Darly mary (26 resultados)

Loose Leaf. Condición: New. Reproduction. None. No.

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Loose Leaf. Condición: New. Reproduction. Original title: A Connoiseur Admiring a Dark Nigh Piece German: Ein Connoiseur, der ein dunkles Stück bewundert French: Un connaisseur admirant une pièce de voisinage sombre Spanish: Un connoiseur admirando una pieza oscura cercana High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 18th century (1771). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. None. No.

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Loose Leaf. Condición: New. Reproduction. Original title: The Antiquarian German: Das Antiquariat French: L'antiquaire Spanish: El Anticuario High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 18th century (1773). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. None. No.

Loose Leaf. Condición: New. Reproduction. None. No.

No Binding. Condición: Very Good. Small 4to. [269 x 176 mm]. Hand-coloured etching. A satirical print on fashion, an elderly woman gestures in surprise at an elegantly dressed younger woman walking towards her. (Very good condition). One of a pair of satirical prints on fashion produced by Matthias and Mary Darly, the other being 'What's! This my boy Tom', a similar caricature of an elderly man with a look of surprise at his well dressed young son.…

First Edition. The Birth of the English Fashion Caricature Ninety-Six Superb Hand-Colored Etchings of Macaronis, Fashionable Ladies, and Georgian Eccentrics An Exceptionally Rare Complete Set of Mary and Matthew Darly's Celebrated Caricatures, 1771-1773 From the Library of Prince Henry, Duke of Gloucester, in a Magnificent Rivière Binding DARLY, Mary and Matthew. 24 Caricatures by Several Ladies, Gentlemen, Artists &c. 1771. [And] Vol. II of Caricatures, Macaronies & Characters by Sundry Ladies, Gentlemen, Artists &c. London: M. Darly, 1772. [And] Vol. III of Macaronies, Characters, Caricatures &c. Design'd by the Greatest Personages, Artists &c. London: M. Darly, 1772. [And] Vol. IV of Macaronies, Characters, Caricatures &c. By M. Darly. London: M. Darly, [1773]. First editions. Four octavo volumes bound in two (8 3/4 x 5 1/2 inches; 222 x 140 mm.). Four finely hand-colored decorative engraved titles, one leaf of engraved introductory text in Volume I, and ninety-six superb contemporary hand-colored etched plates, twenty-four in each volume. All plates mounted on stubs and interleaved. Some very occasional, mainly marginal spotting; a light stain in the lower blank margin of plate 12 in Volume I; plates 2 and 3 in Volume II and plate 8 in Volume III with expertly repaired marginal tears. The plates generally exceptionally fresh, with brilliant contemporary coloring. An extraordinarily fine and complete set, certainly the finest example we have encountered. Early twentieth-century dark brown morocco by Rivière & Son. Covers elaborately paneled in gilt, enclosing a richly gilt central lozenge; spines with five raised bands, elaborately decorated and lettered in gilt in compartments; gilt-ruled board edges and richly gilt turn-ins; all edges gilt; marbled endpapers. The armorial bookplate of Prince Henry, Duke of Gloucester, on the front pastedown of each volume. A magnificent set. An exceptionally rare, complete set of the four original volumes of caricatures published by Mary and Matthew Darly between 1771 and 1773, comprising ninety-six brilliantly hand-colored etchings that constitute one of the most important early collections of English social and fashion satire. The present collection represents a landmark in the development of British caricature. Published at the height of the extraordinary macaroni craze of the 1770s, these spirited and frequently outrageous portraits ridicule the fashions, affectations, pretensions, and eccentricities of Georgian society. Their subjects include extravagantly dressed young men, fashionable ladies, military officers, clergymen, lawyers, tradesmen, and a remarkable assortment of recognizable London characters. The figures are generally presented individually, against deliberately minimal backgrounds, their identities and personalities established through exaggerated physiognomy, extravagant costume, distinctive gestures, and carefully selected accessories. This deceptively simple formula was ideally suited to the satirical portrayal of the fashionable world and helped establish a visual language that would be developed to extraordinary effect by the succeeding generation of British caricaturists. The term macaroni originally referred to a fashionable young Englishman who had returned from the Grand Tour with an excessive enthusiasm for Continental manners, dress, and sophistication. By the early 1770s, however, it had acquired a distinctly satirical meaning, describing a man whose devotion to fashion and personal ornament had supposedly carried him beyond the bounds of conventional masculinity and good taste. Enormous powdered hairstyles, miniature hats, elaborately embroidered coats, slender swords, and affected postures became the identifying characteristics of the macaroni. The Darlys seized upon this phenomenon with remarkable commercial and artistic success. Their caricatures transformed the extravagances of contemporary dress into a form of popular entertainment, appealing both to those who recognized the individuals portrayed and to a wider public delighted by the absurdities of fashionable society. Although many of the plates depict the familiar macaroni figure, the scope of the collection extends considerably further. Among the numerous subjects represented are The City Tonsor, The Turf-Macaroni, The Oxford-Macaroni, The Female Connoisseur, The Macaroni Auctioneer, The Macaroni Chimney Sweep, and The Macaroni Preacher. Such images provide an extraordinary pictorial record of Georgian occupations, social distinctions, and public amusements, filtered through the exuberant imagination of the eighteenth-century satirist. Particularly noteworthy is the prominent participation of women in the production of these prints. Mary Darly was not merely the wife of a successful print-seller but an artist, engraver, publisher, and entrepreneur in her own right. Her work represents an important early contribution by a woman to the development of British graphic satire, and the title of the first volume expressly acknowledges the participation of both ladies and gentlemen in the creation of its designs. Mary Darly (fl. 1756-1779), sometimes described as the mother of English pictorial satire, occupied a central position in the flourishing London print trade of the mid-eighteenth century. Working with her husband Matthew Darly (fl. 1741-1778), a designer, engraver, and print-seller, she helped establish caricature as a distinct and commercially successful branch of British printmaking. Matthew Darly had already acquired considerable prominence through his publications on ornament and decorative design, including his association with Robert Manwaring's The Chair-Maker's Guide and George Edwards's A New Book of Chinese Designs. His involvement with satirical prints extended back at least to 1749, when he was questioned by the authorities concerning the distribution of caricatures directed against the Duke of Cumberland. By the 1760s, Mary Darly had emerged as a publisher of.…