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DUHAMEL DU MONCEAU, Henry Louis (1700-1782).

Editorial: (Rochester Lithographic and Printing Co.), Paris

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Descripción: (Rochester Lithographic and Printing Co.), Paris. Folio, 4 volumes extended to 11, BY THE ADDITION OF AN ARCHIVE OF MANUSCRIPTS AND ORIGINAL DRAWINGS, 249 engraved plates (only, of 250), the manuscripts and drawings totaling several thousand pages and including autograph material by Duhamel du Monceau, Fougeroux de Bondaroy, Le Masson du Parc and others, either loosely inserted in the relevant section of the disbound text or contained in 3 separate folders, the whole presented in 11 cloth chemises and slipcases [Nissen ZBI 1186], This extensive archive highlights the authors' original researches into varieties of fish, and the economic importance of the fishing and whaling industries, whilst also shedding light on the influence on Duhamel of Le Masson du Parc's studies undertaken in the 1720-40s. The first part of the archive relates to published material, and in particular the Traité, including: FISH AND FISHING 'Traité général des pesches', disbound copy (indictative of an abandoned project to extra-illustrate the book with the manuscripts), interspersed with several hundred pages of manuscripts and clipped notes by Duhamel du Monceau, Le Masson du Parc, and an unidentified third person who collaborated with Duhamel in editing the latter's papers, together with nearly 200 original drawings, the majority placed before the resulting engraved plate (including a few signed 'Fossier'), but a few others unpublished (including a few in sepia chalk probably executed for Le Masson du Parc). Also included are a small number of proof plates with corrections in Duhamel's hand. WHALING 'Traité général. Suite de la seconde partie', the fourth volume, devoted entirely to whaling and published after Duhamel's death by Fougeroux de Bondaroy. The additional material comprises a 40-page section from Duhamel's preface, in another hand but with corrections and deletions by the author, and approximately 30 original drawings, mostly pen and wash, some in sepia chalk and some unpublished. The following material relates to projects which remained unpublished: OYSTER AND MUSSEL HARVESTING 'Section des huitres et des moules', folder of unpublished material, comprising: autograph manuscript on oyster and mussel harvesting by Fougeroux de Bondaroy (86 pages, together with 15 pages of various notes on shell-fish); manuscript copy of the same text with Fougeroux's corrections and additions; 20 sheets of pen and wash drawings in the format of the engravings (mostly 2 per page); 9 other drawings including 4 in sepia chalk for or by Le Masson du Parc; and one annotated engraved plate before letters (possibly the only plate executed for this section, and showing that the chapter had reached an advanced stage of preparation before being dropped). FISH OF GUADELOUPE Correspondance and notes relating to the fish of Guadeloupe, including an autograph letter signed by Jacques Alexandre Barbotteau, dated 30 December 1775, sending drawings (one in ink included here); 6 large pen and wash drawings of fish signed 'Charvet'; 32 pages of autograph descriptions of fish by Barbotteau, with notes in the margins by Duhamel; and 12 pages of notes on the same fish by Duhamel. SEAWEED AND ITS IMPORTANCE IN AGRICULTURE AND INDUSTRY Collection of unpublished notes for an intended chapter on seaweed, together with the results of a survey carried out on the coasts of Normandy, including: an autograph manuscript by Fougeroux de Bondaroy 'Sur les plantes de mer' (30 pages); 18 drawings of the gathering, drying and transport of seaweed (7 in sepia chalk for or by Le Masson); 3 manuscripts by Fougeroux on the burning of seaweed and soda ash production (used in glass production); a 26-page manuscript and 3 autograph letters signed by Vartel (a doctor from Cherbourg), with 16 leaves of actual specimens. OTHER PAPERS The extensive collection of other papers includes: further manuscripts by Fougeroux (notably 'Description d'un genre de poisson du genre des Silures appelé Shaid ou Shaiden par les Allemands', paper read to the Acamedie des. Nº de ref. de la librería 001448

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EMPSON, Charles

Editorial: [Colombia: 1824-1827] (1827)

