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Paul Émile BERTHON (1872-1909)

Le Sureau

Chromolithographie. Non ent…

Descripción

Paul Émile BERTHON (1872-1909) Le Sureau Chromolithographie. Non entoilée. Sans imp. Monogrammée en pied. Bon état. 100 x 32,5 cm Bibliographie : Berthon / Grasset, p. 109.

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Paul Émile BERTHON (1872-1909) Le Sureau Chromolithographie. Non entoilée. Sans imp. Monogrammée en pied. Bon état. 100 x 32,5 cm Bibliographie : Berthon / Grasset, p. 109.

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Valorac. 180 - 350 EUR

Set of 6 books on Chad and Sudan: 1. REIBELL (General Emile): Le commandant Lamy d'après sa correspondance et ses souvenirs de campagne (1858-1900). Algeria - Tunisia - Tonkin - Sahara - Congo - Madagascar - Sudan. With a heliogravure portrait and eleven maps accompanying the text. Second edition. Paris, Hachette et Cie, 1903. One volume. 15.5 by 24 cm. (6)-XVII-(1)-576-(3) pages + 11 folding maps h.t. Modern full cloth, basane title-piece on spine, inside front cover (soiled). False title stained. Otherwise a good copy. Portrait missing. 2. BARATIER (Colonel Albert-Ernest-Augustin): A travers l'Afrique. Crowned work by the Académie française. Illustrated after drawings by Gaston de Burggraff, photographs, maps and sketches by the author. Paris, Arthème Fayard & Cie, s.d. [ca 1910]. One volume. 18 by 27 cm. 1 portrait-206-(1) pages. Contemporary red half cloth with corners. Wear to edges, endpaper trimmed to remove old ownership. Two leaves slightly damaged at corner tip, small stain on one page-lower margin of 2 ff. slightly damaged (lower corner tip) but not missing, small blue ink stain on p. 179, very small wetness in upper margin of last 20 leaves. In-text illustrations, including 21 full-page illustrations and 6 maps. First edition. Numa Broc, Les explorateurs français. Afrique, p. 15. In June 1895, the author took part in the "Congo-Nil" expedition, commanded by Captain Marchand, with whom he had befriended. 3. LENFANT (Commandant Eugène): La grande route du Tchad. Mission de la Société de géographie. Preface by M. Le Myre de Vilers. Introduction by Maurice Albert. Paris, Hachette et Cie, 1905. One volume. 16 by 25 cm. 1 portrait-(6)-XIV-(2)-287-(1) pp. + 1 folding map h.t. in color. Contemporary red half-basane with corners, 5-rib spine, gilt head. Small tear on one nerve, otherwise very good condition. In-text illustrations, including 27 plates and a map. N. Broc, Dict. illustré des explorateurs français du XIXe siècle. Afrique, pp. 199-201. "In 1902, Lenfant was entrusted with a new mission [...]. The aim of the expedition was to find an easier, faster and more economical route to Chad than the Ubangi and Congo routes". (N. Broc). Richly illustrated with reproductions of photographs. 4. CASATI (Gaetano): Ten years in Equatoria. The return of Emin Pacha and the Stanley expedition. Translated with the author's permission by Louis de Hessem and enriched with 170 engravings and 4 maps. Paris, Firmin-Didot et Cie, 1892. One volume. 17.5 by 27 cm. 1 portrait-XI-(1)-498 pp. + 4 maps h.t. (3 on double page) + 66 plates. Contemporary red half-chagrin with corners, 5-rib spine, gilt head. Worn edges, otherwise very good condition. In-text illustrations. First edition in French. Italian explorer whose work, "a mine of information of the highest value, corroborates, explains or invalidates on various points the famous works of Stanley and Mounteney Jephson". (A. de Claparède, Le Globe, revue genevoise de géographie 1902, vol. 41). 5. KLOBB (Colonel Jean-François-Arsène): Dernier cahier de route. French Sudan. Official report by Governor Bergès on the end of the Klobb mission. Preface by Jules Lemaitre. Paris, Ernest Flammarion, s.d. [1905]. One volume. 10.5 by 17.5 cm. (4)-VIII-292-(1) pages. Contemporary red bradel percaline. References in blue pencil and pen on title page, otherwise very good condition. First edition. Paule Brasseur, Bio-bibliographie générale du Mali, n° 3305. Lieutenant-Colonel Klobb stayed in Timbuktu, then was sent in search of the Voulet-Chanoine expedition, famous for the cruelty of the massacres it perpetrated. Voulet and Chanoine, joined by Klobb, opened fire and Klobb was killed. 6. PÉROZ (Etienne): Au Soudan français. Souvenirs de guerre et de mission. Paris, Calmann Lévy, 1889. One volume. 13 by 21 cm. (6)-467 pp. + 3 maps on 1 folding f. h.t. Contemporary half-chagrin, 5-rib spine nicely decorated, ex. de prix de la Ville de Paris. Scattered brown spots, endpaper missing. First edition. Paule Brasseur, Bibliog. générale du Mali 3191. "Account of the mission led by Captain Péroz in 1886-87, which led to the treaty signed with Samori at Bissandougou. Historical reminder of the 3 previous campaigns, particularly when Péroz commanded Niagassola." (P. Brasseur).

