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Descripción: 1823. No Binding. Estado de conservación: Very Good. John Thomas Serres (1759-1825) An English frigate amidst much activity in the Bay of Naples with Vesuvius erupting beyond Oil on canvas Canvas size: 32” x 48” Frame size: 36” x 52” Signed and dated (on center boat): Giov.ni T. Serres/ 1823 J.T. Serres was born in London in 1759 and was the eldest son of Dominic Serres, the Elder, RA (1722-1793). He was also considerably influenced in his marine work by the landscape and theatrical painter Philippe de Loutherbourg (1740-1812). Serres first exhibited at the Royal Academy at the age of seventeen. Serres was in France to witness the fall of the Bastille in July 1789 and traveled to Italy with letters of introduction from Sir Joshua Reynolds, a colleague of his father. The following year he returned to London and in 1791 married his pupil Olivia Wilmot (1772-1835). On his father’s death in 1793 he succeeded him in his appointment as Marine Painter to King George III and to H.R.H. The Duke of Clarence (later William IV). In 1800 he became Marine Draughtsman of the Admiralty. This position required him to create drawings of the British, French, Spanish and Mediterranean coastlines in order to establish enemy installations and to make aids to navigation. Some of these drawings were published in The Little Sea Torch, or True Guide for Coasting Pilots (1801). Serres’s marriage to Olivia Wilmot proved to be his downfall. She committed numerous frauds during their marriage the worst of which was forging bank drafts during her husband’s absence on Admiralty business. As a result, Serres was declared bankcrupt. Although the couple separated in 1802, her continued activities affected the painter’s professional standing. In 1817, Olivia claimed that she was the daughter of George III’s brother the Duke of Cumberland, resulting in the loss of George III’s patronage of Serres. In 1825, J.T. Serres was imprisoned for debt but released on grounds of ill-health in December of the same year. He died shortly afterwards. His work is represented in the National Maritime Museum, Greenwich, the Royal Collection and the Victoria and Albert Museum, London. Signed by Illustrator(s). Nº de ref. de la librería F00301c

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Descripción: [French Guiana: 1821-1824]. Together, 12 manuscript maps and views, plus one engraved map. Provenance: Baron Pierre-Bernard Milius (1773-1829). A fine manuscript cartographic record of Baron Milius's scheme to establish a settlement near the mouth of the river Mana on the far west coast of French Guiana, including survey work by Auguste Vaillant. "Milius first went to sea in 1786 on his father's merchant ships. He joined the navy in 1793 and in 1800, as 'lieutenant de vaisseau' (lieutenant commander), was appointed to the Australian Expedition of Nicolas Thomas Baudin. He served as [Jacques] Hamelin's second-in-command on the Naturaliste and at Timor in 1801 was promoted 'capitaine de frigate' (commander)" (Howgego M44). The importance of the Baudin Expedition cannot be overstated. The 1800-1803 French expedition was the first to survey the western coast and much of the southern coast of Australia. The Expedition harbored at Sydney from the end of April to mid-November 1802. On the return, Baudin died of illness and command passed to Milius, who successfully brought the expedition back to France. Milius subsequently served as director of the port of Venice, returning to France in 1814; "after the restoration of the monarchy in 1815 [he] was appointed director of the port of Brest. He subsequently served as governor of Reunion (1818-21) and Guiana (1823-25), and in 1827 commanded the Scipion at the Battle of Navarino" (Howgego). Milius's service as governor of French Guiana was of particular importance. Originally settled by France in the 17th century, the South American tropical region had been seized by Portugal in 1809. After its restoration to France, a renewed movement began to colonize the area. Milius himself would be influential in seeking to create a penal colony at Mana and to oversee numerous surveys of the region to determine the feasibility and best places for colonization. The present archive, from the collection of Baron Milius, dates from his time as the colonial governor of French Guiana and includes several magnificent, large-scale maps and views, including a masterful manuscript plan of Cayenne, as well as important manuscript maps of Mana and the Maroni River by Auguste Nicolas Vaillant (1793-1837). Together, this collection represents a stunning visual record of the culmination of Milius's storied career. Original primary source, manuscript material from Grand Voyage expeditions is of the utmost rarity and almost exclusively exists in French institutions. Such material that does appear on the market is seldom able to leave France. These newly-discovered drawings, from a critical period of French exploration, are of great historical value. The collection is comprised of: 1) Auguste Nicolas VAILLANT (1793-1837). Pen, ink and wash original manuscript map titled 'Plan de la Partie du Maroni, Comprise Entre Son Embouchure Et le Parallêle Situé par 5 [degrees] 7'.46". de latde. N., Dressé par Augte. Niclo. Vaillant Ensgne. de Vau., pendant Son Voyage dant Ce Fleuve, pour le Service de la Commission Explorative de la Guyanne Française'. [French Guiana: 1824]. Pen and black ink with grey watercolor wash on early 19th-century laid paper, ('M' in a shield watermark, with 'M' countermark). Sheet size: 39 1/4 x 25 1/2 inches. An attractive record of an important early survey of the border between French Guiana and Surinam. Auguste Vaillant served as 'aide de camp' to Baron Milius and would subsequently command a voyage of circumnavigation aboard the corvette Bonite. He produced this detailed record of soundings and observations about habitation and natural features and hazards on the Rio Maroni: the importance of the work was recognised and he produced a 'memoir' describing the exploration. The Maroni which up until this survey was virtually unknown, served then and now as French Guiana's border with Surinam on the west bank. The area surveyed includes a 'Grand village Parêtlaii' on the approximate site of present-day. Nº de ref. de la librería 18496

3.

A COLLECTION.

PEAKE, Mervyn
(Minster on Sea, KEN, United Kingdom)
Cantidad: 1
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Descripción: 1922 - 2011., 2011. A once in a lifetime opportunity to acquire what is thought to be the most extensive collection of Mervyn Peake items in the world. This collection has been formed over a period of more than 30 years and consists of over 500 individual items. Of course, all the published books are represented in 1st Edition, but in addition there are a large number of variant issues, some previously unrecorded and some so far known only by a single example. There are subsequent edition, re-issues, foreign editions, paperbacks, proof copies, etc. This is the collection of a fanatical completist which means that multiple copies of some titles are present with small variances. At some stage even a completist had to stop however; copies of Swiss Family Robinson appear with a wide variety of coloured headbands so I stopped at half a dozen copies. But even some previously unknown variants are present: The Grey Walls Press edition of his Drawings is represented by 3 different issues; the Davis Poynter Edition of Drawings by 2 issues. In addition there are typescripts of three of his plays; The Cave, The Wit to Woo, and Those Wicked Doctors [the only known copy], all apparently agent?s copies. There are inscribed copies of Shapes and Sounds [Walter de la Mare?s copy], The Glassblowers, Alice in Wonderland and Through the Looking Glass, Mr Pye [with a lovely pen and ink illustration of a be-winged Mr Pye looking out to sea], Figures of Speech [with an additional illustration inserted which was not used in the published version], and the only signed copy of the Keepsake Press Poems I have seen, with the added bonus that it was Maurice Collis?s copy [he wrote the introduction], with a charming letter from Collis to his son recounting a meeting with Maeve. A copy of Bleak House [published posthumously], with an original illustration of Mr Turveydrop [actually two illustrations back to back], a variant of that used in the published version. A scrap-book with proof pulls for his illustrations for Grimm?s Household Tales [including three unused illustrations]. The very rare menu for a PEN dinner known in this single example; the rare wartime propaganda postcard, known in only two examples; a rare etching issued as a card known only in this single example; a large sheet of three illustrations printed by Cowell?s of Ipswich as a trial of their ?Plasticowell? process, known only in this example. A very large number of periodicals including his earliest published piece, printed when only 11 years old; rare issues of Pinpoints, Ballet, Eve?s Journal, as well as the more obvious Lilliput, London Mercury, etc. Exhibition catalogues from the 1930s to the present day; a large run of Christmas cards designed by Peake and signed by his wife Maeve; theatre programmes designed by Peake, a mint copy of the only bookplate designed by him; other ephemera. There are mock-ups and proofs for the Libanus Press editions of Alice and The Ancient Mariner and trials for the binding of the facsimile reprint of Captain Slaughterboard. There is not a detailed catalogue or listing available, prospective purchasers are invited to view the collection by prior appointment. Nº de ref. de la librería 33070

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Descripción: from, London, 1787. A collection of 24 prints, with various finishes ranging from sepia to fully coloured, various sizes (mainly about 450 x 550 mm.); mounted.An exceptional collection of proof and trial printings of Webber's famous images of the Pacific, based on his graphic record of Cook's third voyage. A summary of the collection is given below: a fuller description is available on request.In 1786 Webber had exhibited his South Seas paintings at the Royal Academy. Encouraged by the response, he embarked on a collaboration with the aquatint artist Marie Catherina Prestel, recently arrived in London from Frankfurt. Together they completed four aquatint views, all of which are very rare today. All four are included here in early issues.Webber subsequently abandoned these experiments in aquatint engraving, and his relationship with Prestel, in favour of the new technique of soft-ground etching. By August 1788 he had produced the first three of the sixteen soft-ground etchings that would ultimately form the series published as Views in the South Seas of 1809, perhaps the most beautiful of all view books on the Pacific. Such was the publication's success that later issues of the plates were still being sold decades into the nineteenth century.Webber's experimental printings of his images, from the early aquatints made with Prestel (only one of which survived to appear in the Views: see number 19 below) through various trials in the late 1780s, are all rare and desirable. Although Joppien and Smith have described known survivals in some detail, the individual pieces here often vary from those descriptions in detail or in such aspects as the colour of wash used. A collection as extensive as this sheds remarkable light on the processes involved, and represents a highly important graphic archive. It includes early versions of a remarkable proportion of the images that would later appear in Webber's book: twelve of the final sixteen images are seen here in twenty-one versions.References to JS below are to Rudiger Joppien's and Bernard Smith's The Art of Captain Cook's Voyages, Volume 3 Catalogue, OUP, 1987. References to Views are to Webber's Views in the South Seas.A View in Matavai, Otaheite (Webber & Prestel; not published in Views).1. First aquatint issue. Aquatint in sepia tones on laid paper, 1787. 'There can be no doubt that the drawing represents one of the most romantic and tropical scenes encountered during the voyage' (JS). The image had earlier been trialled as a line etching in November 1786, but Webber decided instead to experiment with the newly-arrived aquatint technique in collaboration with Marie Catherine Prestel. JS 3.120Ac.View in Ulietea (Webber & Prestel; not published in Views).2. Second issue dated 1788, uncoloured sepia aquatint. Two states of an earlier issue dated 1787 are identified by JS. No other version of the image appears to exist. JS 3.157Ac.View in Annamooka (Webber & Prestel; not published in Views).3. Early issue. Uncoloured sepia aquatint on laid paper, 1788. Other examples are dated 1787 but JS note the British Museum version of the print which is also dated 1788. JS 3.344Ab.View in Queen Charlotte's Sound, New Zealand (Views, plate 1).4. First issue, signed "J. Webber", tinted state, 1790. Soft-ground etching on wove paper tinted in brown & grey wash. Early issue before the letters "R.A." added to Webber's signature. JS 3.21Aa.5. First issue, coloured state, 1790. A fully handcoloured version of the uncoloured print. JS 3.21Aa.6. Second issue, signed "J. Webber R.A.", uncoloured state, 1790. Soft-ground etching on wove paper, printed in outline only in sepia. Perhaps a trial pull before addition of washes, or an impression with outline printing produced for subsequent colouring. JS 3.21Aa note refers but does not identify this state.7. Second issue, tinted state, 1790. Soft-ground etching on wove paper with blue-grey wash. JS 3.21Aa note.Boats of the Friendly Islands (Views, plate 2).8. First issue, tinted state. Nº de ref. de la librería 606/567

