‎Estampas‎

‎BARBIER George‎

‎Vichy (II) ou Le Jeu des Marionnettes. (La Gazette du Bon ton, n°8-9. Été 1915 - Planche 3 )‎

‎- Lucien Vogel éditeur, Paris 1915, 37,6x24,2cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, signée en bas à droite dans la planche. Robes de Callot, Jenny, Paquin, Martia‎

‎BARBUSSE (Henri)‎

‎Le Feu. Journal d'une escouade. Gravures sur verre de André Collot‎

‎Angoulême Jean Emery, Editions d'art, Collection "L'Heptameron" 1949‎

‎Petit in-4 (232 x 174 mm), bradel veau gris bleu et rouge décoré des lettres du titre, couverture et dos conservés (reliure signée Corrêa). Illustrations de André COLLOT. Tirage limité à 3140 exemplaires ; un des 3000 sur vélin d'Alfa bouffant des papeteries Alamigeon (N° 1635). Etiquette au bas de la première page de garde. (frottements sur les charnières, la coiffe supérieure et les coupes, piqûres sur les tranches, rousseurs sur la couverture et le titre, rares piqûres claires dans le texte). // Small quarto (232 x 174 mm), bradel grey blue and red calf, decorated with title letters, soft cover and spine preserved (binding signed Corrêa). Illustrations by André COLLOT. Limited printing of 3140 copies ; one of the 3000 on vellum "Alfa bouffant des papeteries Alamigeon" (Nr 1635). Stamp on bottom of first end-paper. (rubbings on hinges, top of spine and turns-in, spots on edges, brownings on the soft cover and the title page, rare light spots in the text).‎

Referencia librero : 001610

‎Barksy, Vivianne [Ed., Trans.] / Perry-Lehmann, Meira [Curation]‎

‎The Printer's Imprint: Twenty Years of the Jerusalem Print Workshop [IN HEBREW AND ENGLISH]‎

‎IN HEBREW AND ENGLISH. 30X22.5 cm. 118+21 pages. Softcover. Cover slightly chafed. Cover edges slightly torn. Inner back cover slightly stained. Several pages slightly stained. Else in good condition.‎

‎Barnard, John (ed) [Simon Brett (engravings)]‎

‎John Keats: The Complete Poems‎

‎London: Folio Society 2001. 1st edition. As New. tall octavo. hardback in original cloth xix 472pp. engravings Leather spine over decorated boards. In sturdy card slip-case as issued Folio Society hardcover‎

Referencia librero : 154417

‎Barr, John‎

‎Britain Portrayed: A Regency Album, 1780-1830‎

‎Around the turn of the 19th century the towns, villages and countryside of Britain attained a level of picturesque beauty and charm that has been unsurpassed since. In watercolour drawing artists caught the changing light and weather to perfection, and in aquatint engravings their subtle tones could be reproduced in prints virtually indistinguishable from the originals. Here nearly 50 of the finest views and scenes in prints of the period are reproduced, their colours still as fresh and vivid today as when they were first published. Drawing upon contemporary accounts, John Barr provides a commentary of the artists, engravers and prints in this album which portrays the elegance and robust variety of Regency Britain for today's armchair tourist.A selection 50 illustrations reproduced from Topographical and Colour Plate Books of the Regency period [1790-1840] "providing today's armchair tourist with an album that faithfully portrays the elegance and robust variety of Regency Britain." 127p.illus. Illustrated endpapers Book‎

‎BARRAL Jacquie / SCHLOSSER René (frontispice)‎

‎La trace.‎

‎Jean-Pierre Huguet Carnets des Sept Collines Jean-Pierre Huguet, Carnets des Sept Collines (N°29), 2008, 70 p., broché, environ 23x12cm, exemplaire numéroté 39/100, avec une estampe-collage rehaussée et signée de René Scholosser, dédicacé par Jacquie Barral et René Schlosser, bon état.‎

‎Merci de nous contacter à l'avance si vous souhaitez consulter une référence au sein de notre librairie.‎

Referencia librero : 101744

‎Barth, Josef‎

‎Muskellehre nach den zwey Hauptverhältnissen, ihrer Lage und Verbindung untereinander, wie auch nach ihren allgemeinen und besonderen Verrichtungen. 2. Aufl. Mit 53 nach der Natur auf das genaueste entworfenen Kupfertafeln.‎

