‎Estampes‎

‎BARON SUPERVIELLE (Silvia)‎

‎Plaine blanche‎

‎Paris Carmen Martinez 1978 In-4 à l'italienne en feuilles, couverture à rabats, emboîtage toilé crème‎

‎EDITION ORIGINALE. Hors texte, 10 EAUX-FORTES originales d'Antonio SEGUÍ. Tirage à 40 exemplaires numérotés sur Arches, signés par l'auteur et l'artiste. Un des 30 avec les estampes. Très bon 0‎

Referentie van de boekhandelaar : 011297

‎Barbeau, Jacques (Signed)‎

‎A Journey with E.J. Hughes : One Collector's Odyssey‎

‎Signed upon title page by author. 180 pages. Index. References. Biographical overview. List of works. Colour illustrated endpapers. "E.J. Hughes is famous for his unforgettably rich and accomplished landscapes, primarily depicting the British Columbia coast. His works now command the highest auction prices ever paid for a living Canadian artist, confirmation of his emergence as a major figure on the international art scene... The passionate collector has always been central to the emergence of important artists. In this extraordinarily personal account, the world of a collector comes alive. Here are 76 Hughes sketches, paintings and prints, in colour and black and white - only a handful previously published in book form - accompanied by a text rich with anecdotes about the joys, frustrations and satisfactions of the chase. This is a very human story of art as master - one which sheds important new light on Hughes and his work." - from dust jacket. "Hughes is the chronicler of a landscape almost too beautiful and too alive with spirit to be believed." - Globe and Mail. Clean, bright and unmarked with negliglble wear. Dust jacket now preserved in glossy new archival-grade Brodart cover. Gift quality. Book‎

‎BARBIER George‎

‎Costumes parisiens. Blouse japonaise en soie sur une jupe plissée. Marin de toile blanche (pl.105, Journal des Dames et des Modes, 1913 n°47)‎

‎- s.n., Paris 1913, 14x22,5cm, une feuille. - Estampe originale en couleur, tirée sur papier vergé, signature en haut à gauche de la planche. L'une des premières revues de mode françaises, parue quelques temps avant la fameuse Gazette du bon ton et réunissant les grands artistes français de la mouvance Art déco. Le Journal des dames et des modes est une revue trimensuelle de mode française illustrée créée en 1797. Sa publication est stoppée en 1839 avant d'être reprise en juin 1912 sous l'impulsion de Tommaso Antongini, le secrétaire, ami et biographe de Gabriele d'Annunzio. Elle disparaîtra en août 1914 à l'aube de la Première Guerre mondiale. La revue était tirée à 1279 exemplaires ce qui en fait, pour l'époque, une publication relativement confidentielle. Les 186 planches, d'une grande finesse, sont gravées sur papier fort puis coloriées au pochoir. Elles représentent, la majorité du temps, des femmes, mais aussi des hommes et des enfants. Les modèles ne sont pas, à la différence de ceux de la Gazette du bon ton dont la publication verra le jour quelques mois plus tard, ceux des couturiers de renom mais sont le fruit de l'imagination des illustrateurs eux-mêmes. Les pochoirs sont, la plupart du temps, exécutés par George Barbier, mais d'autres artistes collaborent à la revue : Léon Bakst, B. Berty, Bernard Boutet de Monvel, Roger Broders, Jan van Brock, Umberto Brunelleschi, H. Robert Dammy, Étienne Drian, Abel Faivre, Marie-Madeleine Franc-Nohain, Xavier Gosé, Paul Iribe, Kriegck, Victor Lhuer, Pierre Legrain, Charles Martin, Fernand Siméon, Ismael Smith, Armand Vallée et Gerda Wegener. Nombre de ces illustrateurs seront également associés à La Gazette du bon ton. Leurs travaux, emblématiques du mouvement Art déco, soulignent l'influence de l'orientalisme et des costumes des ballets russes tout en les inscrivant dans les activités quotidiennes des Français aisés de l'époque. Dès la préface du premier numéro de 1912, Anatole France déclare : « Au bout de soixante-quinze ans, il renaît. Il renaît par les soins de quelques esprits ingénieux et artistes. Il renaît pour les curieux (s'il en est encore) que ne contentent pas les journaux de modes tirés à plusieurs milliers et illustrés par la photographie. Et si les éditeurs nous rendent très exactement, dans son format, avec son papier, son impression, ses procédés de gravure et de coloris, le vieux classique des modes d'autrefois, c'est qu'ils entendent le continuer agréablement et devenir les classiques charmants de la mode d'aujourd'hui et de demain. » [ENGLISH DESCRIPTION ON DEMAND]‎

