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ESTAMPES ET DESSINS


Estampes


1 PLUVINEL,A.de Figure 27 deuxieme partie a gauche.. [Hors riding]. Paris, 1629. Good and dark engraving. Very good condition. 320 x 405 mm.
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¤ This fabulous illustration depict formal movements of equitation for horse riding school movements. The print shows both A.de Pluvinel and the future King at an age of 16.
This original 1629 engraving is from Pluvinel's "L'Instruction du Roy". The engraving was done by the Flemish artist Crispin de Pas.
Antoine de Pluvinel (1555-1620) was a renowned 16th Century rider who was instructor to the future King Louis XIII. His work lays the basis for discipline through gentleness and understanding of the horse's mind, in particular making use of the horse's excellent memory which, if filled with bad experiences, could spoil the horse forever. Pluvinel exhorted the patient, humane approach. He is also generally regarded as the first person to explain adequately the use of the pillars with which he liked to assess the horse, his temperament and his movements without the weight of the rider. Many of his principles are still used today in the training of horses and riders in upper-level dressage.




2 JOLLAIN. Cartes des provinces unies des Pays Bas connues sous les nom de Hollande. . . Paris, après 1672. Bel exemplaire. Les villes et localités ont été coloriées en rouge à l'époque. - Good condition. - Paper slightly age toned and some light marginal staining. 392 x 330 mm.
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¤ Rarissime carte des Pays-Bas non répertoriée par van der Heijden. Carte gravée en 2 cuivres publiée par Jollain. La partie gauche comprend une "Description des pais que les Hollandois possedent dans les quatre partie du monde" et une description des différentes provinces des Pays-Bas. Au-dessus du texte, 4 cartes en carton, servent d'illustration, elles figurent la Nouvelle-Angleterre avec la Nouvelle-Amsterdam et "Manhates peuples", l'Asie du Sud-Est, la Guinée et le Brésil.
Un exemplaire de cette carte est répertorié au catalogue général de la BNF à l'adresse suivante : Paris, Chez F. Jollain, 1689. Un autre exemplaire, non daté, est également répertorié à l'adresse suivante : A Paris, chez Jollain, [ca 16..].
Notre exemplaire, non daté, est à l'adresse suivante "Ce vend à Paris chez Jollain rue St. Jacques à l'Enfant Jesus".

La famille Jollain étant complexe, il est très difficle de déterminer de quel Jollain il s'agit. L'adresse nous donne des indications : Gérard I Jollain a travaillé à cette adresse mais aussi en collaboration avec son fils François Jollain. Gérard I Jollain est mort en 1683. Un des exemplaires de la BNF porte le nom de François Jollain à la date de 1689. Il semblerait que notre exemplaire ait un petit F entremêlé au J de Jollain. Il comporte également la trace d'une fissure du cuivre, en bas, à gauche. En revanche, aucune date ne semble avoir été grattée. Il est donc également difficle de dire si la carte a été publiée avant ou après 1689.

- Unrecorded map of the Low Countries, printed from two copper plates and published by Jollain.
To the left a detailed description of the Dutch provinces and its overseas territories. The engraved text pages has inset maps of New England, South east Asia, Guinea and Brasil. - Non répertoriée par Van der Heijden, Old maps of the Netherlands 1548-1794




3 DAUMIER, H. Abus de l'article 214 du code civil. Madame mon épouse... (Plate 50) Paris, 1864. Litho printed on white wove paper without text on the verso. 238 x 230 mm.
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¤ Macaire personified the clever business man, who was willing at any time to throw moral and ethical principles overboard for a quick buck. His personality fitted exactly to the period so well described by Alexis de Tocqueville: self-enrichment at all levels and a Government run on shareholders principles. Short-selling, pyramid systems, investments in Californian gold mines and IPOs of non existent companies were the name of the game. Thanks to Macaire and Bertrand, all the little tricks were demonstrated in detail to the public.
Through Daumier’s drawings and Philipon’s texts, the public was made aware of the wrongdoings of Macaire without names ever being mentioned. Caricaturana appeared between August 1836 and November 1838, and various books were published in 1839 by Aubert, using mirror images, reduced and redrawn versions of the originals after Daumier and copied by Menut-Alophe.
After the July-Revolution and the reinstatement of the Freedom of the Press, CHARLES PHILIPON (1800-1862) recognised the growing desire of the public for information. In 1830, he founded the political satirical illustrated paper LA CARICATURE.
PHILIPON’s brother-in-law GABRIEL AUBERT was responsible for the distribution and sale of the publication.
LA CARICATURE can be considered the first political and satirical French newspaper of that period combining politics and contemporary art. In total, there appeared 251 editions of LA CARICATURE from Nov.4, 1830 to Aug.27, 1835 featuring 524 caricatures of various artists, of which 91 by Daumier. Each edition fluctuated between 750 and 2’000 copies.
2008 will mark the 200th anniversary of Honoré Daumier's birth. It will be the DAUMIER YEAR with events and exhibitions all over the world to celebrate this special birthday and to commemorate this outstanding artist.