‎Wien, Michael Lechner, 1819. XX, [96] Text-S. u. [45] Taf. Mit insgesamt 61 Radierungen, davon 45 auf Taf. u. 16 im Text. Folio. 35,5 cm. Pp. d. Zt. m. RSch.‎

‎Zweite Ausgabe des erstmals 1786 erschienen Standardwerks der Anatomie. - Josef Barth (1745-1818), österreichischer Mediziner und Anatome, insbesondere als Augenarzt und später auch Kunstsammler tätig. - Die gezählten XX S. unterbrochen von 12 Tafeln (doppelseitig, davon 6 jeweils mit Texterläuterungen in der Platte). - Einband flächig beschabt, Rückenschild mit Absplitterungen; die ersten vier Bll. mit kleiner Schmauchspur im Falzbereich, Papier gelegentlich wenig stockfleckig. Text und Tafeln breitrandig und von angenehmer Erhaltung‎

Referencia librero : 97430

‎Bartlett, Bo,‎

‎Heartland: Paintings By Bo Bartlett‎

‎Exhibition catalog for a show held at the publisher's gallery. Pamphlet ( 6" x 11") is in excellent condition, exterior shows no blemishes, text/interior is clean and free of marking of any kind. 8 pages with 4 full color prints from the artist.‎

‎Bartlett, W. H. / Vilnay, Zev [Intr.]‎

‎Jerusalem Revisited‎

‎Contains b&w plates. 240X170 mm. 202 pages. Softcover. Cover corners slightly wrinkled. Spine slightly worn. Pages yellowing. Else in good condition.‎

‎Bartlett, William Henry. Engraved by J. C. Bentley.‎

‎[Syria, Holy Land, Asia Minor] Approach to Antioch, the Ancient Anathoth, from Aleppo (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A two-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. (Some marginal spotting.) Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎Bartlett, William Henry. Engraved by J. P. Heath.‎

‎[Syria, Holy Land, Asia Minor] Castle Near Pambouk (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A two-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. (Few marginal spots, not affecting image.) Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎Bartlett, William Henry. Engraved by J. Redaway.‎

‎[Syria, Holy Land, Asia Minor] Village of Brumhanna, in Mount Lebanon (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A two-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. (Light spot or two.) Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎Bartlett, William Henry. Engraved by J. W. Lowry.‎

‎[Syria, Holy Land, Asia Minor] Ferry Over the Orontes (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A three-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎Bartlett, William Henry. Engraved by S. Bradshaw.‎

‎[Syria, Holy Land, Asia Minor] Convent of Mount Carmel (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A two-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎Bartlett, William Henry. Engraved by T. Turnbull.‎

‎[Syria, Holy Land, Asia Minor] Seleucia (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A two-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎Bartlett, William Henry. Engraved by W. Hill.‎

‎[Syria, Holy Land, Asia Minor] Halt of a Caravan in the Desert of Girgola, Near Mt. Amanus (caption title). [ORIGINAL STEEL ENGRAVED PRINT].‎

‎Original single-sheet steel engraving of a very fine quality. Overall size ca. 215 x 270 mm. Image size ca. 130 x 190 mm. A two-line caption engraved at bottom in elegant handtooled open-face and italic types. Engraved Artist's and Engraver's signatures underneath image. Engraved Publisher's line below. The print is in its original state, trimmed and gilded on three sides. It is printed with warmer ink, somewhat more dramatic in mood, with fine, crisp detail, subtlety and elegance. In overall fine condition. (A light spot.) Preserved in pH-balanced, acid-free Renaissance archival paper. ~ A delicately executed steel engraving, representing a major illustrative work on 19th century Palestine, Syria, and Asia Minor. William Henry Bartlett (born London, 1809) was one of the foremost illustrators of topography of his generation. He travelled extensively throughout Britain, the Americas, and the Middle East, producing his work on location. In 1854 he made his last trip to the Holy Land; he died of fever on board a French ship on his return voyage to England. Bartlett's primary concern was to extract the picturesque aspects of a place and render "lively impressions of actual sights", as he wrote in the preface to "The Nile Boat" (London, 1849). His work became widely known through the numerous engravings after the original drawings and paintings he made. The interest in these engravings today is as much for the exquisite quality of the rendering and presentation of the architecture of the period, as it is for the representation of the landscape. Published in 1836 by Peter Jackson, Late Fisher, Son & Co. of London, it was originally accompanied by descriptions written by John Carne.‎

