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

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

Usado Tapa blanda Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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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drawings, the majority placed before the resulting engraved plate (including a few signed 'Fossier'), but a few others unpublished (including a few in sepia chalk probably executed for Le Masson du Parc).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and deletions by the author, and approximately 30 original drawings, mostly pen and wash, some in sepia chalk and some unpublished. The following material relates to projects which remained unpublished: OYSTER AND MUSSEL HARVESTING 'Section des huitres et des moules', folder of unpublished material, comprising: autograph manuscript on oyster and mussel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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LE MOYNE, Jacques (1533-1588)

Editorial: United Kingdom (1585)

Usado Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

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Descripción: United Kingdom, 1585. The extraordinary career and oeuvre of the Huguenot artist Jacques Le Moyne de Morgues-the first European artist to visit the new world-have only relatively recently been defined and described. The varied circumstances of his artistic production must surely be unique in the history of art; although large periods of his career are undocumented, he appears to have worked as a court artist in France under Charles IX, is known to have traveled to Florida in 1564 as official artist and cartographer in the ill-fated French attempt to establish a colony there, and to have ended his career as a celebrated botanical artist in Elizabethan London. Until well into the present century, our knowledge of Jacques Le Moyne de Morgues's artistic endeavors was extremely limited and largely confined to the footnotes of inaccessible ethnographic bibliographies. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage's publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, the most notable being held by the British Museum and the Oak Spring Library, Virginia. Part of a group of miniatures on vellum of plants probably preduced between 1585 and 1588, this exquisite rendering of a thistle is highly comparable to Le Moyne's thistle drawing in the British Museum. Here, however, the artist allows the plant to fill the entire picture space and incorporates a rich blue ground to grant the plant a magnificent grandeur usually unknown to such a delicate genre. Either a milk or St. Mary's thistle, the plant is lively constructed, its leaves expanding to a beautifully detailed frame painted in blue and gold. The thorny collar under its milk-white, slightly pink flower has incredible movement, evoking a vitality that pulses through its dancing leaves. Le Moyne's inclusion of the caterpillar furthers this sense of animation while reminding the viewer of the truly small scale of his tremendous subject. The coloring is masterful, as Le Moyne uses a golden eye for his bluish grey and white caterpillar that rhymes with the yellow thorns and golden frame, creating a luxurious vibrancy when set against the brilliant blue of the complementary ground and the rich greens that articulate the plant's body. With its beautiful flower and prickly thorns, the thistle has long been a symbol of protection, pain, and honor; in the bible it allowed Mary to protect and feed Baby Jesus and was likewise associated with the thorny crown of his Passion, while in Britain and France it has been variously employed to protect and celebrate, and it has been a symbol of Scottish heraldry since the Renaissance. With his sure and dexterous brushwork and keen eye for color and detail, Le Moyne creates a thistle that is at once enchanting and dangerous, a true representation of such an incredible plant. Le Moyne was born around 1533 in Dieppe. The first thirty years of his life are undocumented, but it is reasonable to suppose that he trained as an artist in his native town, which was, at that time, a notable center for cartography and illumination. Between 1564 and 1565 he was engaged in the French expedition to Florida. In his highly important account of this transatlantic voyage, known today from a Latin edition published in Frankfurt in 1591 under the title Brevis narratio eorum quae in Florida Americai provincia Gallis acciderunt, Le Moyne explains how the French King Charles IX instructed him to accompany the expedition, headed by the notable mariners Jean Ribault and Rene Goulaine de Laudonnière, as official recording artist and cartographer. Laudonn. Inscribed on verso: 34. Nº de ref. de la librería 72JS30

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Souvenir de Constantinople et d'un Voyage fait: PREZIOSI, Amadeo (1816-1882)

PREZIOSI, Amadeo (1816-1882) and Adalbert de BEAUMONT (1809-1869)

Editorial: Constantinople and Egypt (1845)

Usado Ejemplar firmado

Cantidad: 1

Remitente: Donald A. Heald Rare Books (ABAA) (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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Descripción: Constantinople and Egypt, 1845. 56 watercolours hinged onto 26 period card mounts (30 by Preziosi [11 signed], 26 by Beaumont [2 signed]), ranging in size from 4 1/4 x 5 1/2 to 13 x 19 1/2 inches, all captioned at a contemporary date on the mount, others additionally captioned in the image by the artists. Housed in a period burgundy morocco box signed by A. Giroux, original silk lining, with a later matching burgundy chemise. Provenance: Prince Roger de Bauffremont (1823-1891) An incredible collection of watercolours of Turkey and Egypt, accomplished by two notable 19th century Orientalist artists, documenting a journey through the region by a French prince. Some thirty of the watercolours depict views of Bosphorus, Therapia and other sites in and around Constantinople. The remainder depict scenes and costumes of Egypt. Both Beaumont and Preziosi were known as illustrators of travel books in the middle nineteenth century. The son of Count Gio Francois Preziosi of Malta, Amadeo initially studied the law before turning to painting. After studying under Giuseppe Hyzler, Preziosi subsequently completed his art education at the Paris Academy of Fine Arts. He moved to Constantinople in 1842, fell in love with the city, and was able to make a living painting the places and people that surrounded him. It is noted in the Atabey catalogue that "Preziosi was well-known . His studio is mentioned in Murray's guidebooks for 1854 and 1871. By that time he had become an institution in the city. He produced views of the city, and genre and costume drawings" (The Ottoman World p.535). His paintings sold well to both the affluent local and the Grand Tourist, and his reputation was such that also served as a court painter to Sultan Abdul Hamid II. Less well known, though no less skilled, is the other artist represented in these watercolours: Adalbert de Beaumont. Evidently of aristocratic birth, De Beaumont travelled extensively, and later authored several acclaimed works on Orientalist design and ornamentation. The present watercolors and drawing, accomplished on behalf of a travelling French prince, were never published and constitute a valuable and exquisitely rendered documentary of the sites visited and local costumes of the period. Nº de ref. de la librería 26318

