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[Bande dessinée].
Album of original drawings. Blois, Paris, Saint-Malo and no place, 1990-1994.
Folio (320 x 250 mm). 150 leaves with 140 drawings. Various media: felt-tip marker, India ink, pen, graphite, coloured pencil, gouache, etc. Contemporary leatherette album, upper cover giltstamped "Livre d'Or", covers reinforced with metal applications. Marbled endpapers. All edges gilt. A splendid album of original artwork by some of the foremost artists of the Franco-Belgian comics scene active during the early 1990s. The contributions, some of which are located and dated, would seem to have been collected at various comics fairs or events. Virtually all are inscribed to "Jean-Michel", also variously spelt "Yann Mikael" or similarly, suggesting - as do the frequent maritime subjects - that the collector hailed from Brittany, probably from Saint-Malo, where numerous entries were acquired. - Among the still-active luminaries of the medium's Golden Age are Morris (with a portrait of Lucky Luke) and Tabary (who draws Calife Haroun el Poussah, known in English as Haroun El Plassid). Jidéhem draws Gaston (on which strip he long collaborated with Franquin), and Albert Weinberg draws his character Dan Cooper. Marcel Uderzo, Albert's younger brother and sometime collaborator on the original Asterix albums, draws his own character Mathias. Others have taken over the torch from famous predecessors: Al Coutelis draws a spoof of Tanguy and Laverdure, a famous strip he inherited from Albert Uderzo; Jean-Claude Fournier draws Spirou, which character Franquin handed over to him as early as 1970. A portrait in fineliner and broad felt-tip is contributed by André Juillard, who would later take over Edgar P. Jacobs's Blake and Mortimer - a series in which Didier Convard, seen in another entry, would also have a hand, in collaboration with Juillard. Jacobs himself is obliquely present in the portrait of his villain Olrik, drawn by an unidentified contributor, while Jean-Charles Kraehn represents Saint-Malo's very own "bande dessinée" scene. - A few double-page spreads (21, 114). Occasional light offsetting to opposite page or bleeding to next, especially from felt-tip drawings, but on the whole perfectly preserved. A few blank pages serve as protective tissue guards. A complete list of contributors, all but a dozen identified, is available upon request.
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[China and Sri Lanka].
Album of watercolours. Shanghai, Hong Kong, Colombo, and other places, 1895-1896.
Large 4to (180 x 255 mm). 26 watercolours on 25 ff. With several additional pencil sketches. Original black half leather with green cloth covers and pen holder. Impressive album of vibrant watercolours documenting an extensive journey from Shanghai to Sri Lanka via Hong Kong made by a female British artist, Frances de la Poer. The volume opens with a full-page depiction of a traditional Chinese lotus shoe captioned "The Brides shoe Shanghai Nov 30th 95", decorated with a sketch of two women in festive dress beneath a tree. The artist apparently had attended a wedding in Shanghai, as she also portrayed "The brides sisters" on the verso of the same leaf underneath a panorama of the Yangtze river crowded with junks. This latter watercolour is stated to have been drawn on deck of the Canadian ocean liner "RMS Empress of Japan", bound for Hong Kong. On 3 December, Frances de la Poer captured in an atmospheric watercolour the Lei Yue Mun channel ("Lymoon pass") that separates Kowloon and Hong Kong Island, followed by another river scene showing clothes drying on the shore of the Pearl River. The album continues with a portrait of two Chinese men in traditional attire and two more landscapes of the Pearl River (here captioned "Canton River") and its mountainous surroundings. On 13 December the artist had already reached Malaysia, as evidenced by an unfinished watercolour depicting a group of people with cattle. The journey continued on the German "Reichspostdampfer Preussen", documented in the caption of a stunning landscape of the Sumatran coastline from 16 December. - After a longer interruption, the Ceylonese section of the album starts with an impressive depiction of a lake near Bandarawela, dated 26 Jan. 1896. The artist explored the south of the island, painting a landscape in Badulla, a "lace seller" in Colombo, a river scene near a British fort, a young boy, a Buddhist stupa, acrobats in Yatawatta, huts in a village and a woman in Kandy province, a Tamil coolie working with tea and other labourers, but also a scorpion and, in pencil, a spider and lizards. Several drawings are also annotated in Sinhalese. A series of larger pencil drawings is followed by two final watercolours: a beautiful depiction of Galle Lighthouse, the oldest lighthouse on the island, and a charming scene on deck of the British ocean liner "RMS Ormuz", dated 22 February. - Frances de la Poer (ca. 1850-1925) was the youngest daughter of the Irish nobleman John William de la Poer (1816-51). In 1881 she married Thomas William Gaston Monsell, 2nd Baron Emly, son of the liberal politician William Monsell. - Spine professionally restored. Two leaves apparently excised, but generally well preserved.
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Ridinger, Johann Elias.
Das in seiner großen Mannigfaltigkeit und in seinen schönen Farben nach Original-Zeichnungen geschilderte Thierreich. Augsburg, Johann Jakob & Martin Elias Ridinger, 1768.