‎BARTOLINI (Luigi)‎

‎Gli esemplari unici o rari. Novantasei riproduzioni di acqueforti‎

‎Roma, Gherardo Casini Editore, 1952. 655 g In-8 à l'italienne, reliure éditeur, 222 pp., [1] ff., 96 reproductions des eaux-fortes.. Sans faux-titre, légers défauts. . (Catégories : Estampes, )‎

Referencia librero : 7745

‎BARTOLINI, Luigi (Cupramontana, 1892 - Roma, 1963),‎

‎Fonte Canapina‎

‎Acquaforte originale stampata per il volume ''La Nencia da Barberino'' di Lorenzo de Medici, Bucciarelli, Ancona 1965. La tiratura dell'acquaforte è del 1961 Firma e titolo a matita (Firma e data sulla lastra: Bartolini 1959). Esemplare p.d.a.. Cm 12,5x18,5 (Foglio 35x51). . . Ottimo (Fine). . 100 + alcune pda. .‎

‎BARTOLINI, Luigi (Cupramontana, 1892 - Roma, 1963),‎

‎Senza titolo‎

‎Acquaforte originale. Una delle 4 acqueforti che illustrarono la raccolta di versi dell'A. ''Poesie 1960'', pubblicata da Bucciarelli Firma a matita (L.B.). Esemplare p.d.a.. Cm 6,8x3,6 (Foglio 17x25,5). . . . . Tiratura 100 + alcune p.d.a. .‎

‎BARTOLINI, Luigi (Cupramontana, 1892 - Roma, 1963),‎

‎Senza titolo‎

‎Acquaforte. Opera appartenete alla cartella ''Testamento per Luciana'', contenente l'incisione ed un testo dell'Artista Disponibile senza la cartella. Esemplare p.d.a.. Cm 10,5x5 (Foglio 35x25). . . . . Tiratura 100 + alcune p.d.a.. .‎

‎Bartolomeo Pinelli‎

‎Nuova raccolta di Cinquanta costumi pittoreschi incisi all’acqua forte ... dedicati a sua eccellenza il cavaliere Hitroff‎

‎In-4° oblungo; frontespizio inciso e 50 tavole incise all’acquaforte da Pinelli (1781-1835), raffiguranti scene di costume ambientate nella campagna romana; i personaggi sono dediti a giochi, lavori, attività varie della vita quotidiana, anche a Roma e nel regno di Napoli; le ambientazioni sono in Ciociaria, Cerbara, Tivoli, Albano, Fracati, Pietra Terrazzana, Roma. L’indicazione di responsabilità presente su quasi tutti i rami è “Pinelli Fece 1815 Roma”. Buona copia.‎

‎Bartolomeo Vitturi - Bartolozzi‎

‎La serenata di Ciapino e il lamento della ghita. Stanze rusticali‎

‎In-4°; pp. (32), con 2 tavole f.t. incise da Francesco Bartolozzi (1727-1815), una vignetta incisa su rame al frontespizio, una testatina e 3 grandi finalini, di cui due da invenzioni di Piazzetta, incise da Fiorenza Marcello e Felicita Sartori. Sonetto introduttivo di Gasparo Gozzi, al termine una poesia di Giovanni MArsili. Legatura in cartonato colorato. Gamba p. 613.‎

‎Bartsch, Friedrich Ritter von‎

‎Die Kupferstichsammlung der K. K. Hofbibliothek in Wien. In einer Auswahl ihrer merkwürdigsten Blätter.‎

‎Wien, Braumüller 1854. XIII, 312 S. HLdrBd. d. Zt. mit Rückengoldpräg.‎

Referencia librero : EEzz2582

‎Baruch, Adam [Ed.]‎

‎Peter Z. Malkin: Silkscreens Portfolio‎

‎15x21 cm. 31 pages. Paperback in dust jacket. In good condition.‎

‎based Noah Webster, illustrated with 670 engravings, blank endpapers former owner name, preface Charles Walter Brown‎

‎Donohues Websters Handy American Dictionary of English Language comprehensive Lexicon containing over 32000 words & phrases Correctly defined to which is added a list of foreign words phrases & quotations from ancient & modern languages Re‎

‎M. A. Donohue Chicago. HB NODJ No Date Early Vintage 1st edition Thus Purple with Black decorated cloth Cover minor rub & Wear & tiny Chips Extremities NF/VG NODJ back cover couple stains . First Thus. Hard Cover. M. A. Donohue Chicago hardcover‎

Referencia librero : 9248