LACOUR (JACQUES STANISLAS PROSPER HUBERT DIT) (actif 1830-1836) - CONVOI FUNEBRE DE NAPOLEON A STE HELENE.

CONVOI FUNEBRE DE NAPOLEON A STE HELENE.

LACOUR (JACQUES STANISLAS PROSPER HUBERT DIT) (actif 1830-1836)

Imaging of the Lacour factory in Nancy. Proof prior to 1835 or 1836 before the change of address in favor of Dembour. (Lacour sold all his woods to Dembour in 1835 or 1836. (Duchartre and Saulnier : "' L'imagerie populaire", p.217)). Very nice print on laid paper with all margins, two median folds, a few folds and tiny tears in the borders...

THIÉBAULT JEAN-BAPTISTE (1809-1838) - COMPATRIOTES

COMPATRIOTES

THIÉBAULT JEAN-BAPTISTE (1809-1838)

Beautiful colors of the time for this imagery on laid paper taking up themes then very fashionable of travesty and inspired by the lithographs of the first years of the reign of Louis-Philippe; two marginal oblique folds..

ANONYME - LES QUATRE VACATIONS LES PLUS FIDÈLES DU MONDE (SIC)

LES QUATRE VACATIONS LES PLUS FIDÈLES DU MONDE (SIC)

ANONYME

Nice proof on laid paper of Basset the young, engraver and dealer of wallpapers. Brother of the publisher and publisher of prints Antoine Basset also called Basset the eldest (died in 1760)..

ANONYME - SAINT VICTOR

SAINT VICTOR

ANONYME

Very nice imagery on laid paper of the early nineteenth, pretty and fresh colors, small gallery of worms in the right margin does not alter the subject...

ANONYME - IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET POISSON

IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET POISSON

ANONYME

Good proof, several median folds While the carp symbolizes courage, perseverance, and success in exams; the red fish "jinyu"means gold and wealth.Ca.1950-1970The Chinese New Year print nianhua 年畫 finds its origins in the propitiatory images of Chinese antiquity. It adorned family altars and door leaves with its bright colors until the middle of the 20th century. This practice spread under the Tang Dynasty (618-906) and, with the arrival of Buddhism, broadened its themes to new deities and new pantheons. Then with the new printing techniques developed by the Song (960-1279), the nianhua prints won the family altars of most homes in China. The motifs further diversified under the Qing (1644-1911), incorporating scenes from novels and opera, portraits of women and children, and even satirical content. The print helps attract happiness, drive away evil spirits and protect the year to come. Through its illustrated themes, these prints reflect the customs, state of mind and aesthetic taste of the population. The production of prints continued to suffer from wars and social unrest during the 20th century, and only two or three workshops still existed in the 1940s. After the founding of the People's Republic of China in 1949, local artisans created Suzhou Taohuawu Woodblock New Year Print Society, thus protecting their know-how and perpetuating the tradition as best they can...

ANONYME - S.A.R MR. LE DUC D'ANGOULÊME

S.A.R MR. LE DUC D'ANGOULÊME

ANONYME

Very nice and fresh proof on laid paper in pretty colors, published by Jean in Paris, small hole in the lower margin...

ANONYME - IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET COQ

IMAGERIE POPULAIRE CHINOISE DU NOUVEL AN : ENFANT ET COQ

ANONYME

Good proof, several median folds, yellowing on the right side, mainly visible in the borders.The rooster: "ji"homophone of fortunate and happy, is a symbol of good omen.Ca.1950-1970The Chinese New Year print nianhua 年畫 finds its origins in the propitiatory images of Chinese antiquity. It adorned family altars and door leaves with its bright colors until the middle of the 20th century. This practice spread under the Tang Dynasty (618-906) and, with the arrival of Buddhism, broadened its themes to new deities and new pantheons. Then with the new printing techniques developed by the Song (960-1279), the nianhua prints won the family altars of most homes in China. The motifs further diversified under the Qing (1644-1911), incorporating scenes from novels and opera, portraits of women and children, and even satirical content. The print helps attract happiness, drive away evil spirits and protect the year to come. Through its illustrated themes, these prints reflect the customs, state of mind and aesthetic taste of the population. The production of prints continued to suffer from wars and social unrest during the 20th century, and only two or three workshops still existed in the 1940s. After the founding of the People's Republic of China in 1949, local artisans created Suzhou Taohuawu Woodblock New Year Print Society, thus protecting their know-how and perpetuating the tradition as best they can...

