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[Jackson, Herbert J.].
[European Hand Firearms of the Sixteenth, Seventeenth & Eighteenth Century:] Fine Pairs of French Pistols of Early Period. [ORIGINAL COLLOTYPE PRINT].
Original single-sheet collotype print of fine quality. Overall size ca. 30 x 24 cm. Very good. First, limited edition, printed on heavy paper with very wide margins. Collotype is one of the most accurate and attractive methods of photomechanical tonal printing processes. Highly skilled and expensive process, it cannot produce more than a limited number of impressions. It has been used for single-sheet prints and luxury portfolios, and since the 1950s has been abandoned by all except a few small specialist firms. Preserved in pH-balanced, acid-free archival paper.
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[Jackson, Herbert J.].
[European Hand Firearms of the Sixteenth, Seventeenth & Eighteenth Century:] Pair of Italian Magazine Pistols, XVIIIth Century. [ORIGINAL COLLOTYPE PRINT].
Original single-sheet collotype print of fine quality. Overall size ca. 30 x 24 cm. Very good. First, limited edition, printed on heavy paper with very wide margins. Collotype is one of the most accurate and attractive methods of photomechanical tonal printing processes. Highly skilled and expensive process, it cannot produce more than a limited number of impressions. It has been used for single-sheet prints and luxury portfolios, and since the 1950s has been abandoned by all except a few small specialist firms. Preserved in pH-balanced, acid-free archival paper.
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[Jackson, Herbert J.].
[European Hand Firearms of the Sixteenth, Seventeenth & Eighteenth Century:] Pair of Four-Barrel Pistols, and Pair of Double-Barrel (Under and Over) Pistols, Inlaid with Silver. [ORIGINAL COLLOTYPE PRINT].
Original single-sheet collotype print of fine quality. Overall size ca. 30 x 24 cm. Very good. (Few light marginal spots.) First, limited edition, printed on heavy paper with very wide margins. Collotype is one of the most accurate and attractive methods of photomechanical tonal printing processes. Highly skilled and expensive process, it cannot produce more than a limited number of impressions. It has been used for single-sheet prints and luxury portfolios, and since the 1950s has been abandoned by all except a few small specialist firms. Preserved in pH-balanced, acid-free archival paper.
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[Jackson, Herbert J.].
[European Hand Firearms of the Sixteenth, Seventeenth & Eighteenth Century:] Scottish Hand Firearms of the XVIth, XVIIth & XVIIIth Centuries. [ORIGINAL COLLOTYPE PRINT].
Original single-sheet collotype print of fine quality. Overall size ca. 30 x 24 cm. Very good. First, limited edition, printed on heavy paper with very wide margins. Collotype is one of the most accurate and attractive methods of photomechanical tonal printing processes. Highly skilled and expensive process, it cannot produce more than a limited number of impressions. It has been used for single-sheet prints and luxury portfolios, and since the 1950s has been abandoned by all except a few small specialist firms. Preserved in pH-balanced, acid-free archival paper.
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[Jackson, Herbert J.].
[European Hand Firearms of the Sixteenth, Seventeenth & Eighteenth Century:] Fine Specimen of Italian Ivory Powder Flask, and Heavily Gilt Metal Flask (1573). [ORIGINAL COLLOTYPE PRINT].
Original single-sheet collotype print of fine quality. Overall size ca. 30 x 24 cm. Very good. First, limited edition, printed on heavy paper with very wide margins. Collotype is one of the most accurate and attractive methods of photomechanical tonal printing processes. Highly skilled and expensive process, it cannot produce more than a limited number of impressions. It has been used for single-sheet prints and luxury portfolios, and since the 1950s has been abandoned by all except a few small specialist firms. Preserved in pH-balanced, acid-free archival paper.
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[Japon ; Shunga (estampes érotiques)]
Estampes érotiques japonaises [12 estampes aquarellées montées en 1 rouleau]
ére Meiji 1912 In-4 30 x 487 cm. 12 estampes montées en 1 rouleau. Chaque estampe aquarellée 30 x 48 cm. Ensemble en bon état.
书商的参考编号 : 123064
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[JAPON]. ILLING (Richard)
Japanese Prints.