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Descripción: A unique collection of 88 signed original drawings by the German-Jewish artist Rosy Lilienfeld, contained within two portfolios created consecutively in 1929 and 1930, illustrating the short stories of Martin Buber's Die Legenden des Baalschem, parts one and two. Together with Lilienfeld's bilingual art book Bilder zu die Legenden des Baalschem/Pictures to the Legend of Baalschem, in which all 33 original drawings from the first portfolio are reproduced, published by the noted press R. Löwit Verlag (Leipzig und Wien, 1935). Executed in charcoal and pencil on paper, the 12.5 x 9-inch drawings remain in their original 19.5 x 12.5-inch mats, which are signed and dated by the artist and indicate, in typed and handwritten notes, their positions within Lilienfeld's series and Buber's text. They identify the Buber edition from which Lilienfeld worked as Die Legende des Baalschem, Frankfurt: Literarische Anstalt, Rütten und Loening, 1922. The drawings illustrate 14 legends, originally transmitted orally in Yiddish, that recount the spiritual triumphs and teachings of the founder of modern Chassidism, Rabbi Israel ben Elieser (c. 1700-1760), known as the Baal Schem Tov or "Master of the Good Name." They depict scenes where the mundane and the phantasmagorical superimpose, tableaux of cosmic struggle and mystical transformation, of ecstasy, sorrow, sympathy and enchantment, in folkloric settings where the natural world embodies human emotions. With dramatic titles such as "The Fire Prince" and "The Martyrs and the Revenge" the tales illuminate moments of awakening and empowerment, where the child Baal Schem might pluck the heart from a demonic werewolf, or allow a dead bride-to-be to rise from her grave and be married.Lilienfeld's powerful rendition of the Eastern European tales has a dreamlike, almost nostalgic quality-something of memories endowed with magic. Her stylistic choreography endows the suites deeply with a quality of interplay: suggestions of the Expressionists' modern, primal style in the service of powerful Jewish mythos, at a time when the traditional and the modern, history and legend, religious and secular mingled briefly in Frankfurt, before European Jewry was consumed by war. While Lilienfeld did not survive, her work remains a document of that extraordinary moment. Nº de ref. de la librería 16425

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Descripción: NP n/d. Softcover. Estado de conservación: vg. 1) Twentysix Gasoline Stations. 1/400. 8vo. 48pp. 1963. Photographs from this book inspired a number of the artist's paintings, drawings, and prints of gas stations. Slightly chipped at top of spine on glassine, spine slightly cocked with little yellow discoloration on head and tail of spine. Very light stain on top front edge, not affecting the type. Near fine.2) Various Small Fires and Milk. 1/400. 8vo. 48pp. 1964. One-inch split along top front edge of glassine, minor chipping on head and tail of glassine spine. Two light vertical ink stripes on page fore-edge. Fine.3) Some Los Angeles Apartments. 1/700. 8vo. 48pp. 1965. A number of the apartment buildings shown in this work also were the subjects of a series of drawings Ruscha made the same year. Glassine 1/4" smaller than book, as issued. Minor age toning on glassine. Fine.4) Every Building on the Sunset Strip. 1/1000. 8vo. 1 continuos photographic accordion-fold out. 1966. Signed in pen on top-edge of silver-covered slipcase. Ruscha made a series of editioned photographs based in part on this book in 1995. Spine is yellowed with center-crease from being opened, slight scuffing on slipcase, otherwise fine.5) Thirtyfour Parking Lots in Los Angeles. 1/2413. 4to. 48pp. 1967. Pictorial flap on last page, as issued. The photographs in this book were taken by Art Alanis. Ruscha made a series of editioned photographs based on this work in 1999. Fine.6) Royal Road Test. Ruscha, Edward; Mason Williams; Patrick Blackwell. 1/1000. 60pp. 1967. Spiral-bound wraps. Slightly creased on top right corner of front wrapper. Minor age yellowing to outer edges of interior pages. Near fine.7) Nine Swimming Pools and a Broken Glass. 1/2400. 64pp. 1968. Small 'Pasadena Art Museum' sticker on free front endpaper. Illustrated with color reproductions of photographs. Ruscha made a series of editioned photographs based on this work in 1997. Slight age yellowing to outer edges of interior pages. Near fine.8) Business cards. (Collaboration with Billy Al Bengston). 1/1000. 32pp. 1968. Faux wood-grain paper stock with mounted b/w photograph of Ruscha and Bengston, dated Jan. 3, 1968. Signed by Ruscha and Bengston on cover, additionally signed by Ruscha on inside cover. Bengston's business card with photographic card stapled onto blank page in rear, as issued. Business card is crumpled in each copy of the book as a nod to the "Dento" series of paintings he did in the 1960's. Photographs by Larry Bell and Ken Price. Fine condition.9) Crackers. 1/5000. 240pp. 1969. Wraps with original printed dust jacket. Small 'Pasadena Art Museum' sticker on free front endpaper. This work illustrates Mason Williams' short-story "How to Derive the Maximum Enjoyment from Crackers." Story is printed on the inside back flap of the dj. The characters in the photographs are Larry Bell, Lèon Bing, Rudi Gernreich and Tommy Smothers. Crackers, which was intentionally photographed as if it were a collection of film stills, was the basis for Ruscha's 1970 film Premium. No glassine. Small chip on bottom front-flap of dj, otherwise fine.10) Real Estate Opportunities. 1/4000. 48pp. 1970. 25 full-page b/w reproductions of photographs of Real Estate in the Los Angeles area. Glassine yellowed on spine, otherwise fine.11) Babycakes. 1/1200. 52pp. 1970. Bound in wraps with pink satin ribbon. This book was part of the portfolio Artists and Photographs, published under art dealer Marian Goodman's imprint, Multiples, Inc. Photographs by Ed Ruscha, Elizabeth Claman, Sid Felsen, Jerry McMillan and Danna Ruscha. Some light staining on back cover, faded and soiled around edges, otherwise fine. 12) A Few Palm Trees. 1/3900. 64pp. 1971. Before creating this book, Ruscha had considered making a book called Seventeen Hollywood Palm Trees. The project which was never realized, evolved into A Few Palm trees. Slight rubbing on edges of rear wrapper. Near fine.13) Dutch Details. 1/3000. 23pp. 1971. A Publication of the Octopus Foundation within the frame. Nº de ref. de la librería 22032