4 DAUMIER, H. Exploitation de l'amitié. Mon cher Alphonse... (Plate 58) Paris 1864. Litho printed on white wove paper without text on the verso. 240 x 230 mm.
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¤ Macaire personified the clever business man, who was willing at any time to throw moral and ethical principles overboard for a quick buck. His personality fitted exactly to the period so well described by Alexis de Tocqueville: self-enrichment at all levels and a Government run on shareholders principles. Short-selling, pyramid systems, investments in Californian gold mines and IPOs of non existent companies were the name of the game. Thanks to Macaire and Bertrand, all the little tricks were demonstrated in detail to the public.
Through Daumier’s drawings and Philipon’s texts, the public was made aware of the wrongdoings of Macaire without names ever being mentioned. “Caricaturana” appeared between August 1836 and November 1838, and various books were published in 1839 by Aubert, using mirror images, reduced and redrawn versions of the originals after Daumier and copied by Menut-Alophe.
After the July-Revolution and the reinstatement of the Freedom of the Press, CHARLES PHILIPON (1800-1862) recognised the growing desire of the public for information. In 1830, he founded the political satirical illustrated paper LA CARICATURE.
PHILIPON’s brother-in-law GABRIEL AUBERT was responsible for the distribution and sale of the publication.
LA CARICATURE can be considered the first political and satirical French newspaper of that period combining politics and contemporary art. In total, there appeared 251 editions of LA CARICATURE from Nov.4, 1830 to Aug.27, 1835 featuring 524 caricatures of various artists, of which 91 by Daumier. Each edition fluctuated between 750 and 2’000 copies.
2008 will mark the 200th anniversary of Honoré Daumier's birth. It will be the DAUMIER YEAR with events and exhibitions all over the world to celebrate this special birthday and to commemorate this outstanding artist.




5 DAUMIER, H. Pensionnat Robert-Macaire. Mr le professeur …(Plate 4) Paris, 1864. Litho printed on white wove paper without text on the verso. 245 x 225 mm.
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¤ Macaire personified the clever business man, who was willing at any time to throw moral and ethical principles overboard for a quick buck. His personality fitted exactly to the period so well described by Alexis de Tocqueville: self-enrichment at all levels and a Government run on shareholders principles. Short-selling, pyramid systems, investments in Californian gold mines and IPOs of non existent companies were the name of the game. Thanks to Macaire and Bertrand, all the little tricks were demonstrated in detail to the public.
Through Daumier’s drawings and Philipon’s texts, the public was made aware of the wrongdoings of Macaire without names ever being mentioned. “Caricaturana” appeared between August 1836 and November 1838, and various books were published in 1839 by Aubert, using mirror images, reduced and redrawn versions of the originals after Daumier and copied by Menut-Alophe.
After the July-Revolution and the reinstatement of the Freedom of the Press, CHARLES PHILIPON (1800-1862) recognised the growing desire of the public for information. In 1830, he founded the political satirical illustrated paper LA CARICATURE.
PHILIPON’s brother-in-law GABRIEL AUBERT was responsible for the distribution and sale of the publication.
LA CARICATURE can be considered the first political and satirical French newspaper of that period combining politics and contemporary art. In total, there appeared 251 editions of LA CARICATURE from Nov.4, 1830 to Aug.27, 1835 featuring 524 caricatures of various artists, of which 91 by Daumier. Each edition fluctuated between 750 and 2’000 copies.
2008 will mark the 200th anniversary of Honoré Daumier's birth. It will be the DAUMIER YEAR with events and exhibitions all over the world to celebrate this special birthday and to commemorate this outstanding artist.




Estampes botanique


6 LELORGNE DE SAVIGNY, M,J.C. Astéries. Paris, 1822. Coloured. The size of the paper is 70x52cm. Repair of a small marginal tear in upper left corner. 570 x 430 mm.
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¤ Decorative engraving of star fishes, by Macret and Leleu. Marie Jules César Lelorgne de Savigny (April 5, 1777 - October 5, 1851) was a French zoologist. In 1798 he travelled to Egypt with the Emperor Napoleon as part of the French scientific expedition to that country, and contributed to the publication of the findings of the expedition in 1809 (Description de l'Égypte published more fully in 1822). He wrote about the fauna in the Mediterranean Sea and the Red Sea and discovered that mouth parts of arthropods were transformed extremities.
Engraved y Marcet and Leleu.
Savigny was responsible, along with Geoffroy Saint-Hilaire, for the zoology sections of the Description de l’Égypte. The plates were engraved between 1805 and 1814, and Savigny contributed all of the ornithology sections and supplemented other sections on vertebrates. The invertebrates are represented on 105 plates with thousands of drawings, all of them from Savigny’s research.