Londres, Tiger Books, 1989. In-folio, broché, 65 pp., texte anglais, 24 planches en noir et 32 en couleurs.
书商的参考编号 : 559736 ???????? : 1870461673
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[Jessen, Heinrich
Trachten aus Alt-Hamburg. Hamburg, B. S. Berendsohn, Wilhelm Jowien, and others, 1850].
With 50 hand-coloured full-page plates (c. 200 x 125 mm) heightened with egg-white, (44 lithographs, 3 engravings, 3 wood-engravings), of which 33 are after drawings by Heinrich Jessen. Contemporary blindstamped decorated red cloth, front cover with title lettered in gold. Charming colour plate book mainly with military costumes. Some of these plates were published earlier in F.G. Buek's "Album hambürgischer Costüme", 1843-1847. The plates depict messenger boys, maidservants, a police officer, several military men on horseback, etc. - Hinges weak, top and lower part of spine damaged. Coloured costumes in good condition. Colas 1547. Hiler 479. Lipperheide 809.
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[Joseph II., Franz II.].
Zwei aufmontierte gestochene Wappen im Rund, spätes 18. Jh. O. O. u. D.
Ausgeschnittene Kupferstiche, jeweils ca. 72 mm Durchmesser. Auf Trägerpapier (ca. 218:306 mm). Die Wappen von Kaiser Joseph II. (1780er Jahre) sowie seines Neffen Franz II. (hier nicht als Kaiser, nur mit Erbtiteln: wohl 1792). - Das Trägerpapier etwas angestaubt.
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[JOYAU]. CURTIS (Atherton)
L'oeuvre gravé de Amédée Joyau.
Paris, Prouté, 1938. In-4, broché, non paginé, frontispice, catalogue de 135 œuvres, reproduites en noir. Tirage à 300 exemplaires.
书商的参考编号 : 564366
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[Karl August, Duke of Saxe-Weimar-Eisenach].
Portrait of Duke Karl August of Saxe-Weimar-Eisenach. [Weimar, after 1775].
590 x 460 mm. Pastel on vellum. Framed and glazed. Unsigned, undated half-length portrait of the Duke (1757-1828), Goethe's friend and patron, in his early twenties. This work by an unidentified Thuringian master strongly resembles the one at Dornburg castle listed as no. 19 in Hans Wahl's census ("Pastellgemälde von unbekannter Hand. 1775-80"). Goethe frequently stayed at this Ducal palace when in Dornburg on business. The painting is probably one of a small number of contemporary copies based on the oil painting by Johann Ernst Heinsius (Wahl no. 14), but with softer contours and brighter colours, as common for pastel crayons. - Two tears of about eight centimetres each near top and bottom edge of paper, professionally restored. Occasional rubbing to colours; some overpaintings and staining. Ownership of the anthroposophical physician Karl Hanno Matthiolius (1923-91), dated Solingen-Landwehr, 28 Nov. 1945, on the reverse. H. Wahl, "Die Bildnisse Carl Augusts von Weimar" (Weimar 1925), no. 19.
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[Klimt, Gustav] - Geyling, Remigius, painter and stage designer (1878-1974).
Collection of 23 portrait drawings and caricatures, all drawn "from life" and signed, dated, and titled by Geyling (often citing the place of the sitting). Includes two T.L.S. by Arthur Schnitzler. Vienna, 1897-1935.