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Descripción: [Bermuda and the Caribbean: 1842-47]. Folio. 42 pen-and-ink, graphite and watercolour drawings (one with images recto and verso, the rest recto only), each mounted to larger sheets, many captioned in the image or on the mount, several signed by the artist. Expertly bound to style in half calf over period marbled paper covered boards, original red morocco label affixed to the upper cover. Housed in a blue morocco backed box. Extraordinary album of early topographical watercolour views of Bermuda and vicinity by a noted British military officer. Bermuda: 1) Fort Cunningham. Bermuda fr Long Island. 1844. Watercolour. 10 1/2 x 14 1/2 inches 2) Entrance to Castle Harbour Bermuda. 1846. Graphite and watercolour. Panorama on three sheets joined and folded. 7 1/4 x 32 5/8 inches. 3) Hamilton Bermuda from Signal Post Ports Island. 1846. Graphite and watercolour. 6 3/4 x 10 5/8 inches. 4) Looking S.W. / View of Hamilton Harbour Bermuda. Graphite and watercolour. 7 1/2 x 11 inches. 5) From Brackish Pond Bay Bermuda. Graphite. 7 x 10 1/8 inches. 6) Bermuda. 1852. Graphite. 7 x 10 1/8 inches. 7) A Slaver taken by the American Navy vessel to Bermuda. Graphite. 5 x 6 7/8 inches. 8) Fort Catherine Bermuda. 1843. Graphite and watercolour. Panorama on two sheets. 7 x 20 inches. 9) Pembroke Church, Bermuda. 1842. Graphite and watercolour. 4 7/8 x 7 inches. 10) At Bermuda. 1844. Graphite. 4 7/8 x 7 inches. 11) Pembroke Church, Bermuda. 1843. Graphite and watercolour. 7 7/8 x 11 1/2 inches. 12) Ireland Island Bermuda . 1845. Graphite and watercolour. 7 7/8 x 11 1/2 inches. 13) Fort St. George . St. George's Bermuda looking N.W. Graphite and watercolour. 9 1/2 x 12 1/2 inches 14) Stokes Point . 1844. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 15) Ireland Id. Bermuda . 1843. Graphite and watercolour. 6 5/8 x 10 3/8 inches. 16) Grave Yard. Ireland Id. Bermuda. Graphite. 7 x 10 3/8 inches. [Images of 7 tombstones on verso, 5 identified] 17) Ireland's Island from near Port's Id. 1845. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 18) From Port's Island. 1845. Graphite and watercolour. 6 3/4 x 10 3/8 inches. Caribbean: 19) Passing Deseada on the Voyage from Bermuda to Barbados. Graphite. Four sketches on one sheet. 11 1/2 x 8 7/8 inches. 20) Govt. House Barbados. 1847. Graphite and watercolour. 7 x 10 inches. 21) Queen's House Barbados. 1847. Graphite. 8 3/4 x 10 7/8 inches. 22) Highlands Sugar Works. 1847. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 23) Govt. House Tobago. 1847. Graphite. 7 1/4 x 10 3/4 inches. 24) Saint Lucia / The Small Piton. 1847. Graphite and watercolour. 7 5/8 x 11 inches 25) The Little Piton. St. Lucia. 1847. Graphite. 7 3/8 x 11 1/4 inches. 26) Large Piton / Little Piton. St. Lucia 1847. Graphite and watercolour. 7 5/8 x 11 inches. 27) Saint Lucia. The Small Piton from Souffriere. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 28) Drummond Rock off Martinique. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 29) Little Piton & Mr. Goodman's House. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 30) Gros Inlet Saint Lucia. 1847. Graphite and watercolour. 5 5/8 x 9 1/8 inches. 31) Scarbro Bay & Town, Tobago. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 32) Barbados. 1847. Graphite and watercolour. 5 3/8 x 8 3/4 inches. 33) St. Johns. Barbados. 1847. Graphite and watercolour. 7 1/2 x 10 3/4 inches. 34) Hackleton's Cliff. Barbados. 1847. Graphite. 7 3/8 x 10 3/4 inches. 35) Burnt District, Bridge Town, Barbados. 1847. Graphite. 7 x 10 inches. 36) Sugar Works, Barbados. 1847. Graphite. 7 x 10 inches. 37) Post Office at Courtland Bay Tobago. Graphite and watercolour. 6 5/8 x 10 3/8 inches. 38-39) Fontabelle, Barbados. Graphite and watercolour. With an additional watercolour view of Fontabelle on the verso. 7 3/4 x 11 1/2 inches. 40) Highland waterfall Tobago. Graphite and watercolour. 6 3/4 x 10 3/8 inches. 41) Capt. Hutchinson's Grave. 1847. Graphite. 6 7/8 x 10 inches. 42) Nevis. 1847. Graphite a. Nº de ref. de la librería 26678

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Descripción: [Vienna, c. 1800]., 1800. 2 vols. Oblong small folio (23.5 x 36.8 cm and 25.4 x 39.4 cm). 66 pen-and-ink, watercolour and gouache drawings of horses, mostly highlighted with silver and gold (one folding), all signed, each within a black ruled border, most trimmed and mounted onto larger sheets at a period date. Early marbled paper spines. Housed in an early calf-backed marbled paper covered faux-book box, metal clasps. Unique illustrated manuscript trade catalogue, with each image depicting a horse in elaborate carriage tack. The drawings were executed by Michael Fölsch himself, one of the foremost Viennese makers and sellers of luxury tack in the early 19th century, to show prospective clients possible designs for their carriage horses. Every single drawing is signed by the artist: Fölsch's talent for draughtsmanship and colouring was hitherto unknown and is remarkable for a leather craftsman who probably never received training as a painter. The breadth and complexity of the designs, and the use of gold and silver, is impressive, underlining the fact that such bespoke equipment was intended for the wealthy elite. - Provenance: first in the equestrian library of the Imperial stablemaster Franz Wenzel Schleichart von Wiesenthal (engraved bookplate on verso of box), who came from a great dynasty of stablemasters and horsebreakers that included his father as well as his two younger brothers Anton Philipp and Johann Joseph; latterly in the collection of Franz Josef II, Fürst von und zu Liechtenstein (1906-89, armorial bookplate). Nº de ref. de la librería 31865

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Descripción: Various Publishers, Japan. Hardcover. Estado de conservación: Near Fine. Eikoh Hosoe is undoubtedly one of the most important and respected photographers in the history of the medium. He has consistently pursued original directions in his work that in my opinion has earned him the right to be considered one of the great masters of photography. The collection consists of the following titles listed in chronological order: 35mm Snap, 1955, First Edition. Man and Woman, 1961, Signed First Edition. Ondine, First Edition Limited to 300 copies. Killed by Roses, 1963, Signed by Hosoe and Mishima, First Edition Limited to 1500 copies. Why, Mother, Why, 1965, First Edition. Miss Peten (Miss Fraud) , 1966, First Edition, 175 of 500. Taka-chan and I (A Dog¿s Journey to Japan) 1967, First Edition. Kamaitachi, 1969, First Edition. A Dog¿s Guide to Tokyo, 1969, First Edition. Return to Hiroshima, 1970, First Edition. Shimon (Simon) Yotsuya¿s Prelude, 1971, Signed Limited Edition 15 of 20. Signed by Eikoh Hosoe, Ikuya Kato, and Shimon Yotsuya. Ordeal by Roses, 1971, Signed, Limited to 1000 Copies. Embrace, 1971, Signed, First Edition. Man and Woman Portfolio, First Edition, 1972. Embrace, 1977, Signed Revised Edition. Hasegawa Kazuo 2nd (Nimaime Hasegawa Kazuo), 1981, First Edition. Human Body including separate portfolio of 4 prints, 1982, First Edition. Eikoh Hosoe - Photographs 1960 - 1980, Signed Second Edition, 1982. Eikoh Hosoe - Musee D'Art Moderne De La Ville De Paris, 1982, First Edition. Gaudi, 1984, Signed First Edition. Ordeal by Roses, 1985, Signed Edition. A Place Called Hiroshima , 1985, Signed First Edition. Untitled 42: Eikoh Hosoe, 1986, First Edition. Body on the Edge of Crisis (Kiki ni tatsu nikutai), 1987, First Edition. Eikoh Hosoe ¿ Photographs 1951 - 1988, 1989, Signed with drawing, First Edition. Gaudi Photo Collection by Eikoh Hosoe, 1990, Signed First Edition. Eikoh Hosoe Photographs, 1990, First Edition. META, 1991, First Edition. Retrospection: Tanezo Hayakawa, 1991, Signed Portfolio Limited to 300. Crust and Caramel (Hijikata Tatsumi Butoh Taikan: kasabuta to kyarameru), 1993, First Edition. Ohno Kazuo, 1997, Signed First Edition. Ohno Kazuo, 1997, Limited Edition, 317 of 500. Taka-chan and I (A Dog¿s Journey to Japan) , 1997, Signed. Japan Photographers #32 Eikoh Hosoe, 1998, First Edition. Eikoh Hosoe (Aperture Masters of Photography), 1999, Signed, First Edition. Luna Rosa, 2000, Signed, First Edition. A Portrait of Shunken, 2000, Signed Limited Edition, 142 of 300. The Kimono Portfolio, 2000, 3 Signed Limited Edition Prints, 25 of 62. Eikoh Hosoe: Photographs 1950 ¿ 2000, 2000, Signed, First Edition. Eikoh Hosoe: Awakenings Portfolio, 5 Signed Photogravures, 2001, Limited Edition, 41of 65. Eikoh Hosoe: Brightness and Darkness of Being, 2003, First Edition. Why, Mother, Why, 2004, Signed Edition. Ukiyo-E Projections, Signed Limited Edition, 11 of 30. Kamaitachi, 2005, Signed Limited Edition, 113 of 500. Eikoh Hosoe¿s Autobiography, 2 Volumes, 2005, First Editions. Butterfly Dream, 2006, Signed First Edition. The World of Eikoh Hosoe, 2006, First Edition. The World of Eikoh Hosoe, 2006, First Edition. Man and Woman, 2006. Byobu, Kakejiku, 2006, Signed Limited Edition, 623 of 900. Flowers of Evil, 2006, Signed Limited Edition with Platinum Print, 44 of 65. Deadly Ashes, 2007, Signed First Edition. Embrace and Ordeal by Roses, 2008, Signed Limited Edition, 37 of 1000. Genzai no Yukue - Yoshida Yoshie, 2008, Signed First Edition. Killed by Roses, 2009, Signed Limited Edition 28 of 500. Kamaitachi, 2009, Japanese Edition Signed. Hana Dorobou, 2009, Signed First Edition. Theatre of Memory, 2010, Signed First Edition. Bushido in Business, 2011, Signed First Edition. Simon: A Private Landscape, 2012, Signed Limited Edition, 195 of 900. Dance Experience, 2 Volumes, 2012, Signed First Edition. Portraits by Eikoh Hosoe, 2012, First Edition. Un Homme Rodin, 2013, Signed Limited Editions, 2 Volumes, 1 of 25. Please email me for a condition report on the books in the collection. Signed by Author(s). Nº de ref. de la librería 000119