Folio (280 x 440 mm). 2 parts in one volume. 20, 24, (2) pp.; 17, (1), 20, (2) pp. With engraved sanguine frontispiece, engraved sanguine title-page, engraved vignette in the text, and 127 hand-coloured engraved plates. Modern full calf, bound to style, in custom slipcase. First edition of Ridingers' last great suite of plates, posthumously completed and edited by his sons Johann Jakob and Martin Elias Ridinger. One of only two series of engravings that Ridinger published with coloured plates; very rarely encountered complete, as in the present specimen. - As always, part I has only a sanguine frontispiece with Ridinger's medallion portrait but no title proper. This is followed by a preface in French and German (with a biography of the artist); the title of the work is not announced until page 9 of the German introduction. Part II has a separate engraved title-page, also printed in sanguine. - Occasional light fingerstaining to the lower margins of some plates, otherwise very clean. Some occasional light foxing to text leaves. Spine a little sunned, front hinge professionally restored. From the collection of the Hessian chemist Waldemar Schwalbe (1882-1943) with his pretty silhouette bookplate, dated 1937. Nissen 3408. Thienemann/Schwarz 974-1102.
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Tiepolo, Giovanni Domenico, Italian painter and draughtsman (1727-1804).
Caricature of a gentleman with a walking stick. Italy, second half of the 18th century.
168 x 107 mm. Pen and brown ink, brown and black wash on paper. Some foxing. Charming caricature by the Venetian master depicting a liveried gentleman with a tricorne, épée and a walking stick in profile, accentuating the figure's grotesque pointed nose and chin. The drawing can be attributed to Giovanni Domenico Tiepolo, the oldest son and student of Giovanni Battista Tiepolo. - The drawing is very similar to the caricature of a gentleman with walking stick holding and tricorne that is held at the MET (Inv.: 37.165.68).
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Ferdinand II of Portugal, King consort and regent of Portugal (1816-1885)
Portrait of a dog. Lisbon, 1850.
21,5 x 16,5 cm (neatline). Etching on paper. With traces of former mounting. Rare copy of this charming etching depicting a dog, probably a terrier, in a domestic setting with carpet, water-pipe, a couch, and a baroque chair. Ferdinand II of Portugal was a talented draughtsman and etcher and a lifelong benefactor of the arts, which earned him the nickname "Rei Artista". Among his favorite motifs were animals and peasants. The etching at hand is indicative of Ferdinand's eclectic taste, combining orientalist and historistic influences. The most famous example of this inclination is the Pena Palace built on his commission between 1842 and 1854. - In 1836 the future Queen Victoria started an album of her cousin's etchings that would be continued until 1850, ultimatively assembling 54 of Ferdinand's works. In her journal entry of 24 March 1836, Princess Victoria describes how she "copied some of Ferdinand's drawings". - Diffuse foxing. With a minor tear to the upper right corner (not affecting the etching). An old Italian caption in ink erroneously describes the piece as a pen drawing.
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[Einblattdruck - Nürnberg].
Bey dem mit Gott glücklich angetrettenen Neuen Jahr wolte hiemit seinen Wunsch mit allen Seel und Leib ersprießlichen Wohlseyn abstatten ein geringer Nachbar der löblichen Binder-Gassen Christoph Weiß [...]. [Nürnberg?], 1. I. 1762.
1 S. Mit einem Kupferstich (ca. 12 x 17 cm). 4to. Hübsches Neujahrsblatt eines Laternenwächters. Der Kupferstich zeigt wohl Christoph Weiß in Ausübung seiner Tätigkeit beim Nachfüllen von städtischen Laternen mit frischem Talg (Klauenfett). Darunter ein Neujahrsgedicht in zwei Spalten: "Heunte kommen grosse Hauffen | Für die Thüren hergelauffen | Wünschen uns ein Neues Jahr. | Da das Fenster kaum geschlossen, | Und ein Augenblick verflossen, | Meldt sich schon ein neue Schaar. | Hat der Thorner sich verschlichen, | Kommt der Wächter angestrichen | Nebst den Hörnleins-Wächter her. | Schlott- und Brunnen-Feger wollen | Kommen auch Neu Jahr zu holen | Weil es ist ein alte Mähr. | Ballenbinder und Feldwebel | Und bey theils auch die Constäbel, | Zeigen sich nach ihren Brauch. | Auch der Pritscher mit der Trommel | Machet ein Neu Jahr Getrommel, | Ja die Haupt-Wacht find sich auch. | Solt ich nun bey solchen Sachen | Mein Aufwartung nicht auch machen, | Zum Neu Jahr was bitten aus, | Der ich hab so vieles Oele | Ein halb Jahr auf meiner Seele, | Lampen, Tacht, in meinem Hauß. | Jezund will ich auch anfangen, | Da ein Jahr ist hin gegangen | Daß ich diese Sorge trag. | Gott erhalt die werthen Männer, | Und den hoch lateinschen Gönner, | Die drauf dachten Nacht und Tag [...] Denn will ich auf meiner Leiter | Mein Amt warten treulich weiter, | Daß kein Garn nicht wird versehrt. | Mehr, ich will zu jeden Nutzen | Fleißig gehen, um zu butzen, | Holten die Laternen rein. | Ja ich will in meiner Hütten, | Sonst kein Tropffen Oel verschütten | Als nur zum Salat allein [...]". - Vereinzelt kleine Braunflecken; leicht knittrig.
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Elisabeth ("Sisi"), Kaiserin von Österreich (1837-1898).
Eigenh. Skizzenbuch. Possenhofen, Lauterbach, Geretshausen, Oberzeismering u. a., [um 1845].
