. He was apprenticed to a porcelain manufacturer from 1854 to 1858, where he painted rococo-style decorations. In 1862-63 he attended the Ecole des Beaux-Arts in the studio of Charles Gleyre, where he met Sisley, Pissarro, Monet, and Fantin-Latour. Renoir first exhibited at the Salon in 1864 and began at about this time to work out-of-doors. Courbet, Corot, and Daubigny were important early influences, although his progress toward a more vivid and sketchy style was encouraged by the work of Monet and Manet. He participated in the first impressionist exhibition of 1874 but subsequently in only the second, third, and seventh group shows. In 1881-82 Renoir traveled to Algeria and Italy, where his exposure to ancient and Renaissance art led him to introduce into his impressionism a new linear and sculptural direction. After years of financial struggle, a retrospective at Durand-Ruel in 1892 signaled greater popular success. Although his health began to fail in the late nineties, Renoir continued to paint and even experiment with sculpture until his death. Delteil, Loys. Le peintre-graveur illustré, vol. XVII, no. 14; Biographical description taken from the Fine Arts Museum of San Francisco., 1906, 0, Used; Like New/Used; Like New. A collection of catalogues from the Galerie de L'Elysee, two of which are devoted exclusively to Picasso, together with two further which include significant Picasso works, each signed and inscribed by the art dealer and gallery owner Alex Maguy to Adolph Green and Phyllis Newman. Together with a 1963 holiday card with a printed inscription from Maguy, also featuring an illustration of a Picasso painting, as well as with a fifth catalogue of Impressionist and Nabis works. Catalogues all 4to. with scattered light toning and moderate edgewear, generally very good condition throughout. Provenance: From the Estate of Adolph Green and Phyllis Newman.Alex Maguy, born in Poland, was a highly successful gallery owner in France, and was closely associated with Picasso in the artist's later years. After escaping capture by the Nazis during his early life, Maguy joined the underground resistance in France. "He also fought in various military campaigns and was decorated by the French, British and Norwegians." (The Guardian, 2017) The most interesting item in this grouping is certainly the catalogue for the 1962 exhibition"Expose 7 Tableaux Majeurs" which features a reproduction on the front cover of the poster designed by Picasso for this show (figure 123, Rodrigo "Picasso in his Posters: Image and Work,"p. 274). The catalogue is inscribed in blue ink to the inside front cover: "Pour Adolphe Green avec les compliments de Alex Maguy / Paris June 10 / 1962." Other catalogues include: "de Picasso a Picasso" with a printed inscriptio to inside front cover  "que ce reflet de mon admiration pour Pablo Picasso soit auprès de vous...." adding by hand in blue ink "Deux / Pour toi Adolph Green et ta charmante femme," the printed inscription then continuing "Le messager de mon voeux Alex Maguy...1973."; "Hommage a Picasso" inscribed to inside front cover in black ink "Pour/Votre ... Ecrivain Adolphe Green avecmes compliments Alex Maguy / 3/2/72."; "Poesie de la Mer," including Picasso Paysage Terre et Mer (1965), inscribed in blue ink to inside front cover"Pour Toi et ta charmante Femme Adolph Green Votre Alex Maguy. Paris 17-6-1966."; "Exposition 7 Tableaux Rares"  inscribed in blue ink to inside front cover "Pour Adolphe Green et ta charmante femme. Votre Alex Maguy. Paris 27-5-1964." , 5, Berlin / Düsseldorf.: Otto von Holten for Galerie Alfred Flechtheim., 1929.. Original publisher's printed textured paper wrappers, stapled as issued with printed titles in red to front cover with illustration after Picasso and advertisement and printer's credit to rear.. 12mo. (158 x 119 mm).. 