10.
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Descripción: Amsterdam, Johann van Someren et al., 1686 [1688-] 1693. 12 volumes. Folio (395 x 270mm). With two engraved frontispieces and 794 engraved plates (on 791 sheets), mostly double-page. Contemporary panelled calf, rebacked in the eighteenth century, spines with gilt coronet and coat-of-arms of the Dukes of Beaufort. A very clean, fresh copy in first edition of the first comprehensive flora of the East Indies, containing the first illustrations of a great number of tropical and sub-tropical plants and fruits. Hendrik Adriaan van Rheede, born in 1637 in the castle Draakesteyn, near De Vuursche, a village in the province of Utrecht, became the colonial governor of Malabar, on the south-west coast of India, and from 1684 the head of the Dutch East Indies Company in India. He was an enthusiastic botanist and investigator of the Indian sub-tropical flora, and was interested in the medical and traditional uses of the plants he encountered. He had as collaborator Johannes Caesarius, a missionary in Indochina, who edited the first two volumes, but died before their appearance in print. After his death the editorship was taken over by Arnold Seyn (1640-1678), the director of the Leiden Botanical Garden, and by Jan Commelin (1629-1692). Commelin’s connection with Rheede and other patrons in the East Indies Company made the Amsterdam Botanical Garden, of which Commelin was director, the richest in Europe at the time. In 'Philosophical transactions' for 1698 there is a note by James Petiver saying that the Dutch physician at Batavia, Willem ten Rhyne, who had served as resident physician at Deshima in Nagasaki Bay, Japan, also worked for Rheede in collecting and describing plants. As soon as enough material for a volume had been assembled Rheede sent it home to Holland, where botanists such as Commelin and others added notes and saw it through the press.Rheede writes that several artists contributed drawings, but much of the credit he gives to Pietro Foglia, or Father Matthias, a Neapolitan Discalced Carmelite, ca 1617-1691, who both drew and engraved many plates. The engraver Bastian Stoopendael (1636-1707) signed the first plate, which was drawn by Antony Jakob Goedkint. Rheede compiled the work also with the help of other missionaries, native doctors, native princes, and most probably native draughtsmen. ‘It is quite clear from the nature of these engravings that most of them were taken from drawings by Indian artists in Malabar. They show all the decorative qualities found in the drawings done for the British by Indian artists a century later, and even the details of techniques are similar. In particular, the tendency for them to spring straight out of the edge of the paper and to slant diagonally across it are very characteristic.’ (Hulton and Smith, Flowers in art from East and West).Each plate has the name of the plant in ‘Latin’ (in fact a transcription of the native name), Malayalam, Arabic, and Sanskrit. The plates depict both wild and cultivated plants, and many now familiar tropical fruits and spices. Several plates are devoted to ‘Tenga’, the coconut palm, the most important economic plant of Malabar. There are also the first illustrations of a large number of orchids.Bridson and Wendel 17; Johnston 267; Nissen BBI, 1625; Stafleu and Cowan 9123. Nº de ref. de la librería 8253

11.

Descriptiones et icones plantarum rariorum Hungariae.

WALDSTEIN, F. DE PAULA ADAM GRAF VON & P. KITAIBEL.
(Amsterdam, NH, Netherlands)
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Descripción: Vienna, Matthias Andreas Schmidt, (1799-) 1802-1812. 3 volumes. Folio (488 x 345mm). pp. (4), xxxii, 1-104; (2), xxxii, 105-221, (1); (2), 223-310, (2, index), with large sepia aquatint view at beginning of preface to vol I and 280 beautifully handcoloured engraved plates of which 16 folding. Contemporary marbled green boards with 2 red gilt lettered labels. A fine, uncut and unusually fresh copy of the first (and only) edition of this monumental flora of Hungary and adjacent territories, including Croatia, with splendid plates in the Viennese 'Jacquin' style. The text is by Paul Kitaibel (1757-1817), professor of botany at the University of Pest. 'He spent much of his career roaming Hungary and collecting botanical, zoological, and mineralogical specimens as well as folklore. His collections of botanical and mineralogical specimens formed the basis for the natural history collection in the Hungarian National Museum' (Johnston). The work was financed by Count Franz Waldstein (1759-1823), an Austrian military leader who fought against the Turks and North African states as a Maltese knight and in the Austrian-Turkish war and the Prussian campaign. From 1789 he devoted himself to botany, travelling with Kitaibel through Hungary collecting plants, interspersed with military service. His herbarium is in Prague. The aquatint view is signed by Hirscher. The plates are engraved by Karl Schutz after drawings by his son Johann. The work was intended to be completed in four volumes but a note on page 310 states that publication was suspended because of 'multiplicia impedimenta, quae e gravibus temporibus in quibus vivimus inseparatibilia sunt' (the many impediments which are inseparable from the troubled times we live in).Junk Rara, p. 134: "Die Ausstattung des Werkes ist eine prächtige, die Tafeln (von denen 16 in Doppelformat) sind auf das feinste mit der Hand colorirt. Das Buch hat für die Flora von ganz Mitteleuropa Wichtigkeit. Die 'Descriptiones et Icones' sind ausserordentlich selten, sie gehören zu den grossen Raritäten der botanischen Literatur; ganz besonders gilt dies von dem letzten in den Napoleonischen Kriegswirren erschienenen Band. Das Buch ist jedenfalls, wie alle die andern gleichzeitigen Iconographien in ganz geringer Auflage, nur für Liebhaber, erschienen und war wohl nicht im Handel".Provenance: Armorial bookplate of 'The Horticultural Society of New York, bequest of Kenneth K. Mackenzie, October 1934' on inside frontcovers and a library stamp 'duplicata de la bibliothèque du conservatoire botanique de Genève vendu en 1922' on two titles.Dunthorne 325; Great flower books p. 80; Johnston 678; Nissen BBI 2096; Stafleu and Cowan 16560. Nº de ref. de la librería 7804

12.

An album of botanical paintings on vellum. Drawings dated 1781-1782.

BROWN, PETER AND MONTAGU, ELISABETH (1741-1832), Duchess of Manchester.
(Amsterdam, NH, Netherlands)
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Descripción: Folio album (mount dimensions 460 x 65 mm, vellum sheet dimensions 300 x 235 mm), comprising 35 botanical paintings, 16 of which are by Peter Brown and signed by him, body- and watercolours on vellum, the vellums mounted within a green and yellow wash frame borders on heavy card, the Montagu paintings numbered consecutively 1-19, the Brown painting unnumbered; contemporary straight-grained morocco, elaborate gilt panels with green and yellow morocco overlays with greek key border, floral border, gilt greek key dentelles, spine with elaborate gilt panels and green morocco label 'Drawings', gilt edges, bookplate and label of Kimbolton Castle on front marbled paper pastedown. A fine series of beautifully executed paintings of exotic flowering plants, recently introduced into cultivation. They were painted by Peter Brown and his pupil Elizabeth Montagu in the style of Ehret. Peter Brown (fl 1758-99) was court painter to the Prince of Wales, and probable pupil of Georg Dionysius Ehret (1708 - 1770). Elizabeth Montagu (1741-1832) was an accomplished botanical artist herself, and was probably taught by Brown. Some of the Brown paintings also contain insects.The South African plant specimens present, such as the Bird of Paradise is a monocotyledonous flowering plant indigenous to South Africa. Common names include Strelitzia, Crane Flower or Bird of Paradise, reflect some of the introductions made by the botanist and plant collector Francis Masson (1741-1805), who was sent by Kew Gardens to South Africa in 1772 to collect plants and bulbs. He collected until the end of 1775, before going on to the Canaries, Azores, Maderia, and West Indies (where many of the other plants depicted derive from), returning to England in 1781. This time frame matches closely that of the present album. He was working under the aegis of Sir Joseph Banks, director of Kew, and also friend of George Montagu, Elizabeth's husband, so a Masson/Kew provenance of some of the plants is most likely.Two of the Montagu paintings are dated: number seven is dated 1781 and number twelve 1782. Nº de ref. de la librería 8062

13.
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Descripción: Watercolour, gouache and gum arabic, on vellum laid onto a wooden panel, signed lower right "J:A: Simson. fecit 1745". 22 1/2 x 16 3/4 inches. Carved 18th century frame, regilded. A delightful tour-de-force on vellum by an 18th century English botanical artist working in the Flemish style. Simson is a rare example of an English botanical artist working in the Flemish or Dutch style, perhaps best exemplified by his contemporary Jan van Huysum. Simson's immediate contemporary in England, Georg Dionysius Ehret, painted with an overriding concern for scientific accuracy; Simson's ideal, aptly shown with this watercolour on vellum, was to create an aesthetically pleasing composition while still paying due attention to the accurate depiction of his subjects. The composition of the present work is masterful: the fluted vase stands in shadowy recess, some rose petals have fallen to the marbled shelf and are being investigated by a glistening green iridescent beetle. The beetle, representing the untamed natural world, forms a contrast to the formal man-made arrangement of the flowers in the vase. The flowers are an opulent extravaganza of colour and texture: the Susiana iris being the most dramatic bloom whose spectactularly speckled petals are balanced by the butter yellow of the day-lily, whilst the whole composition is beautifully lit by a soft morning light causing the remaining dew-drops from the fresh-picked flowers to stand out. Simson's work is known from two other still-lifes in the Broughton Collection in the Fitzwilliam Museum in Cambridge, England. Both of these undated works are in a landscape format and are mounted on panels of oak veneer. Fitzwilliam Museum A First selection of Flower Drawings from the Broughton Collection (1974) item 32. Nº de ref. de la librería 15700

14.
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Descripción: De l'imprimerie de Monsieur Paris -87, 1782. Four volumes folio. 264 aquatint plates by and after Houel, on 263 leaves (plates 245 and 246 printed on the same leaf), all printed in sepia. Near contemporary red straight grain morocco gilt by Simier (signed at foot of spine volume I), covers with broad gilt borders, arms to covers, spines in seven compartments, gilt lettered direct in second and fourth, others richly gilt, raised band, all edges gilt, a fine set. Provenance: Charles William Henry Montagu Douglas Scott, 4th Duke of Buccleuch (gilt arms on all covers). The first edition of a beautiful work on the islands of Sicily, Malta and Lipari, here in a glorious near contemporary binding by Simier, from the library of the Duke of Buccleuch. Jean Houel, an eminent painter, engraver, and author, was admitted into the Royal Academy of Painting and Sculpture in 1774. After establishing a reputation for himself, Houel traveled to Sicily in the 1770s. He remained there for several years, during which he executed numerous sketches and paintings of the landscape, inhabitants, antiquities, and ancient sites of Sicily and the neighboring islands of Malta and Lipari. Upon returning to Paris in 1779, he exhibited several of his Italian views at the Salon (with Catherine II of Russia purchasing hundreds of his original drawings). This success led to Houel publishing his views in the present four-volume work between 1782 and 1787. His atmospheric renderings were highly esteemed and constitute an invaluable record of many historical monuments and classical ruins that no longer exist today. Blackmer 834; Cohen-de-Ricci 500; Beraldi Les Reliures I p.35; C. Ramsden French Bookbinders p. 190. Nº de ref. de la librería 86476