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LE MOYNE, Jacques (1533-1588)

Editorial: United Kingdom (1585)

Usado Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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Descripción: United Kingdom, 1585. The extraordinary career and oeuvre of the Huguenot artist Jacques Le Moyne de Morgues-the first European artist to visit the new world-have only relatively recently been defined and described. The varied circumstances of his artistic production must surely be unique in the history of art; although large periods of his career are undocumented, he appears to have worked as a court artist in France under Charles IX, is known to have traveled to Florida in 1564 as official artist and cartographer in the ill-fated French attempt to establish a colony there, and to have ended his career as a celebrated botanical artist in Elizabethan London. Until well into the present century, our knowledge of Jacques Le Moyne de Morgues's artistic endeavors was extremely limited and largely confined to the footnotes of inaccessible ethnographic bibliographies. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage's publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, the most notable being held by the British Museum and the Oak Spring Library, Virginia. The present work is most comparable to those by Le Moyne in the British Museum and is part of a group of miniatures on vellum of plants probably produced between 1585 and 1588. Luxuriously rendered in bodycolor and goldleaf, it depicts a small finch known as a linnet, nestled on a spray of barberry within an ornate painted frame in olive, grey, and gold. The abundant scarlet fruit and warm gold ground create a sense of intimacy while illuminating the bird, and the vibrant colors recall the linnet's bright, cheerful song full of fast trills and twitters. Within this sumptuous setting, the small, grey-brown bird is calm and majestic, at home in a brilliant kaleidoscope of nature. The striking design of this remarkable composition proved a favorite of Le Moyne's, who visited it again in a woodcut illustration of the linnet included in his La Clef des Champs, a pattern book published around the time of the watercolor. Le Moyne was born around 1533 in Dieppe. The first thirty years of his life are undocumented, but it is reasonable to suppose that he trained as an artist in his native town, which was, at that time, a notable center for cartography and illumination. Between 1564 and 1565 he was engaged in the French expedition to Florida. In his highly important account of this transatlantic voyage, known today from a Latin edition published in Frankfurt in 1591 under the title Brevis narratio eorum quae in Florida Americai provincia Gallis acciderunt, Le Moyne explains how the French King Charles IX instructed him to accompany the expedition, headed by the notable mariners Jean Ribault and Rene Goulaine de Laudonniere, as official recording artist and cartographer. Laudonniere's expedition, though resulting in the production of the fascinating Le Moyne/de Bry publication and an important map of the coastal regions of Florida, was ultimately a disaster; the good relations initially established with the native tribes inhabiting the territories around the settlement site at St. Johns soon soured, in addition to which various members of the French party became disaffected, and revolted against their leaders. The final coup de grace came when a Spanish force attacked Laudonniere's stronghold at Fort Caroline, and in the end Le Moyne was one of only fifteen or so survivors of the original party to return safely to Europe; having lost their way, they sailed half-starved into Swansea Bay in mid-November 1565, finally reaching Paris in early 1566. Life in France soon b. Inscribed on verso: 57 or 58. Nº de ref. de la librería 72JS31

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EMPSON, Charles

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

Usado Tapa blanda Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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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)

Usado Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries San Francisco (San Francisco, CA, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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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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Greenaway, Peter - Sciolli, Armin

Editorial: Locarno: Il Rivellino, 2015 (2015)

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Cantidad: 1

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Descripción: Locarno: Il Rivellino, 2015, 2015. Hardcover. Estado de conservación: New. Estado de la sobrecubierta: New. 1st Edition. Gr.4ª (320x400mm) - 114pp -92 Color & B/w illustrations. Eisenstein Mexican Ghosts, is the last book by Peter Greenaway (1942) British film director, dedicated to Sergei Eisenstein (1898-1948) Soviet world renowned filmmaker. The Soviet filmmaker Sergei Eisenstein, probably one of the largest and most influential professionals in film history, in 1931 went to Mexico to shoot the film / documentary "Que viva Mexico!". He remained fascinated by the dark museum of the mummies in the city of Guanajuato, in which, as in the rest of the country, was celebrated without fear the strong and intimate relationship with death, which is nothing but an inevitable and non-negotiable features unites the 7 billion inhabitants of this planet. Fatal and obvious was the connection between Eros and Thanatos, sex and death. In Mexico, Eisenstein was also fascinated by the blend of Aztec culture in the Hispanic. The British director Peter Greenaway, attached to their obsessions, such as art and sex in the first place, and fond of films by Eisenstein and the places in which he lived, he has recently tried to imagine what was going on in the mind of ' Soviet artist after the visit to the museum of Guanajuato and has thus created 92 boards in pen and ink (some watercolored) on paper, to summarize what the director thoughts about that mysterious combination. To make a further homage to Eisenstein, Greenaway unveiled at the 65th Berlin Film Festival his film entitled "Eiseinstein in Mexico", inspired by the Ten Days That Shook the Russian director, both from the point of view of business and the kind of sensual experience lived in Guanajuato. First edition, published in 92 numbered and signed copies, plus 8 copies a.p., our's is the Author's copy with the 92 Original drawings (Ink, pencil & watercolor), text in English language. Hardcover Bodonian Japon package in folder. New !. Signed by Author(s). Nº de ref. de la librería 15000

