Null Oesterreich, Alfred Saarlouis 1901 - 1986 Saarbrücken), reclining female nu…

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Oesterreich, Alfred Saarlouis 1901 - 1986 Saarbrücken), reclining female nude, watercolor, lower right sign. a. dat. (19)81, 50,6 x 69,5 cm, 4228 - 0019

500008

Oesterreich, Alfred Saarlouis 1901 - 1986 Saarbrücken), reclining female nude, watercolor, lower right sign. a. dat. (19)81, 50,6 x 69,5 cm, 4228 - 0019

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Estim. 1 200 - 2 000 EUR

Anonymous: Amis et Amille. Fourteenth-century mystery, translated by Elemir Bourges. Color lithographs by André DERAIN. Paris, nouveau cercle parisien du livre, 1957. One volume. 27.5 by 36 cm. 89 pages. Full black morocco, boards decorated with a profusion of fillets and ochre morocco inlays, around a central cut-out filled with a white box hexagon. Orange box lining, navy suede endpapers, covers and spine preserved, all edges gilt. Black half-maroquin band folder, imitation wood boards, edged slipcase. Binding signed Lucie WEILL. Perfect condition (minor rubbing on spine of dust jacket). 22 color lithographs by André DERAIN, including a double-page frontispiece, and 3 full-page lithographs. This was the last book illustrated by Derain, whose style is here at its apogee. Limited edition of 150 copies, including 130 nominative, all on Rives. Copy N°6, for Madame Lucie WEILL-QUILLARDET. Enriched with the three suites indicated in the justification: one suite on Chine, one suite on Japon nacré, one suite on Japon impérial, and the complete color decomposition of the double-page frontispiece on Rives. It also includes an original color drawing, with the André DERAIN studio mark. Lucie WEILL (née Quillardet 1901-1986), bookbinder, gallery owner and publisher. One of the great French gallery owners of the 20th century. Lucie Weill founded her gallery in 1930 at 6 rue Bonaparte in Paris with her husband Pierre-André Weill (1908-1985). She exhibited Picasso, Ernst, Arp and Jean Cocteau's first pastels. From 1950 onwards, the gallery had an important publishing activity under the "Au Pont des Arts" label. A great bookbinder, she has created here an exceptional binding. For the discerning collector. A unique copy.

Estim. 20 - 40 EUR

Lot of 12 volumes: Serval, Autour d'un roman de Balzac: les Chouans. Paris, conard, 1921. Congrès de Nantes 1969 - Stendhal et Balzac - la province dans le roman. Nantes, 1972. Conference proceedings. Congrès de Nantes 1971 - Stendhal et Balzac - la province dans le roman. Nantes, 1978. Conference proceedings. Catalog des ouvrages de H de Balzac conservés au département des imprimés. 1901. La femme et l'amour. Paris, Plon, 1947. Baron, Balzac cinéaste. Klincksieck, 1990. Takayama, Les oeuvres romanesques avortées de Balzac. Tokyo, Keoi Institute, 1966. Genealogie des personnages de la Comédie humaine. Paris Musées. Very interesting set reproducing the characters' coats of arms. Balzac, les nouvelles en BD. Ed. Petit à petit 2008. Revue d'histoire littéraire de la France. Armand Collin, 1961, no. 1. Article "Balzac et la caricature". Guichardet, Balzac archéologue de Paris. Sedes, 1986. Tours dans l'oeuvre de Balzac. Published by the city of Tours, 1999. Sophie de Korwin-Piotrowska, Balzac in Poland. Photocopy of the 1933 edition. Set of 3 Génesis magazines with articles on Balzac. Editions Jean-Michel Place. Numbers 4 of 1994, 11 of 1997 and 13 of 1999. Very good condition. Batch of 16 studies on Balzac's work, photocopied, A4 format, hardback (the dates given are obviously those of the originals): Lucette Finas, La toise et le vertige (on Balzac's Fausse maîtresse). 1986 edition. Alphonse Boulé, Une préface de la comédie humaine. Hennuyer, 1973. Marcel Bouteron, Balzac et les frères de la Consolation. Firmin Didot, 1940. Marcel Bouteron, Balzac et le Faiseur. Booklet. Fréquence des mots dans le chef d'oeuvre inconnu de Balzac. Cedric-CNAM. Albert de Bersaucourt, Balzac et sa revue parisienne. Mercure de France, 1913. M-Bénédicte Diethelm, de l'Héritière de Birague à un début dans la vie: esquisse de la route. Typescript of an article. Georges Ascoli, Balzac romancier. 1939. Lovenjoul, Les avatars d'une oeuvre de Balzac. Revue retrospective, 1892. Raffaelel de Cesare, Balzac ed Eugénie Grandet - ricerche sulla genesi dell'opera. Milano, Giovani di Silvestri, 1953. Jules Janin, un grand homme de province à Paris par M de Balzac. Revue de Paris, article published in 1839. Charles Gould, The present state of Balzac studies. French studies, article from October 1958. WH Helm, Aspects of Balzac. London, Eveleigh Nash, 1905. Bernanrd Guyon, Balzac et le feuilleton des journaux politiques. Gambier, 1935. Henri Prior, Balzac à Turin. Offprint from the Revue de Paris, 1924. Marthe Spitzer, Les juifs de Balzac. French Institute of the University of Budapest, 1939. Interesting set of documents. Set of 8 volumes: Bertaut, Le père Goriot de Balzac. Amiens, Malfère, 1928 (2 copies). Büchsenschütz, Balzac im Spiegel seines Briefwechsels. Marburg 1934. Mornet, Balzac - Eugénie Grandet. Paris, Larousse [extract from Histoire des Grandes oeuvres du XIXe]. Ulrike Lange, Der Selbstmord in Honoré de Balzacs Comédie Humaiune. Bonn, 1995. Revue des sciences humaines, numéro Balzac, fascicule 57-58, 1950. M Serval, Autour de Balzac - César Birotteau. Paris, Colin, 1931. Paris Romantique - Panorama des grands boulevards. Paris, Hervas, 1989.