15.
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Descripción: (Hieronymus Formschneyder)., (Nuremburg)., 1525. 4to. (304 x 210 mm). [89 unnumbered leaves, without final blank Riv. Collation: Avi - Nvi, Oiv - Piv, Riv]. Illustrated with numerous text drawings of geometrical diagrams, architectural figures, and designs for letters, some full-page. Complete with the 2 pasted folded slips on pages Ri and Rii many copies). With cancel illustration pasted on C5. (Sheet size: 299 x 202 mm). Later full vellum, later endpapers. A large copy of the first edition of Dürer's geometrical treatise on perspective and the uses of mathematical geometry in art. This copy has extensive ink annotations and diagrams in a contemporary hand on several leaves: the annotations are on Bii verso, Dv verso, Dvi recto, Ei verso, Eii (recto and verso), Jv recto, Mv recto, Oiii verso, Pii recto, Piii verso, Ri recto. The annotations, in German in sepia ink, demonstrate a considerable engagement with Dürer's text and the mathematical principles he describes and offer additional demonstrations and further examples of those presented by Dürer. The importance of 'Die Unterweysung der Messung' lies in the fact that it is the first literary document in which a strictly representational problem (painting) received a strictly scientific treatment at the hands of a Northern European. The Preface of this 'Course in the Art of Measurement' is the first public statement of Dürer's lifelong conviction: that German painters were equal to all others in practical skill and power of imagination, but that they were inferior to Italians in a rational knowledge ('Kunst'), which would prevent them from errors and 'wrongness' in their work. The Unterweysung was Dürer's response to this: 'I have decided to teach geometry's rudiments and principles to all youngsters eager for art . it may benefit not only painters but also goldsmiths, sculptors, stonemasons, carpenters and all those who have to rely on measurement . '. (From the Preface). The 'Unterweysung' is, therefore, still a book for practical use and not a treatise on pure mathematics. Dürer wanted to be understood by artists and artisans. Thus where three of the Books in the Unterweysung describe problems of linear, two-dimensional, and three-dimensional geometry, the remaining Third Book illustrates the application of geometry to the concrete tasks of architecture, engineering, decoration and typography. [Panofsky: Albrecht Dürer, London]. In the book, Dürer examines the construction of plane curves and helices by means of Euclidian geometry; construction of polygons and their uses in architectural ornamentation, parquet floors, and finally polyhedra, stereometry and perspective. The woodcuts and diagrams are executed with great precision; they include the famous illustrations of the two figures demonstrating a drawing instrument, signed with Dürer's monogram (dated 1525 for this edition) as well as one of an artist drawing a seated man with the aid of Dürer's machine. The text of Book Three contains his famous original treatise on the shaping of Roman capital and Gothic letters and Gothic letters built up by means of small geometrical forms. There were three further German editions of the 'Unterweysung' in 1533, 1538 and 1603, as well as five Latin editions published between 1532 and 1606. [PMM 54]. Nº de ref. de la librería 42291

16.

MAX JACOB. Double Signed Litho.

Picasso. Max Jacob.
(Montreal, QC, Canada)
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Descripción: 1910, Montrouge [Paris], 1910. Original Litho. Picasso. Max Jacob. MAX JACOB. Double Signed Litho. Montrouge [Paris] (Seine). 1910. 14" 7/8 X 10" 3/4 on plain paper stock printed in black. Number 17 of only 30 copies. A rare early illustration of Picasso's close friend, Max Jacob, done in celebration of Jacob's conversion to Christianity. Jacob, who had Jewish origins, claimed to have had a vision of Christ in 1909, causing his conversion. The illustration of Jacob [the first of Picasso's drawings of Max Jacob] seated comfortably in a fine armchair, dressed in his three piece suit, his dome appropriately receptive. The printed text: [Top] A mon ami Max Jacob / Picasso .10 / 22 R. Victor Hugo / Montrouge (Seine) - [Middle] L'archange foudroyé n'eut que le temps / de desserrer sa cravate . On aurait sit qu'il / priait encore./ C. Max Jacob. Signed in pencil with his new Christian name: "C. Max Jacob" & by "Picasso" at the bottom. A very good or better example of this rare piece - Max Jacob is regarded as an important link between the symbolists & the surrealists, as can be seen in his prose poems Le cornet à dés (The Dice Box, 1917. Throughout the year of 1901, Picasso traveled to Barcelona & Paris for art exhibitions. During an exhibition in Paris, Picasso met Max Jacob. Max Jacob was a poet, painter, & art critic with connections in the Parisian cultural scene. The two artists developed a friendship after Jacob left an admiring note for Picasso at the art gallery displaying Picasso's work (Richardson Vol. I, 203). Jacob introduced Picasso to the French language and to French theatre; Jacob was also an actor. Jacob took Picasso to see operas which possibly included I Pagliacci & La Bohème (Richardson Vol. I, 338). "At night there were frequent visits to the cabarets of Montmartre such as the Chat Noir, and, when tickets could be found, to the Moulin Rouge" (Penrose Picasso 76). Picasso & his friends also enjoyed the artistic atmosphere of Le Lapin Agile. Artists & writers would congregate at the small café to listen to recitals, exchange ideas & celebrate special occasions such as the opening of an exhibition (Penrose Picasso 117). The walls of the café were lined with work by artists that were used as payment for debts. Theatrical entertainment was a prominent part of Picasso's social life in Paris. By 1904, Picasso had established a foothold in Paris and would remain in the cultural center of Europe for the rest of his life. Picasso & Max Jacob cultivated their talents in a dwelling known as the Bateau Lavoir. According to Penrose, this place was ". . . composed it seemed of nothing but lofts & cellars, all in such a sad state of repair. . . " (Picasso 96). Artists of all endeavors were attracted to this bohemian style of living. Picasso's neighbors included painters, sculptors, writers & actors (Penrose Picasso 102). One of Picasso's most influential friends entered his life in 1905: Guillaume Apollinaire. "From the first encounter, Pablo Picasso and Guillaume Apollinaire established a creative dialogue that fostered and inspired some of their finest art & poetry". Apollinaire was a poet & playwright, identified as a Surrealist, who kept close connections with literary & artistic figures in Paris including Max Jacob & André Salmon. He was a great source for Picasso to meet writers & theatre artists. Many of Picasso's friends encouraged him to frequent the theatre with artists & poets from Paris (Picasso Penrose 177). Even though Picasso was not in Paris, he managed to find groups of artistic individuals to stay abreast of cultural gossip & happenings. Picasso's connections with writers led him to create several illustrations for books of poetry for friends. For example, during summer 1910 in Cadaques, Catalonia, painting with Derain, Picasso was commissioned to illustrate a poetic novel written by Max Jacob titled Saint Matorel issued by Daniel-Henry Kahnweiler in 1911. (Penrose Picasso 179). This was only the first of five collections of poetry by Max Jacob that contain. Signed by Author(s). Nº de ref. de la librería 32441

17.
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Descripción: F.G. Moon London -9, 1842. Six volumes large folio.(62 x 45 cm). Lithographed portrait of Roberts by C. Baugniet, 2 engraved maps, 6 lithographed titles with vignettes and 241 plates of which 120 are full-page and 121 half-page, persistent foxing as often, occasionally heavy, modern brown half morocco gilt. In the 1830s tourism in the Holy Land was increasing as the Pasha of Egypt, Muhammad Ali, consolidated his authority and promoted the research into and adoption of European culture. Travel books describing and illustrating the holy sites proliferated, and the scientific investigations of Edward Robinson were published in 1841. David Roberts (1796–1864), a scene-painter for the Pantheon Theatre in Edinburgh, who had established a reputation as a painter of topographical and architectural views, took advantage of the trend to organize a painting expedition to the Holy Land in 1838. Arriving in Cairo in September 1838, he crossed the desert by way of Suez, Mount Sinai, and Petra, to Gaza and Jerusalem accompanied by tribes of Bedouins, friends and guides. He later visited the Dead Sea, the Lake of Tiberias, Lebanon, and the ruins of Baalbac. Returning to England in late 1839, he sought a publisher willing to produce a lavish edition of his views. Rejected by the Finden Brothers and by John Murray, he signed a contract with Francis Graham Moon in 1840. He and Moon shrewdly promoted their project by organizing a private viewing of Roberts' watercolors and drawings for Queen Victoria, the Archbishop of Canterbury and other influential people who immediately subscribed. They mounted public exhibition of some travel sketches in many British cities, and the favorable press notices attracted additional subscriptions, amounting to nearly double what the project required. His work brought tremendous fame, and historians praise the accuracy of his rendering of architectural details and sculptures. Nº de ref. de la librería 86116

18.

