Null COLETTE.
La Seconde.
Paris. J. Ferenczi. 1929. 1 volume in-12, paperb…

Description

COLETTE. La Seconde. Paris. J. Ferenczi. 1929. 1 volume in-12, paperback. First edition. 1 of 100 copies on Japon impérial, large margins.

220

COLETTE. La Seconde. Paris. J. Ferenczi. 1929. 1 volume in-12, paperback. First edition. 1 of 100 copies on Japon impérial, large margins.

Auction is over for this lot. See the results

You may also like

Estim. 5 000 - 7 000 EUR

Obiit, a lozenge-shaped oak panel painted on a black background with the arms of Eugène Joseph de Bors d'Overen argent, a bear rampant sable lampassed gules and gorged with a collar argent from which hangs a chain sable, surmounted by a crowned armet from which hangs a collar of order of chivalry; crest featuring the same bear as on the arms. The four corners are inscribed obyt/d :19nä/Junii/1763 (he died on June 19, 1763). Richly carved and gilded wooden frame bearing the inscriptions: E.J. DE Bors D Overen /Doms in LOHMAR. EIHC. LOCmi / Aulic Smi Pri de Tur et Tass Cons. Intus / ac Litom IML Sal.VEIRL.Dre.ss uvs(?) (E.J. de Bors d'Overen, lord of Lohmar and advisor to the Prince of Tours and Taxis, ...); corners enriched with foliage, skull and cartouche at top corner and hourglass at bottom corner. Limburg, second half of the 18th century, 1763 H. 83 cm - L. 81 cm ; H. total 114.5 cm - L. total 116.5 cm (some paint and gilding on the frame) An obiit is a painting, usually with a black background, about one meter square, suspended by a point and painted with the coat of arms of a deceased lord, accompanied by his date of death and the word "obiit" or "obyt". It was placed in front of the coffin at the funeral and then ad vitam æternam in the church where the funeral took place. Use of the obiit seems to have been limited geographically to England, the Netherlands and Belgium. The de Bors family originated in Leiden, and d'Overen was added to their name after they bought this estate near St Odilienberg in Belgium. Eugène Joseph de Bors d'Overen was baptized in Roermond on February 27, 1691, and died in Maaseik on June 19, 1763. Private advisor to the Prince of Tour et Taxis and later Postmaster General, he was also Lord of Lohmar and Oen. Provenance : - Former private collection in Monaco Book consulted : - J. Lorthiois, "La chapelle de Stalle et ses obiit" in Ucclensia, n°126, May 1989, Uccles, p. 2

Estim. 600 - 800 EUR

France, Third Republic (1870-1940). Charles Aloys Jean Gabriel Ney (1873-1933), 4th Duke of Elchingen, 5th Prince of Moskowa (1928), fancy ceremonial frac suit modeled after the 1st Empire staff officers, by master tailor Gerbeaud-Ducher Hebrard et Cie in Paris, 1907. In fine scarlet cloth. Plastron lapel in fine scarlet wool cloth, fastened straight front with hooks and trimmed with seven smooth domed buttons in gilded brass, each embroidered with oak leaves in gold cannetille. Black velvet collar and facings embroidered with oak leaves, tassels and wolf's tooth baguettes in gold cannetille. False-pocket basques, each piped in black and trimmed with three smooth domed buttons in gilded brass. The ruffles are embroidered with winged thunderbolts, tasselled oak leaves and gold-toothed baguettes. Inner lining in quilted ecru satinette bearing the master tailor's label "Gerbeaud-Ducher Hebrard et Cie Paris" and a tailor's nominette handwritten in an inner pocket "Duc Ney d'Echingen" and dated "16-12-07" for December 16, 1907. Epaulets consisting of an epaulet with flexible bangs in gold passementerie, embroidered with a flaming grenade, and a trefoil counter-epaulette with gold passementerie needles with gilded brass ferrets stamped with empanached helmet motifs (staff). The suit comes with a vest in fine unbleached wool cloth, fastened straight with ten domed smooth buttons in gilded brass; the buttons are in silver passementerie with a body entirely embroidered with scales, lined in scarlet cloth with white piping. Note: Charles Aloys Jean Gabriel Ney, 4th Duke of Elchingen, 5th Prince de la Moskowa (Paris, December 3, 1873 - Geneva, October 22, 1933), married for the first time in Paris on January 14, 1902 to Germaine Roussel (Neuilly, August 17, 1873 - Paris, May 22, 1930), then married for the second time in Nice on July 10, 1930 to Denise Bienvenu (Mazière-en-Touraine, January 16, 1885 - Paris, August 21, 1973). Provenance: Family estate in the Amboise region.

