Verlag: Cyril Beaumont, London Von: Bromer Booksellers, Inc. Beschreibung: Cyril Beaumont, London, Tijtgat, Edgard illustrator.
From an edition of fifty copies, this is one of ten printed on chine and signed by the artist. Sixteen illustrations, hors texte, appear in two states: color and bistre. Tijtgat's illustrations are bold and expressionistic in style, and also deceptively innocent: things do not end well for Red Riding Hood in Charles Perrault's moral and more sinister version of the tale. Floral motif on the endpapers and repeated throughout the book. Tijtgat is associated with the Brabant Fauvists, a Belgian movement focused on pure, bold colors and simplified lines, similar to the Fauves led by Henri Matisse in France.
Light foxing to upper margins of a few pages, some faint offsetting from prints, short closed tear to spine foot. Overall a fine copy in color-printed pictorial boards. Ridley: Beaumont Verlag: Copenhagen: C.
Reitzel, Beschreibung: Copenhagen: C. Reitzel, , Nye Eventyr. First edition, complete, two volumes collections bound together, of Anderson's second series of fairy tales, the first issue of Collection Two, the second issue of Collection One. Collection One: 47, [1, blank]; 68; 52 pp.
Collection Two: 72; 60 pp. Two leaves, comprised of table of contents and dedication page to Collection Two, have been misbound out of sequence. Otherwise, complete with half titles for each volume, both shared title pages, both shared contents leaves, all dedication leaves, all half titles for each fairy tale, and all five regular title pages. Contemporary quarter calf over marbled boards.
Marbled edges. Some light scattered foxing and toning, and an occasional inkspot. Otherwise a very nice copy. Housed in a quarter morocco clamshell case. These stories were originally issued in parts; very few have survived in that state. The publisher, Reitzel, collected the individual parts in their original printings, added tables of contents, and published them in anthologies as here.
The importance of these stories, here - staggeringly - in their first edition, cannot be underestimated. They have become deeply embedded in the Western world's cultural consciousness, as timeless as our memories of childhood. More to the point, however, is that, unlike Charles Perrault and the Brothers Grimm, who were compilers and talented interpreters of traditional folk stories in their respective cultures, in this second series of Andersen tales, the stories are wholly original, the product of a brilliant imagination, featuring characters of great love and yearning who, misunderstood and misfits in a cruel world, have become transcendent heroes for humanity of all ages.
The stories have become the cornerstones of Western children's literature, the characters eternal psychological archetypes. He moved away from traditional folk material towards creating tales that came from his imagination. The words 'told for children' were omitted from the new title as Andersen sought to engage adults and children alike. He had found a genre in which he had a unique voice" British Library Online Gallery. The Stories: Volume One 1.
The Angel 2. The Nightingale 3. The Sweethearts 4. The Ugly Duckling 5. The Fir Tree 6. The Snow Queen 7. Night Ghosts 8. The Red Shoes 9. The Jumpers Shepherdess and the Chimney Sweep Holger Danske Volume Two 1. The Old Street Lamp 2. The Neighboring Family 3. The Darning Needle 4. Little Tuck 5. The Shadow 6.
The Old House 7. The Drop of Water 8. The Little Match Girl 9. The Happy Family The Story of a Mother Cachet en marge inf. Stamp in the lower margin of p.
Bound in full contemporary mottled calf, spine with five ribs decorated with gilt fleurons, red mottled edges. Verlag: Paris: Sebastien Mabre-Cramoisy, Beschreibung: Paris: Sebastien Mabre-Cramoisy, , Tapisseries du Roy, ou sont representez les quatre elemens et les quatre saisons avec les devises qui les accompagnent et leur explication.
Paris: Sebastien Mabre-Cramoisy, Letterpress title-page with large engraved device with royal coat-of-arms, additional engraved title-page, two engraved sectional title-pages, 32 emblematic half-page vignette engravings by Le Clerc and other artists after Jacques Bailly and Charles Le Brun, 8 exceptionally fine double-page engraved plates of tapestries, 2 engraved head-pieces, initials, and one engraved vignette tail-piece sectional title-page for Printemps waterstained, one or two short marginal tears, not affecting the images.
Contemporary mottled calf, the spine in eight compartments, with seven raised bands, red morocco lettering-piece in one, the others decorated with small gilt tools one or two early repairs to the covers, extremities a little scuffed. Tapisseries du Roy, with the magnificent engravings of the eight tapestries of the series of the Four Elements and the Four Seasons, was first published in Paris in , describing the four elements and the four seasons each in four emblems, each with letterpress explanatory text above and below.
Their complex iconography was derived from a broad range of medieval philosophy and humanist culture, and was specifically designed to celebrate Louis XIV's monarchy. The elements and the seasons are related to the iconography of Apollo and the sun - the celestial body associated with the French monarchy since Charles V - which were also being developed in ceiling paintings in the grand apartments of the Louvre and Versailles at this time. The use of heraldic devices was meant to symbolise good government, embodied by Louis XIV and the absolute monarchy he established. The two tapestry series directly celebrated the king, for whom a miniature painted version was prepared for his private pleasure.