The Portrait Birthday-Book of Famous Names

STANLEY, HENRY M] ANONYMOUS.
(Boston, MA, U.S.A.)
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Descripción: London: Seeley & Co., n.d [ca. 1880], 1880. Henry M. StanleyÕs own copy; bound into sixteen separate sections, each bound and stitched into plain brown wrappers with paper labels on the front covers with the dates covered within noted in ink. Each wrapper has an inked letter at the bottom corner identifying its place in the order. Stanley himself signed the collection at top of the first page of text, and, for the most part, the 185 worthies signed in the months of their births, some noting the year they were born, some noting the date of their contribution, and some doing neither. Generally in very good condition; a small number of pages are detached or nearly so; one signature (not included in our count) is blotted out; in a worn cloth clamshell box with the bookplate of Carroll Wilson and the clipped entry for the item from a 1950 ScribnerÕs catalogue, apparently the most recent occasion on which this collection appeared on the open market. Stanley was a reporter, explorer and politician. The term ÒadventurerÓ might as well have been coined to describe his life. Stanley was a name the illegitimately born young man John Rowlands took on shortly after his arrival in America, where, perhaps uniquely, he served in the Confederate Army, as well as in the US Army and Navy. He became a highly successful reporter and African explorer, returning to Britain where he entered politics and was eventually knighted. One can only speculate on why he chose to break the cloth bound Birthday-Book into this format, but this cataloguer suggests that it was done so that, when going to a meeting or interview, he could just provide the pertinent section. The contributors represent a remarkable representation of prominent figures of the day, although it is hardly comprehensive. Nevertheless, he was accommodated by many prominent writers (Tennyson, Twain, Stevenson, Hugo), scientists (Darwin, Pasteur) and politicians (Trevelyan, Chamberlain). Most of the inscriptions date from the first half of the 1880s but some are from the following decade (most likely those of politicians, given that this was the period in which Stanley was active in Parliamentary affairs). A summary of the contents follows: Book A&B (I) ÒJanry 1st Ð 21stÓ; The Portrait Birthday-Book of Famous Names. London: Seeley and Co. n.d. signed by Stanley at the top of the first page of text, 8 signatures, including Pitman, with his inscription in shorthand. Book C (II)ÒJanry 22nd Ð Feby. 14th; 7 signatures, including William Harrison Ainsworth, ÒW.T. Sherman, General U.S. Army, Dec 18, 1883Ó and ÒCharles Darwin (1809).Ó Book D (III)ÒFeb. 15th Ð Mar. 9thÓ; 16 signatures, including Cardinal Newman, J.R. Lowell, Grant Allen, Victor Hugo, John Tenniel (with his cipher and a caricature of Gladstone, dated 1893), Longfellow, Ellen Terry, George DuMaurier (with a caricature and his pseudonyms). Book E (IV) ÒMar. 10th Ð Apr. 22ndÓ; 16 signatures, including Jean Ingelow (with a two line quotation), Richard F. Burton (with two lines in Arabic), Isabel Burton, Andrew Lang (with three lines in French). Book F (V) ;ÒApr. 3rd -26thÓ; 13 signatures, including Dumas, fils (with four lines in French), Swinburne, Ford Madox Brown (with two lines from a lecture). Book G (VI); ÒApr. 27th Ð May 20thÓ; 13 signatures, including Shaftesbury (presumably the then-current Earl, with a four line quotation), Harrison Weir (with two drawings), Robert Browning, J.M. Barrie, Alphonse Daudet (with an inscription in French). Book H (VII); ÒMay 21st Ð Jun. 13thÓ; 12 signatures, including R. B. Cunninghame Graham, Walt Whitman (ÒWalt Whitman, Camden, New Jersey. US America Sept 11Õ84Ó) Whitman signed on a June page, although the accepted date of his birth was May 31; Jefferson Davis Òpatria cara, carior libertasÓ- translated as ÒMy country is dear, but liberty is dearer.Ó), John Everett Millais, Samuel Baker (the African explorer, with a four line quotation). Book I (VIII) ;ÒJune 14th Ð July 7thÓ ; 12 signatures, including Harriet Beecher Stowe (with a Biblical quot. Nº de ref. de la librería 31869

19.

Poesies. (Illustrated with 29 original etchings by Matisse)

Mallarme Stephane, Henri Matisse Illustrator
(RESTON, VA, U.S.A.)
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Descripción: Lausanne: Albert Skira, 1932. Hardcover. Estado de conservación: Very Good. Limited Edition. Illustrated with 29 original etchings by Matisse, of which 23 are full-page. Original publisher's printed wrappers, chemise and slipcase. From the edition limited to 145 copies, of which ours is one of the 95 copies of Velin d'Arches, signed in ink on page justification. Matisse used his extraordinary ability to master lines pure and essential to realizing the 29 drawings from which the etchings derive. Using the economy of the thin, engraved lines with no shading in order to not overpower the ethereal quality of Mallarme poetry Ref: Duthuit books#5, Artist and the Book#196, Rauch#168. Signed by Illustrator(s). Nº de ref. de la librería ABE-9586622130

20.
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Descripción: Lille, Spanish Netherlands: 1630. Folio. (17 1/2 x 12 inches). Mounted on guards throughout. Roll 1 (signed twice by J.Simon): 15 vellum sheets, the majority folded, with a total of 27 columns of text (with 9 original integral vignette bodycolour paintings), and 22 rectangular panels flanked on either side by a thick gold rule, each panel 4 1/2 inches wide and containing an original bodycolour painting of flowers with a single figure of a man (in 19 panels) or a bird (in 3 panels) - the men variously dressed in costume of the period and involved in various pursuits: hunting, cooking, fencing, playing a drum, etc. Roll 2 (signed once by J. Simon): 4 vellum sheets, 3 folded, with a total of 6 columns of text and 1 wide horizontal area also bearing text (with 5 integral vignette bodycolour paintings), and 6 rectangular panels (three thick panels approx. 5 3/4 inches wide; three thinner panels approx 3 3/4 inches wide) flanked on either side by a thick gold rule and each containing an original bodycolour painting of flowers with a single bird (in 4 panels); a bird and a snail (1 panel) or a bird, a butterfly and flowers (1 panel). 18th-century vellum over pasteboard, early manuscript title to spine. Important early collection of original botanical paintings celebrating wealth and status through a show of rare and expensive varieties of tulips and others exotic cultivars. Originally produced for the De La Broye family, this series was more recently in the collections of two of the foremost historians of Lille and its great families. Despite their obvious historical importance, the chief interest of these manuscripts to the modern eye is undoubtedly the exceptional illuminated panels that separate each column of text. The overall theme is floral: not wild flowers but the extremely expensive cultivated flowers that were coming to prominence at the beginning of the seventeenth century. This concentration on exotic blooms in the present manuscript was a deliberate attempt to link the De La Broye family with the opulence that these flowers implied. The most famous of these luxury plants was the tulip, and given the time and the place where these drawings were done it is no surprise to find various cultivars of the tulip predominating. It is interesting to note that all the varieties shown are of the most expensive bybloemen group. The courtly interest of the 1600s had by the 1620s become more widespread, and from 1634 to 1637 tulips, like the multi-coloured varieties pictured here, were the flowers which fuelled the tulipomania craze in the Netherlands. At its height, sums equal to the cost of a good-sized house on the waterfront in Amsterdam were gambled on single bulbs. These manuscripts form one of the earliest known collections of images of a significant number of different varieties of tulips: at least twenty are pictured, and although they are not identified, they form a rare and valuable record of the cultivars of the period. In addition to tulips, the images also include pinks, narcissi, irises, martagon lilies, roses and asters. The majority of images are further enlivened by the addition of what are possibly various members of the De La Broye family, all men, all dressed in costume of the period, and all undertaking worthy pursuits. These include a preponderance of military actions: firing a gun, on horseback with sword drawn, on foot with sword drawn, etc., but they are also shown hunting and cooking. All of these figures are placed at the foot of each panel and are worked to a completely different scale to the flowers. The panels without figures have birds or other animals added that are more in scale with the flowers around them. There is a further group of illustrations that are used to decorate the columns of text: a number of these appear to have been used to mask out areas of the text that were not required (the original text can be made out under the paintings), whilst others are used to great decorative effect. The im. Nº de ref. de la librería 15247

21.

Gryphon.

DODGSON, Charles Lutwidge] CARROLL, Lewis.) TENNIEL, John.
(London, United Kingdom)
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Descripción: 1865, 1865. Original artwork in pencil. Approx. image size 85 × 60 mm with large margins all round. John Tenniel's monogram to the lower right. Mounted, glazed and framed. Fine. Portion of backing from previous mount cut round and retained, with ink inscription of Mr & Mrs Ben Wolf; framers' label of Kennedy & Co. Rare Prints, 693 & 5th Ave.; later sticker of Newman Galleries, Philadelphia. Tenniel's original preliminary drawing for the illustration of the Gryphon which appears on page 138 of the 1865 first edition of Lewis Carroll's Alice's Adventures in Wonderland. Carroll gave Tenniel the exact measurements of each image as they were to fit on the page around the text. The drawings were then traced onto woodblocks and engraved by the Dalziel Brothers. The final stage in the reproduction process was to make electrotype plates from the woodblocks, using them as masters. The electrotype plates were used for the actual printing. There were enormous difficulties preserving Tenniel's delicate pencilwork throughout this process, and Carroll famously cancelled the 1865 first edition on account of its poorly-reproduced illustrations. When one sees at first hand the extreme delicacy of line and tone in Tenniel's original, one must have some sympathy for the poor engravers and printers. Accompanying the drawing is a copy of Alice's Adventures in Wonderland: An 1865 printing re-described (Privately printed for The Jabberwock, 1990), which includes a census of the original drawings by Justin G. Schiller, this copy with a signed inscription by Justin Schiller on the half-title: "For the owner of the recently unearthed original art of the sleeping Gryphon (A33), a genuine Tenniel drawing used by the Dalziels for making the woodblock used in the 1865 'Alice' but not [double underline] in my census", signed and dated 16 April 2004. Goodacre–Schiller A33. Nº de ref. de la librería 27704

22.
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Descripción: 1935, 1935. Measuring 13 by 9 1/4 inches, this watercolor bears Kent's signature along with the inscription, "to his friend Charly Mortensen, 1935." Mortensen was the telegraph operator aboard the Hans Egede, the ship on which Kent made two of his three celebrated voyages to Igdlorssuit, Greenland, where he would live off and on between 1929 and 1935. His life and work among the native Greenlanders during these years resulted in two of his greatest books: Greenland Journal and Salamina. The present painting, a moving, somber work executed in the artist's typically realistic style, depicts a European sailor, presumably preparing to depart Greenland for home, comforting a native Greenlander who is weeping into her hands at the prospect of their parting. The watercolor is accompanied by Mortensen's autograph book, which contains numerous drawings and inscriptions by friends and Hans Egede passengers, including two drawings by Kent, both signed. One drawing, a charming, informal pen and ink scene of the Hans Egede en route from New York to Greenland under a starry sky, bears an inscription by Kent thanking Mortensen for being a "considerate and obliging friend." The other item, a landscape, appears to use a combination of pen and ink and watercolor, and is inscribed by Kent, "This is a genuine drawing by me -- only drawn all over again and much improved by Mortensen (fair wireless operator, better artist, and best of fellows). Sworn to this day, July 3rd 1935, by Rockwell Kent . so help me God!" Mortensen's replicated drawing does not appear in the book, although another of his drawings does: a depiction of a native Greenlander, signed "CM after RK," apparently meaning the piece was executed by Mortensen in the style of Kent. Of further interest is a drawing contributed by Kent's teenaged son, Gordon, who accompanied his father on one of the Greenland excursions. Bound in full red leather, which shows some cracking and general wear, the book is a unique item that offers an intimate glimpse into a key period in the life of one of the most important illustrators of the twentieth century. Laid in are seven black and white photographs, including one of the Hans Egede docked at Igdlorssuit, where it has been met by native Greenlanders in sleds and canoes. Watercolor double-matted and in a handsome Art Deco-style cherry frame. (Johnson, Fridolf. Rockwell Kent: An Anthology of His Work, pp. 161-179). Nº de ref. de la librería 20843

23.