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Descripción: [Colombia: 1824-1827], 1827. Oblong folio (10 x 14 2/8 inches). 30 EXCEPTIONALLY FINE drawings of which 18 are watercolor (no. 24 is in grisaille) and 12 are pencil (no. 21 faintly signed "Empson"), each with tissue guards (various sizes ca 7 x 9 inches), all mounted into an album, mounting leaves numbered 1-32 in a contemporary hand (no. 16 skipped in numeration, no. 31 removed). Contemporary dark green straight-grained morocco, with floral blind-tooled border and gilt-tooled frame, spine gilt, top edge gilt, pink silk markers (extremities a bit rubbed). Provenance: with the invoice of Francis Edwards dated October 1953, made out to; Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 96 This album of beautiful original watercolours is accompanied by Empson's published account of his journey to South America: "Narratives of South America; illustrating Manners, Customs, and Scenery" (London: A.J. Valpy & William Edwards for the Author, 1836), and the portfolio of illustrations "Fac-similes of Twelve Drawings of Tropical Scenery from Sketches made on the spot by Charles Empson", with 12 plates of which 10 are etched and 2 are lithographed, all hand-colored, and mounted on cards. Empson, a print and watercolour dealer in Bath, spent three years travelling the northern part of South America, for the most part in what is now Colombia, from 1824 to 1827. "The glorious descriptions of Humboldt had induced many persons who had no other motive beyond that of beholding Nature in all her majesty, to explore these regions so gorgeously clothed in primaeval vegetation, and so abundant in every production interesting to mankind. It was my happiness to associate with many travellers who had established themselves in the Republic before any of the European nations had acknowledged the independence of Columbia, and had shared in the vicissitudes of the revolutionary war; but they found ample compensation for all their privations in the inexhaustible variety of the new world. A field so rich, and so extensive, proved an irresistible temptation to the scientific man; the produce and commercial demands of so vast a continent were not less attractive to the merchant, while scenes of grandeur and beauty offered the most fascinating allurements to the imagination of the enthusiast." (Preface). Empson was accompanied by his friend Robert Stephenson, son of the famous railway engineer. They returned with precious objects of pre-Colombian art, including some gold artifacts which Charles later exhibited in Newcastle-upon-Tyne. Unfortunately, some of their possessions were lost in a shipwreck at the entrance to New York harbor. On his return Empson published his account of their adventures as "Narratives South America; Illustrating Manners, Customs, and Scenery: containing also numerous facts in Natural History, collected during a Four Years' Residence in Tropical Regions", 1836, illustrated with facsimiles of his original watercolour drawings, many of which feature in this album. 1: Fine watercolour drawing (6 4/8 x 9 4/8 inches) of the turbulent Rio Magdalena at Angostura with snow capped mountain range in the distance: "The rainy season was commencing as we left El Claro; the river rapidly swelled, and our progress was very slow: after sixteen days of hard toil, we reached Angostura, a place so called, as the river there is confined in a strait between rocks: there is at all times considerable difficulty in getting a heavy boat through this strait, but at particular seasons it is extremely dangerous. On our arrival, the river had swollen until the pressure of water above the Angostura forced the current through the strait with such violence, that it formed a cascade, or salto, as the natives call it." (page 249). 2: Fine pencil sketch (7 x 8 3/8 inches) of the Cocina or Kitchen subsequently lithographed for the published account: "The tenement represented in this sketch is variously denominated, according to the purposes to which it is applied: when the building is attached. Nº de ref. de la librería 72lib760

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John Thomas Serres (1759-1825)

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Remitente: Arader Galleries San Francisco (San Francisco, CA, U.S.A.)

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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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TREW, Christoph Jakob (1695-1769) - EHRET, Georg (1708-1770).

Editorial: Nuremberg: 1750-1773. (1773)

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Descripción: Nuremberg: 1750-1773., 1773. TREW, Christoph Jakob (1695-1769) - EHRET, Georg (1708-1770). Plantae selectae quarum imagines ad exemplaria naturalia Londini, in hortis curiosorum nutritamanu artificiosa doctaque pinxit Georgius Dionysius Ehret. Nuremberg, 1750-1773. 10 parts in one volume. Folio (20 x 13 5/8 inches). Fine engraved general title-page HEIGHTENED IN RED AND GOLD (issue without the sectional title-pages), 3 mezzotint portraits of Trew, G.D. Ehret, and J. J. Haid, 100 MAGNIFICENT hand-colored engraved plates after Georg Dionysius Ehret by Johann Jakob Haid, each with the first word of the caption HEIGHTENED IN GOLD. Fine contemporary mottled calf each cover decorated with a gilt border of fine foliate, animal and bird tools, the spine in eight compartments with seven raised bands, with red morocco lettering piece in the second, and the others decorated with a magnificent gilt lily tool, surrounded by small gilt pomegranate tools within a border of dentelles (extremities a little scuffed). Provenance: with the bookplate of Hjalmar Hartmann (1870–1945), Danish horticulturist and seed manufacturer. First edition, and the magnum opus of the long and fruitful collaboration between Trew and Georges Ehret, and Trew. Ehret traveled widely, sending back hundreds of botanical drawings and paintings, which were included in the present work. For "Plantae Selectae", the level of botanical interest and exotic appeal were how the two chose which illustrations to use. They had to decide on a way to present these tropical subjects to the public that had only recently been introduced to Europe. Johannes Jacobus and Johannes Elias Haid translated Ehret's exceptional and remarkably sensuous watercolors into hand-colored engravings that represented everything Ehret's work was about. Ehret had met Linnaeus in 1736 and the latter's work moved the artist to analyze the structure of the plant before trying to represent it. The Latin text was written by Trew and describes each plant, the history of its discovery and additional comments. Each species is compared with descriptions written by other botanical authors in order to definitively classify each plant. This great work was not finished until after Ehret's death, though his instructions were followed as to the layout. Linnaeus praised this work in a letter to Trew, calling it one of the great miracles of the century. Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret’s "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as ‘Hortus Nitidissimus’ (1750–86) and ‘Plantae selectae' (1750–1773) [as here], in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist, Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists i. Nº de ref. de la librería 72LIB1255

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BURY, Priscilla Susan Falkner

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Remitente: Arader Galleries (New York, NY, U.S.A.)

