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1679rif. 2489London: Langley Curtis LC 1679. Clean and tidy with very slight darkening to the page edge only. . A single issue of a weekly anti-Catholic diatribe in the form of a contemporary broadside issued at the time of the Popish Plot 1678-1681. The Weekly Pacquet is Number 16 - Both of the broadsides were issued Friday 24th October 1679. Pagination is continuous presumably from issue 1 and these leaves are numbered page 121 - 128. They are held together but would appear to have been bound together with other issues at some point. 16 pages. 190 by 140mm 7½ by 5½ inches. Clean and tidy with very slight darkening to the page edge only. Langley Curtis [LC] unknown
rif. 320unknown books
1820rif. 88903London: J. Bailey 116 Chancery Lane 1820. First Edition. Slim Twelvemo. 18cm. Late 19th century half mottled calf over marbled paper covered boards by Bayntun of Bath with a red title label to the spine titled in gilt very much in the style of an older binding. 24pp. with 24pp binder's blanks to rear to stabilize the binding. Light scuffing to corners and spine ends darkening to spine label and a little dulling of the gilt strong tight and handsome; internally clean all edges gilt marbled endpapers later ex libris to front pastedown with traces showing removal of an older one visible beneath hand colored frontispiece illustration with later tissue guard and a small archival tissue repair to a small tear on the fore-edge offsetting of the color and some light soiling to title page the work would originally have been issued as a chapbook in paper wraps. A very good attractive copy of an obscure piece of early 19th century pop culture. John Bailey was one of those highly-energetic and slightly scurrilous printer-publishers of the early 1800's running alongside Stockdale Dugdale Duncombe and the like in a frenetic race to recognise the current zeitgeist and mine it for pamphlets chapbooks and on occasional multi-volume exposés until the vein ran out and they moved on to the next thing. It could be the sporting Fancy the murky doings of the Ton memoirs of ladies of negotiable virtue the scandalous habits of the French or the diabolical behavior of home grown rakes; if it could be illustrated with a lurid cut and sold to popular acclaim but no legal outcry then it was prime for publication. This is an indicative offering; a tale of a lady maligned a wandering-handed husband and some untrustworthy foreign types Italians in this case portrayed as being of a nation of bandits promoting the popular and rather thrilling idea that nobody really knows what the aristocracy gets up to but slim little volumes like this can give you a fair idea. Unusually studded with relatively competent verse commentary and enough arch detail for the suggestive reader to wonder whether it is entirely fictional. It isn't in case you were wondering; it forms part of the Caroline Scandal blizzard of pamphlets and cartoons directed at the indiscretions and marital strife of Caroline of Brunswick the oft estranged wife of King George IV. George despised his wife even after the birth of their daughter and Queen Caroline retired to Italy where her chief advisor and confidante was a gentleman named Bartolomeo Pergami - in short order Caroline and Pergami were rumored to be lovers accusations of adultery and possible treason flew in all directions and a legal deadlock began with both parties George and Caroline whose middle name was of course Amelia denying infidelity whilst pointing the finger at each other. The "Green Ridicule" is a reference to the bags presented at the reading of the bill intended to grant the King a divorce; large green sacks of "evidence" collected by the Milanese authorities much of which was rather hilarious and involved a lot of innkeepers and coachmen testifying to having seen Pergami in flagrante whilst within 20 feet of the noble lady. The resulting legal wrangling and backstabbing had the opposite effect from the one desired by George and rendered Caroline something of a public and political heroine misused by her abusive husband and adopted by reformist political figures seeking to gain ground on an increasingly eccentric and damaging monarchy. The tone of the tale is therefore rather sympathetic to Lady Amelia in keeping with public sentiment. It is also stated to hopefully be the first part of a series of exposures of the travails of "Lady Amelia" and her somewhat ungallant spouse which suggests it was rushed out mid-trial and may have had subsequent installments as the proceedings continued through 1820. The title itself is possibly a riff on Mary Charlton's work; she published a substantial and popular work with a similar title a few years earlier. Scarce and a little obscure with three holdings in US institutions. J. Bailey, 116 Chancery Lane unknown