Valorac. 20 - 40 EUR

- Jean-Alfred Gérard-Séguin. Honoré de Balzac. Sight: 4533cm. Lithograph. Framed. (Galantaris, 91) - Louis Boulanger, engraved by Paul Chenay. Honoré de Balzac. Sight: 2317cm. Steel engraving for the journal L'Artiste. Framed. - Jules Letoula. Honoré de Balzac. Sight: 2923 cm. Print on chine appliqué. Lithograph. Unfoxed, framed. (Galantaris, 148). - Eugène Grand. Balzac on his deathbed. Sight: 1723cm. Photograph of the original drawing. Framed. - Enclosed: . Rodin, Balzac. Sight: 2318 cm. Copy of a drawing by Rodin in the Musée Rodin, inv. D 5329. Framed. . Anonymous. Balzac. Sight: 1712cm. Print on japon. Framed. . Henri Emile Lessore. Balzac. Sheet 3024cm, printed by Cadart. Under glass. This portrait is based on a drawing by Bernard Julien. Attached : . a portrait of Balzac after a drawing in the Tours museum, published by Armand Colin. Framed. (Galantaris, 58). . Aubert. Balzac. Sight: 2520cm. Print on chine appliqué, for the Galerie de la presse. Framed. . Louis Boulanger [Achille Devéria ?]. Balzac. Sheet 30*22cm. Japanese print of the drawing kept at the Musée des Beaux Arts in Tours, considered a Boulanger drawing according to Larrey's testimony, but which could be by another artist (Devéria?). (Galantaris, 9). - Lot of 4 portraits of Balzac : . Japon print of Boulanger's portrait (Galantaris, 33). . By Bernard Julien, for Le Voleur (Galantaris, 29). . By Devéria, youth portrait, two copies of the 150-copy edition for the 150th anniversary of Balzac's birth in 1949 (Galantaris, 5). . Bension Enav. Balzac. Engraving on arches, artist's proof, dedicated in pencil: "To Roger Lesne, with the friendship of Balzac and the artist Bension Enav". With certificate of authenticity. - Enclosed is the poster for the 1981 exhibition at Maison Balzac, from which the print certainly originates.

Valorac. 200 - 300 EUR

Émile COHL (1857-1938) Brothers, we have to laugh! Jules Lévy le père des incohérérents drawn incoherently by Emile Cohl India ink on paper lined with cardboard, signed lower left, titled center. 36.5 x 25 cm Bibliography: Juan Gris, dessinateur de presse à Montmartre, Pierre Bacholet, Editions Louise Leiris, reproduced and described on page 495 with the following text: Drawing by Emile Cohl, André Gil's friend and one of the creators of animation, published in Le Courrier français n°39, March 12, 1885. Reproduced in Le Courrier français, March 12, 1885, which "became, at the beginning of its publication, the organ of the Incohérents, a group of artists who wanted to push certain graphic audacities to the point of absurdity, not without announcing cubism... The magazine had its offices in the press district at 25, rue de Richelieu, in the building next door to Le Cri de Paris. A whole host of artists worked for the Courrier français, including Willette, Forain, Félicien Rops, Louis Legrand, Hermann-Paul, Emile Cohl, Uzès, Toulouse-Lautrec, Henri Pille, Ferdinand Lunel, Steinlen, Félix Vallotton, Jacques Villon, Marcel Duchamp and Juan Gris." Pierre Bacholet, op. cit. Brothers, we have to laugh! This is the dogma of the Incohérents art movement. If it's a bit of a misnomer to speak of an artistic movement as such, this moment in art history can be considered "the avant-garde of the avant-garde". Still little-known, little-documented, but promoted in recent years by art historians and notably by the philosopher Michel Onfray, incoherent art originated at the end of the 19th century thanks to Jules Lévy and other personalities whose aim was to mock official, if not serious, art, by adopting its codes and hijacking them. It was in this atmosphere that the first exhibition for people who couldn't draw took place in Paris in 1882. One of the canvases exhibited was Combat de nègres dans une cave pendant la nuit. It was the first monochrome in art history, before Malevitch or Klein. It was also the first time that everyday objects were shown simply for what they were. A simple pair of suspenders, for example, found its place among paintings and other objects presented as art. This was also the first Readymade, more than twenty years before Marcel Duchamp and his famous Urinoir. Driven by a pre-Dada, pre-Surrealist spirit, the Incohérents chose laughter and puns to mock official art. This is the atmosphere reflected in our drawing: Emile Cohl portrays Jules Lévy, the father of the Incohérents, with mischievous eyes and a toothy grin, topped by a harlequin with bells, seemingly inviting us to join in his inspiration for jubilant buffoonery. Michel Onfray, Les Anartistes. Le trésor retrouvé des Arts incohérents, Paris, Albin Michel, April 2022

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