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Descripción: 4to., (10 4/8 x 8 4/8 inches). 26 FINE original botanical watercolours, each signed and dated by the artist, or otherwise inscribed by her, and 9 engraved proof plates with original hand-colour from the "Botanist". Original half maroon cloth, marbled boards, gilt, all edges gilt (extremities worn, binding detached). Priscilla Susan Falkner "drew plants raised in the greenhouses of her family home, Fairfield (demolished 1913), 2 miles east of Liverpool and, by 1829, had enough studies of lilies and allied plants for publication, a venture promoted by her friend, William Swainson. She modelled her proposed book, then tentatively named ‘Drawings of lilies’, on William Roscoe's Monandrian Plants (1824–8), with the plates to be accompanied by brief letterpresses based on her notes. Indeed, she even used Roscoe's book prospectus as a model for her own. In it, she advertised her ‘Drawings of Liliaceous Plants arranged by Botanists in the genera Crinum, Amaryllis, Pancratium ’, to appear in ten numbers, each of five plates to be lithographed by Hullmandel, subscribers paying a guinea a number, others 27s. On 4 March 1830, at Walton on the Hill, Priscilla Falkner married Edward Bury (1794–1858), a railway engineer; the couple had at least three sons, born between 1831 and 1835. In 1831 Priscilla Bury's drawings began to be published as A Selection of Hexandrian Plants, the large (64 cm × 48 cm) plates being engraved by Robert Havell; the work had only seventy-nine subscribers. Fifty-one plates appeared in ten fascicles, the last in 1834, but whether or not the text is Bury's is unclear. The plates are fine-grained aquatints, partly printed in colour and retouched by hand: the original drawings later went to Dumbarton Oaks, Washington. The published work has been praised as ‘certainly one of the most effective colour-plate folios of its period’ (Blunt and Stearn, 248). After 1836 Priscilla Bury contributed eight plates to (originals now in NHM) Maund and Henslow's The Botanist and, in 1860–1, brought out Figures of Remarkable Forms of polycystins, or Allied Organisms, in the Barbados Chalk deposit, with twelve plates of photographic prints of drawings made from microscopic preparations mounted by Christopher Johnson (1782–1866) of Lancaster, from specimens collected by John Davy (1790–1868). About 1865 there was a second edition with twenty-four plates with a photograph of diatoms by Bury and she seems to have issued further separate plates. M. C. Cooke (1825–1914) brought out another edition in 1869 and that included another plate of diatoms, signed P. S. Bury 1869" (D.J. Mabberley for DNB). Nº de ref. de la librería 100363r

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TREW, Christoph Jakob (1695-1769) - EHRET, Georg (1708-1770).

Editorial: Nuremberg: Fleischmann, and Adam Ludwig Wirsing, [plates dated 1753-1786]. (1786)

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Descripción: Nuremberg: Fleischmann, and Adam Ludwig Wirsing, [plates dated 1753-1786]., 1786. Folio (18 x 13 inches). 172 fine hand-colored engraved plates by J.M. Seligman, J.M. Stock and A.L. Wirsing after G.D. Ehret, G.W. Baurenfeind, B.R. and M.B. Dietschin, N.F. Eisenberger, J.C. Keller and others (plates 60 and 61, and 121 and 122 counted as one plate each, bound without plates 90, 126, 131, 135, 179 and 180, first two plates with slight vertical crease, plate 97 with small tear at fold not affecting the image). Bound without text. Contemporary mottled calf (joints cracked, extremities scuffed). "ONE OF FINEST RECORDS OF THE CULTIVATED FLOWERS OF THE PERIOD" (Dunthorne). First edition, bound, as often found, without text, which was not published simultaneously with the plates. Described by Blunt as "one of the most decorative florilegia of the mid-eighteenth century" with more than forty of the plates based on drawings by Trew's famous protégé Georg Ehret with whom he had collaborated on "Plantae Selectae". The spectacular plates are "full sized colored figures of Hyacinths, Tulips (over 20 plates), Ranunculi, Anemones, Caryophylli, Lilies, Auriculas, Roses, Narcissi, Iris, Cheiranthi, Asters, Fritilleries, Crown Imperials" (Dunthorne), and are some of the most sought after and important botanical prints in the world. It is no wonder that he became one of the foremost illustrators of botanical images of his time, at a time when it can be said that art of this nature was highly prized and passionately collected. Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret’s "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as ‘Hortus Nitidissimus’ [as here] (1750–86) and ‘Plantae selecta’e (1750–73), in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist, Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists in Holland. Some of his paintings of the exotics were engraved in Linnaeus's "Hortus Cliffortianus" (1737). "[Ehret] signed and dated his work, naming the subject in pre-Linnaean terms. He published a florilegium, "Plantae et papiliones rariores" (1748–62), with eighteen hand-coloured plates, drawn and engraved by himself. Ehret also provided plant illustrations for several travel books. His distinctive style greatly influenced his successors" (Enid Slatter for DNB). The number of plates bibliographers have associated with this work differs considerably: Brunet V:943 (calls for 190 plates); Dunthorne 310 (180 plates, actually 178); Great Flower Books p. 78 (180 plates, plates 60/61 and 121/122 are represented by one plate each); Johnston "Cleveland Collections" 493 (190 plates); Nissen BBI 1995 (180 plates, 60/61 and 121/122 each on one plate, referance to Tjaden with 190 plates); Pritzel 9500 (180 plates); Sta. Nº de ref. de la librería 001926