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - IMAGE DE SAINTETES

IMAGE DE SAINTETES

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Imaging on laid paper published by Garnier -Allabre in Chartres between 1822 and 1828. Very nice proof, with all margins, engraved by Fleuret. Median fold, slight yellowing on the bodures. National Museum of Popular Arts and Traditions: 265..

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - CANTIQUES DE NOTRE-DAME DE BON SECOURS

CANTIQUES DE NOTRE-DAME DE BON SECOURS

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Imaging on laid paper published by Garnier -Allabre in Chartres between 1815 and 1823. Very nice proof, with all margins, printed on bluish paper, slight printing fold in the bottom margin. National Museum of Popular Arts and Traditions : 216..

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - MODELES DES VERTUS CHRETIENNES

MODELES DES VERTUS CHRETIENNES

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Imagery on laid paper published by Garnier-Allabre in Chartres between 1826 and 1828. Engraved by Antoine Thiébault.Very fresh proof. Small missing in the lower left corner. National Museum of Popular Arts and Traditions: 266Born in 1807 in Nancy, Antoine Thiébault was one of the new recruits that Garnier-Allabre asked to renovate the factory, producing 20 plates on behalf of the publisher between 1826 and 1828...

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - C'EST LA FAUTE À PIERROT

C'EST LA FAUTE À PIERROT

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Superb imagery on laid paper with large margins, engraved by Fleuret, printed in Evreux by Ancelle filsATP : 279 de la FABRIQUE de GARNIER-ALLABRE à CHARTRES...

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - CANTIQUE SPIRITUEL SUR LE SACRE ROSAIRE DE LA MERE DE DIEU

CANTIQUE SPIRITUEL SUR LE SACRE ROSAIRE DE LA MERE DE DIEU

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Imaging on laid paper published by Garnier-Allabre in Chartres between 1815 and 1823. Very fresh proof. National Museum of Popular Arts and Traditions: 219..

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - L'ANNONCIATION DE LA SAINTE VIERGE

L'ANNONCIATION DE LA SAINTE VIERGE

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Imagery on laid paper published by Garnier-Allabre in Chartres between 1826 and 1828. Engraved by Antoine Thiébault.Very fresh proof, some folds.National Museum of Popular Arts and Traditions: 214Born in 1807 in Nancy, Antoine Thiébault was one of the new recruits that Garnier-Allabre asked to renovate the factory, producing 20 plates on behalf of the publisher between 1826 and 1828...

GARNIER ALLABRE JACQUES-PIERRE (1782-1834) - STE ROSALIE VIERGE ET MARTYRE

STE ROSALIE VIERGE ET MARTYRE

GARNIER ALLABRE JACQUES-PIERRE (1782-1834)

Imagery on laid paper published by Garnier-Allabre in Chartres between 1826 and 1828. Engraved by Antoine Thiébault.Very fresh proof. National Museum of Popular Arts and Traditions: 260Born in 1807 in Nancy, Antoine Thiébault was one of the new recruits that Garnier-Allabre asked to renovate the factory, producing 20 plates on behalf of the publisher between 1826 and 1828...

ANONYME XIXè - TROIKA

TROIKA

ANONYME XIXè

Large margins, very fresh colors, some folds.1894Loubok (Russian: Лубок), or loubki in the plural, is a popular Russian print usually engraved on wood. Loubki are inspired by literature, religious and popular stories. Loubki were born around the 17th century and were sold in markets until the 1950s. They are part of the line of popular imagery that developed in Europe from the end of the 15th century, which saw flourish. many pamphlets, booklets, which are neither books nor newspapers...