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A pair of table globes] Marius Cartarus: CARTARO, Mario

CARTARO, Mario

Editorial: Rome, (1577)

Usado Ejemplar firmado

Cantidad: 1

Remitente: Daniel Crouch Rare Books NY LLC (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 4 estrellas

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Descripción: Rome, 1577. The first dated globe to name Canada The terrestrial: 158mm diameter and composed of 12 engraved gores laid down onto a solid wooden sphere, signed in the engraved cartouche, the equatorial graduated in degrees, the meridian of Ferro (Hierro) graduated in degrees, tropics and polar circles marked. The celestial: 158mm diameter and composed of 12 engraved gores laid down onto a solid wooden sphere, signed in the engraved cartouche, the equatorial graduated in degrees, the ecliptic graduated in degrees and divided into the houses of the zodiac, marked with their respective symbols, the equatorial tropics and polar circles marked, stars shown to six orders of magnitude with nebulae, the constellations depicted pictorially and identified by their Latin names. The globes are mounted in circular wooden yokes by threaded brass pins screwing into the yoke, the mounted on turned wooden stands, total height on stand 400mm, gores with small areas of surface loss skillfully infilled. Publication This extremely rare set of late Renaissance Italian globes was the work of the cartographer, engraver, publisher and print merchant Mario Cartaro (1540-1620). In 1560, Cartaro was working in Rome, where he produced his first known engraving, a print in reverse after a drawing by Heinrich Aldegrever. In the following years Cartaro was associated with the celebrated cartographer and publisher Antonio Lafreri (1512-1577), and his engravings may be found in two of Lafreri's composite publications: 'Speculum romanae magnificentiae' and 'Tavole moderne di geografia'. In 1586 Cartaro moved to Naples, and in 1589 he was appointed cartographer to the Giunta de Regi Lagni, holding the position until his death in 1620. Cartaro was also an important figure in the history of Italian globe-making. In the first half of the sixteenth century, the only globes produced in Italy were either manuscript globes or engraved metal globes. Cartaro's terrestrial globe of 1577 was the first dated printed globe to be made in Italy (the brothers Livio and Giulio Sanuto had produced an earlier, undated terrestrial globe with engraved gores around the period 1564-1574), and the accompanying celestial globe was the first celestial globe with printed gores to be produced in Italy. These globes are celebrated for the restrained delicacy, precision, and beauty of their engraving, which is reminiscent of Lafreri's work, and Suarez comments that, "the engraving quality is typical of the finest Italian makers, for whom elegance and clarity were overriding concerns, and superfluous decoration avoided", and Shirley judges that "the twelve gores [.] with their stippled oceans and minimal decorations, are in execution among the best Italian work of the era", whilst Raymond Lister identifies Cartaro as one of the most "important sixteenth-century globe-makers" working in Italy (Old Maps and Globes (London: 1979), p. 78). Geography The terrestrial globe is based on Giacomo Gastaldi's xylographic world map of circa 1561, and it is thus the first dated globe to show the mythical Strait of Anian separating America and Asia, and the first dated globe to name Canada, following Gastaldi, who first showed these features. However, Cartaro also updated Gastaldi's cartography where he could use more recent surveys and explorations – for example, he correctly marks New Guinea as an island, which Gastaldi did not. The terrestrial globe is known in two states, and this example is (like that described by Suarez) in the later state, with North America extending deep into the polar circle and two lakes appearing in the continent, the more northerly marked 'Cani' (i.e. Lake Conibas). The celestial globe is derived from Gemma Frisius' celestial globe of c1537, and the stylized pictorial constellations are similar in form and design to those on Frisius' globe, which, in turn, are mainly derived from Albrecht Dürer's 1515 xylographic charts of the northern and southern celestial hemispheres, 'Imagines coeli se. Nº de ref. de la librería 2678

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BURY, Priscilla Susan Falkner (1799–1872).

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Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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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). Catalogued by Kate Hunter. Nº de ref. de la librería 100363r

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

Editorial: Nuremberg: 1750-1773. (1773)

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Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

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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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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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Sepia wash brush painting, signed ("F. Chopin").: Chopin, Frédéric, composer

Chopin, Frédéric, composer (1810-1849).

Editorial: [Mallorca, 1838?]. (1838)

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Descripción: [Mallorca, 1838?]., 1838. 244 x 178 mm. Matted, framed and glazed. A masterly southern European landscape by the great composer, showing the view of a lake or pond with a boat, a couple walking in the countryside, and the ruins of a castle on a hill in the background. - Chopin's inclinations toward pictorial art were already evident during his days as the Warsaw Lyceum: his chalk portrait of the Lyceum's director Bogumil Linde has survived (Bory, p. 49), as has a landscape signed in full (now in the Ciechomska collection in Warsaw, pictured in Bory, p. 52). Undoubtedly, Chopin's relationship to George Sand and his stay in Mallorca contributed to his once more picking up the brush. Indeed, the motif might very well be a Mallorcan view: George Sand's watercolour "Seaward View From the House in Valldemossa " (Bory, p. 130, bottom) shows obvious similarities. On the reverse of the present leaf is an uncompleted pencil portrait, unquestionably also the work of Chopin. - The provenance of this uncommonly evocative painting can be traced to the master himself: Chopin presented it to his student Karol Mikuli (1821-97), who always held it in the highest esteem and bequeathed it to his own student Raoul von Koczalski (1885-1948). From Koczalski's estate it passed to a student from his master class. From him it was acquired by the renowned German antiquarian music and music books dealer, Hans Schneider of Tutzing, who offered the painting at the 1976 Zurich Art Fair "Antic '76" and in his catalogue 200. Last in a private collection. - With two small closed tears in the lower white margin, otherwise fine. Schneider, Tutzing, cat. 200 (1976), no. 46. Internationale Kunst- und Antiquitäten-Messe Zürich (Antic '76), cat. p. 52 (pictured). Also illustrated in: E. Burger, Frédéric Chopin. Eine Lebenschronik in Bildern und Dokumenten (Munich 1990), p. 183, fig. 386. Nº de ref. de la librería 47415