Royal folio. In later years mounted onto uniform backing boards by Geyling himself and laid into two simple portfolios, both of which contain his autogr. table of portraits. All leaves numbered throughout by the artist (1-24; Schnitzler's letters on their own backing are no. 23) and captioned with the name and dates of the person portrayed. The earliest portrait dates from 1897, the year in which the Vienna Secession and the artistic periodical "Ver Sacrum" were founded. According to his inscription, it was for the latter that Geyling drew the present portrait of the Secessionist sculptor Rudolf Bacher. Many of the pictures collected in these two portfolios were created several years later, in 1905, during the heyday of the Wiener Werkstätte (for which Geyling designed postcards) and a year after Geyling and his partner Otto Prutscher closed their joint studio for furnishings and décor. "Although a member of the conservative 'Künstlerhaus', Geyling always was close to the Vienna Secession" (cf. AKL LII, 462). For Geyling, "Klimt, Hoffmann, Roller, Olbrich were not only my colleagues, but also my friends, and many a night did we debate about the 'new and pure art'" (cf. Remigius Geyling erzählt, aufgezeichnet von Gerald Szyszkowitz. In: Nebehay/Krug, pp. 5-8, here: p. 7). These nights apparently offered numerous opportunities for Geyling's portrait studies: apart from the portraits of the aforesaid, the present collection contains a picture of the frequent Tivoli patron Egon Schiele (from the year of his death) as well as a portrait of Adolf Loos, drawn in the famous Café Museum. It was probably here where also Karl Kraus (entitled "Fackl-Kraus" by the artist) sat for Geyling. The great painter enjoyed an especially close relationship to Gustav Klimt: for many years he belonged to the circle of those who shared breakfast with Klimt at the Tivoli (cf. Nebehay/Krug, p. 3). In that legendary restaurant at the Green Hill in Vienna's Meidling district, he drew the two portraits of Klimt in May 1905. Together with Peter Altenberg and Otto Wagner, Klimt is one of the few persons whom Geyling sketched in more than one portrait only (all on a single page). It was upon Klimt's recommendation that Geyling was hired as head of decorations at the "Neue Wiener Bühnen" in 1910; his first production was the premiere of Schnitzler's "Undiscovered Country". It was during the rehearsals for this production, on 14 October 1911, that Geyling produced the present portrait of Schnitzler. Schnitzler's two letters to Geyling concern their joint project of a "Medardus movie". Geyling had worked as decorator for the most important Austrian film productions. So successfully had he transferred the stylistic devices of the Wiener Werkstätte into historical tragedy that in 1924 Fritz Lang used Geyling's designs for his great silent "Nibelungen" series (cf. AKL LII, 462). - Provenance: From a Viennese private collection, to which the artist himself sold both portfolios. Nos. 6-8 and 18, 21 and 22 are each illustrated in full-page size in: Ch. M. Nebehay & H. Krug (eds.). Remigius Geyling. Künstler und Literaten. Gezeichnet in Wien um 1900. Wien 1974. (= Jahresgabe der Wiener Bibliophilengesellschaft). This work does not describe the present collection; all other drawings are unpublished.
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[Kupferplatte].
Pius VII. Wohl Rom, 1800.
Gestochene Kupferplatte (120:166 mm). Unsigniertes Portraitkupfer des Papstes Pius VII. (Graf Luigi Barnabà Niccolò Maria Chiaramonti; 1742-1823), wohl anläßlich seiner Papstkür am 21. März 1800 gestochen. Unter dem ovalen Brustbild das Wappen des Papstes.
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[Kärnten - Gurktal].
Sammlung von 19 Landschaftsansichten. Gurktal, 1837-1856.
14 Aquarelle (teils auf Tonpapier) und 4 Bleistiftzeichnungen (2 auf Tonpapier, deckweißgehöht) sowie eine Photographie (Albuminabzug). Zum Teil auf Trägerkarton aufgezogen; Maße ca. 170 x 106 mm. Verso von zeitgenöss. Hand datiert und beschriftet: "Osterwiz, 10tes (bzw.) 9tes Thor von der Rükseite", "Hammerwerk Gurk, Strassburg", "Magdalenenkapelle, Weitensfeld, Altenmarkt", "St. Jakob ober Gurk", "Gundersdorf und Portendorf. Mittagskogel, SIngerberg", "Das schwarze Kreuz bei Gurk", "Draschlbach-Teich und Graben", "An der Gurk: Fernschau nach Mieger und auf den Obir", "Die Gurk: Pregradhof und Zweiniz", "Althofen von Rabenstein aus gesehen", Gut Gundersdorf", "Maiereiteich in Gurk, Aussicht gegen Westen auf die Amtmannwiese", "Verweserhaus am Drahtzuge St. Magdalene, mit der Fernsicht auf Althofen" (Aquarelle); "Silbereck, Fuchshof, Althofen, Grebenze", "Maitratten mit dem Koflachgebirge", "Launsdorf. Mannsberg, Teich bei Osterwiz", "Kalvarienberg Klagenfurt" (Bleistift). Die Photographie (91 x 55 mm auf Träger) zeigt Treibach-Althofen. - Sauberes, wohlerhaltenes Ensemble.