Estim. 15 000 - 20 000 EUR

DUNOYER DE SEGONZAC (André) - VIRGILE. Les Géorgiques. Translated by Michel de Marolles. Paris: chez l'artiste, 1947. - 3 volumes in-folio, 449 x 335: (2 blank ff.), 201 pp. (3 ff. last 2 blank), printed cover; (2 blank ff.), 213 pp. (7 ff. last 2 blank), printed cover. Dark green morocco, boards richly decorated with a large distinct motif representing a kind of stylized tree, "whose broad decorative arabesques may give the impression of branches", mosaiced with calfskin in five shades graded from pink to dark red for volume 1, from brown to yellow for the second volume, and from orange to brown for the third, all parts remaining in green morocco are adorned with gilded arabesques, smooth spine, edge-to-edge lining and light green box endpapers decorated with gilded, palladium and box mosaic irons in the same tones as the decoration on the boards, gilded edges on witnesses, cover and spine preserved, dark green morocco spine and flap edge folder, lined slipcase (Paul Bonet 1956). Lioré et Cailler, V, pp. 11-13. - Paul Bonet, Carnets 1924-1971, no. 1133, 1137 and 1150. A remarkable publication with an edition of 250 copies, all on Arches wove paper, watermarked with an ear of wheat and a bee. This is the most important illustrated work by André DUNOYER DE SEGONZAC (1884-1974), his masterpiece, and one of the great illustrated books of the 20th century. It includes 119 original etchings, 99 of them full-page, engraved between 1933 and 1946. Lioré and Cailler, in the Catalogue de l'œuvre gravé de Dunoyer de Segonzac, reported what the artist wrote about this book: "If I chose the theme of the Georgics, it was to try to accompany with etchings the scenes of rural life that have remained almost the same since Antiquity. Nowadays, with motorization having taken over the fields, it would no longer be possible to illustrate Virgil's text by observing peasant life as it has become. It was the poet Roger Allard who, around 1920, first had the idea of having me engrave etchings on Virgilian themes. Later, when the great publisher Ambroise Vollard asked me to illustrate a book with etchings, he suggested a text by Colette, but, remembering Roger Allard's advice, I steered him towards Virgil's Georgics, and he agreed... I engraved all the plates in Les Géorgiques in front of the eternal theme of rural life: the ploughing of wheat and vines, sowing, harvesting, grape-picking, bees... For Chant III, devoted to livestock, I set up with my coppers in the pastures, among the herds of cows and oxen, engraving directly and striving to express their powerful and peaceful plastic beauty..." (Lioré and Cailler, 2005, p. 3). (Lioré et Cailler, Catalogue de l'œuvre gravé de Dunoyer de Segonzac, V, pp. 11-13). ONE OF THE FIRST 50 COPIES (NO. 25) WITH A SUITE OF 25 ETCHINGS ON WATERMARKED VELLUM IN THE SHAPE OF A BUNCH OF GRAPES AND AN OX HEAD, NUMBERED AND SIGNED AT THE HEAD BY THE ARTIST. It is preceded by a second, unsigned suite of 199 etchings on the same paper, bound separately and forming the third volume. This is undoubtedly one of the finest copies of this edition, in sumptuous triplicate bindings produced by Paul Bonet in 1956. The decorations, which are in the same style, are distinct and in different colors. In his notebooks, the bookbinder tells us that he began these bindings in November 1955 and completed them in January 1956 for the first volume, in April 56 for the second and in July of the same year for the last. René Desmules for the binding and Robert Cochet for the gilding, were entrusted with the execution of this work. Despite the sumptuousness of these bindings, Paul Bonet admitted that he found them "too rich". The first volume of this copy was the seventh binding he had done for this work, and despite this, he admitted that he had not yet managed to find the right binding for this work, which he otherwise greatly appreciated. A perfectly preserved copy.

Estim. 500 - 700 EUR

PAN (Imre). Tribute to Imre Pan. Paris: Mireille Pan, 1978. - In-4, 280 x 227: (4 ff. first 3 blank), 48 pp. (8 ff. 3rd and last 3 blank), 19 plates, printed cover. In sheets, filled cover, publisher's folder and slipcase. Posthumous first edition of Commentary on the Century by writer and publisher Imre Pan (1904-1972), which was "delivered as a lecture at the University of Aix-Marseille in July 1971 and represents this thinker's final expression on the reality of art and contemporary problems of civilization" (preface). This edition was published as a tribute to the author, and illustrated with 20 compositions made especially for the book, including a frontispiece and 19 hors texte, by 20 different artists: Geneviève ASSE (etching), Juhana BLOMSTEDT (etching), Colette BRUNSCHWIG (etching), Camille BRYEN (etching), CARLIER (etching), Serge CHARCHOUNE (woodcut), Duarte GONÇALO (etching), CORNEILLE (lithography), Yves DELOULE (etching), Jacques DOUCET (etching), Georges FOISSY (etching), Marc GIAI-MINIET (etching), François JOUSSELIN (etching), Lourdes CASTRO (phototypesetting), André MARFAING (etching), Aurélie NEMOURS (woodcut), Armand PETITJEAN (etching), Pierre SKIRA (etching), Victor VASARELY (silkscreen) and Hugh WEISS (etching). Limited edition of 340 copies. One of the first 130 on Arches vellum, including the 20 original etchings signed by the artists, this being one of the 30 artists' copies, numbered I. The engravings are not numbered, with the exception of the lithograph by Corneille. The Charchoune woodcut is signed "S. C." by a hand other than that of the artist, who died in 1975. EXEMPLAIRE OF THE POET AND PUBLISHER PIERRE LECUIRE (1922-2013), enriched with two autograph letters signed and addressed to him, one from Mireille Pan, the author's widow, the other from his daughter Sophie Pan. Mireille's letter is dated December 21, 1978, and accompanied the copy: "à Pierre Lecuire sans lequel ce livre ne serait pas". The second is dated April 9, 1979, and refers to the exhibition in tribute to Imre Pan that took place at the Editions de l'Hermitage gallery from March 2, 1979: "I read the text you (sic) wrote for my guest book and I am very touched [...] It will be for me a very beautiful memory of this exhibition, of my father and his friends who helped the book to appear. I'm delighted that we were able to pay such a beautiful tribute to my father." Pierre Lecuire also enclosed two copies of the invitation to the exhibition opening. A very well preserved copy. Provenance : Pierre Lecuire.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]