ANONYME XIXè - LECONS POUR LES EPOUX

LECONS POUR LES EPOUX

ANONYME XIXè

Large margins, very fresh colors, some folds.1894Loubok (Russian: Лубок), or loubki in the plural, is a popular Russian print usually engraved on wood. Loubki are inspired by literature, religious and popular stories. Loubki were born around the 17th century and were sold in markets until the 1950s. They are part of the line of popular imagery that developed in Europe from the end of the 15th century, which saw flourish. many pamphlets, booklets, which are neither books nor newspapers...

ANONYME XIXè - LE TSAREVITCH NIKOLAI ALEKSANDROVITCH ROMANOV

LE TSAREVITCH NIKOLAI ALEKSANDROVITCH ROMANOV

ANONYME XIXè

Large margins, very fresh colors, some folds.1894Loubok (Russian: Лубок), or loubki in the plural, is a popular Russian print usually engraved on wood. Loubki are inspired by literature, religious and popular stories. Loubki were born around the 17th century and were sold in markets until the 1950s. They are part of the line of popular imagery that developed in Europe from the end of the 15th century, which saw flourish. many pamphlets, booklets, which are neither books nor newspapers...

ANONYME XIXè - GUILLAUME IV ROI D'ANGLETERRE

GUILLAUME IV ROI D'ANGLETERRE

ANONYME XIXè

Very beautiful and large equestrian portrait in period colors of Montbéliard printed by Deckherr. Between 1813 and 1829 Several handling folds, median fold, tiny scattered foxing, left margin cropped at the border of the subject, small tear and missing in the right margin. The Imprimerie de Deckherr is an association formed for 20 years, by contract of October 26, 1812, between the sons of the printer-bookseller of Montbéliard Jean-Théophile Deckherr (1748-1823): Théophile-Frédéric (1776-1848) , printer-bookseller in Porrentruy and Montbéliard, Rodolphe-Henri (1785-1848?), then hardware merchant in details and manufacturer of playing cards, and Léopold-Hermann (1790-18 ..), then bookseller in Porrentruy . The three brothers publish under the name : Brothers Deckherr, Deckherr brothers or simply : Deckherr printing house.  After 1832, the association seems to have reformed only occasionally...

ANONYME XIXè - NIKOLAI I EMPEREUR DE TOUTES LES RUSSIES

NIKOLAI I EMPEREUR DE TOUTES LES RUSSIES

ANONYME XIXè

Large margins, very fresh colors, some folds.1894Loubok (Russian: Лубок), or loubki in the plural, is a popular Russian print usually engraved on wood. Loubki are inspired by literature, religious and popular stories. Loubki were born around the 17th century and were sold in markets until the 1950s. They are part of the line of popular imagery that developed in Europe from the end of the 15th century, which saw flourish. many pamphlets, booklets, which are neither books nor newspapers...

CHEZ JEAN, EDITEUR  ( CA.1820-1830 ) - TYMBALIERS (SIC) DES GRENADIERS DE LA GARDE DE L'EMPEREUR

TYMBALIERS (SIC) DES GRENADIERS DE LA GARDE DE L'EMPEREUR

CHEZ JEAN, EDITEUR ( CA.1820-1830 )

Parisian imagery on laid paper bearing stamp on the back of the Dr Hutin collection.Ca.1820-1830Uniform yellowing and small tear in the upper margin...

CHEZ JEAN, EDITEUR  ( CA.1820-1830 ) - COMMANDANT EN CHEF DES GUIDES. INTERPRETES CAVALERIE. CONTRE L'ANGLETERRE

COMMANDANT EN CHEF DES GUIDES. INTERPRETES CAVALERIE. CONTRE L'ANGLETERRE

CHEZ JEAN, EDITEUR ( CA.1820-1830 )

Parisian imagery on laid paper with all margins, stamped on the back of the collection of Dr Hutin.Ca.1820-1830..