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[Köpfe 1920].
Köpfe 1920. Eine Sammlung von Bildnis-Radierungen bekannter Persönlichkeiten. (Leipzig, Verlag Friedrich Dehne), [1920].
Folio (290 x 388 mm). 12 matted portrait etchings, individually numbered and signed by the artists as well as the sitters. Stored in publisher's original portfolio with vellum spine and gilt title to papered boards. Number 33 of 50 copies of the deluxe issue (entire press run: 150), each portrait bearing the additional signature of the sitter. The sitters are Lovis Corinth, Albert Einstein, Sigmund Freud, Gerhart Hauptmann, Wolfgang Heine, Ludwig von Hofmann, Arno Holz, Arthur Nikisch, Wilhelm Ostwald, Max Reinhardt, Richard Strauss, and August von Wassermann; the artists were Eduard Einschlag, Friedrich (Bedrich) Feigl, Ivo Hauptmann, Ernst Oppler, Robert Friedrich Karl Scholtz, and Walter Zeising (one etching each) as well as Hermann Struck (six etchings). Gerhart Hauptmann's portrait is by his son Ivo. - Upper cover of the portfolio very slightly warped. Light browning or foxing to versos of mattes; rectos and etchings all nearly perfectly clean and crisp. Extremely rare: libraries record a single copy of the sequel ("Köpfe 1921"), a series of only nine portraits that the publisher issued the following year (National Library of Israel).
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[La Chatre, Pierre-Denis de], officer of the Empire and Baron (1763-1820).
2 miniatures. No place, [ca. 1805].
60 mm (diameter) and 62 x 75 mm. In their original brass and wooden frames. Half-length portrait of baron de La Châtre, the father of the publisher Maurice Lachâtre, with the decoration of the "Légion d'honneur" clearly visible on his robe. He was born and died in Issoudun, was appointed a knight on 12 December 1803 and promoted to the rank of an officer on 14 June 1804. He participated in the Revolutionary Wars as well as in the Napoleonic Wars, reaching the rank of colonel, and was granted the title of a "Baron de l'Empire" on 19 March 1808. Narrow cracks in the portrait; small flaw at lower margin. - Half-length portrait of his wife and the mother of Maurice Lachâtre, Élisabeth-Constance Séonnet (born on 23 June 1784 in Issoudun, died on 13 November 1860 in Maisons-Laffitte), in a sitting position, her left arm resting on the back of the chair, wearing a white dress and a furry scarf round her shoulders. The miniature was probably created soon after her wedding on 13 April 1803. Marginal flaw to wooden frame. Xavier Gaignault et Hervé Coutau-Bégarie, Le colonel Pierre-Denis de La Châtre, baron de l’Empire (Éditions Guénégaud, 2007).
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[LAGUERENNE (E. de)]
[Estampe]. "Juives d'Oran". Lithographie en couleurs, non signée.
Moulins, Desrosiers, (1840). 19 x 22 cm à la composition + marges.
书商的参考编号 : 31838
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[Landsberg am Lech].
"Landsberg". O. O., (wohl 1980er Jahre).
Radierung. 8vo (170:205 mm) unter Passepartout (Folio). Der Hauptplatz der Stadt Landsberg am Lech mit dem Marienbrunnen und figürlicher Staffage. Originalgraphik in kleiner Auflage (82/100) mit nicht identifizierter Signatur ("Kondotti"?) in Bleistift.
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[Laxenburg].
[Laxenburg bei Wien in bildlicher Darstellung. Vienna, Lithogr. Institut, 1820-1826].