7 LELORGNE DE SAVIGNY, M.J.C. Oursins. Paris, 1822. Coloured. The size of the paper is 70x52cm. A few light brown spots in upper margin. 570 x 430 mm.
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¤ Decorative plate of a sea urchin, engraved by Boquet. Marie Jules César Lelorgne de Savigny (April 5, 1777 - October 5, 1851) was a French zoologist. In 1798 he travelled to Egypt with the Emperor Napoleon as part of the French scientific expedition to that country, and contributed to the publication of the findings of the expedition in 1809 (Description de l'Égypte published more fully in 1822). He wrote about the fauna in the Mediterranean Sea and the Red Sea and discovered that mouth parts of arthropods were transformed extremities.
Engraved y Marcet and Leleu.
Savigny was responsible, along with Geoffroy Saint-Hilaire, for the zoology sections of the Description de l’Égypte. The plates were engraved between 1805 and 1814, and Savigny contributed all of the ornithology sections and supplemented other sections on vertebrates. The invertebrates are represented on 105 plates with thousands of drawings, all of them from Savigny’s research.




Estampes marine


8 WEYER, G. Monstra Marina. Meehr Wunder. Inventore Gabrielo Weÿero Norimberg. Excudebat Petr. Helburg Col. Nuremberg, 1617. In-8 oblong, vélin moderne. Suite de 12 planches gravées sur cuivre représentant Monstres marins et Tritons. 180 x 260 mm.
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¤ Très belles épreuves. Quelques rousseurs et taches brunes marginales, restauration en bas de marge de la pl. 12 avec petit manque de papier.

Weyer (Gabriel), graveur né à Nuremberg en 1580, mort en 1640. Il s'est apparemment spécialisé dans la représentation des monstres marins et nous lui devons différentes suites sur ce sujet mais dans aucune des bibliographies citées, nous ne trouvons trace de cette édition. Rare.

- Guilmard, Les Maîtres Ornemanistes, 21 p. 394; Katalog der Ornamentstichsammlung der staatlichen Kunstbibliothek Berlin, 4292, p. 533.




Estampes du XIX ème siècle


9 DAUMIER, H. Baissez le rideau, la farce est jouée. Paris, 1834. Lithographie sur blanc. Trace de pli vertical médian, 2 petite fentes en haut et en bas du pli, petit manque de papier au coin sup. gauche. - Lithography on wove paper. Two small tears in the upper and lower middle part, old fold in the middle, small loss of paper in the upper left corner. 200 x 278 mm.
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¤ Rare lithographie de Daumier publiée dans La Caricature (Journal) N ° 201 / Pl 421. La légende de cette lithographie est une allusion aux dernièrs mots de Rabelais avant de mourir.

- Rare lithography published in the newspaper "la Caricature".
Louis-Philippe, disguised as Clown, jester of the Commedia dell'arte, makes lower the theater curtain of the Chamber of representatives.
The theatrical metaphor indicating the semicircle(French National Assembly), usually used in the period, offers to Daumier the possibility of realizing a first board on a theater, a theme which will be, for its centrings and original lightings, amply resumed afterward.
The legend is an allusion to the last words of Rabelais before dying. - Daumier Register 86.




10 DAUMIER, H. Pour un pauvre américain, s'il vous plait. Pl. 463. Paris, 1835. Lithographie sur blanc. Trace de pli vertical médian. Lithography on wove paper. Old fold in the middle. 218 x 277 mm.
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¤ Lithographie publiée dans le journal "La Caricature. LA CARICATURE parut dans sa forme première comme CARICATURE POLITIQUE de 1830 à 1832, et ensuite comme LA CARICATURE jusqu'en 1835. Elle fut fondée par Charles Philipon et éditée par son beau-frère Aubert.

Dans la bourgeoisie riche, une des devises était: "fais le bien et parles en". Daumier montra de manière critique ce comportement très pseudo-humanitaire de la bourgeoisie vis-à-vis des victimes de l'industrialisation. La population de Paris avait doublé en moins de dix ans…

- Lithography published in the newspaper "la Caricature" N°222. When, during the reign of Louis Philippe, Charles Philipon launched the comic journal, La Caricature, Daumier joined its staff, which included such powerful artists as Devéria, Raffet and Grandville, and started upon his pictorial campaign of satire, targeting the foibles of the bourgeoisie, the corruption of the law and the incompetence of a blundering government. - Daumier Register, 108.1.




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