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FRENCH GUIANA] - Pierre-Bernard, Baron MILIUS (1773-1829), Auguste Nicolas VAILLANT (1793-1837), & E. BODIN

Editorial: [French Guiana (1824)

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Remitente: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

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Descripción: [French Guiana, 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 Saint-Laurent du Maroni. As. Nº de ref. de la librería 18496

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Henstenburgh, Herman (1667-1726)

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Remitente: Arader Galleries (New York, NY, U.S.A.)

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Descripción: No Binding. Estado de conservación: Please Contact Seller. Unframed: 17 1/4 x 13 1/2". The development of natural history painting paralleled progress in the field of science. Drawing played an important role in the advancement of natural history and the influence of animal and plant illustration had a direct effect upon the development of allegorical and trompe l'oeilpainting.The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with allegorical meaning. Snakes, lizards, and frogs, had powerful symbolic connotations and were related to the theme of Medusa. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities, in which the caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after resurrection.Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings he breaks away from the somewhat limiting precepts of natural history painting to create a play of lines and colors that can be appreciated not simply for its decorative aspects, but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands and according to contemporary accounts, his early works very much imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include splendid flower and fruit pieces, and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his own lifetime. Watercolor, gouache and gum arabic over traces of black chalk, on vellum laid on paper Signed H. Henstenburgh: fec= Unframed: 17 1/4 x 13 1/2". Book. Nº de ref. de la librería 100062D

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Henstenburgh, Herman (1667-1726)

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Descripción: No Binding. Estado de conservación: Please Contact Seller. Unframed: 10 1/2 x 13 1/4". The development of natural history painting paralleled progress in the field of science. Drawing played an important role in the advancement of natural history and the influence of animal and plant illustration had a direct effect upon the development of allegorical and trompe l'oeilpainting.The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with allegorical meaning. Snakes, lizards, and frogs, had powerful symbolic connotations and were related to the theme of Medusa. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities, in which the caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after resurrection.Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings he breaks away from the somewhat limiting precepts of natural history painting to create a play of lines and colors that can be appreciated not simply for its decorative aspects, but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands and according to contemporary accounts, his early works very much imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include splendid flower and fruit pieces, and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his own lifetime. Watercolor and Gouache on vellum Signed Lower Right: H. Henstenburgh fecit Unframed: 10 1/2 x 13 1/4". Book. Nº de ref. de la librería 100059D

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Henstenburgh, Herman (1667-1726)

Usado Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries (New York, NY, U.S.A.)

Valoración librería: Valoración 5 estrellas

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Descripción: No Binding. Estado de conservación: Please Contact Seller. Unframed: 16 1/2 x 12 3/4"Framed: 25 1/2 x 21 7/8. The development of natural history painting paralleled progress in the field of science. Drawing played an important role in the advancement of natural history and the influence of animal and plant illustration had a direct effect upon the development of allegorical and trompe l'oeilpainting.The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with allegorical meaning. Snakes, lizards, and frogs, had powerful symbolic connotations and were related to the theme of Medusa. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities, in which the caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after resurrection.Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings he breaks away from the somewhat limiting precepts of natural history painting to create a play of lines and colors that can be appreciated not simply for its decorative aspects, but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands and according to contemporary accounts, his early works very much imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include splendid flower and fruit pieces, and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his own lifetime. Watercolor and gouache within black framing lines, on vellum. Signed l. r.: H. Henstenburgh. fec= Unframed: 16 1/2 x 12 3/4"Framed: 25 1/2 x 21 7/8. Book. Nº de ref. de la librería 100063D

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PEAKE, Mervyn

Editorial: 1922 - 2011. (2011)

Usado Tapa blanda Ejemplar firmado

Cantidad: 1

Remitente: Michael S. Kemp, Bookseller (Minster on Sea, KEN, United Kingdom)

Valoración librería: Valoración 4 estrellas

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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: 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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Ruscha, Edward

Editorial: NP n/d

Usado Tapa dura Ejemplar firmado

Cantidad: 1

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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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WEBBER, John

Editorial: from, London (1787)

Usado Tapa blanda Ejemplar firmado

Cantidad: 1

Remitente: Hordern House Rare Books (Potts Point, NSW, Australia)

Valoración librería: Valoración 4 estrellas

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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. A substantial collection of proof prints by Cook's great artist. 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 t. Nº de ref. de la librería 3606567

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HALLEWELL, Edmund Gilling (1822-1869)

Editorial: [Bermuda and the Caribbean (1842)

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Cantidad: 1

Remitente: Donald A. Heald Rare Books (ABAA) (New York, NY, U.S.A.)

Valoración librería: Valoración 5 estrellas

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Descripción: [Bermuda and the Caribbean, 1842. 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 and watercolour. Panorama on two sheets, unjoi. Nº de ref. de la librería 26678

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NEGRE, Charles.