Ca. 42 Skizzen (3 aquarelliert) und 2 Texte auf 30 Bll. Original marmorierter Pappeinband mit Bleistifthalter. 8vo. Charmantes Skizzenbuch der jungen Herzogin mit zahlreichen Landschafts- und Architekturzeichnungen, Darstellungen von Haustieren sowie Karikaturen und Porträts besonders ihrer Schwestern. Neben den Zeichnungen umfasst das Büchlein ein amüsantes Gedicht ("In Lautenbach habe ich mein Strumpf verloren / Und ohne Strumpf geh ich nicht heim [...]"), eine Art Tagebucheintrag und den Entwurf für eine Glückwunschkarte mit Namenszug "Elisabeth" zum Namenstag ihres jüngeren Bruders Carl Theodor, genannt Gackel. - Das Skizzenbuch erlaubt einen seltenen, oft humorvollen Einblick in Elisabeths Kindheit in Possenhofen. Ihre Liebe zur Natur wird besonders durch die geschickten Skizzen von Bäumen verdeutlicht, die sie an verschiedenen Orten in Bayern anfertigte. Wie eine Sammlernotiz in Bleistift verdeutlicht, stammt das Skizzenbuch aus dem Nachlass der Gräfin Camilla von Otting, die als Erzieherin im herzöglichen Haushalt wirkte: "Kindliches Zeichenbuch der späteren Kaiserin Elisabeth v Oesterreich Herzogin in Bayern stammt aus dem Nachlass der Gräfin Camilla v Otting ihrer Erzieherin und Hofdame". - Einband berieben und bestoßen, Vorderdeckel mit Fehlstellen im Marmorpapier. Einige Bll. lose. Teils leicht fleckig und vereinzelte Einrisse. Durchgehend gebräunt.
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Klimt, Gustav.
Fünfundzwanzig Handzeichnungen. Vienna, (Max Jaffé für) Gilhofer & Ranschburg, 1919.
Royal folio (410 x 605 mm). 2 ff. of text and 25 collotype plates after drawings on matte art paper (7 with colours), each tipped onto thin cream card with a mount as issued. Storedin original half cloth portfolio with Klimt's gilt-printed signature on the upper cover. Number 326 of only 500 numbered and 10 deluxe copies. The twenty-five monochrome and coloured drawings show women in mainly erotic scenes. All were from the collection of the Austrian industrialist August Lederer and his wife Serena (a relative of the U.S. journalist Joseph Pulitzer), who together spent a fortune on compiling the most important Klimt collection of their age. Forcibly expropriated by the National Socialists in 1938, a significant part of the trove was stored at Immendorf Castle in Lower Austria, where it appears to have perished in a fire in May 1945. - From the collection of the Swedish painter and photographer Johan Theodor Jönsson with two stamps of his archive foundation. Several mounts a little waterstained or dust-soiled, but generally in excellent condition. For the history of the Lederer family and their collection see 1) Tina Marie Storkovich, Verbrannte Klimtbilder: Das Puzzle von Immendorf. In: "Die Presse", Print-Ausgabe, 19 Dec. 2015, Spectrum, p. III. 2) Michael Wladika, Egon Schiele, "Die Mutter und die Tochter" 1913. Dossier der Leopold Museum-Privatstiftung zu LM Inv. Nr. 2356.
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Picasso, Pablo, painter and sculptor (1881-1973).
2 full-page pen and brush drawings in Indian ink. In: Eaux-fortes originales pour des textes de Buffon. Paris, Martin Fabiani, 1942.
Small folio (287 x 377 mm). (6), 134, (24) pp. With 31 leaves plates (sugar aquatints, etchings and drypoints). In unbound sheets as issued, stored in publisher's original cardboard covers, portfolio and slipcase (some slight wear to the latter). Two unique and wholly original brush drawings, adorning a signed and inscribed first edition of this famous suite by Picasso, in perfect condition. - Limited edition of 226 copies: this is number 155, one of 135 on Vidalon vélin. This copy was presented by Picasso to his friend, the painter André Marchand (1907-98), with an autograph inscription and two original drawings, each one full page. The two drawings are executed in Indian ink, pen and brush, heightened with black ink wash. They occupy the verso of the half-title bifolium and the first section title ("Le Cheval"). The first drawing shows a tomato plant in a pot, probably a reference to the still lifes for which Marchand was known. The second presents two different figures of a horse: in the upper half of the sheet, a white horse, seen in profile; in the lower half, a powerful horse's head, also in profile, against a stark dark background. Both are dated by the artist "7 August 44"; the first drawing also bears in the lower right-hand corner the signed dedication: "Pour André Marchand / Picasso". - In 1936 Ambroise Vollard commissioned illustrations by Picasso for the comte de Buffon’s 18th century encyclopedia, "Histoire naturelle". The book was published in 1942 with Picasso’s 31 prints. The delightful images of the animal kingdom, rendered with exquisite technique, must have surely brought joy to those who viewed it during the dark days of the war. Printed in a relatively small edition of 226, several copies went to friends with unique drawings such as these. - Includes an additional print of the "Mère poule" plate. Provenance: André Marchand; Jean A. Bonna (his bookplate to the portfolio's pastedown). With a certificate from Picasso's daughter Maya, dated 10 October 2002. S. Goeppert, Picasso (1983), p. 104-107. The Artist and the Book, 231. OCLC 78845813.
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Tiepolo, Giovanni Domenico, Italian painter and draughtsman (1727-1804).