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Henstenburgh, Herman (1667-1726)

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Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

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Descripción: 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 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 Size: Unframed: 10 1/2 x 13 1/4". Book. Nº de ref. de la librería 100059D

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Henstenburgh, Herman (1667-1726)

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Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

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Descripción: 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 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= Size: 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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Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

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Descripción: 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 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= Size: 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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MATISSE, Henri (1869-1954) MALLARMÉ, Stéphane (1842-1898)

Editorial: Lausanne, Albert Skira & Cie., 1932 (1932)

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Descripción: Lausanne, Albert Skira & Cie., 1932, 1932. Brossura editoriale. Estado de conservación: Ottime. prima edizione. Loose as issued in original printed wrappers with glassine; calf-backed board chemise and calf-edged slipcase. Custom quarter morocco clamshell case. 153 numbered pages, 29 original etchings in black, 23 of which in full page on Arches paper. Book is signed by Henry Matisse, numbered and stunningly enriched by an original black ink drawing by Matisse himself on the half title double sheet, signed and dedicated on lower left corner "à Max Pellequer. 13/342 Henri Matisse" (usually the drawing accompanies only the first 5 numbered specimens in this edition). First artist book by Matisse, this is one of the 90 copies printed on Arches paper on a total circulation of 145, including 20 "Hors-Commerce". "Matisse's etchings for the Mallarme's Poésies (1932) with no doubt are the culprit in the luxurious tradition of illustrated books. Inspired by Mallarmé's idea that the empty page is a primary space, the artist showed exceptional balance and harmony by putting in contrast the levity of the trait and the weight of the printed text" (Andel p. 346). This work is the best possible summary for the interpretative female nude study the artist started in the early years of the 1900. Matisse focused his entire artistic research on the human figure analysis and disrupted the traditional approach in arts. His style evolved towards an emphasis on the contour lines and the shape of feminine bodies alone, marking a crucial turning point in contemporary art. This specimen is further enriched by the original black ink drawing representing a torso of a woman with her head resting on her right forearm. The dedication is to Max Pellenquer, nephew of the businessman André Level and Picasso's backer. The book is in perfect conditions. 0. autografato dall'illustratore. Nº de ref. de la librería 1533

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Collection of 88 original art works by: Lilienfeld, Rosy

Lilienfeld, Rosy

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Remitente: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB) (Santa Monica, CA, Estados Unidos de America)

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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

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Remitente: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB) (Santa Monica, CA, Estados Unidos de America)

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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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Histoire Naturelle des Oiseaux de Paradis et: LEVAILLANT, F.
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Descripción: Paris, Denné le jeune/ Perlet, (1801-) 1806. 2 volumes. Large-folio (515 x 335mm). With 114 colour-printed engraved plates, with extensive gouache hand-finishing, some heightened in gold, extra illustrated with 2 original watercolours. Contemporary tree calf, richly gilt ornamented spines with bird ornaments, red and black gilt lettered labels, sides with gilt borders (bound by the Dutch bookbinder J. Froding). An exceptional Deluxe Copy of one of the most spectacular works on exotic birds, a presentation copy to Jacob Temminck.The plates of the 'Oiseaux de Paradis.' are usually printed in colour and lightly finished by hand. Copies, as the present one, with gouache colouring and illumination on a bistre base and sometimes heightened with gold, and adding extensive foliage and branches to each plate were prepared for special presentation. These copies were extra illustrated with original watercolours and the plates are more brilliant and lively. Our copy has two original watercolours 'Tete de l'Oiseaux de Paradis grand Emeraude grandeur naturelle' and 'L'Oiseau de Paradis l'Incomparable grandeur naturelle'. Some faint occasional marginal dampstaining.Along with his equally famous work on parrots, the 'Oiseaux de Paradis' is the pinnacle of Levaillant's achievement in book production and the finest example of Jacques Barraband's brilliance as a bird artist. Ronsil considered this work to be unequalled among French bird books. The illustrations include 24 plates of birds of paradise; 15 of rollers; 17 of jays; 18 of toucans; 24 of barbets; 5 of tamatias; 3 of barbacous; and 8 of jacamars.The plates were engraved by Pérée, Grémillier and Bouquet, after drawings by Jacques Barraband, and were printed by Langlois and Rousset. Jacques Barraband's work for Levaillant undoubtedly marks the high point of his career and makes it clear why he was considered the best ornithological artist of his generation. He was a pupil of Joseph Maline and subsequently worked as a draughtsman at the Gobelins tapestry factory. His painted porcelain was exhibited at the Paris Salons from 1798 to 1806; he also decorated the dining-room in Napoleon's chateau at St Cloud. Barraband's relatively early death at the age of 41 and the following works of Audubon and Gould have perhaps prevented him from being placed alongside his contemporary Redouté as one of the greatest natural history artists of all time. He produced over 300 beautiful watercolours for Levaillant's books.François Levaillant (1753-1824) was born in Paramaribo, the capital of Dutch Guiana, and was the son of the French Consul there. When his father returned to Europe, in 1763, he studied natural history at Metz. He was sent by the Dutch East India Company to the Cape Province of South Africa in 1781, and collected specimens there until 1784. He sent over 2,000 bird skins to Jacob Temminck, who had financed the expedition, and these were later studied by his son Conrad Jacob Temminck and are included in the collection of the museum at Leiden."Levaillant first met Jacob Temminck (1748-1822) in 1780. Temminck had a powerful position as treasurer of the Dutch East India Company. Besides, he had a lively interest in natural history, maintaining both a cabinet and an aviary with living birds. The size of his collection at that early date is not known. However, Levaillant was impressed by this 'brilliante collection' Temminck was the obvious person to be approached by Levaillant to help him with his plans for travelling abroad considering the similarities in age and interest, as well as Temminck's position" (Rookmaaker, The Zoological Exploration of Southern Africa 1650-1790, p. 259).Our copy together with the 'Oiseaux d'Afrique' was sold in Paris 'Aguttes 14 April 2010' (the copies got split up later). Both items had identical bindings, and both copies were special copies with original plates inserted and clearly belonged together. The 'Oiseaux d'Afrique' has a handwritten dedication to J. Temminck. Nº de ref. de la librería 9673