Editorial: (1859)., (Paris). (1859)

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Cantidad: 1

Remitente: Sims Reed Ltd ABA ILAB (London, United Kingdom)

Valoración librería: Valoración 2 estrellas

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Descripción: (1859)., (Paris)., 1859. Oblong folio. (477 x 645 mm). Illustrated with 15 albumen print photographs from glass collodion negatives in various formats (landscape, portrait, oval and circular) each pasted to a chine backing and mounted on 11 leaves of card, the circular photographs mounted two to a sheet; 9 photographs are signed by Nègre in ink (at lower right or left). Card leaves mounted on tabs. (Sheet size: 468 x 640 mm). Condition: Foxing to front free endpaper recto and verso, leaf with first photograph with marginal spotting and soiling, thereafter mounts and photographs in good condition with strong tonal contrast, occasional finger soiling and minor spots to mounts. Contemporary green moiré cloth-backed green glazed boards, title gilt to spine. [PROVENANCE: Inscription in pencil to head of initial blank: 'Reçu cet album sous lettre d'envoi / le 6 decembre 1861 au soir' and 'Asile Impérial de Vincennes.'; presented to the Institut Catholique de Paris in 1928 by Madame Royer-Collard, circular paper label to foot of same leaf with manuscript text in sepia ink 'Estampes / 145']. A rare album of photographs by Charles Nègre and one of the earliest examples of photographic reportage with a social aim. The Asile Impériale was announced in an Imperial decree by Napoléon III of March 8th, 1855 as a refuge for injured workers (to be designed by the architect Eugène Laval) at Vincennes in the Val-de-Marne and the first stone was laid on August 18th. The Asile was opened officially two years later on April 31st, 1857 and the first inhabitants arrived in September. Charles Nègre (1820 - 1880), the painter and student of Ingres and Delaroche who had taken up photography in the early 1840s, was commissioned to photograph and document the Asile at some point between 1857 and 1860 (see below). Nègre's photographs depict the building in a series of interior and exterior views and show its inhabitants in their daily activities as well as the striking image of the celebration of the Emperor's birthday on August 15th. Among the most striking images - and it should be noted most typical - are those interior scenes, cut to circular format and mounted two to a leaf, showing the inhabitants in various interiors (see for example 'la lingerie', 'le réfectoire', 'la salle de café ou de jeu', 'les cuisines'). The lack of any official documentation makes the actual date of Nègre's commission difficult to ascertain, but the presence of the date 1859 in the first photograph (the drawing of the elevation of the Asile) suggests that it was 1858 or 1859. The album itself, one of a number of photographic commissions by Napoléon III, is, at the least, an indication of the relevance of social questions to the Emperor during the course of the Second Empire, but also functions as a highly important document of progressive changes to society during the nineteenth-century. The Asile Impérial de Vincennes was renamed the Asile National des Convalescents de Saint-Maurice in 1900 before acquiring its modern title, the Hôpital National de Saint-Maurice. The photographs depict the following: 1. Dessin en élévation de l'asile. (Drawing of the elevation of the Asile). - with text 'DECRET DU 8 MARS / 1855' and elaborate decorative border with Imperial eagle at head and Imperial 'N' at corners. (Landscape: 330 x 412 mm). 2. Le salut à l'empereur ou 'le 15 août'. (Greeting the Emperor on August 15th). - Signed in ink by Nègre at lower right: 'Ch. Nègre photog.'. (Oval: 322 x 440 mm). 3. Plan du bâtiment et des jardins. (Plan of the building and gardens). (Landscape: 282 x 410 mm). 4. Grilles d'entrée et pavillon centrale de l'asile. (Entrance gates and central pavilion). - Signed in ink by Nègre at lower right: 'Ch. Nègre photog.'. (Oval: 320 x 432 mm). 5. Corps principal de l'asile. (The main building). - Signed in ink by Nègre at lower right (of image): 'Ch. Nègre photog.'. (Portrait format, mounted horizontally: 412 x 340 mm). 6. Le réfectoire. (The refectory). - Signed in ink by Nègre at l. Nº de ref. de la librería 43336

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KOLLWITZ, Käthe.

Editorial: 1934 - 1938., (Berlin). (1934)

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Cantidad: 1

Remitente: Sims Reed Ltd ABA ILAB (London, United Kingdom)