Caricature of a gentleman wearing a tricorne. Italy, second half of the 18th century.
166 x 108 mm. Pen and brown ink, brown wash on paper. Minimal foxing. Charming caricature by the Venetian master depicting a liveried gentleman with épée and tricorne in profile, accentuating the figure's implausibly hollow back, grotesquely hooked nose, and impressive prognathism. The drawing can be attributed to Giovanni Domenico Tiepolo, the oldest son and student of Giovanni Battista Tiepolo. - The drawing is very similar to the caricature of a gentleman with walking stick and tricorne that is held at the MET (Inv.: 37.165.68).
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[Battala woodcut]. Karmakar, Jadubandu (printer).
Raja Sabha [The Raja's court]. [Calcutta], printed by Jadubandu Karmakar, [ca. 1840].
Woodcut on paper. An evocative court scene in an ornamental woodcut border, title and impressum in Bengali within a cartouche situated at bottom centre. The only known copy of a Battala woodcut showing a lively scene at the court of an Indian Raja, with the Raja and eminent courtiers, European colonial officers, musicians, dancers, and even dogs present. This is a very rare example of a Battala woodcut print, which were produced in the early to mid 19th century in the Battala neighbourhood of Calcutta (Kolkota). These prints showed often somewhat crude but evocative religious or secular illustrations, produced for people of the lower economic classes who could not afford the watercolours that inspired these woodcuts. An estimated number of only 100 to 200 prints of these Battala woodcuts have survived, as they were printed on cheap, thin, low quality paper stock. - During the early 19th century, there existed in Kolkata a substantial industry of woodcut printing. The artists, publishers and printers were active in the Battala neighbourhood, in the northern part of the city, after which the surviving woodcut prints are named. Large, single-leaf woodcuts - like the present example - were produced as cheaper versions of the already inexpensive watercolours called patas, which were in turn inspired by illustrated Mughal manuscripts. The patas were sold from stalls in the southern part of Kolkata, near the Kalighat Kali Temple, a renowned Hindu temple that is also regarded as one of the 51 Shakti Peethas of India. It was then, and still remains, an important pilgrimage destination; the patas, and later also the woodcut prints, were sold to the pilgrims as souvenirs. As the Battala woodcuts were inspired by and based on these patas, it is little surprise that one of the most famous Battala woodcuts is that of the Hindu goddess Kali, of ultimate power, time, destruction and change. While most Battala prints feature religious illustrations, other specimens show past and contemporary celebrities, mansions of the rich, fairs and festivals, and other secular themes, including the Raja's court, as in the present example. - The existence of the Battala prints, alongside the pata watercolours, was short-lived: they emerged and became popular in the early 19th century and by the end of the century had almost completely disappeared due to the arrival of lithography, a simpler, less labour-intensive process that was capable of producing cheaper prints, even in colour. - Condition: paper somewhat worn, mainly along the lower margin, slightly affecting the border and lower right corner of the illustration. The top and lower margins have been slightly reinforced on the reverse. Overall in good condition. One of a very small number of surviving Battala woodcuts, the only known example to show the Raja's court. F. Hirsch, "A Rare Kali Woodcut From the Era of the Battala Printers", Art in Print 6.3 (Sept.-Oct. 2016), pp. 24-28.
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Moffat, James.
Vexation and Strife. Calcutta (Kolkata), 1797.
Aquatint etching on paper (leaf ca. 290 x 380 mm; plate 270 x 350 mm; illustration 245 x 315 mm). A domestic scene of a couple fighting at a table, a shrouded dark figure watching from the background. Captioned "Vexation and Strife" and signed "Calcutta J. M. del. et sculp. 1797". Printed on laid paper with the bend watermark of J. Whatman (Heawood 104). Very rare aquatint and etching by James Moffat, with a rare Calcutta imprint. The subject of the print is a subtle caricature of domestic strife over the intoxication of a (supposedly) British colonial. The only other known copy is described as follows by Yale's Lewis Warpole Library catalogue: "In the center of the image a woman, dressed in a short shift, angrily pulls a bottle from the hand of a drunken man. The man sits at an oval drop-leaf table with his right fist raised and a cigar hanging from his mouth as smoke billows around his head. He holds onto a bottle with his left hand, a glass and pile of cigars at his elbow. The woman standing over the table on the left angrily points with her left hand to a clock on the wall which shows the time as 5:05. In the background on the left, a dark-faced, cloaked figure stands before the curtained doorway on the left; the double doors on the right are shut. Also on the table is a lit candle in a glass globe; an overturned pitcher pours onto the floor in the foreground". - James Moffat (1775-1815) was a Scottish engraver who worked in India. He arrived in Calcutta in 1789, joining the "Calcutta Gazette" in 1797. Moffat is mainly known for his topographical views of India, but he also produced several satirical prints such as the present specimen. He "supplemented his income by producing satires of Anglo-Indians (British colonials who spent time in India) at a time when these were becoming increasingly popular" (Smylitopoulos, p. 12). Most of these satirical scenes were sent by the amateur artist to London to be engraved and published, but the present example with its Calcutta imprint in the signature proves the exception to this rule. - Moffat's topographical views of cities, buildings, rivers and other landscape features are rare, and his satirical domestic scenes are even rarer. The only other copy that can be traced in institutional possession that that in the Lewis Warpole Library at Yale University, and it almost never appears in the trade, with only two records in historical auction results (one in 1933 and one in 2020, possibly the present copy). - Two small tears, one in the top margin and the other in the bottom, neither affecting the illustration. Very slightly stained in the margins. Overall in very good condition. OCLC 701812946 (a single copy, at Yale). For Moffat's career cf. H. de Almeida & George H. Gilpin, Indian Renaissance: British Romantic Art and the Prospect of India (2005) pp. 249f.; C. Smylitopoulos, "Portrait of a Nabob: Graphic Satire, Portraiture, and the Anglo-Indian in the Late Eighteenth Century", in: RACAR 37.1 (2012), pp. 10-25.