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A COLLECTION.: PEAKE, Mervyn

PEAKE, Mervyn

Editorial: 1922 - 2011. (2011)

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Cantidad: 1

Remitente: Michael S. Kemp, Bookseller (Sheerness, KENT, Reino Unido)

Valoración librería: Valoración 5 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 including the Rare 1939 Edition of Captain Slaughterboard in a dust wrapper, 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 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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VAN ALLSBURG, Chris

Editorial: New York: Houghton Mifflin, 1981 (1981)

Usado Primera edición Ejemplar firmado

Cantidad: 1

Remitente: Battledore Ltd (Kingston, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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Descripción: New York: Houghton Mifflin, 1981, 1981. No Binding. Estado de conservación: Very Good. 1st Edition. VAN ALLSBURG (Chris): “Now Remember,” Mother said, “Your father and I are bringing some guests by after the opera, so keep the house neat.” 1980. Conté Pencil. Drawing for Jumanji (p.[5]; New York: Houghton Mifflin, 1981). Also used on the poster advertising the book. Measures 15-1/2 x 17 inches. Chris van Allsburg (b.1949) is an American artist, illustrator and writer, best known for his Caldecott Award books: Jumanji (1981) and The Polar Express (1985), both of which have been adapted for the silver screen. Signed by Illustrator(s). Nº de ref. de la librería [abb_vanalls_jumanji]

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Bones of the Book: An Oblong Identity: Ely, Timothy C.

Ely, Timothy C.

Editorial: Colfax, WA (2015)

Usado Tapa blanda Primera edición Ejemplar firmado

Cantidad: 1

Remitente: Abby Schoolman Books, ABAA (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 4 estrellas

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Descripción: Colfax, WA, 2015. Timothy C. Ely Ilustrador. Unique. Bones of the Book is the second in a three-book series that differs significantly from Ely's other art. These books are both biographical and autobiographical. Each honors the important influence of family members in Ely's life, and combines it with an aspect of bookbinding-the format Ely has chosen to house his artwork throughout his career. In each case, there is also a third narrative that plays a significant role in Ely's identity as an individual and as an artist.The series began with Binding the Book:The Flight Into Egypt in 1985. Egypt is about Ely's grandfather, the journal he left behind about his mysterious trip to Egypt between the wars, bookbinding, and the geography of Egypt. For much more information about Binding the Book: The Flight Into Egypt, see The Flight into Egypt: Binding the Book (Chronicle Books, 1995).In Bones of the Book, the visual narrative combines Ely's origins (Snohomish, WA, his parents, and their hardware store), and the close relationship between book structure and human anatomy. The third book has yet to be made. Ely plans for it to be about his Uncle Jack and his work as a combat photographer in the Pacific during WWII. In addition to the three-fold, co-mingled story line in Bones, as in all of Ely's art, there are layers of references drawn from alchemy, mathematics, mythology, geography, and geology.Artist's statementIn the early part of the last decade of the 20th century, I wished to contemplate my origins, especially the early and all-consuming attraction to the form of the book and how that might have evolved for me. Beyond deep reading, I have found that the best way to become informed about an event or gather a bit of enlightenment is to make an expressive book. Bones of the Book began as a thought structure aimed at the skeletal system of the body and of the book, as they seem to me to contain functions that echo each other. I also wanted to fuse the influences of my parents and their choice of livelihood into the book by referencing the location of their hardware store and its impact on what I have chosen to do as an artist. My parents, Everett [b. 1914] and Frances [b. 1918], met at a paper mill where they both worked, then married at the outset of America's involvement in World War II. In about 1948, they opened a hardware store in Snohomish, Washington (a map in the book drawn from memory is an attempt to locate the store in space), which set the tone for my entire life until they retired in 1978.The hardware store. I long to travel back through time and view it again, for until I began this contemplation, I was not really aware of how much that family business, the community it served, and the tools and materials it contained affected me. I was introduced to the hardware business around the age of 11, not knowing how connected to the arts of the book this would be. It was to be my first real training in the process of building things, and, coupled with the local library where I practically lived when I wasn't at the store, really became the focus of my interests. When I first began to work this out, I came to believe that there was an inextricable link between what influenced me, and how I came to know the craft of making a book. There seemed to be in place an existing gnosis which acted as both a guide and a set of techniques-a skeletal anatomy was at hand.I began drawing bones in graduate school after a trip to a forbidden beach at the mouth of the Hoh River yielded up a hoard of bird, fish, and crab remains. Though the Hoh Reservation was off limits, some cigarettes gave us entry. That same summer a second pile of bones from draft horses in central Washington gave me a new scale. Then, my Uncle Jack, living in Alaska, would provide the third leg of the bone 'tripod' of visual clues by sending me boxes of bones from a lonely beach near Hoonah, Alaska.These bones would provide both visual inspiration and material for inks. (Bone black ink is especially bluish and potent!)Bone. Nº de ref. de la librería 139