Valoración librería: Valoración 2 estrellas

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Descripción: 1934 - 1938., (Berlin)., 1934. Large folio. (675 x 550 mm). [8 unnumbered leaves]. Eight large format original lithographs by Käthe Kollwitz, each printed recto only on cream wove paper and signed by Kollwitz (seven signed 'Käthe Kollwitz', one signed 'Kollwitz') in pencil at lower right (two lithographs numbered in pencil at lower left - see below); sheet size: c.650 x 530 mm or the reverse. Loose as issued, housed in later blue cloth portfolio, morocco title label to front board. Käthe Kollwitz's final print series Tod, the summation of her personal philosophy and artistic endeavour and inspired directly by the effects of the Nazi regime in Germany. From the first edition limited to approximately 100 copies with each lithograph signed in pencil by Kollwitz; two lithographs in the series are numbered (plate 7 [K262] is numbered 38/100 and plate 8 [K263] is numbered 34/100) and plate 3 [K258] is signed ‘Kollwitz’. L'oeuvre de Käthe Kollwitz est le plus grand poème de l'Allemagne de ce temps, qui reflète l'epreuve et la peine des humbles et des simples. Cette femme au coeur viril les a pris dans ses yeux, dans ses bras maternels, avec un sombre et tendre pitié. Elle est la voix du silence des peuples sacrifiés. (Romain Rolland, 1927). Kollwitz’ suite Tod, undertaken during the turbulent period marked by the fall of the Weimar Republic and the rise of the Nazis in the 1930s, had its genesis as early as 1910 – 1911. At that time Kollwitz created a number of works featuring death as a character – rather than works with dead characters – and considered developing a series on the subject; it was not until nearly 25 years later that Kollwitz felt capable of addressing a series with such a theme. If the late 1920s saw the zenith of Kollwitz’ career (her 60th birthday in 1927 was marked by a retrospective at the Berlin Kupferstichkabinett and in the following year she was appointed head of the Prussian Academy’s graphics master class), the early 1930s, particularly following the Nazi ascension, saw its nadir. Kollwitz and her husband, both apolitical but with Left-leaning sympathies, had signed a petition urging political unity among the Left, thereby attracting the notice of the authorities and in the following years Kollwitz was forced to resign her academic position (and lost her studio and salary), her work was categorized as Entartete (degenerate), removed from museums and banned from exhibition, her son’s house was raided (for possession of a banned art book) and in 1936 both Kollwitz and her husband were interrogated by the Gestapo. It was against this repressive background with its mixture of economic and social chaos and rising militant Nationalism that Kollwitz felt inspired to return to her Tod series. The loss of her studio necessitated that she abandon the large sculptures that had been occupying her and returned to printmaking. For Tod, Kollwitz reviewed and revised her earlier work, simplifying and refining the iconography and adding new subjects. The result, a series of eight lithographs published gradually over the course of the four years 1934 – 1938, is Kollwitz’ triumph, the magnum opus that embodies all of her previous work and the culmination of her artistic, social and symbolist philosophies. Tod presents the figure of death in a number of different ways: a hand to be grasped, a friend to embrace, a ravening skeleton, the thief of children, but there is an acceptance to the series and a sense of finality very different in tone to her earlier work. Two final ironies awaited Kollwitz before her own death: the loss of her eldest grandson (also Peter like his uncle) killed on the Russian front in 1942 and the destruction of Kollwitz’ house in Berlin – with the loss of her own archive of drawings, proofs, maquettes and other material – in an Allied bombing raid; Peter’s death inspired her last work, a coda to the Tod series, the lithograph Seed for the Planting Must Not Be Ground. Tod published over the course of four years and in the context outli. Nº de ref. de la librería 43400

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Eikoh Hosoe

Editorial: Various Publishers, Japan

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Remitente: Franklin Books, ABAA/ILAB (Lebanon, NJ, U.S.A.)

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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

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Carriage Horses]. Fölsch, Michael, Vienna strapmaker (fl. c. 1800).

Editorial: [Vienna, c. 1800]. (1800)

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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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HOUEL, Jean Pierre Louis Laurent.

Editorial: De l'imprimerie de Monsieur Paris -87 (1782)

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Remitente: Shapero Rare Books (London, GL, United Kingdom)

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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. 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

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GRAY, John Edward (1800-1875). - LEAR, Edward (1812-1888).

Editorial: Knowsley: printed for private distribution, 1846. (1846)

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Remitente: Arader Galleries (New York, NY, U.S.A.)

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Descripción: Knowsley: printed for private distribution, 1846., 1846. Folio (21 7/8 x 14 6/8 inches). 17 fine handcolored lithographed plates after Edward Lear by J. W. Moore and D. W. Mitchell (one), colored by Bayfield (scattered light spotting, heavier in the margin of plate 8). Original green cloth gilt, yellow-coated endpapers (recased, rubbed, extremities worn with minor restoration). Provenance: Fine presentation inscription from the 13th Earl of Derby to his daughter Fanny Augusta Stanley "Fanny Augusta Stanley from her affectionate father, Derby" on the front paste-down; Stanley Smith, his sale, Sotheby's London, 22 October 1998, lot 140. First edition and A FINE PRESENTATION COPY, inscribed by the Earl of Derby to his daughter. Edward Lear lived intermittently at Knowsley between 1831 and 1837, working principally on drawings of the birds and animals in the menageries maintained by Edward Smith Stanley, thirteenth Earl of Derby (Lord Stanley when he first employed Lear), and one of the most prominent natural historians of his day. Lord Derby's private zoo was one of the largest in England, occupying 170 acres and holding at his death in 1851, 1,272 birds and 345 mammals. His commission allowed Lear to continue to draw from living specimens, as he has done for his own "Family of Psittacidae, or Parrots". Lear often spoke of his years at Knowsley as the happiest time of his life. He was immensely popular with the Stanley children and grandchildren, and it was to amuse them that he began composing his "Nonsense Books." Nine years after Lear moved to the Continent to pursue landscape painting, Lord Derby published a selection of his drawings - comprising nine birds, seven mammals, and a turtle - with accompanying text by J. E. Gray, Keeper of Zoology at the British Museum. Ayer/Zimmer 273; Copenhagen/Anker 189; Fine Bird Books 79; McGill/Wood 368; Nissen, IVB 392; Nissen, ZBI 1691; Noakes 11i. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department. Nº de ref. de la librería 000153

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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" 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

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TWINING, Elizabeth (1805-1889).