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Emmer, Felice, writer and artist (dates unknown).
Eine Blumengeschichte. [Probably Vienna, 1948].
Small 4to (131 x 150 mm). 16 unnumbered pp. on 8 ff. with numerous pen-and-ink drawings in original hand colour. Original boards with coloured cover illustration. Meticulously drawn and coloured pen illustrations of a "story of flowers and bug people" (as the title-page states), written by the artist herself. - Includes ten printed, illustrated leaves of poetry (one a duplicate) and three printed bookmarks issued by the Viennese publisher Waldheim-Eberle, who published several of Emmer's books, including this one.
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Hanko, Hans, Maler und Graphiker (1923-1992).
Eigenh. Skizzenbuch. O. O., 1960er Jahre.
98 Zeichnungen und Entwürfe auf 86 (und einem einmontierten) Bll. Flexibler Perkalinband. 8vo. Mit zahlreichen Beilagen (s. u.). Originelles Skizzen- und Notizbuch des Wiener Malers, der sowohl Entwürfe und Gedanken wie auch Bilder seines Alltags festhält, gelegentlich auch kleine Beobachtungen und Notizen ("Weißes Packpap. 80 m² Kleister"). Einige der Zeichnungen sind der Wiener Schule des phantastischen Realismus zuzuordnen, andere sind Portraits (wie das von "Christl 28. 7. 64 Am Ziegelteich"), manche auch Karikaturen. Dazwischen eingestreut sind an einigen Stellen auch kleine Gedichte, etwa der "Chor der alten Jungfern!": "Nur nichts riskieren / Nur nichts verlieren / Und sich für nichts und / Niemand interessieren / Dann kann uns nichts passieren! / Nur nichts vergeben / Um Gottes Willen nur nicht "leben" / Und so werden wir langsam alt / Und haben noch niemals draufgezahlt! / Wir haben uns keinen angelacht / Kein Mann hat uns ein Kind gemacht / Wir blieben unberührt / Und unverführt! / Juchhei!". - Hans Hanko war kaufmännischer Angestellter, wurde später Polizist und bildete sich autodidaktisch zum Maler. "Er malte anfänglich vorwiegend expressionistisch. Nach 1960 Hinwendung zur phantastischen Kunst. Erstmals im Jahre 1962 nahm er in der Galerie zur Silbernen Rose an einer Ausstellung von Künstlern der Wiener Schule des phantastischen Realismus teil" (Fuchs 2, K 42). - Die Beilagen umfassen zwei eh. Briefe mit U. aus dem Jahre 1980 (zusammen 7 SS. auf 4 Bll., 4to), in denen er von einem Arbeitsaufenthalt in der Schweiz berichtet, einen Brief einer Buchhandlung, die Hankos Frau Margarete ihre Kündigung mitteilt, einen Notizzettel aus dem Jahre 1981, drei private Photographien und 96 Photographien, die seine Arbeiten und einmal ihn bei der Arbeit zeigen.
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Dufy, Raoul, French painter (1877-1953).
Drawing with autograph notes and studio stamp "RD". N. p. o. d.
Oblong 8vo. (170 x 106 mm). In pencil. Charming page from a notebook showing sketches of flowers and shadings with indications of colours: "bleu bleu garance vert bleu foncé vert jaune transparent". The highly stylized petals and the colours indicated suggest Dufy's beautiful post-impressionist watercolour flower bouquets. - On the verso, a sketch of a marine horizon with a ship and some buildings on the shore. Minimal browning.
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CONTI, Primo (Firenze 1900 - Fiesole 1988)
A capofitto sul Cilestre
Una poesia inedita ''Capelli biondi'' e 5 xilografie originali numerate e firmate di Primo Conti. Le xilografie sono state impresse da Giorgio Upiglio a Milano e il testo dalle Edizioni D'Arte Cantini di Firenze. Le dimensioni delle xilografie variano da cm 19,5x16 a cm 29x23. Una delle 80 copie su carta Fabriano (es. 62/80). Folio. pp. 8 + stampe. . Ottimo (Fine). . Prima edizione di 80 + XX esemplari. . Capelli biondi è ispirata ad un amore giovanile di Conti e fu scritta nel 1915. Le xilo furono realizzate nell'inverno 1914-1915, nel suo studio di via dei Della Robbia. Le matrici sono state riscoperte in anni recenti. Prima che il libro fosse stampato da Giorgio Upiglio, l'autore eseguì un certo numero di prove a mano. Fino all'età di 16 anni Primo Conti usò lo pseudonimo Umberto come indica la firma ''U.C.'' incisa nella matrice.