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On the Road.: KEROUAC, Jack.

KEROUAC, Jack.

Editorial: New York: Viking Press, 1957 (1957)

Usado Primera edición Ejemplar firmado

Cantidad: 1

Remitente: Peter Harrington. ABA member (London, Reino Unido)

Valoración librería: Valoración 5 estrellas

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Descripción: New York: Viking Press, 1957, 1957. Octavo. Original black cloth, titles to spine and front cover in white, top edge red. With the dust jacket. Housed in a custom blue morocco-backed black cloth folding-case. Minor wear at extremities; an excellent copy in the jacket with slight creasing to extremities and small chip to head of rear panel. First edition, first printing. A highly important presentation copy, inscribed by the author to John Montgomery with a drawing by Kerouac of the ghost of the Susquehanna, relating to both On the Road and The Dharma Bums. Montgomery was a Berkeley librarian who, according to Gerald Nocosial, "fascinated Jack with his scholarly non sequiturs." In October 1955, the poet Gary Snyder and Montgomery fitted Kerouac up with hiking gear and the three of them hiked up the 12,000-foot ridge of Matterhorn Mountain in Yosemite. This episode was to be transformed by Kerouac in to a key event in his celebrated novel, The Dharma Bums. In the novel, Montgomery is depicted as Henry Morley and Snyder, Japhy Ryder. Kerouac described the three men's expedition as "all completely serious, all completely hallucinated, all completely happy". Kerouac's evocative drawing depicts the Ghost of the Susquehanna, described in chapter 14 of part one of On the Road. "It was the night of the Ghost of the Susquehanna. The Ghost was a shrivelled little old man with a paper satchel who claimed he was headed for 'Canady.' He walked very fast, commanding me to follow, and said there was a bridge up ahead we could cross. as far as I could see he was just a semi-respectable walking hobo of some kind who had covered the entire Eastern Wilderness on foot. We were bums together. We walked seven miles along the mournful Susquehanna. It is a terrifying river. It has bushy cliffs on both sides that lean like hairy ghosts over the unknown waters. Inky night covers all. I thought all the wilderness of America was in the West till the Ghost of the Susquehanna showed me different." While the Ghost undoubtedly has its origins in a hobo Kerouac encountered in western Pennsylvania, the vision is also inspired by a recurring nightmare, which Kerouac related to Allen Ginsburg and others in the late 1940s. He dreamed repeatedly of being pursued by a "Hooded Wayfarer without a Name." Kerouac came to believe that the hooded figure was merely his own self wearing a shroud. The first draft of On the Road to contain a scene approximating his dreams of the shrouded stranger was produced in 1951. Provenance: John McVey Montgomery (1919–1992); sold by him c.1988 via a Californian book dealer to Ken Lopez and Tom Congalton; subsequently in the noted Kerouac collection of Airick Kredell (1950–2004); sold in 2004 by Skyline Books to a private collector in London. Charters A2a. Nº de ref. de la librería 118885

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The Posthumous Papers of the Pickwick Club.: DICKENS, Charles.

DICKENS, Charles.

Editorial: Philadelphia: Lea and Blanchard, 1842 (1842)

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Cantidad: 1

Remitente: Peter Harrington. ABA member (London, Reino Unido)

Valoración librería: Valoración 5 estrellas

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Descripción: Philadelphia: Lea and Blanchard, 1842, 1842. Large octavo. Original brown vertical grain cloth, covers blind-stamped, spine with figure and title in gilt (stained, worn), inscribed to Bryant "from his friend and admirer, Charles Dickens". Housed in a brown quarter morocco solander box by the Chelsea Bindery. Substantial dampstaining to top edges of boards, also affecting contents but to a lesser extent, head and tail of spine chipped, wormholes to joints, boards rubbed and scuffed, ring stain to front board, some spotting and oxidisation of plates, sporadic foxing and tanning to text. Provenance: by descent from the recipient. Presentation copy, inscribed by Dickens to William Cullen Bryant (1794–1878), editor of the New York Evening Post and a leading poet of his generation: "William Cullen Bryant From his friend and admirer Charles Dickens", signed with his characteristic lavish underscores. Dickens met Bryant for their first private audience on his American tour on Tuesday 22 February 1842 and presented him with a gift of six books, all American editions of his own works. Bryant reciprocated by presenting Dickens a copy of this own The Fountain and other Poems, his inscription using the same form of words (that copy later in the Stephen H. Wakeman collection, sold American Art Association, April 1924, lot 26, $400). Bryant was well-disposed to Dickens, at that time the most famous living author in the world, but he, like many other Americans, was dismayed by the criticisms Dickens expressed in his American Notes (1842) and in the American chapters of Martin Chuzzlewit (1844). However, he recovered sufficiently to visit Dickens as an old friend on his return to America in 1867. The fact that this is an American edition of Dickens's first publishing success is evocative: Dickens had strong feelings on the contentious issue of international copyright, and the subject hung over the whole trip. He mentioned it himself several times during his public engagements, eventually drawing on himself the wrath of the American press. Lea and Blanchard (successors to Cary and Lea) were Dickens's "official" American publishers and had prepared for his visit by reprinting his works to date, but the American economy was in the middle of a depression, general fiction could only be sold in the cheapest possible formats, and the cash-strapped publishers were not eager to further erode their profits by paying royalties to foreign authors. Nº de ref. de la librería 90110

