The correction copy of the artist Pierre Bonnard with original drawings by the post-impressionist Bonnard, Pierre. Le crépuscule des nymphes. Correction copy of the artist with double to quadruple text layers. 106 Bl. with 212 (disparate and repeated) num. S. With 51 (partly repeated, 16 full-page, 31 smaller and 4 contoured mounted) original lithographs and 5 mounted original sketches by Pierre Bonnard on transparent paper. 32 x 25,5 cm. Loose layers in old paper envelope. Line cassette (stainy, with defects, a little snatched, slightly unfresh) with black title. Paris, P. Tisné, 1946. See Monod 740. Carteret IV, 252. Bouvet 128. Roger-Marx 97. – The correction copy of the artist Pierre Bonnard (1867-1947) with text layers partly in double execution. For example, the title double sheet (p. 3-6) is available four times before the illustration and with an oval and contoured frontispiece lithograph, two largely identical, slightly paler test prints and a third contrasting print, which the artist then authorized and stamped with "15 MARS 1946", a pencil-snatch, as well as his paraphrase in "Bon" red crayon. Almost all of the following layers are available double or multiple times as sample prints of the publishing house, of which only one print (mostly the more constrastier, more powerful) was stamped and thus found to be good. Everywhere the artist's hand can be observed when he "legitimized" and ticked the prints with a soft graphite stroke, stamped them or added page numbers with strong blue or red coloured pencil to match text and image. There are also many small "directions" on the same page, entered data like "1 avril 1946" up to small ink stains, which shows that Pierre Bonnard designed the copy in the printer workshop of A. Clot himself. Pencil corrections are also included in the text (for example, on pages 39, 45 et passim). From page 39 on, the printer then provided the plots with the spaties for the illustrations that the text was supposed to be transmute. For this purpose Pierre Bonnard created sketches of his illustrations on transparent paper, which he installed in the places, partly with hs. Pencil title for the assignment, such as "La Maison sue le Nil" (p. 39), "Mélandryon" (pp. 41; here you can also find position details for the illustration in pencil), "Danae" (ps. 49), "Ariane"(p. 76) and a final vignette for "La fille de Minos" (page 80). In part, Bonnard's sketches are already very mature, so that there are not many deviations to the chalk drawings placed on the stone afterwards, but in part he also threw out only sketches of ideas, which he then worked out on the rock in a much finer and more detailed way. The correction copy thus gives a unique insight into the artistic creation and the process of making this last major illustration work by Pierre Bonnard. – With corresponding traces of use, partly dusted, finger stained, somewhat tanned, with entries and stamps, including the stamp of the "Imprimerie A. Clot, 102, R. du Cherche-Mid. Paris ...". – At the same time: the same thing. Le crépuscule des nymphes. 98 pp., 3Bl. With 24 (including 6 full-page) original lithographs by Pierre Bonnard. 32 x 25,5 cm. Loose layers in OBroschur with cover title in OPapp cassette (joints and edges partly brittle and with lice, a little ripped off, unfresh) with black title. Paris, P. Tisné, 1946. - One of 30 copies "sur Vélin du Marais filigrané aux nymphes ... avec une suite sur Chine" (total edition 120). Beautiful wide-edge print on strong chamois-coloured luxury paper. "Belle publication, bien accueillie par les fervents de l'artiste; elle est recherchée et cotée" (Carteret). The last of the books illustrated by Bonnard (1867-1947). - Very nice specimen.