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ROGNONI, Franco (Milano 1913-1999),
Ex Libris di Franco Rognoni
24 puntesecche originali applicate su carta pesante, firmate a matita dall'Artista (cm 8x6,5, foglio 15x11,5). Testo di Luigi Filippo Bolaffio . Cm 20x30. pp. 12 + 24 plates. . Ottimo (Fine). . Edizione originale di 150 es. numerati. .
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PIACESI, Walter (Ascoli Piceno, 1929)
Omaggio a Garcia Lorca
Cinque acqueforti originali su carta color ocra, numerate e firmate, di Walter Piacesi (cm 19x18,5). Uno scritto di Carlo Bo, intitolato ''Lorca, oggi e sempre'', con firma autografa dello scrittore ad inchiostro blu Carta a mano Fabriano. Cm 33x46. pp. 6 + incisioni. . Perfetto (Mint). . Prima edizione di 100 es. numerati. .
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MANZONE Giuseppe, BEZZO Guglielmo e LAUSTINO Emanuele
Terre astigiane. Sei paesaggi all'acquaforte
Cartella con 6 acqueforti originali, numerate e firmate (da cm 12,5x18,5 a 23,5x29,5), tirate a braccia con torchio a stella nella stamperia del lanzello. Una poesia di Angelo Mistrangelo. Presentazione di Pierluigi Sacco Botto . Folio (cm 54x39). . . Ottimo (Fine). . Edizione originale di 30 es. numerati. .
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BRINDISI, Remo (Roma, 1918 - Lido di Spina, 1996)
Sei incisioni a colori per la Storia della colonna infame di Alessandro Manzoni
Sei acqueforti acquetinte a colori originali, numerate e firmate a matita, di Remo Brindisi per la Storia della colonna infame. Introduzione critica di Roberto Sanesi Tiratura delle incisioni realizzata con torchi a mano su cartoncino Magnani per incisioni. Testo composto e impresso dalla Tipografia Annesio Nobili di Pesaro. Opera ideata e curata da Piergiorgio Spallacci. Es. VII/XXV. Cm 55x37,5. pp. 32. . Ottimo (Fine). . Edizione originale di 125 + XXV es. numerati. .
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GARELLI, Franco,
Caso di uomo
8 litografie originali in nero, numerate e firmate di Garelli (cm 35x25). Un testo dell'A. riprodotto litograficamente al risvolto della copertina Copertina originale dell'A. Stampa curata dall'A. eseguita con torchio a mano dal maestro Corsino. Pietre distrutte dopo la tiratura. Cm 25x35. pp. 8. . Molto buono (Very Good). Fioriture leggere alla copertina (Some light yellowing at the covers). Edizione originale di 75 es. numerati. .
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ZANCANARO, Tono (Padova, 1906 - Padova, 1985)
Dal Satiricon di Petronio
13 grandi litografie originali numerate, titolate e firmate dall'Artista (cm 34x25) Scritte in nero al piatto. Esemplare 27/45. cm 51x41. 13 fogli sciolti in cartella di tela. . Ottimo (Fine). . Edizione originale di 45 es. numerati. .
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PICCOTTI, Cesare
Piccotti
Cartella-oggetto del gruppo de ''La Cappella'' contenente 3 serigrafie su acciaio e 3 gruppi di piccoli magneti colorati . 8vo. . . Ottimo (Fine). . Edizione originale di 16 es. numerati. .
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CALO', Aldo (San Cesario di Lecce, 1910 - Roma, 1983),
Aldo Calò
12 litografie originali a piena pagina (firmate solo su lastra) di Aldo Calò. Testo critico di Corrado Maltese in italiano e inglese . 4to. pp. 44. . Molto buono (Very Good). legatura scollata (Loose binding). Edizione originale di 250 es. numerati. .
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AA. VV.,
Scultori a ''Il Cancello''
Cartella contenente 28 litografie originali, firmate solo su lastra, dei principali scultori italiani degli anni Sessanta: Giò e Arnaldo Pomodoro, Leoncillo, Bini, Minguzzi, Ramous, Fabbri, Cappello, Calò, Mastroianni, Mascherini, Pirozzi, Guasti, ed altri . Folio (cm 50x40). pp. 30. . Ottimo (Fine). . . . La Cartella venne pubblicata in occasione della mostra alla Galleria Il Cancello, Bologna, 28 gennaio - 8 febbraio 1964. Le litografie applicate su cartoncino bianco di cm 30 x 40 sono firmate solo su lastra dagli artisti e non sono numerate.
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BRUSCAGLIA, Renato (Urbino 1921-1999)
Vento di maggio
Acquaforte originale in nero, numerata e firmata, di Renato Bruscaglia (cm 18x13,5). L'opera è compresa nel periodico "L'Incisione" (allegato) che comprende anche una acquaforte di Alfredo Bartolomei (cm 18x13,5), una di Walter Piacesi (cm 8x12,5), 10 silografie originali (stemmi del XIX secolo) e versi di Virgilio Guidi e Michelangelo Buonarroti . Cm 18x13,5; foglio cm 29x22). . . Perfetto (Mint). . . .
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MORISHITA, Keizo,
Soffio d'incanto
Un' incisione originale a colori ripiegata, numerata e firmata di Morishita (cm 30x70,5). Opera autenticata dall'Editore Carta Alcantara della cartiera Sicars. 4to. pp.. . Perfetto (Mint). . Prima edizione di 120 es. numerati. .
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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. .