Subsequently, the images were widely disseminated, through Andre Felibien's descriptions of them and and through engravings by Sebastien Leclerc [as here]" Pascal-Francois Bertrand "Tapestry Production at the Gobelins duribng the ZReign of Louis XIV, " in "Tapestry in the Baroque: Threads of Splendour", , pages Jean-Baptiste Colbert after working for Mazarin, joined the king's service, first as a member of the Conseil Royal des Finances in , then, beginning in , as superintendent of the Batiments.
But even before being appointed head of the Batiments in , on June 6, , Colbert purchased the Hotel des Gobelins in his own name so the king would have a place to house the Maincy weavers on June 26 , along with weavers from the favored Paris workshops. Thus was founded the Manufacture Royale de Tapisserie des Gobelins, renamed five years later as the manufacture Royale des meubles de la Couronne. Charles Le Brun was officially named director of the Gobelins on March 8, The production of the manufacture was intended exclusively for the king, "to furnish his residences and create decorations for special occasions and to spread the image of the reign's grandeur to foreign courts via diplomatic gifts.
The works created at the Gobelins under Colbert's and Le Brun's direction, crafted by the best artisans in Europe, were an expression of Louis XIV's civilising power and a visible sign of his magnificence. At the end of Le Brun began creating both the designs and the cartoons for five large series, which were woven in the years following: the Four Elements and the Four Seasons, put on the loom in , as was the Story of Alexander, then the History of the King, on which weaving began in , and finally the Royal Palaces, initiated in The image of the monarch, reflecting the greatness, order, and beauty, could be presented three ways: through his noble features, with his insignia, or by allegory.
Allegory and emblems were to play a large part in the presentation of the regal image during the early years of his personal rule, reflecting the contemporary perception that allegory provide a means to say "what words alone cannot express with sufficient force" ibid pages Felibien is best known for his celebrated volume Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes outlining what the principles of art, and giving an account of the lives of the artists.
Berlin Kat. Catalogued by Kate Hunter. Copy on papier d'Arches. One of the most beautiful illustrated version of this novel and probably the most famous illustrated book by Pascin. Copy in perfect conditions with original softcover on light pink paper. Includes jacket and slipcase on blue cardboard. The book may be located and shipped from Italy, France or UK. Copie sur papier d'Arches.
Exemplaire dans des conditions parfaites avec couverture souple originale en papier rose clair. Verlag: Coustellier, La Haye [i. Paris] Beschreibung: Coustellier, La Haye [i. Paris], Contemporary French mottled calf, plain spine with gilt-lettered red morocco label and some floral gilt decoration, marbled endpapers and edges.
Text little browned, occasional spotting, brown staining and light dust- and finger-soiling. Provenance: Giancarlo Beltrame Library. Very good copy in untouched binding, collated complete. Perrault has selected and re-edited eight of the most well-known folk tales for his collection. The three fairy tales "Le petit chaperon rouge", "La Belle au bois dormant" and "Cendrillon ou la petite pantoufle de verre" are included in the collection as "Little Red Riding Hood", "Sleeping Beauty" and "Cinderella" from the fairy tales known to the Brothers Grimm.
While Perrault largely took over material and action from folk lore, he recreated the fairy tales linguistically in the spirit of 17th century France and "created an interesting mix of clever-refined style and naive folk-tale tone. Our edition is quite rare; we can locate but 3 copies in public libraries in the US. Darmancour" - Contient, outre les huit contes de Perrault, "L'adroite princesse, ou, Les avantures de Finette.
Le Petit Chaperon rouge (édition illustrée) (French Edition) - Kindle edition by Charles Perrault, Walter Crane, Arthur Rackham, Herbert Cole, George Percy. Contes de Perrault: le Petit Chaperon rouge; le Chat botté; la Barbe bleue; la Belle au bois dormant; Cendrillon (édition illustrée) (French Edition) - Kindle.
Original pen-and-ink drawing, signed "A Rackham" on lower left-hand corner, for the full-page drawing on page in the The Arthur Rackham Fairy Book. This wonderfully executed pen and ink drawing depicts the moment when Little Red Riding Hood sees the wolf dressed up as her Grandmother. The wolf is in her Grandmother's bed and tells Little Red Riding Hood to "Put the cake and the little pot of butter upon the bread-bin and come and lie down with me". Of course the rest is history!!
The wolf is dressed in a mop cap, wearing glasses and hiding behind the curtains of the bed. Grandmother's slippers are sitting neatly on the floor by the bed and next to the bed there is a candle and a bowl on a small table. Little Riding Hood is dressed in her riding hood holding some flowers she has picked for her Grandmother and carrying a large basket with the pot of butter sticking out of it.
As always, Rackham has created a moment in time - one which is universally recognized. Its origins can be traced back to the 10th century to several European folk tales, including one from Italy called The False Grandmother Italian: La finta nonna , later written among others by Italo Calvino in the Italian Folk Tales collection. Arthur Rackham chose the original Charles Perrault version.