Editorial: 1838-1841 (1841)

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Remitente: Arader Galleries (New York, NY, U.S.A.)

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Descripción: 1838-1841, 1841. 4to., (11 2/8 x 9 inches). 30 original watercolour drawings of flowers and fruit identified as being by Elizabeth Twining, 2 family portraits by her, one signed by Jane Twining, and one by A. Twining, 2 signed by Julia Boyd (her niece?), and 18 further watercolour drawings or sketches of flowers and views by unknown artists. Tipped in to later half black morocco, gilt, marbled paper boards album. Provenance: By descent from the artist to the Boyd family. The family portraits are identified as William Brewster Twining and Charles Twining, sons of George Twining (Elizabeth's nephew), "My maternal Grandfather, WB" one on paper watermarked 1834. Elizabeth Twining was the second of nine children of Richard Twining (1772-1857) the celebrated tea-merchant and banker. "She was a talented portraitist of plants and flowers as well as being a competent botanist. The two-volume folio edition of her 'Illustrations of the Natural Orders of Plants' (2 vols., 1849) is considered to have a place among the finest lithographic flower books of the mid-nineteenth century. The 'natural order' is that of Alphonse de Candolle, who rejected the Linnaean or 'artificial' classification. The emphasis on the appearance of mature plants and their habitat rather than their physiology is echoed not only in her art but also in her lectures on plants, which as well as having a strong geographical theme also discussed how plants were used, particularly by women. She believed botany had a place in the education of women of all social classes and her approach was that of 'mother educator', whether she was encouraging the poor to grow plants for flower shows or promoting the cultivation of window boxes in institutions such as workhouse wards, where the glory of plants could be shared by sick inmates and staff alike" (Theresa Deane for DNB). The portraits of plants by Elizabeth Twining are: Cypryipedium calceolus, Arnecliffe 1838; Epipactis palustris, Arnecliffe: Italy. 1838; Epipactis; Epipactis latipolia; Ophrys muscifera. June 1841; Posey of spring flowers; Saxifraga granulata, Arnecliffe Churchyard May 1841; Saxifraga tridactylites, May 1841; Saxifraga hypnoides, 1841; Saxifraga umbrosa, Hesleden Gill; Geranium robertianum and Cistus helianthemum, 1839; Geranium pratense; Geranium sanguineum, Arncliffe 1839; Polemonium caeruleu, 1839; Convallaria polygonatum, 1841; Trollus europaeus, 1841; Vaccinum myrtillus, 1841; Menyanthes trifoliata; Primula farinosa; Cistus helianthemum; Colchicum autumnale, Arncliffe 1839; Rubus chamaemorus, 1841; Dryas octopetala, 1839; Parnassia palustris, Arnecliffe 1839; Pinguicula vulgaris; Galeopsis vericolor, August 1839; Butonius umbellatus, June 1846; Pyrola media, 1846; Campanula latifolia (folding, spotted); Geranium pratense, Arnecliffe July 1839; Apple "Grown at Sheen", 1841. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department. Nº de ref. de la librería 001746

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Henstenburgh, Herman (1667-1726)

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Remitente: Arader Galleries (New York, NY, U.S.A.)

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Descripción: 1700. No Binding. Estado de conservación: Please Contact Seller. The development of natural history painting paralleled progress in the field of science. Drawing played an important role in the advancement of natural history and the influence of animal and plant illustration had a direct effect upon the development of allegorical and trompe l'oeilpainting.The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with allegorical meaning. Snakes, lizards, and frogs, had powerful symbolic connotations and were related to the theme of Medusa. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities, in which the caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after resurrection.Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings he breaks away from the somewhat limiting precepts of natural history painting to create a play of lines and colors that can be appreciated not simply for its decorative aspects, but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands and according to contemporary accounts, his early works very much imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include splendidflower and fruit pieces, and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his own lifetime. Watercolor and gouache on vellum Signed and dated lower right, "H. Henstenburgh fecit. 1700" 1700. Book. Nº de ref. de la librería 100047D

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Henstenburgh, Herman (1667-1726)

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Cantidad: 1

Remitente: Arader Galleries (New York, NY, U.S.A.)

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Descripción: 1700. No Binding. Estado de conservación: Please Contact Seller. Unframed: 11 x 14". The development of natural history painting paralleled progress in the field of science. Drawing played an important role in the advancement of natural history and the influence of animal and plant illustration had a direct effect upon the development of allegorical and trompe l'oeilpainting.The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with allegorical meaning. Snakes, lizards, and frogs, had powerful symbolic connotations and were related to the theme of Medusa. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities, in which the caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after resurrection.Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings he breaks away from the somewhat limiting precepts of natural history painting to create a play of lines and colors that can be appreciated not simply for its decorative aspects, but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands and according to contemporary accounts, his early works very much imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include splendid flower and fruit pieces, and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his own lifetime. Watercolor and Gouache on vellum Signed and dated lower right: H. Henstenburgh fecit. 1700 1700 Unframed: 11 x 14". Book. Nº de ref. de la librería 100060D

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DRAWINGS - MILITARY - FRANCE].