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ALTO, Filippo; BOMPADRE, Giorgio; BRUSCAGLIA, Renato; PIACESI, Walter; TRECCANI, Ernesto; et al.,
Dodici grafiche per Carlo Bo, 25 Gennaio 1991
Dodici opere grafiche originali, numerate e firmate, di Filippo Alto (litografia a 14 colori, cm 33x23), Fabio Bertoni (puntasecca, cm 18x11), Giorgio Bompadre (rilievo, cm 15,5x12,5), Renato Bruscaglia (acquaforte, cm 18x13), Adriano Calavalle (acquaforte, cm 18x10,5), Marcello Lani (acquaforte, cm 10,3x19,5), Mario Logli (acquaforte-acquatinta, cm 20x14,5), Walter Piacesi (acquaforte-puntasecca, cm 19x11,5), Dante Panni (acquaforte, cm 19,5x13,5), Enrico Ricci (incisione a rilievo, cm 18,5x12), Ernesto Treccani (acquaforte, cm 18,5x11,5), Renato Volpini (acquaforte-acquatinta, cm 17x10) Con una nota dell'Editore Grafiche eseguite a mano su carta Magnani di Pescia sui torchi della Stamperia Posterula di Urbino che ha anche curato la stampa dei testi. Cm 33,5x23. pp. 14 quartini contenenti le incisioni, cartellette. . Ottimo (Fine). . Prima edizione di 180 esemplari numerati e firmati. .
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GUERRESCHI, Giuseppe (Milano, 1929 - Nizza, 1985),
Ritratto di Santina P.
Acquaforte acquatinta su fondo giallino Firma e titolo a matita. Esemplare 95/100. cm 50 x 27 (Foglio 71 x 50). . . Ottimo (Fine). . Tiratura 100. .
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PALM, Joachim (Postdam 1936),
Balkon
Acquaforte e acquatinta a tre colori con interventi a pennarello in due colori Firma a matita. Stampata sui torchi della Stamperia Max Dunkes in Monaco. Lastra biffata dopo la tiratura. Esemplare 79/99. cm 50 x 70. . . Ottimo (Fine). . 99 + 10 + 6. .
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GENERALIC, Josip (Hlebine 1936 - Koprivica 2004),
Jeudras
Serifìgrafia e acquerello Firma e titolo a matita. Cm 37x26 (Foglio 50x35). . . . . . .
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CHIANESE, Mario (Genova 1928),
Racconto d'inverno
Acquaforte Firma e titolo a matita. Esemplare16/40. Cm 15x25 (Foglio 35x50). . . Ottimo (Fine). . 40. .
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BODINI, Floriano (Gemonio, Varese 1933 - Milano 2005),
Crocifissione
Litografia a 2 colori Firma a matita. Opera tirata da Giorgio Upiglio. Esemplare 60/100. cm 52x30 (foglio 70x50). . . Ottimo (Fine). . 100 + XX + 3 prove. .
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NAPOLEONE, Giulia (Pescara 1936)
Rimanenze
Cartella pubblicata a seguito del volume ''Rimanenze'' di Camillo Sbarbaro con sette incisioni originali (di cui una applicata alla copertina) alla maniera nera stampate in rosso carminio di Giulia Napoleone, numerate e firmate (cm 31x44). Uno scritto della Napoleone ed uno di Anna Ziliotto Stampato a Verona presso l'Officina Bodoni di Martino Mardesteig. Incisioni stampate da Anna Ziliotto su carta Hahnemuhle. Piccola incisione firmata e numerata applicata sulla cartella (cm 10x10). Es. 88/100. cm 59 x 50. pp. 8. . Ottimo (Fine). . Prima ed. di 100 es. numerati e firmati dall'A.. .
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ROCCAMONTE, Giorgio Amelio (Buenos Aires, 1927 - Roma, 1980)
I fiori del deserto
Cartella contenente 4 acquaforti originali, numerate, firmate e datate a matita dall'Artista (cm 17,5x12,5 - foglio 50x35) Stampatore: Elvidio Farabollini di Treia. Ogni incisione reca il timbro a secco dell'Editore. . . . Perfetto (Mint). . Edizione originale di 20 es. numerati. . ROCCAMONTE, Giorgio Amelio (Buenos Aires, 1927 - Roma, 1980). Scultore, ha firmato con Lucio Fontana il Manifesto Blanco nel 1946
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CONTE, Michelangelo
Michelangelo Conte
Quattro serigrafie originali componibili a colori di Michelangelo Conte, numerate, firmate e datate a matita (cm 33x23), . Presentazione di Giuseppe Appella Serigrafie stampate su carta Usomano di gr. 220 dalla Serico di Macerata. Es. 35/99. 4to. pp. 4 + stampe. . Ottimo (Fine). . Edizione originale di 99+XXX es. numerati. .
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CARACENI, Bruno
Bruno Caraceni
Quattro serigrafie originali a colori, numerate e firmate, di Bruno Caraceni (cm34,7x25). Presentazione di Sandra Orienti Cartella a cura di Giuseppe Appella. Serigrafie stampate su carta Usomano di gr. 220 dal Feltro di Roma. Es. 52/97. 4to. pp. 4. . Ottimo (Fine). . Edizione originale di 97 es. numerati. . Bruno Caraceni, particolarmente attivo negli Anni 60 e 70, partecipa a tre edizioni della Biennale di Venezia, 1956, 1958, 1968, a tre edizioni della Quadriennale di Roma e a un'edizione della Biennale di Tokyo. Ha tenuto molte mostre personali, sia in Italia che all'estero.