CHEZ JEAN, EDITEUR  ( CA.1820-1830 ) - TROMPETTE DU 9EME REGIMENT DE DRAGONS

TROMPETTE DU 9EME REGIMENT DE DRAGONS

CHEZ JEAN, EDITEUR ( CA.1820-1830 )

Parisian imagery on laid paper, stamped on the back of the Dr Hutin collection.Ca.1820-1830Proof cut to the limit of copper on the outer edges...

CHEZ JEAN, EDITEUR  ( CA.1820-1830 ) - TROMPETTES DES GUIDES

TROMPETTES DES GUIDES

CHEZ JEAN, EDITEUR ( CA.1820-1830 )

Parisian imagery on laid paper with all margins, stamped on the back of the collection of Dr Hutin.Ca.1820-1830..

GEORGIN FRANCOIS ( 1801-1863 ) - LE RETOUR DE L'ILE D'ELBE

LE RETOUR DE L'ILE D'ELBE

GEORGIN FRANCOIS ( 1801-1863 )

Imaging on Epinal laid paper from Maison Pellerin. 1840 Proof in very fresh colors, with all margins, handling and printing folds, pinholes in the outer borders, lack in the bottom margin, traces of humidity on the right border, mainly visible on the back...

GEORGIN FRANCOIS ( 1801-1863 ) - FAMILLE ROYALE D'ORLEANS

FAMILLE ROYALE D'ORLEANS

GEORGIN FRANCOIS ( 1801-1863 )

Beautiful proof on laid paper representing, in medallions, the members of the royal family. Edited in Epinal by Pellerin After 1830.Beautiful stenciled colors, median fold..

WACHSMUTH JEREMIAS (1711-1771) - SUITE COMPLETE DE QUATRE PLANCHES : LES  SAISONS

SUITE COMPLETE DE QUATRE PLANCHES : LES SAISONS

WACHSMUTH JEREMIAS (1711-1771)

Edited on laid paper by Johann Georg Hertel (1700? -1775) in Augsburg. Der Frühling - Le Printems (sic) Der Sommer - L'Este (sic) Der Herbst - L'Automne Der Winter - L'Hiver Beautiful prints two small holes of worm galleries repaired on each of them, handling folds in the upper right angles, spot in the top margin in Spring...

MONDHARE LOUIS-JOSEPH (1734 - 1799) - MONUMENT DE MAUSOLI BATIS PAR ARTHEMISE MIS AU NOMBRE D'UNE DES 7 MERVEILLES DU MONDE

MONUMENT DE MAUSOLI BATIS PAR ARTHEMISE MIS AU NOMBRE D'UNE DES 7 MERVEILLES DU MONDE

MONDHARE LOUIS-JOSEPH (1734 - 1799)

Le Temple d'Artémis Optical view published by Mondhare rue Saint Jacques in Paris. XVIIIth. Soft handling fold, small pinhole in the bottom margin..

PELLERIN JEAN-CHARLES (1756-1836) - CONVOI FUNEBRE DE NAPOLEON

CONVOI FUNEBRE DE NAPOLEON

PELLERIN JEAN-CHARLES (1756-1836)

Imagery from Epinal laid paper from the Pellerin house. Proof in very fresh colors, at all margins, median folds. 1835 This engraving, atypical in Spinal's production, reveals a great mastery of composition in the service of the message it expresses. Attesting to the extent of the shock caused by the death of the Emperor, it also bears witness to the revival of the cult of Napoleon in the 1830s. Musée Epinal: Inv. D.996.1.3585.24C..

PELLERIN JEAN-CHARLES (1756-1836) - GALERIE RELIGIEUSE. SAINT HONORE

GALERIE RELIGIEUSE. SAINT HONORE

PELLERIN JEAN-CHARLES (1756-1836)

2e quart 19e siècleBelle feuille aux coloris très frais, courtes déchirures marginales éditée par la fabrique Pellerin à Epinal.Numéro d'inventaire  Musée de l'Image  Epinal :  D 996.1.1090 C..