Editorial: 17621784, [Toulon, Angoulème, Versailles, Rochefort, etc., (1762)

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Remitente: Antiquariaat FORUM BV (t'Goy-Houten, UT, Netherlands)

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Descripción: 17621784, [Toulon, Angoulème, Versailles, Rochefort, etc., 1762. Loose in later half calf box, gold-tooled spine, green paste-paper sides, gold-tooled red morocco title-labels on spine and front board. Original construction drawings for heavy artillery made for the Ancien Régime: mortars, howitzers, canons, etc. on 98 leaves (55 magnificently hand coloured), ranging from sketches to finished and officially approved designs and detailed working drawings with scales, exact measurements, etc., in various sizes (a few assembled from 2 pieces), mostly about 67 x 50 cm; plus 2 copies of a large engraving, "Canon de 36" by Petit. Further with 8 manuscript documents related to the drawings. Unique and remarkable collection of 98 original drawings, 2 copies of an engraving and several manuscript documents, all concerning the design and fabrication of artillery and other military equipment, mostly from the last two decades of the Ancien Régime. It includes howitzers, canons, mortars, their various carriages, machines, tools and equipment. Besides the artillery and carriages they show a crane, a detailed design for a chain, shovels and other hand tools, and three drawings show various kinds of knots used by the military. There is also both a preliminary and a finished coloured plan of the foundry at Toulon and a preliminary elevation of a foundry with two furnaces. Some 55 drawings are beautifully coloured with washes, with a brilliantly realistic shading. Most are fine, finished drawings, but there are also a few preliminary sketches. For a few drawings, both preliminary and finished versions are present. Many show designs officially signed for approval by military officials: detailed working drawings with scales and exact measurements, made for the foundries to follow when manufacturing the equipment.Only a few items bear dates, ranging from 1762 to 1784, but most probably date from the second half of this period. The high ranking military authorities who signed drawings to approve them include: Jean Maritz (1711-90), "inspecteur général des fontes de l'artillerie de terre et de mer", who signed a design in Angoulème on 21 June 1762; Sébastien-François Bigot, vicomte de Morogues (1705-81), "inspecteur général d'artillerie" (1767) and "lieutenant générale des armées navales", who signed a design in Versailles on 21 June 1769; La maréchal Charles-Eugène-Gabriel de Castries (1727-1801), "ministre de la marine" (1780) and maréchal de France (1783), who signed 6 designs in 1784; Jean Baptiste Vaquette de Gribeauval (1715-89), lieutenant général et premier inspecteur de l'artillerie (1767); and M. De la Haye d'Anglemont (1784).Although the paper of the largest drawings measures about 67 x 50 cm, they are actually half-sheets of extremely large paper. The paper is all laid and mostly Dutch. About 60 of the largest drawings are made on paper watermarked: D & C Blauw|IV = Blauw arms (bearing: xX) with "D & C B" (Heawood 3268, but his ca. 1769 date may be a bit too early). The Blauw firm called this size "Double Elephant". About sixteen other drawings are made on sheets or parts of sheets from smaller D & C Blauw paper stocks, as are three of the manuscripts, including one dated 1784. The paper stocks of two of the manuscripts include watermarks dates 1771 and 1775, and the paper stock of the engraving includes a watermark date 1781. The collection seems to have been completed around 1784, just after the French helped the fledgling United States defeat England in the American Revolutionary War (1775-1783), and some of the materials were certainly produced during that war. Nearly all of the materials date after the end of the Seven Years' War in 1763, so the hostilities with England may have been the impetus for their production.Many of the finished drawings form numbered series. In some cases both a preliminary and a final drawing survive, in some case only one or the other. There appear to be only three gaps in the numbered series and in all three cases an unnumbered preliminary drawing appears to fill the g. Nº de ref. de la librería A1UF82DAXIZH

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WALDSTEIN, F. DE PAULA ADAM GRAF VON & P. KITAIBEL.

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Remitente: Antiquariaat Junk (Amsterdam, NH, Netherlands)

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De Holanda a España

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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

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BROWN, PETER AND MONTAGU, ELISABETH (1741-1832), Duchess of Manchester.

Usado Tapa dura Ejemplar firmado

Cantidad: 1

Remitente: Antiquariaat Junk (Amsterdam, NH, Netherlands)

Valoración librería: Valoración 4 estrellas

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De Holanda a España

Destinos, gastos y plazos de envío

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

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De Reino Unido a España

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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

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Picasso. Max Jacob.

Editorial: 1910, Montrouge [Paris] (1910)

Usado Primera edición Ejemplar firmado

Cantidad: 1

Remitente: TBCL The Book Collector's Library (Montreal, QC, Canada)

Valoración librería: Valoración 5 estrellas

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De Canada a España

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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

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