Log, The

Timlin, William M.
(Santa Monica, CA, U.S.A.)
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Descripción: 0. No Binding. Estado de conservación: Fine. Original unpublished pen, ink, and watercolor drawing for THE SHIP THAT SAILED TO MARS. {circa 1923}. Signed by artist in lower right-hand corner. WITH leaf of calligraphic text for which it was intended. Image size of the painting itself: 8 1/8 x 11 inches. Image size of the page of text: 10 1/4 x 13 1/2 inches. Frame size: approximately 30 1/2 x 22 inches. The original painting and the accompanying calligraphic text are matted, glazed, and framed together in elaborate gilt frame. So what we have here is the LOST MARS TIMLIN, painted for the book deemed the most beautiful fantasy book of its day, THE SHIP THAT SAILED TO MARS, but never used in the finished book. With this discovery, we have a new reason to return to a beloved classic one more time for a new view. Art, calligraphy, and frame all fine (our highest grade). Signed by Illustrator(s). Book. Nº de ref. de la librería ABE-199511528

24.
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Descripción: The main interest of father and son Rémond is the metamorphosis of butterflies. The beautifully drawn watercolour drawings of caterpillars are of a superb quality and the animals are drawn with painstaking precision. The work is very much in the tradition of Maria Sibylla Merian who at the beginning of the same century was fascinated by the same subject and published in 1713-1717 a 3 volumes pioneering work 'Der rupsen begin ' We presume that the watercolours and the extensive notes to these plates are by Louis Rémond and the translation of Roesel von Rosenhof by his son Maurice. The whole project was certainly intended to be published. In a draft (May 1808) of a letter of Maurice Rémond to A.J.P. Kleemann (no. 14), the son of C.F. Kleemann and the son-in-law of Roesel von Rosenhof, Rémond informs him of his intention to publish Roesel's work together with his own observations. "Mes compatriotes les français ne connaissent guère de cet ouvrage que la beauté des figures et ignorent les détails intéressantes que renferme le texte, votre langue étant peu répandu en France; c'est ce qui m'a fait former le projet d'en donner une traduction que l'accompagnerai de mes propres observations". He continues asking him details of his father's life which he wants to incorporate in his work. In a reply dated 30 May 1808 Kleeman wishes him success with his project "Je souhaite la plus heureuse réussite de votre projet louable', and adds several pages of text concerning the life of his father C.F. Kleemann. The work of De Geer (no. 3) and Reaumur (no. 4) were studied in detail, notes and drawings were made as well as numerous notes of other authors.The town of Semur was a small centre of scientific studies. Not far from Semur, in Montbard, one of France's most famous naturalists Buffon was born. His main collaborator, Gueneau de Montbéliard lived in Semur. There must have been frequent contacts between the father and son Rémond and these two famous scientists. Between the various documents (no. 14) and papers there is an invitation of the family Guenau inviting Mr. and Mrs. Rémond for a concert (28 Aôut 1797). Among the papers there is a note by Maurice Rémond referring to frequent visits made to M. de Montbéliard. On the same sheet he discusses the 'Encyclopédie Méthodique' published by Panckoucke and later Agasse and tells the following about the daughter of Panckoucke: 'Madame veuve Agasse, née Pankouque, est sans doute la fille de M. Pankouque, venue à Semur dans son enfance et qui a été inoculer par mon père'.This interesting collection shows the keen interest in natural history, especially entomology in the French countryside during the second half of the 18th and beginning of the 19th century. This highly interesting period was characterized by rapid changes due to the French revolution.The collection comprises about 50 volumes and is composed as follows:1) Collection de Chenilles et de quelques Papillons que j'ai peints d'après Nature. 125 drawings (305 x 230mm) in watercolour showing caterpillars and cocoons, all within an ink drawn frame. Most of the plates show a caterpillar and its cocoon, sometimes there are more to a plate. Occasionally there is only one cocoon or caterpillar to a plate. Each plate is preserved in a folded sheet, dated 'l'an troisième de la République' (1795) with the plate number and the name of the insect in French in manuscript. The collection has a manuscript title as quoted above, and 10 manuscript leaves of index. Preserved in a contemporary blue cardboard box.The collection is classified as follows: Chenilles épineuses, Papillons de jours; Chenilles rases ou demi-velues, Chenilles-cloportes & Papillons de jours; Chenilles à corne sur le dernier anneau. Sphinx; Chenilles rases; Chenilles à tubercules velus; Chenilles velues; Arpenteuses à 10 jambes; Chenilles à 12 et à 14 jambes. Each section is in a paper wrapper with the classification in manuscript.ADDED: 4 contemporary cardboard boxes with explanatory. Nº de ref. de la librería 8064

25.

Sketches. Egypt & India &c &c.

Pringle, John W.].
(Vienna, A, Austria)
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Descripción: Egypt, Saudi Arabia, India, March-August, 1824., 1824. Oblong album (23 x 34 cm). With 33 pen and ink drawings (4.5 x 17.5 to 19 x 24 cm), nearly all over pencil sketches and either finished in watercolour or with coloured washes, all in an 11-leaf album. The drawings appear on 29 pieces of paper, 3 drawn on both sides and mounted in paper windows, and 1 (a half sheet folded to make 2 leaves, loosely inserted) containing a map with a profile and a view with details of architectural ornamentation. Brown stiff-paper wrappers, sewn on 2 tapes, manuscript title on front cover ("Sketches. / Egypt & India &c &c/ by J.W.P."). An album containing 33 drawings in pen and watercolour or coloured washes, made in Egypt, Saudi Arabia and India from March to August 1824 by Captain John W. Pringle (c. 1793-1861). He made them during a journey that he described in part in an article entitled "Route to India by Egypt and the Red Sea", published in The Edinburgh Journal of Science (vol. IV, 1826, pp. 234-243). The drawings include profile views of the port of Yanbu in Saudi Arabia and the coast to its north, drawings of feluccas and other vessels, views of "Geneh" (Qena) and an Egyptian temple at "Hermopolis", and drawings of details from temples and tombs including those at Beni-Hassan. Two folding panoramic views show the "Arab burial ground from the sculptured catacombs in the Libyan range behind Siut, the ancient Lycopolis looking to the Mokattan" in Lower Egypt and "a view of the desert one day from Corseir" (Al Qusayr). The Indian locations shown include "the Upper Cave Temple" at Karli (in Maharashtra, Western India), temples at Anegundi (in Karnataka, South Western India) and the Ibrahim Rosa mosque (Bijapur, Karnataka). Also included are depictions of a contraption for drawing water with oxen and several Indian cannons at Bijapur. The map shows Bijainagar and surrounding areas. - Egypt in 1824 was not a stable location for foreign travellers on account of the uprisings that took place in protest against Muhammad Ali's taxation policies. Pringle signed his article from Colombo, Ceylon, 9 May 1825, indicating that he visited there on his return voyage from India to England before he was appointed Superintendent of the Geological Survey of Ireland in 1826. During the early part of his career as an officer in the Royal Engineers he had been wounded at Waterloo by a gunshot to the chest. - Pringle hoped his article giving details of his journey would be "useful to such officers as may have an intention of proceeding by Egypt and the Red Sea to India." It dovetails with some locations depicted in the present drawings. Almost all of Pringle's drawings here bear the name of the place or structure depicted and the date he sketched them, making them a valuable visual record of his journey. - The album itself is made of unwatermarked wove paper. The drawings are made on pieces of paper of various sizes. Some may have been cut from leaves removed from the album itself, but others are on at least three different paper stocks. Several are on what is probably a single laid stock, watermarked fleur-de-lis on a crowned shield above script "TE" = "T Edmonds | 1815". One drawing is on a laid piece of paper showing only the beginning of a name "Al.", perhaps "Allnutt". Another is on a wove stock also with the beginning of a name, in script: "G.", not matching any Gruner or Guerdat mark in Lindt. - The loosely inserted half-sheet with 2 drawings has a mostly marginal waterstain slightly affecting the drawings and another has a waterstain not affecting the drawing. An occasional drawing is slightly soiled or frayed, but the drawings are generally in very good condition. The album has been rebacked and the first three leaves re-attached using stubs of Japanese paper, corners of the wrappers damaged. An attractive series of drawings providing a valuable record of ancient sites in Egypt, Saudi Arabia and India as they appeared in 1824. Nº de ref. de la librería 33962

26.

Digging for Gold.

STOCQUELER, Edwin
(Potts Point, NSW, Australia)
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Descripción: 1880 after sketches of, Australia, 1854. Oil painting, signed and dated; 950 x 560 mm, framed in cedar.A splendid goldfields painting. Surprisingly few paintings of the gold rushes survive - conditions on the diggings did not encourage the few artists there to carry the materials for academic painting. The visual record of the goldfields are almost exclusively confined to more portable drawings and watercolours, or to scenes printed by city publishers from sketched originals. In this instance the artist has produced a major oil painting from sketches made at the diggings. 'Digging for gold was executed in 1880.in this painting the artists's interest in pictorial accuracy has been supplanted by a literal interpretation. Stocqueler revisits the goldfields with analytical intent, and the significance of landscape and environment further overshadows that of the individual. This panoramic depiction.enables the viewer to witness the profound changes mining brought to the environment' (Karen Quinlan Gold and Civilization page 67).Edwin Stocqueler (1829-1895) was born in India and emigrated to Australia from England in the early 1850s. He was presumably lured to Victoria by the goldfields, but soon established himself as an artist, having apparently studied drawing in London. During much of the 1850s, he seems to have worked on dioramas - the nineteenth century equivalent of newsreels. According to the Bendigo Advertiser of 1 August, 1857, "Mr. Stocqueler is deserving of a rich reward for the perseverance and determination with which he has surmounted innumerable difficulties. [his diorama] reflects great credit on Mr. Stocqueler as an artist, and we trust he will meet with the patronage he merits".Although few of his paintings have survived, Stocqueler's paintings provide quite specific details of the Australian goldfields. He is later recorded as working in America and South Africa. Nº de ref. de la librería 812/018