ABADIE LOUIS CADET ( 1769-1829 ) - FUITE EN EGYPTE

FUITE EN EGYPTE

ABADIE LOUIS CADET ( 1769-1829 )

Imagery of Toulouse on laid paper published by Abadie between 1806 and 1824. Abadie used woodblocks, a heritage of the traditional technique of Catalan neighborhoods, unlike his colleagues in the North who used stencils to color.Framed proof...

PICARD JEAN-FRANCOIS (1778-1837) ET ALPHONSE (1806-1835) - NOTRE DAME DE GRACE, ETOILE DE LA MER, PROTECTRICE DES MATELOTS ET DES PASSAGERS

NOTRE DAME DE GRACE, ETOILE DE LA MER, PROTECTRICE DES MATELOTS ET DES PASSAGERS

PICARD JEAN-FRANCOIS (1778-1837) ET ALPHONSE (1806-1835)

Imaging on laid paper published by Picard in Caen between 1831 and 1835. Fine proof with all margins, printing fold, slight yellowing in the outer borders. National Museum of Popular Arts and Traditions: 597It is the couple Marie-Françoise Guérin and Jean-François Picard who founded the imagery between 1806 and 1812, the factory starting between 1809 and 1810. Their son Alphonse is associated with the firm which he takes back in his name around 1831. From 1835 and the death of her husband, the widow Alphonse Picard took over the business in her name until 1841...

MACHUEL  MARIE CATHERINE ( ACTIVE DEPUIS 1746 SOUS CE NOM ) - EN L'HONNEUR DE S.GILLES ET S.LEU

EN L'HONNEUR DE S.GILLES ET S.LEU

MACHUEL MARIE CATHERINE ( ACTIVE DEPUIS 1746 SOUS CE NOM )

Imaging on laid paper edited in Rouen by Veuve Machuel. Lined proof, uniformly browned, median fold. The name and existence of this editor is reported by Jean-Dominique Mellot. Marie Catherine Gaillard appears under her name of Veuve Machuel on the death of her husband Jean-Baptiste III from 1746 as a bookseller, undoubtedly supported by her brother-in-law Pierre Machuel already installed in the profession. In: Rouen and the “fairground booksellers” at the end of the 18th century: the widow Machuel and her correspondents (1768-1773) [article] Library of the École des Chartes Year 1989..

BLOCQUEL SIMON (1780-1863) CASTIAUX  J-BAPTISTE (1768-1855) - GAYANT ET SA FAMILLE

GAYANT ET SA FAMILLE

BLOCQUEL SIMON (1780-1863) CASTIAUX J-BAPTISTE (1768-1855)

Fine print on laid paper with slight browning on the outer edges. Engraved by Antoine Thiébault. MNATP: 1095 Gayant is the carried giant who symbolizes the city of Douai. Surrounded by his wife, Marie Cagenon, and their three children, Jacquot, Fillon and Binbin, he travels the city every year for three days on the occasion of the Gayant festivals in early July. Blocquel joined forces in 1809 with the publisher Castiaux, but it was not until 1818 that its association was regularized. After the death of his wife, he remarried to Castiaux's daughter in 1836. On the death of his father in 1855, it was Castiaux's son, Louis, who succeeded him in the association. Antoine Thiébault grave for the picture books of 1829, the date of his installation in Lille with his wife until 1832 when the couple left for Paris...