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Original Drawing of Tailpiece to the story: Leonard Leslie Brooke

Leonard Leslie Brooke

Usado Primera edición Ejemplar firmado

Cantidad: 1

Remitente: Scott Robin Books (Colchester, CT, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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Descripción: 1905. No Binding. Estado de conservación: Fine. No Jacket. 1st Edition. Original drawing used for the tailpiece in the Golden Goose Book story of The Three Little Pigs.by F.Warne. Framed and in Fine condition. Signed. Solid Provenance. Additional matching framed ink lithograph of a footbridge over a stream possibly near Brooke's home. Brooke wrote "Malham" and signed it, and wrote "with all good wishes from leslie and sybil Brooke, Christmas 1919 $50000.00. Signed by Illustrator(s). Nº de ref. de la librería 000425

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Archive of Meadow Run Press Sporting Book: Meadow Run Press)

Meadow Run Press)

Editorial: Stone Harbor; Far Hills, New Jersey (2010)

Usado Tapa dura Ejemplar firmado

Cantidad: 1

Remitente: James Cummins Bookseller, ABAA (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 4 estrellas

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Descripción: Stone Harbor; Far Hills, New Jersey, 2010. Estado de conservación: Fine. Approx 60 linear feet (31 file boxes and 1 box of oversize material). The Archive of Meadow Run Press, sporting book publisher 1989-2010. For two decades William D. Trego's Meadow Run Press set the standards for American sporting book publishing and issued a series of finely produced original works by new and established authors as well as sporting club histories, privately printed angling volumes, and a select group of reprints of neglected classics. The books, among them Sea Level and Marquesa by Jeffrey Cardenas, The Henryville Fly Fishers by Ernest Schwiebert, Live Water by Tom McGuane, and the cult classic, The Starlight Creek Angling Society by Harry Middleton, are notable for their content and for a consistent attention to design, illustration, and the form of the finished book. Many of the titles were also issued in limited deluxe editions with special bindings and additional material by the artists and authors; several were printed letterpress by Bradley Hutchinson of Austin, Texas. The books were uniformly well received by reviewers and readers alike, and several were reprinted on multiple occasions. The publisher, Mr. William D. Trego, variously of Stone Harbor and Far Hills, New Jersey, was educated at the Philadelphia College of Art (now the University of the Arts), Temple University, and Villanova University. He established the press as his interests in collecting evolved from American literature to American sporting books and to the outdoors. From modest beginnings in 1989 with a reprint of a classic American angling work, he undertook to publish original works and commissioned suitable illustration art from living American artists including Peter Corbin, John Swan, John Rice, and others. The Meadow Run Press books reflected the publisher's style and something of his character as well: Tom McGuane, now a legendary figure in American outdoor writing, wrote to Mr. Trego, "The books are beautiful and you've done such a fantastic job on this project - in every way! I've been writing for a living for almost three decades and this is, by far, my most pleasant publishing experience" (autograph letter, signed, dated 27 December 1996, in the archive). The Archive includes editorial, business, and production correspondence relating to the books and to their sale to mail-order and trade customers, with significant exchanges with authors Tom McGuane, Ernest Schwiebert, Tosh Brown, David Swanson, John Cole, and others, as well as with the artists commissioned by the press. Mr. Trego views The Starlight Creek Angling Society as one of the most significant accomplishments of the press, and this is documented in the original typescript of the book, as well as in the extensively edited drafts and abundant correspondence with the author, who died, untimely, soon after the book was published. The other important discovery of the press was Jeffrey Cardenas, whose first book, Marquesa, has become a modern salt water angling classic. M.L. Biscotti's A Bibliography of American Sporting Books 1926-1985 (1997) is a significant addition to the tradition of sporting reference works. Mr. Trego is himself a well-regarded writer and one large archive box relating to his earlier articles is present. The archive also includes a variety of submission manuscripts for works that the press declined to publish. As a bookman, Mr. Trego is known for his his meticulous insistence on condition; all of the publisher's copies of books are in superb condition, most with warm inscriptions from the authors and often with original drawings by the artists. Much of the smaller format artwork has been put into boxes to accompany notable typescripts, such as the raw, unedited typescript of Schwiebert's Henryville Fly Fishers, or the substantial archive of Harry Middleton material. Generally the condition of materials in the archive files is fine; some of the correspondence is on thermal fax paper and thus may present conservation issues in the longer term. Mr. T. Nº de ref. de la librería 257301

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Collection of Russian and Siberian Cities].: RUSSIA] - ??????,

RUSSIA] - ??????, ?????? ???????? ? ?????? [MAKHAEV, Mikhail Ivanovich and others].