Estim. 2 500 - 3 000 EUR

EDWARD STEICHEN (Luxembourg, 1879 - West Redding, Connecticut, 1973). "The sea", 1904. Platinum photograph mounted on original black paper on cream paper (original). Presents label on the back of German collection (Hamburg 1971). Signed and dated in the lower right corner. Measurements: 13 x 17,5 cm; 29 x 37 cm (frame). Edward Steichen was a key figure in 20th century photography, directing its development as a leading photographer and influential curator. Steichen arrived in the United States in 1881. He painted and worked in lithography, before turning to photography in 1896, and first exhibited photographs at the Philadelphia Salon in 1899. Steichen became a naturalized citizen in 1900 and, after exhibiting at the Chicago Salon, received the support of Clarence White, who introduced him to Alfred Stieglitz. Steichen practiced painting in Paris intermittently between 1900 and 1922; there he met Rodin and was in contact with modern art movements, so he was able to advise Stieglitz on the selection of exhibitions. In 1901 he was elected a member of the Linked Ring Brotherhood in London, and in 1902 he co-founded the Photo-Secession and designed the first cover of Camera Work, in which his work was often published. In New York, Steichen helped Stieglitz establish the Small Galleries of the Photo-Secession, which became known as "291," and in 1910 he participated in the International Exhibition of Pictorial Photography in Buffalo. During World War I, he directed aerial photography for the Army Expeditionary Forces. Shortly thereafter he gave up painting, along with the vestiges of Pictorialism, and adopted a modernist style. He was chief photographer for Condé Nast from 1923 to 1938, while doing freelance advertising work. Commissioned as a lieutenant commander in 1942, Steichen was appointed director of the U.S. Naval Photographic Institute in 1945; there he supervised combat photography and organized the Road to Victory and Power in the Pacific exhibitions. He was director of photography at the Museum of Modern Art from 1947 to 1962, and was responsible for more than fifty exhibitions, including The Family of Man in 1955, the most popular exhibition in the history of photography. Steichen received countless awards and honors, including the title of Chevalier of the French Legion of Honor, an honorary fellowship of the Royal Photographic Society, the Distinguished Service Medal, the Art Directors Club of New York Award, the U.S. Camera Achievement Award for "Most Outstanding Individual Contribution to Photography" (1949), and the Presidential Medal of Freedom (1963). Major exhibitions of his work have been held at the Baltimore Museum of Art, the Museum of Modern Art, the Bibliothèque Nationale de Paris, the ICP and the George Eastman House.

Estim. 10 000 - 12 000 EUR

Elihu Vedder (New York 1836 - Rome 1923). Lying female nude or Venus Anadyomene. Cm 67x97.5. In frame cm 91.5x121.5. Oil on canvas. On verso on frame Elihu VEDDER. On verso on frame label with hand inscription. The title may be Venus Anadyomene (from Titian's Venus Anadiomene?, National Gallery of Scotland, Edinburgh). The oil on canvas painting Venus Anadyomene was exhibited in Exhibition of works by Elihu Vedder, 1901, Carnegie Institute, Schenley Park, Pittsburgh. Bibliography on Elihu VedderSmithsonian Institution, National Collection of Fine Arts, Washington, D.C.

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