47 (instead of 55) lithographs (c. 610 x 485 to 480 x 385 mm). In contemp. cloth portfolio with ties. Large folio (630 x 490 mm). "Privately printed at the command of Emperor Franz I and published in a very small press run, not available to the common public [...] Shows views, interiors, decorations, etc. [...] The plates are not captioned or numbered" (cf. Nebehay/W.). Drawn by Jakob Alt, Johann Rupp, Carl Bschor, and Albert von Radmannsdorf. - Slight fingerstaining and foxing (usually confined to margins); some small tears. Portfolio is rather severly rubbed. Wants nos. 1, 4-6, 15-17, and 20. The view of the castle from the South is a lithograph by Jakob von Alt, not an anonymous etching as in the Albertina copy. No. 7 ("Gothische Brücke") is a trial print from the collection of the great Austrian otologist Adam Politzer (1835-1920), whose collection was sold by Schwarz in 1922 (cf. Lugt 2037 and 2741). "Il collectionnait depuis 1870 environ, sans système bien défini, mais seulement d'après son goût artistique [...] L' amateur a consacré une attention spéciale à la lithographie, de ses debuts à l'année 1880" (Lugt, p. 513). Nebehay/Wagner 359. H. Schwarz (Anfänge der Lithographie in Österr.) 76.
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[Laxenburg].
[Laxenburg bei Wien in bildlicher Darstellung. Wien, Lithogr. Institut, 1820-1826].
16 (statt 55) Lithographien (Blattmaße ca. 600:485 mm bis 470:350 mm). Lose. "Privatdruck auf Befehl Kaiser Franz I., in sehr kleiner, nicht für den Handel bestimmter Auflage erschienen [...] Außer Ansichten zeigen die Darstellungen auch Interieurs, Dekorationen etc. [...] Die Tafeln sind nicht beschriftet und nicht numeriert" (Nebehay/W.). Gezeichnet von Jakob Alt, Johann Rupp, Carl Bschor und Albert von Radmannsdorf. Die vorliegende Reihe umfaßt die Blätter 2, 9, 10, 19, 21, 23, 36, 39-41, 44, 46, 48, 53-55 (Zählung nach Nebehay/W.). - Teils leicht finger- bzw. stockfleckig (zumeist nur den Rand betreffend) und mit kl. Randeinrissen. Das Blatt 19 ("Innere Hofraum-Ostseite") in beidseitig bedrucktem Probeabzug, aus der Sammlung des großen österreichischen Otologen Adam Politzer (1835-1920), dessen graphische Sammlung 1922 bei Schwarz in Wien versteigert wurde (vgl. Lugt 2037 und 2741; die vorliegende Stempelvariante nicht bei Lugt). "Il collectionnait depuis 1870 environ, sans système bien défini, mais seulement d'après son goût artistique [...] L' amateur a consacré une attention spéciale à la lithographie, de ses debuts à l'année 1880" (Lugt, S. 513). Das Blatt 40 ("Plafond im Prunksaale") ebenfalls im Probeabzug, hier auf rückseitig bedrucktem Makulaturpapier. Nebehay/Wagner 359. H. Schwarz (Anfänge der Lithographie in Ö) 76.
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[Laxenburg]. Carl Bschor und Albert von Radmannsdorf.
[Ansicht vom Prunksaale. Wien, Lithogr. Institut, 1820-1826].
Lithographie (Blattmaß ca. 483:607 mm). Das wohl eindrucksvollste Einzelblatt aus der 55 Blätter umfassenden Folge "Laxenburg bei Wien in bildlicher Darstellung", die 1820-26 in Wien erschien. "Privatdruck auf Befehl Kaiser Franz I., in sehr kleiner, nicht für den Handel bestimmter Auflage erschienen" (Nebehay/W.). - Die Ränder gering angestaubt bzw. geknittert, sonst tadellos. Nebehay/Wagner 359, 36.
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[LE CORREGE]. LANDON (Charles-Paul)
Vie et œuvre du Corrège.
S.l.n.d. [Paris, C. P. Landon, 1817]. Grand in-4, demi-basane verte (XIXe s.), dos lisse titré orné de filets dorés, 36 pp. de texte suivi de 60 planches gravées par Normand ou Frémy.
书商的参考编号 : 566069
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[LEDOUX] - [JAPANESE PRINTS]
Japanese Prints of the Ledoux Collection - The Primitives
E. Weyhe, New York, 1942. 1 volume in-folio, 186 pp., with 50 early Japanese woodblock prints, each with a short description; 20 full-color plates and 30 in halftone. Cloth and patterned paper, title label and gilt title on spine. Printed on fine paper. Depite some foxing on title page, a very good copy.