ROINE PIERRE ET FILS ET DUMOUTIER ( ACTIFS 1820-1823 ) - JEAN DE CALAIS OU LA VERTU RECOMPENSEE

JEAN DE CALAIS OU LA VERTU RECOMPENSEE

ROINE PIERRE ET FILS ET DUMOUTIER ( ACTIFS 1820-1823 )

Nantes imagery on laid paper published by Roiné père, Dumoutier and Roiné fils. Folds, some gaps in the very fresh colors. Musée de Bretagne : Inv.2018.0000.1620Pierre-Vincent Roiné, son of a Nantes cartier took over the paternal factory in 1782. In 1802 he sold his factory to his son Pierre, born in 1784, who died around 1817-1818 without ever making images. He gives up his house to his daughter-in-law who continues her husband's card business and joins forces with Dumoutier. It was not until around 1817 that the production of images began. Around 1820 Roiné's second son, Philibert, was associated with the business. Around 1823 Dumoutier disappeared from the association, then Roiné father died in 1826-1829...

BASSET PAUL-ANDRE ( 17??-184? )  - CONFRERIE DU TRES ST. SACREMENT

CONFRERIE DU TRES ST. SACREMENT

BASSET PAUL-ANDRE ( 17??-184? )

Very fresh colors; Two median folds, spots and small holes, flexible handling folds in the large margins; Inv.INHA: OB 2 (56) which is another proof of this print; Only the names of the churchwardens and the dates differ from 1835 and / or 1831 in the case of our proof. At the start of the 17th century, the rue St-Jacques became the seat of the engravers and merchants of small intaglio religious images introduced by the Antwerp engravers in Paris. Among the successive dynasties of printmakers, the Bassets were certainly among the most active and productive in the second half of the 18th century, of course publishing religious images, but also optical views and portraits. .. Among the members of this family: André Basset - known as Basset le Jeune - active from around 1750 to 1785 at the corner of rue des Mathurins with the sign of Saint Geneviève. and his son Paul-André Basset, who followed his father until 1833. Parisian cut-outs serve in turn as a model for provincial imagiers for the production of xylographed images. The relations between the imagiers of Orleans and those of Paris in the 18th century are well known. Basset was also the agent and supplier for Hoyau in Chartres. (cf. the 2009 exhibition : "Neither quite the same, nor quite another", Musée de l'image d'Epinal)..

CREPY JEAN ( CA.1660-1739 ) - ACTE DE CONTRITION, ACTE D'ADORATION

ACTE DE CONTRITION, ACTE D'ADORATION

CREPY JEAN ( CA.1660-1739 )

Light dusting, some foxing in the margins, short tear in the right margin. Engraver and printseller; mainly dealt in copying, portraits and in prints for the lids of tobacco boxes. Ceased activity at the death of his wife, 1731, and sold part of his business to his sons Louis and Etienne-Louis. We know of several addresses that give a chronology to the list of published works :    Rue Saint Jacques devant la boete de la poste    Rue St Jacques à l'Ange gardien     Rue St Jacques à l'Image St Louis    Rue St Jacques vis-à-vis le Miroir    Cloître St Benoît    Rue St Jacques au Lion d'Argent    Rue St Jacques devant la Rue du Plâtre    Rue St Jacques à St Pierre..

BOULAY JEAN-CHARLES ( 1799 - 18-- ) - NICOLAS I EMPEREUR DE RUSSIE

NICOLAS I EMPEREUR DE RUSSIE

BOULAY JEAN-CHARLES ( 1799 - 18-- )

Very beautiful and large equestrian portrait in period colors of Montbéliard printed by Deckherr. The lower margin made up of a parade of Russian grenadiers. 1829 Some scattered rednesses, some oblique folds, median fold and small holes along the left border, fold in the right angle, ink smear in the lower part. The Imprimerie de Deckherr is an association formed for 20 years, by contract of October 26, 1812, between the sons of the printer-bookseller of Montbéliard Jean-Théophile Deckherr (1748-1823): Théophile-Frédéric (1776-1848) , printer-bookseller in Porrentruy and Montbéliard, Rodolphe-Henri (1785-1848?), then hardware merchant in details and manufacturer of playing cards, and Léopold-Hermann (1790-18 ..), then bookseller in Porrentruy . The three brothers publish under the name : Brothers Deckherr, Deckherr brothers or simply : Deckherr printing house.  After 1832, the association seems to have reformed only occasionally...

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