16 monochrome illustrations recto and verso throughout on glossy paper. The scarce catalogue booklet published by Galerie Alfred Flechtheim: 'Sommer 1929'.The artists included, and their works, are the following: Picasso ('Maternité', 1921, and 'Femme au Fauteuil Rouge', 1929), Matisse ('L'Odalisque'), Munch ('Der Blaue Knabe'), Maillol ('Venus', bronze, 1928), Derain ('Cathérine Hessling (Mme Jean Renoir)', 1925), Hofer ('Italienerin', 1929), Grosz (a drawing), Beckmann (Der Peruanische Soldat Trinkt', 1929), Braque ('Dieppe', 1928), Klee ('Die Schwarzen Schiffe', 1927), Gris ('Compotier et Carafe', 1923), Laurencin ('Alcools', 1910, formerly in the collection of Guillaume Apollinaire), Léger ('Composition', 1928), Belling ('Schmeling', bronze, 1929) and Sintenis ('Das Fohlen', bronze, 1929).The eponymous Galerie Alfred Flechtheim was established in 1913 in Düsseldorf before further branches were opened in Berlin, Vienna, Frankfurt and Cologne. Flechtheim (1878 - 1937), who inherited an industrial fortune, espoused Impressionist, post-Impressionist and abstract art but his business suffered during the First World War, eventually collapsing. He re-established himself in 1919 - apparently the Berlin parties at the gallery were legendary - exhibiting the works of important French and German artists, Picasso and other Cubists, and so on.The rise of the Nazis put enormous pressure on Flechtheim, considered a particular proponent of 'Entartete Kunst', and after their ascendancy, Flechtheim was forced to flee, first to Paris, then to London where he organized exhibitions. The Galerie Alfred Flechtheim was closed in March, 1937, the month of Flechtheim's own death in London. Flechtheim's stock and collection, seized by the Nazis, was dispersed and attempts by his heirs for restitution are ongoing.The front cover of the catalogue shows a letterpress illustration of a Picasso drawing of dancers at the Paris Opera.The catalogue is scarce: we can trace copies at the Tate and the V & A in the UK, at the Kunstmuseum Basel and Kunsthaus Zürich in Switzerland, at the Stedelijk, two copies in Berlin (at the Staatsliche Museen and Freie Universität), the National Museum of Western Art in Tokyo and, finally, two copies in the US, at MoMA and Northwestern only., Otto von Holten for Galerie Alfred Flechtheim., 1929., 0, Unknown. Very Good with no dust jacket. 1906. Folder. Lithograph; Mounted in heavy card folder with glassine interleaving. About the workHeather James Fine Art Gallery AuctionFramed Unsigned Medium Print Pierre-Auguste RenoirFrench, 1841–1919•Limited Edition unumber soft grund etching. Best known for portraiture, figurative work, and his series of voluptuous bathing women, Pierre-Auguste Renoir was among the first group of French Impressionist painters. In the 1860s, he painted en plein air with Claude Monet, Frédéric Bazille, and Alfred Sisley in the forest of Fontainebleau. Rejecting traditional methods of building paintings with layers of thin glazes, the Impressionists worked spontaneously to capture the fleeting effects of light using bright pigments, large brushstrokes, and thick impasto. By the late 1870s, dissatisfied with the spontaneity of Impressionism, Renoir moved toward a more traditional, less experimental approach. By the 1890s, Renoir’s paintings recall the rich color of Titian and Rubens and the sensual beauty of 18th-century French art. Renoir was celebrated in the early 20th century as one of the greatest modern French painters. Show artist insightsPierre-Auguste Renoir? FollowFemme Nue Assise, 1906Original soft ground etching 9 7/8 × 7 3/4 in25.1 × 19.7 cm. Best known for portraiture, figurative work, and his series of voluptuous bathing women, Pierre-Auguste Renoir was among the first group of French Impressionist painters. In the 1860s, he painted en plein air with Claude Monet, Frédéric Bazille, and Alfred Sisley in the forest of Fontainebleau. Rejecting traditional methods of building paintings with layers of thin glazes, the Impressionists worked spontaneously to capture the fleeting effects of light using bright pigments, large brushstrokes, and thick impasto. By the late 1870s, dissatisfied with the spontaneity of Impressionism nude, Renoir moved toward a more traditional, less experimental approach. By the 1890s, Renoir’s paintings recall the rich color of Titian and Rubens and the sensual beauty of 18th-century French art. Renoir was celebrated in the early 20th century as one of the greatest modern French painters. Mounted in heavy card folder with glassine interleaving. Printed on cream laid paper with the full margins and the Van Gelder Zonen watermark. ., Unknown, 1906, 3, Paris, n.d. [c.1907]: Signac, 1907. 1st Edition. 1st Edition. Signed by Author. Signac, Paul. [1863 - 1935], French neo-impressionist painter. Interesting ALS About Travel Plans & His Automobile. 