书商的参考编号 : 6461
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[LEPERE]. - SAUNIER (Charles)
A. Lepère. 1849-1918. Peintre et graveur, décorateur de livres.
P., Le Garrec, 1931. Gd in-4 broché, couv. imprimée en brun rempliée, 283 pp., bandeaux et culs de lampe, in fine catalogue des 274 œuvres de Lepère par G.M. Texier-Bernier (suite au catalogue Lotz-Brissonneau). Tirage limité à 650 exemplaires numérotés. Un des 500 sur vélin pur fil Lafuma, n°413.
书商的参考编号 : 542085
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[Linogravure/Pataphysique] CHEMIN (Robert).
Noël Arnaud peignant la Gi...douille.
Linogravure, collage avec rehaut de gouache. 1991. Justifiée et titrée à la mine de plomb. Tiré à 26 exemplaire. Sous cadre, dim: 640 x 570 mm. Provenance Collection Noël Arnaud.
书商的参考编号 : 989
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[Linogravure/Pataphysique] CHEMIN (Robert).
Noël Arnaud peignant la Gi...douille.
Linogravure, collage avec rehaut de gouache. 1991. Justifiée et titrée à la mine de plomb. Tiré à 26 exemplaire. Sous cadre, dim: 640 x 570 mm. Provenance Collection Noël Arnaud.
书商的参考编号 : 989
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[Lithographie] GROPPER (William)
Sans titre
Lithographie originale. Dim: 27,5 x 21,2 cm. Épreuve d'artiste signée et justifiée par l'artiqte à la mine de plomb.
书商的参考编号 : 2232
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[Lithographie] GROPPER (William)
Sans titre
Lithographie originale. Dim: 27,5 x 21,2 cm. Épreuve d'artiste signée et justifiée par l'artiqte à la mine de plomb.
书商的参考编号 : 2232
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[Lithographie] MILLER (Jack)
Dixie Highway Miami.
Impression en lithographie. 1979. Dim: 64 x 91 cm. Tirée à 90 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1469
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[Lithographie] MILLER (Jack)
Dixie Highway Miami.
Impression en lithographie. 1979. Dim: 64 x 91 cm. Tirée à 90 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1469
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[Lithographie] MILLER (Jack)
Downtown Acapulco.
Impression en lithographie. 1979. Dim: 64 x 91 cm. Tirée à 90 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1470
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[Lithographie] MILLER (Jack)
Downtown Acapulco.
Impression en lithographie. 1979. Dim: 64 x 91 cm. Tirée à 90 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1470
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[Lithographie] MILLER (Jack)
Downtown Miami.
Impression en lithographie. 1979. Dim: 64 x 91 cm. Tirée à 90 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1471
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[Lithographie] MILLER (Jack)
Downtown Miami.
Impression en lithographie. 1979. Dim: 64 x 91 cm. Tirée à 90 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1471
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[LITTERATURE] - BAINVILLE (Jacques)
Petit musée germanique, suivi de La Russie en 1916.
Paris, Société Littéraire de France, 1917 ; in-8, 312 pp., broché. Exemplaire numéroté. Bon état.
书商的参考编号 : H1009
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[LITTERATURE] - BAINVILLE (Jacques)
Petit musée germanique, suivi de La Russie en 1916.
Paris, Société Littéraire de France, 1917; in-8, 312 pp., broché. Exemplaire numéroté. Bon état.
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[LORRAIN] - CATALOGUE D'EXPOSITION
Graveurs lorrains contemporains.
Nancy, Galeries Poirel, 1992; in-4 (230 x 270 mm), 96 pp., broché. Hommage à Jacques Callot (1592-1635). Exposition de juin à septembre 1992. Nombreuses illustrations en noir et blanc et quelques-unes en couleurs. Très bon état.
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[LORRAIN] - VAZEMMES (Félix)
Graveurs et illustrateurs de Lorraine.