‎BARBIER George‎

‎Le Bonheur du jour ou Les Grâces à la Mode‎

‎- Chez Meynal, Paris 1920-1924, 44,5x31cm, en feuilles sous couverture de l'éditeur. - Le Bonheur du jour ou Les Grâces à la Mode Chez Meynal | Paris 1920-1924 | 44,5 x 31 cm loose leaves under publisher's cover and custom slipcase First edition complete with its 21 color copper-engravings and pochoirs by H. Reidel colored after the drawings of George Barbier: one on the cover, one on the title, 3 in the text and 16 plates. The work was printed with 300 copies, all printed on vellum paper. Embossed stamp in the bottom right of the title page. Our copy is presented in a blue calf custom slipcase, fans-pattern paper boards, title piece in blue calf and titled in palladium in the center of the first board; lambskin velvet lining, slipcase signed by Thomas Boichot. Rare and superb copy, complete with all its plates, of this magnificent and monumental Art Deco work that required four years of work. [FRENCH VERSION FOLLOWS] Édition originale bien complète de ses 21 compositions en couleurs gravées sur cuivre par H. Reidel et coloriées au pochoir d'après les dessins de George Barbier?: une sur la couverture, une sur le titre, 3 dans le texte et 16 hors texte. L'ouvrage fut tiré à 300 exemplaires, tous imprimés sur papier vélin. Notre exemplaire est présenté dans un étui en veau bleu, plats de papier à motif d'éventails, pièce de titre en veau bleu et titrée au palladium au centre du premier plat, doublure en velours d'agneau, étui signé Thomas Boichot. Timbre à sec en bas à droite de la page de titre. Rare et superbe exemplaire, complet de toutes ses planches, de ce magnifique et monumental ouvrage Art Déco qui nécessita quatre années de travail.‎

‎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

‎Barclay, John; Turner, Paul (translation); Harris, Derrick (wood engravings)‎

‎Euphormio's Satyricon Euphormionis Satyricon‎

‎Great Britain: The Golden Cockerel Press 1954. Book. Very Good. Hardcover. 158 pages 4to. No DJ. Missing prospectus. Shelfwear: scuffing along edges and covers many smudges and some staining on cover boards light tanning and foxing. Tight binding. Volume is in Very Good condition. The Golden Cockerel Press Hardcover‎

Referentie van de boekhandelaar : 064381

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

‎John Keats: The Complete Poems‎

‎London: Folio Society 2001. 1st edition. As New. tall octavo. 1/4 leather xix 472pp. illusts. notes index Bound with an emerald green leather spine over decorated green boards. In nice slip-case as issued Folio Society hardcover‎

Referentie van de boekhandelaar : 152920

‎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

‎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

Referentie van de boekhandelaar : 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 (Cupramontana, 1892 - Roma, 1963)‎

‎6 litografie di Bartolini‎

‎Cartella contenente 6 litografie originali a colori, eseguite da Luigi Bartolini nel laboratorio delle Edizioni d'Arte il Bisonte a Firenze, tra il dicembre 1961 e il marzo 1962, ed un frontespizio litografico inciso dall'Autore. Titoli delle opere: "Villa in Sabina", "Strada di Villa Madama", "Il davanzale in fiore", "Anna nei boschi", "Fonte di campagna", "Le fioraie" (cm 65x46 - 46x65 c.ca). Le litografie sono numerate, titolate e firmate da Bartolini a matita. Con due poesie dell'Autore: "La passeggiata" e "Gli uccelli" Esemplare 6/30. Cm 66x48. pp. 4 + 7. . Molto buono (Very Good). . Prima edizione di 100+XXX es. numerati. .‎