Editorial: Imp. Akad. Nauk Skt. Peterburg -1771 (1769)

Usado Tapa dura Ejemplar firmado

Cantidad: 1

Remitente: Shapero Rare Books (London, Reino Unido)

Valoración librería: Valoración 4 estrellas

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Descripción: Imp. Akad. Nauk Skt. Peterburg -1771, 1769. Folio (56.2 x 44 cm). 34 engraved views by many engravers after various artists, including 12 of the cities in European Russia and 22 of Siberia, on 22 leaves, with captions in Russian and French, printed on Dutch handmade paper watermarked C & I Honig IV, one engraving signed in the plate by N.Ya. Sablin; the first view (Zilantov monastery) cut and pasted at the time of binding on paper watermarked "Whatman 1818", views of Kokshaysk and Astrakhan conjoined. Early 19th-century half calf over marbled boards, gilt rules, spine with raised bands, gilt lettering in second compartments, gilt decorative elements in others; joints restored. Exceptionally rare complete collection of the earliest views of Russian cities on the Volga river and in Siberia, engraved by Russian masters. An excellent example. These views are part of a series that includes a total of 34 prints. The process of their publication spanned almost forty years (from the creation of the first drawings until the prints were issued) and involved seven artists and twelve Russian engravers. The cities were drawn on the spot between 1733 and 1766 during two great expeditions; the originals were later corrected and re-worked between 1748 and 1768, before being printed at the Academy between 1769 and 1771. The views offered here of Mangazey and other Siberian cities are based on drawings made during the Great Northern Expedition (1733–1743), ordered by Empress Anna Ioanovna. Under the leadership of Vitus Bering the expedition was charged with mapping the eastern reaches of Siberia and, if possible, continuing on to the western shores of North America in order to explore and map them as well. The twenty eight views of towns encountered on the way, including Novgorod, Tver, Kazan, Tobolsk and Yakutsk, were drawn by the expedition artists J.C. Berckhan and J.W. Lursenius. Delays in passing the drawings to the Engraving Chamber and disruptions in the engraving process meant the plates were not finished until 1771. The twelve views of cities in the European part of Russia, including Kokshaysk, Sinbirsk, Kuznetsk and Penza, are based on original drawings by Alexander Ivanovich Svechin (end of 1720s – 1796). Svechin, a colonel and artist, headed an expedition to the Volga region in 1765, commissioned by Catherine the Great in order to investigate whether Kazan's oak forests would provide a decent timber supply for the construction of Russia's naval fleet. With the help of a camera obscura, Svechin produced twenty-eight drawings during this trip, including fourteen views of cities on the Volga river that Makhaev then had to review on Catherine's orders. The result was twelve amended versions of the cities, in which the artist corrected inaccuracies of perspective and unified the composition. In December 1768 the drawings were finally sent to the Engraving Chamber of the Academy of Sciences. The engraved plates were sold individually and are exceptionally rare. We were able to trace only two copies comprising all 34 views, both in Russia – in the collections of the State Hermitage Museum and the State Russian Museum, St. Petersburg. Outside Russia the collection of these views was found only in the Eton library, where the copy, in a modern binding, is lacking one plate. Complete examples are of exceptional rarity, as the engraved plates were sold individually. Absent from all usual Russian bibliographies and great collections. We were able to trace only two copies comprising all 34 views, both in Russia – in the collections of the State Hermitage Museum and the State Russian Museum, St. Petersburg. Outside Russia the collection of these views was found only in the Eton College library, where the copy, in a modern binding, is lacking one plate. List of plates: 1. ???? ????????? ????????? ?? ???????? ?????? = Vue du Monastere Zilantow dans les Environs de Casan. Image: 19.3 x 26 cm; plate: 21 x 26 cm; sheet: 28.3 x 40.5 cm (Landscape format; pasted on early XIX c. paper); 2. ???? ???. Nº de ref. de la librería 90763

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Sample book of harness designs and other: FÖLSCH, Michael.

Descripción: Unique harness maker's colour-drawn sample book, with each drawing depicting a horse in elaborate carriage horse 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. Each drawing is signed by Fölsch as artist. His talent for draughtsmanship and colouring was hitherto unknown and is remarkable for a leather craftsman who probably never received training as a painter. The variety and complexity of the designs, and the use of gold and silver, is impressive, suggesting that such bespoke equipment was intended for the wealthy elite.From the equestrian library of the Imperial stable master Franz Wenzel Schleichart von Wiesenthal (ca. 1730?-post 1800), with his engraved armorial bookplate upside down on the back of the box. He was a leading figure in a great dynasty of stable masters and horse breakers. Thereafter in the collection of Franz Josef II, Fürst von und zu Liechtenstein (1906-1989).With only stubs for 5 of what would have been 72 leaves. A few leaves had torn or nearly torn before they were mounted ca. 1805, but most are in very good condition and the mounting has preserved and protected those that had been damaged. The drawings were clearly made for daily use and show occasional dirt, small stains, spots or other minor blemishes. Nº de ref. de la librería F6DFHL01U79O

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Eighteenth-century illustrated manuscript sample book of harness: Carriage Horses]. Fölsch,

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

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

Usado Tapa dura Ejemplar firmado

Cantidad: 1

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

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

Usado Tapa dura Primera edición Ejemplar firmado

Cantidad: 1

Remitente: Arader Galleries - Aradernyc (New York, NY, Estados Unidos de America)

Valoración librería: Valoración 5 estrellas

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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. Catalogued by Kate Hunter. Nº de ref. de la librería 000153

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