Nancy, Éditions Jean-Marie Cuny, 1986; in-8 oblong, 244 pp., broché. Préface de Jean-Marie Cuny. Petit dictionnaire des illustrateurs et graveurs de Lorraine, du seizième au vingtième siècle. L'auteur dit dans sa préface qu'il publiera un ouvrage sur les illustrateurs et graveurs ayant travaillés en Lorraine pour compléter cet ouvrage (le parti est intéressant, mais je ne pense pas que l'ouvrage ai été publié ?). Nombreuses illustrations en noir et blanc. Très bon état.
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[LORRAINE] / [ESTAMPES]
Recueil de 46 estampes gravées à l'eau-forte (plans et vues de villes) sur le Palatinat, les Trois-Evêchés et la Lorraine.
XVIIe - XVIIIe s. Réunies en 1 album in-4°, demi-toile marron, dos orné d'une croix de Lorraine dorée. Reliure du XIXe s. Quelques mouillures à qq. planches, qq. bords effrangés.[C45]
书商的参考编号 : 19663
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[Léonard Tsuguharu FOUJITA].
Cigarette. Rare pointe sèche érotique originale, épreuve sur Japon pour "Le Verger des Amours".
1501 Rare pointe sèche érotique originale non signée (150 x 105 mm à la cuvette - Marges : 190 x 140 mm), présentée sous passe-partout (400 x 300 mm)Très bon état.
书商的参考编号 : 14223
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[Léonard Tsuguharu FOUJITA].
Extase. Frontispice pour "Le Verger des Amours".
Rare pointe sèche érotique originale non signée (142 x 194 mm), présentée sous passe-partout (400 x 300 mm).Très bon état.
书商的参考编号 : 14222
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[MACPHERSON (Alexander)]
Catalogue of Maps, Prints, Drawings, Etc. Forming the Geographical and Topographical Collection attached to The Library of His late Majesty King George the Third, and Presented by His Majesty King George the Fourth to The British Museum.
Folio (430 x 320 mm), [4], 373, [3], liii, [1]pp., printed for private circulation only in 200 copies, early armorial bookplate to front paste-down, cont. half blue morocco, marbled boards, slightly rubbed otherwise a very good copy indeed. Printed uniformly with the catalogue of books and, like that work, printed only for presentation. The map collection was an important constituent of the Royal library (Samuel Johnson recommended buying maps locally in his famous letter to Barnard); The King's Topographical Collection of around 50,000 maps, charts, prints and drawings formerly owned by George III and donated to the Library by George IV, included antiquarian drawings by William Stukeley, large collections of views by Samuel Hieronymus Grimm, the Bucklers and Edward Blore, and the drawings from Captain Cook's voyages or Robert Hay's of Egypt. It was reprinted in 2 vols. 8vo in the same year for commercial distribution. Martin, Privately Printed Books, p. 259.
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[MALLARME Stéphane]
Faire-part de décès de Stéphane Mallarmé
- Pompes funèbres générales de Fontainebleau, Fontainebleau septembre 1898, 19,6x26,1cm et 12,9x10,1cm, une feuille et une carte. - Announcement of Stéphane Mallarmé's death Pompes funèbres générales de Fontainebleau, Fontainebleau September 1898, 19.6 x 26.1 cm and 12.9 x 10.1 cm, one leaf and one card Announcement of Stéphane Mallarmé's death, whose funeral took place in Valvins (Seine-et-Marne) on Sunday 11 September. We attach the mourning card showing the names of the poet's relatives. Central fold from having been sent. Beautiful copy of this very rare document. [FRENCH VERSION FOLLOWS] Faire-part de décès de Stéphane Mallarmé dont l'enterrement eut lieu à Valvins (Seine-et-Marne) le dimanche 11 septembre. On joint la carte de deuil présentant les noms des proches du poète. Pliure centrale inhérente à l'envoi. Très bel exemplaire de ce rare document.
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[Martin VAN MAELE] [Charles BAUDELAIRE]
LES FLEURS DU MAL. Suite complète de 12 eaux-fortes gravées par Martin Van Maele en double-état avec remarques, avant la lettre tirées sur papier du Japon.