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CLIZIA (Giani, Mario. Torino 1923 - Bussolino di Gassino 2000)
Arlecchino and C.
Cinque incisioni originali a colori su linoleum sciolte, stampate a braccia, di Clizia (cm 35x25). Presentazione di Valerio Miroglio . Custodia (cm 35x25). . . Ottimo (Fine). . Edizione originale di 50 es. numerati. . ''Clizia ha fatto cinque Maschere italiane: Arlecchino servo balordo e scansafatiche, il Dottor Balanzone che è forse creatura di cantastorie bolognesi, ben nutrito e gran bevitore, il Capitano o Capitan Spaventa di Vallinferna, Pantalone brontolone a volte saggio, di Venezia, e infine la maliziosa Colombina, anch'essa della Serenissima. Per questa compagnia Clizia ha usato i segni della danza popolare e i colori della spensieratezza''.
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VAGO, Valentino (Barcassina 1931),
Senza titolo
Litografia e serigrafia. Opera appartenente alla cartella ''Venezia 73'' , pubblicata dall'Unesco e contenente 31 opere grafiche di maestri italiani ed un saggio di Piero Chiara Firma a matita. Il foglio reca il timbro a secco del Museo di Castelvecchio di Verona e quello della Stamperia del Cappello. Esemplare 96/100. Cm 70 x 50. pp.. . Ottimo (Fine). . Tiratura 100 + XI f.c.. .
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TRECCANI, Ernesto (Milano, 1920 - Milano, 2009),
Senza titolo
Acquaforte. Opera facente parte delle pubblicazioni edite in occasione del 50° anniversario della fondazione del PCI Firma a matita. Esemplare 2/100. Cm 41x30 (Foglio 70x50). pp.. . Ottimo (Fine). Fioriture ai margini del foglio. Tiratura 100. .
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TOZZI, Mario (Fossombrone, 1895 - Saint- Jean-du-Gard, 1979),
Figure Poetiche 3
Litografia in nero dalla cartella ''Figure poetiche'', la prima tirata dalla'Artista. Firma a matita. Cartoncino color ocra 100 esemplari numerati da 1 a 100, 5 prove di torchio numerate da I a V. cm 50x35. . . Molto buono (Very Good). . . .
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TOPOR, Roland (Paris, 1938 - Paris, 1997),
Senza titolo
Acquaforte Firma a matita. Esemplare 3/100. Cm 20,4x26,3 (Foglio 37x41). pp.. . Ottimo (Fine). . Tiratura 100. .
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STEFFANONI, Attilio (Bergamo, 1938),
Senza titolo
Acquaforte Carta Pescia. Firma a matita. Esemplare 4/90. Cm 29 x 24 (Foglio 50 x 35). . . Ottimo (Fine). . Tiratura 90 + X. .
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SAETTI, Bruno (Bologna, 1902 - Bologna, 1984),
Senza titolo
Acquaforte. Opera facente parte delle pubblicazioni edite in occasione del 50° anniversario della fondazione del PCI Firma a matita in basso a destra. Esemplare 70/100. Cm 29x24 (Foglio 70x50). pp.. . . Fioriture diffuse ai bordi che non interessano l'incisione (Heavy yellowing and age spotting). Tiratura 100. .
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SAETTI, Bruno (Bologna, 1902 - Bologna, 1984),
Senza titolo
Acquaforte Carta Pescia. Firma a matita. Esemplare 4/90. cm 24,5x22,6 (Foglio cm 50x35). . . Ottimo (Fine). . Tiratura 90 + X. .
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PIZZINATO, Armando (Maniago, Pordenone 1910 - Venezia 2004),
Composizione
Serigrafia a tre colori Firma a matita. Certificato di autenticità sul retro. Esemplare 47/150. Cm 41x29 (Foglio 50x35). . . . . Tiratura 150 + 30 p.d.a.. .
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PIACESI, Walter (Ascoli Piceno, 1929),
Senza titolo
Acquaforte appartenente alla cartella ''Venezia 73'' , pubblicata dall'Unesco e contenente 31 opere grafiche di maestri italiani ed un saggio di Piero Chiara Firma a matita. Il foglio reca il timbro a secco del Museo di Castelvecchio di Verona e quello della Stamperia del Cappello. Esemplare 96/100. Cm 28,3x23,8 (Foglio 70x50). pp.. . Ottimo (Fine). . Tiratura 100 + XI f.c.. .
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PIACESI, Walter (Ascoli Piceno, 1929),
Periferia a Cornigliano
Acquaforte su zinco. Secondo stato con aggiunta di ritocchi all'acquaforte e puntasecca Firma, data e titolo su lastra, firma a matita sul foglio. Certificato di autenticità rilasciato dall'Editore. Esemplare 56/100. Cm 24,5x29 (Foglio 50x70). pp.. . Ottimo (Fine). . Tiratura 100 + XX + 10 p.d.a.. .
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PIACESI, Walter (Ascoli Piceno, 1929),
Farfalle
Acquaforte, vernice molle, puntasecca Firma e data a matita. Esemplare p.d.a.. Cm 17,5x26,5 (Foglio 35x50). pp.. . Ottimo (Fine). . Tiratura non nota. .
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