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

‎Il cavallino di Monte Mario‎

‎Acquaforte originale di Luigi Bartolini (cm 4x4,6) non firmata. Opera allegata al periodico "L'Incisione" n. 16 che contiene altra acquaforte originale, numerata e firmata, di Walter Piacesi (Omaggio a Piero Della Francesca, cm 18,3x16,3). Testo inedito di Dino Garrone . 4to. pp. 20. . Perfetto (Mint). . . . Sarà questa una delle lastre incise da Luigi Bartolini rincorrendo il cavallini di Monte Mario? Consegnatami dal grande Artista, con piacere ora la dono agli amici di questa rivista che porta il titolo da lui stesso suggerito. L'autenticità dell'acquaforte è convalidata dal timbro a secco - il cui disegno è stato delineato da Bartolini nel 1962 - delle edizioni Bucciarelli (Nota dell'Editore Brenno Bucciarelli)‎

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

‎Senza titolo‎

‎Acquaforte inclusa nella cartella ''Cinquanta incisioni di artisti italiani'', pubblicata da Prandi nel 1963 Firma e numerazione a matita (Firma e data sulla lastra). Esemplare 37/75. Cm 24,5x17 (Foglio 45x32). . . Ottimo (Fine). . . .‎

‎Bartolini, Sigfrido‎

‎Mario Sironi. L'Opera Incisa‎

‎This is a very good hardcover copy in a very good dust jacket. Completely clean inside and very clean outside as well, just a small piece chipped out of the top edge of the front jacket panel. Text in Italian. Introduction by Alfonso Gatto. Illustrated in color and black & white. 12" high X 10" wide, 213 pages. A beautiful copy. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.‎

‎Bartolomeo Pinelli - Giuseppe Berneri‎

‎Il Meo Patacca o vero Roma in feste nei trionfi di Vienna poema giocoso nel linguaggio romanesco Edizione seconda arricchita di num. 52 tavole‎

‎In4° grande oblungo, legatura solida in mezza pelle rossa con angoli, fregi dorati al dorso, tasselo con titolo in oro al piatto superiore. Seconda edizione la prima completa con tutte le tavole. PP. (6), 170, più 52 tavole. Buon esemplare. I dodici canti del poema eroicomico, in dialetto romanesco, che diede la notorietà a Giuseppe Berneri (1637-1701) pubblicato insieme alle famose incisioni all’acquaforte di Pinelli (1781-1835) che ritraggono vivide scene popolari, con personaggi e costumi contemporanei, iconografia della Roma ottocentesca.‎

‎Bartsch, Adam‎

‎Le peintre graveur‎

‎Würzburg : Verlagsdruckerei Würzburg 1920-22. <p>22 volumes in8 en 19 1920-22 Nouvelle édition  illustrations facsimiles de monogrames avec tables et index portrait ; 23 cm Rel demi-toile avec légers accrocs aux dos et plats généralement bel ex ex-libris MKG</p><p>v 1-5 Niederlaender --</p><p>v 6-11 Les vieux maiÌ‚tres allemands --</p><p>v 12 Les clair-obscurs des maiÌ‚tres italiens --</p><p>v 13 Les vieux maiÌ‚tres italiens --</p><p>v 14 Å’uvres de Marc-Antoine et de ses deux principaux eÌleÌ€ves Augustin de Venise et Marc de Ravenne --</p><p>v 15 Estampes de diffeÌrents graveurs anonymes qui semblent eÌ‚tre de l'eÌcole de Marc-Antoine Raimondi --</p><p>v 16-18 Peintres ou dessinateurs italiens: MaiÌ‚tres du seizieÌ€me sieÌ€cle --</p><p>v 19-21 Peintres ou dessinateurs italiens: MaiÌ‚tres du dix-septieÌ€me sieÌ€cle</p><p>v 22 zusatze zu Adam Bartsch's Le peintre graveur von Joseph Heller; Supplémentspar Rudolph Weigel</p><br /><br /><br /> Verlagsdruckerei Würzburg unknown‎

Referentie van de boekhandelaar : biblio650

‎Baruch, Adam [Ed.]‎

‎Peter Z. Malkin: Silkscreens Portfolio‎

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