S.d. (1917) [pour l'éditeur J. Chevrel] 12 planches (frontispice et 11 planches) en deux états soit un ensemble de 24 planches. En feuilles. 29 x 20 ou 20,5 cm pour les feuilles 15 x 10 cm pour les cuivres (mesuré à la cuvette) - 12 planches tirées sur Japon avant la lettre avec remarque. Etat définitif. - 12 planches tirées sur Japon avant la lettre avec remarque. Etat non terminé, eau-forte pure. Le frontispice de l'état définitif est signé au crayon par l'artiste Martin Van Maele (en bas à droite). Chaque planche de l'état définitif est légendée au crayon en bas à droite. - 12 planches tirées sur vergé d'Arches avant la lettre (remarques grattées. Chaque planche, à l'exception du frontispice (ce qui est normal), est légendée à l'encre à la plume par l'artiste. Le tirage courant est sur vélin de Rives. Celui-ci, un des rares exemplaires sur Japon (quelques exemplaires seulement) avant la lettre, état définitif et eau-forte pure, avec remarque. Avec le rare tirage avant la lettre légendée sur Vergé d'Arches.
书商的参考编号 : AMO-4501
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[Mary Magdalene].
Coloured and "dressed" devotional print of Mary Magdalene. Probably France, mid-18th century.
255 x 180 mm. Copperprint engraving, cut, hand-coloured and dressed with several fabric fragments, some with metallic threads, metallic lace details, and ground glass. Stitched at an early date to a ruled paper mount. Later giltwood frame and glazing with framer’s label ("Collard Doreur sur bois. Versailles’", ca. 1830-40). Striking and well-preserved example of a so-called "dressed print", based on a devotional engraving of Mary Magdalene by the German engraver and publisher Martin Engelbrecht (1684-1756), dating to the mid-18th century. The materials and style of the adornments point to the 18th century, though a later reuse of older fabrics cannot be ruled out. As often, the dressing has been ingeniously applied both under and over the surface of the original engraving. The penitent Mary Magdalene has been modified by being pasted onto glazed paper, producing a dramatic black-sky background, her body is embellished with three different brocade fabrics (two with metallic threads), and the print was further enhanced with hand-colouring, some metallic lace and ground glass. The saint is characterized by her traditional attributes of a cross, a book, a myrrh jar, a straw mat, and a skull, while her left foot rests on a globe or orb. The precious clothes that were added to Mary Magdalene, who is usually just covered by her long open hair as an expression of her ascetism and atonement, almost transforms her into a celestial Mary, thus altering the meaning of the engraving. - The fashion for dressing prints existed probably from the beginning of printed illustrations themselves, though it was a widespread, predominantly female recreation, especially in nunneries and convents, during the 17th and 18th centuries. Dressed prints were often overlooked by art historians and, due to their fragile nature, are rarely preserved in such good condition.
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[MARY, André - Louis BOUQUET]
Les Amours de Frêne et Galeran. Racontées d'après Jean Renart, trouvère du XIIe siècle, par le poète André Mary et ornées de XXXVII images gravées sur bois et coloriées par le peintre Louis Bouquet.
1929 1 P., Henri Jonquières, 1929, in-4° de 6 ff. n.ch.-135 pp.-3 ff. n.ch., broché sous couverture rempliée, imprimée et illustrée.
书商的参考编号 : 9913
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[MASON Rainer Michael. WOLFFLIN Heinrich. PINET Helene]
Pygmalion Photographie. La sculpture devant la caméra.1844-1936.
Genève, Cabinet des Estampes, 1983.In-8° carré broché.
书商的参考编号 : EXE00019
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[MAYER]
MAYER 1992
Un ouvrage de 1769 pages, format 170 x 240 mm, illustré, relié toile sous jaquette, publié en 1992, La Bibliothèque des Arts, bon état
书商的参考编号 : LFA-126742686
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[Mec-art] HOLMES (Andrew)
Dallas Cowboy. Série 12.
Impression en sérigraphie. 1980. Dim: 57 x 76 cm. Tirée à 150 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1466
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[Mec-art] HOLMES (Andrew)
Dallas Cowboy. Série 12.
Impression en sérigraphie. 1980. Dim: 57 x 76 cm. Tirée à 150 exemplaires. Signée et justifiée par l'artiste. Encadrée.
书商的参考编号 : 1466
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