8vo., 1 1/2 pages on the elaborate letterhead of Hôtel Café Restaurant G. Donizot. Auxerre,(Yonne, Bourgogne) n.d. [c. 1907].Trans. In part. "My dear Griffin / Tomorrow, we're headed to Savoie en Dauphiné where I will stay for some time before going to Tropez in September. It would be helpful for me to plan this tour if I knew when you may need Poirel for the casting of the Darzens cars. / I hope your car motors wonderfully and shows you the joys of tourism while waiting for the 24 HP's vanderbiltian pleasures! As for us, we are making a 'un petit 33 des famille' with pannes & pannettes, but I am now convinced that I have a good machine under my feet. / Please, with my respect, send Mrs. Viele my wife's fondest memory and trust in my wholehearted friendship. / P. Signac A very good example with small loss at the left margin not affecting text, neatly closed tears reinforced at the folds. Orig. "Mon cher Griffin / Nous sommes en essais et mise au point avec Poirel Sans l'Avallonnais (petite surfe trop miniature). Demain nous embrayons pour Savoie et Dauphiné, où je séjournerai quelque temps pour arriver en Septembre à Tropez. / Il me serait bien utile pour l'organisation de cette tournée de savoir le moment où vous pourriez avoir besoin de Poirel pour le moulage des voitures Darzens. Si vous vouliez bien m'écrire un mot à ce sujet chez M. Terifier, notaire, II me St Nizier, Macon (S. et L.) vous me rendriez service. / J'espère que votre voiture roule à merveille et vous fait gouter les pures joies du tourisme, en attendant les délices vanderbiltiennes de la 24 HP.! Nous, nous faisons un petit 33 des famille avec pannes et pannettes, mais je suis maintenant convaincu d'avoir de la bonne mécanique sous les pieds. / Veuillez présenter à Madame Viele avec mes hommages, le meilleur souvenir de ma femme et croire à toute mon amitié. / P. Signac". Paul Signac [1863 - 1935]. French neo-impressionist painter who, working with Georges Seurat, helped develop the pointillist style. In 1884 he met Claude Monet & Georges Seurat. He was struck by the systematic working methods of Seurat & by his theory of colors & became Seurat's faithful supporter. Under his influence he abandoned the short brushstrokes of impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine & blend not on the canvas but in the viewer's eye, the defining feature of pointillism. Many of Signac's paintings are of the French coast. He loved to paint the water. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez. Original Autographed Letters & Documents., Signac, 1907, 0, Edinburgh: William Blackwood, 1862. 4.75" x 7". Bound by Riviere in attractive russet brown crushed morocco with multiple fillet and dotted borders forming parallel rectilinear frames on both covers, and with similar design motif on spine. Title within decorative border, decorative head & tailpieces and initials. A superbly extra- illustrated copy, with 11 beautifully executed watercolors, full-page and in the margins, by FrÈdÈric Bourdin, highly finished, with excellent detail and composition. Gilt ruled dentures with dark green end papers. Top edge gilt. Bookplate of Sir Herbert Leon, who was a Liberal MP and the main figure in the development of Bletchley Park. "Bourdin illustrated books between 1911 and 1921 for several publishers. Other illustrated editions include works by Balzac (1911), Moreau (1919), and Guerrazzi (1921). Extra-illustrations was a sideline for him. He apparently made watercolors for an edition of Octave Mirbeau's Le Journal d'une femme de chambre, and also tried his hand at extra-illustrating, or 'illuminating', English literary works, such as Alfred Tennyson's Maud (1855), and Edwin Arnold's The Light of Asia (1879). From Paul Capelleveen: These books have different English provenances, suggesting that Bourdin was asked by English dealers to add illustrations in water color. Almost no record of his life has survived, it seems, and most dictionaries of engravers and artists do not mention him. The 1999 edition of BÈnÈzit (Dictionnaire critique) mentions three works illustrated by Bourdin, but when and where he was born or died is not known. His sober and cerebral work was influenced by the post-impressionists. Near fine., William Blackwood, 1862, 0, La Bibliotheque des Arts (FR). New. 1993. Hardcover. 2850472271 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy, brand new, pristine, never opened -- Text in French. 168 pages. -- with a bonus offer-- ., La Bibliotheque des Arts (FR), 1993, 6<