27.
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Descripción: Folio (378 x 265mm). With calligraphic title in pen as above and 63 paintings, watercolours, gouache, and pencil on paper, each signed by the artists in pencil, most titled and with notes on the scale of the drawings; in fine condition, bound in contemporary red half morocco and marbled boards, spine gilt, top edge gilt, engraved bookplate of Grandidier. A fine series of original paintings for Paul Gervais’ 'Les Trois Règnes de la Nature: Règne Animal. Histoire naturelle des mammifères' (Paris, 1854-55). This album includes the original paintings for all 56 plates in the work, and a further 7 paintings that were not used. The animals were all painted by Werner, and the uncoloured backgrounds, in finely shaded pencil, were executed by Alexandre de Bar.Jean-Charles Werner (1798-1856) was a natural history artist and comparative anatomist for the Muséum d’Histoire Naturelle in Paris, where he contributed some 350 paintings of animals on vellum for the famous Collection des vélins between the years 1826 and 1856. The Collection, initiated in 1631, contained work by the finest natural history artists in France, including Nicolas Robert and Pierre-Joseph Redouté. Werner provided illustrations for the publication of Dumont d’Urville's expeditions to Australia and the South Pacific, and also worked with Cuvier, Étienne Geoffroy Saint-Hilaire, and Henri Ducrotay de Blainville. Isidore Geoffroy Saint-Hilaire named a species of monkey after him.The animals depicted include many recently discovered on the voyages of Dumont d’Urville and others. On plate 40 there is a note by Werner to the colourist Alfred Joseph Annedouche ‘faire l’animal plus forcé’. The published plates were engraved on steel, and the animals alone were hand-coloured, leaving the backgrounds plain as here.Provenance: engraved bookplate of Alfred Grandidier (1836-1921), French naturalist and explorer, and author of the monumental 40-volume survey of Madagascar 'Histoire physique, naturelle et politique de Madagascar' (1875-1937). Nº de ref. de la librería 8280

28.

Ada, or Ardor: A Family Chronicle

Nabokov, Vladimir
Librería: CollectorsFolio
(New York, NY, U.S.A.)
Cantidad: 1
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Descripción: New York: McGraw Hill, 1969, 1969. Hardcover. Estado de conservación: Fine. No Jacket. 1st Edition. THE DEDICATION COPY, SIGNED AND INSCRIBED BY NABOKOV TO HIS WIFE VERA AND WITH AN ELABORATE COLOR BUTTERFLY DRAWING. The inscription, in Russian on the flyleaf, reads in English: "To Verochka / my best butterfly / Vladimir Nabokov / Christmas / 1969 / Montreux". With bookplate: "From the library of Vladimir Nabokov Palace Hotel Montreux Switzerland" on front pastedown. First edition, fourth printing. Thick octavo, publisher's presentation binding of three-quarter morocco with top edge silver. Housed in custom half-morocco box. Fine condition. Inscribed by Author(s). Nº de ref. de la librería ABE-11541440885

29.
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Descripción: The drawings are on laid paper 215 x 140mm, and preserved in 9 blue folding boxes. A highly unusual archive of botanical illustrations of the botanical garden at Lemberg, now L'viv, Ukraine, then part of the Austro-Hungarian empire, executed by Adolf Weiss, the pre-eminent Austrian botanist of his day.The drawings are of a very high quality and Weiss was known to be an accomplished artist: ". die seltene Meisterschaft in der Handhabung von Pinsel und Feder macht die Abbildungen. zu den auch künstlerisch vollendesten, die wir besitzen (. the rare mastery and use of the brush and pen make [his] illustrations the most artistically accomplished we have) (Oesterr. Bot. Zeitschrift, 1884). Each drawing shows the plant in flower, with anatomical details supplied below. Most of the sheets have the Linnaean binominals at the foot. Each is surrounded by a border either scored or in pencil, which presumably was intended to indicate the size of an engraved plate. Likewise reference is made at the bottom to Kunth's 'Enumeratio plantarum' (5 vols, 1833-1850) indicating volume and page.All drawings are all in the same style; three have been signed by 'A Weiss del.', and one with initials only. This one shows an 'Aloë marginalis' in a wooden barrel with Weiss' initials A.W. dated 2/3 [18]65 Lemberg. It is a portrayal of the plant as it flowered in the Lemberg botanical garden. Weiss published a paper on the Aloë 'Agave Jacquiniana' which had flowered in the Lemberg Garden in 1864. Weiss was assisted by his wife Hermine, and two drawings bear her signature. In style the drawings are quite accomplished and graceful, and resemble some of the best botanical illustration of the end of the eighteenth and beginning of the nineteenth century. You would not be surprised it you were told there were 75 years earlier.Adolf Weiss (1837-1894) was born at Freiwaldau, Silesia. Between 1855 and 1858 he attended the University of Vienna where he studied botany. In 1862 he was appointed professor of botany and director of the botanic garden at Lemberg, but before taking up this post he undertook a tour of Italy, France, Switzerland and Germany to study botanical gardens in those countries and to forge links between them and Lemberg. Under Weiss's direction, the Lemberg gardens became the finest in the Austro-Hungarian Empire, with rare examples of flora of Lemberg and the Carpathians. Weiss published on the flora of Lemberg (1865). Together with Jarolim, an assistant of his institute, he made numerous excursions to collect plants in the Lemberg area and his herbarium was still preserved in the Lemberg University Museum in 1881. In 1872 he moved to the University of Prague, where he founded the first institute of plant physiology in the Empire.Weiss was the undoubtedly the most important Austrian botanist and plant anatomist of his time and is best remembered for his publications on plant anatomy. It is sad that today he is all but forgotten in Lemberg where he did his most important work. Sadder still, there is now scarcely a trace of his fine botanical garden. The present collection therefore remains a unique testament to this influential botanist and his garden. Together with the plates there are some leaves with plant names and numbers; on one there is Weiss' name dated 12.7.65.Oesterr. Bot. Zeitschrift XXXI, 1881 'B. Blocki, Dr. A. Weiss' Herbar im Lemberg Universitätsmuseum'; Oesterr. Bot. Zeitschrift, XXXIV, 1884 'Gallerie österreichischer Botaniker, XXX. G. Adolf Weiss'; Oesterr. Bot. Zeitschrift XLIV 'A. Nestler, G.A. Weiss (obituary); Wurzbach, Biographisches Lexikon des öst. Kaiserstaates, LIV, 82ff. Nº de ref. de la librería 6946

30.
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Descripción: THOMSON, JAMES. Essai d'une classification de la famille des Cérambycides et matériaux pour servir à une monographie de cette famille. Paris, chez l'auteur, 1860. 8vo (265 x 170mm). pp. xvi, 396, with 3 engraved plates, bound up with the 3 original drawn plates for these plates, all signed by Nicolet, as well as 10 unpublished watercolour plates, signed by Nicolet, for the above work. Contemporary red morocco, gilt coat of arms of Thomson on frontcover, large gilt coleoptera on backcover, richly gilt ornamented spine in 6 compartments, gilt edges.THOMSON, JAMES. Monographie des Cicindélides ou exposé méthodique et critique des tribus, genres et espèces de cette famille. Paris, au Bureau du Trésorier de la Société Entomologique de France, 1857. 4to (305 x 233mm). pp. xvii, 66, (2), with 2 identical frontispieces of which 1 finely handcoloured, and 10 engraved plates of which the first one is an anatomical plate, plates 2 to 10 are in two states, plain and handcoloured. Bound up with: the original splendid watercolour drawing for the frontispiece signed by Nicolet and 13 original watercolour plates, signed by Nicolet, for the 10 plates, plate 3 and 8 are on 2 leaves and plate 5 double (with some minor changes). Added 10 unpublished original watercolour plates signed by Nicolet. Contemporary half red morocco, richly gilt ornamented spine in 5 compartments, with gilt coat of arms of Thomson, gilt edges.THOMSON, JAMES. Monographie de la famille des Monommides de l'ordre des Coléoptères. Paris, chez l'Auteur, 1860. 8vo (260 x 170mm). pp. 38, with 2 handcoloured engraved plates. Added 2 watercolour plates signed by Nicolet for the book and 1 unpublished supplementary watercolour plate. Contemporary green half morocco, gilt coat of arms of Thomson on frontcover, large gilt coleoptera on backcover, richly gilt ornamented spine, gilt edges.THOMSON, JAMES. Archives Entomologiques ou recueil contenant des illustrations d'insectes nouveaux ou rares. Paris, Societé Entomologique de France, 1857-1858. 2 volumes. Royal-8vo (260 x 170mm). pp. 514, (2), with handcoloured engraved frontispiece and 21 engraved plates of which 14 finely handcoloured; pp. 469, (1), with 1 handcoloured engraved frontispiece and 14 handcoloured engraved plates. Contemporary half calf, spines with gilt coat of arms of Thomson and gilt ornaments, gilt edges. Added 39 original plates for the above work, of which 34 watercolour drawings and 5 drawings in ink, almost all signed by Nicolet.THOMSON, JAMES. Arcana Naturae ou Receuil d'Histoire Naturelle. Paris, chez J.B. Baillière et Fils, 1859. Folio (390 x 270mm). From this work the following separately published monographs:THOMSON, JAMES. Monographie du genre Spheniscus de la famille des Tenebrionidae. Paris, au bureau du Trésorier de la Société Entomologique de France, 1859. pp. 11, with 2 engraved plates. Added 1 original watercolour drawing signed by Nicolet, covering these 2 plates. Contemporary half red calf, spine with coat of arms of Thomson and his initials J.T.THOMSON, JAMES. Monographie du genre Batocera de la Famille des Cerambycidae. Paris, au bureau du Trésorier de la Société Entomologique de France, 1859. pp. 20, with 3 engraved plates. Added 3 original watercolour drawings, signed by Nicolet. These plates are additional unpublished plates. [And] 2 similar engraved frontispieces to the 'Arcana Naturae' as well as the original splendid watercolour drawing for the frontispiece, signed by the artist. Contemporary red half calf, gilt lettered spine.THOMSON, JAMES. Musée scientifique, ou recueil d'histoire naturelle. Paris, chez l'auteur, 4to. pp. 96, with 9 plates.Of the above work there is no copy in the collection, however 8 of the original watercolour drawings, all signed, are present. The first 4 plates are on one large folio leaf, the remaining are each on one leaf, the original plate 9 is not present.Loose in a portfolio 36 original drawings in watercolour and a few in ink, some probably relating to the ab. Nº de ref. de la librería 8006

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