1820rif. 88903London: J. Bailey 116 Chancery Lane 1820. First Edition. Slim Twelvemo. 18cm. Late 19th century half mottled calf over marbled paper covered boards by Bayntun of Bath with a red title label to the spine titled in gilt very much in the style of an older binding. 24pp. with 24pp binder's blanks to rear to stabilize the binding. Light scuffing to corners and spine ends darkening to spine label and a little dulling of the gilt strong tight and handsome; internally clean all edges gilt marbled endpapers later ex libris to front pastedown with traces showing removal of an older one visible beneath hand colored frontispiece illustration with later tissue guard and a small archival tissue repair to a small tear on the fore-edge offsetting of the color and some light soiling to title page the work would originally have been issued as a chapbook in paper wraps. A very good attractive copy of an obscure piece of early 19th century pop culture. John Bailey was one of those highly-energetic and slightly scurrilous printer-publishers of the early 1800's running alongside Stockdale Dugdale Duncombe and the like in a frenetic race to recognise the current zeitgeist and mine it for pamphlets chapbooks and on occasional multi-volume exposés until the vein ran out and they moved on to the next thing. It could be the sporting Fancy the murky doings of the Ton memoirs of ladies of negotiable virtue the scandalous habits of the French or the diabolical behavior of home grown rakes; if it could be illustrated with a lurid cut and sold to popular acclaim but no legal outcry then it was prime for publication. This is an indicative offering; a tale of a lady maligned a wandering-handed husband and some untrustworthy foreign types Italians in this case portrayed as being of a nation of bandits promoting the popular and rather thrilling idea that nobody really knows what the aristocracy gets up to but slim little volumes like this can give you a fair idea. Unusually studded with relatively competent verse commentary and enough arch detail for the suggestive reader to wonder whether it is entirely fictional. It isn't in case you were wondering; it forms part of the Caroline Scandal blizzard of pamphlets and cartoons directed at the indiscretions and marital strife of Caroline of Brunswick the oft estranged wife of King George IV. George despised his wife even after the birth of their daughter and Queen Caroline retired to Italy where her chief advisor and confidante was a gentleman named Bartolomeo Pergami - in short order Caroline and Pergami were rumored to be lovers accusations of adultery and possible treason flew in all directions and a legal deadlock began with both parties George and Caroline whose middle name was of course Amelia denying infidelity whilst pointing the finger at each other. The "Green Ridicule" is a reference to the bags presented at the reading of the bill intended to grant the King a divorce; large green sacks of "evidence" collected by the Milanese authorities much of which was rather hilarious and involved a lot of innkeepers and coachmen testifying to having seen Pergami in flagrante whilst within 20 feet of the noble lady. The resulting legal wrangling and backstabbing had the opposite effect from the one desired by George and rendered Caroline something of a public and political heroine misused by her abusive husband and adopted by reformist political figures seeking to gain ground on an increasingly eccentric and damaging monarchy. The tone of the tale is therefore rather sympathetic to Lady Amelia in keeping with public sentiment. It is also stated to hopefully be the first part of a series of exposures of the travails of "Lady Amelia" and her somewhat ungallant spouse which suggests it was rushed out mid-trial and may have had subsequent installments as the proceedings continued through 1820. The title itself is possibly a riff on Mary Charlton's work; she published a substantial and popular work with a similar title a few years earlier. Scarce and a little obscure with three holdings in US institutions. J. Bailey, 116 Chancery Lane unknown books
1830rif. 5311France: S.P. C1830. Three lovely papier maché snuff boxes. French circa 1830. Each has an engraving under varnish to the lid. One is coloured two are uncoloured. The boxes have painted edges around the image. The images are a touch darkened and the edges are a little scuffed but the boxes are still very presentable. The three are as follows: 1 "Devinequi" "Guess who." Two young men in an arcadian scene. One is behind and covering his friends eyes. Coloured image Appears to be a watercolour under varnish. 8.5cm diameter 1.5cm depth. Sound but with slight damage to the base. 2 "La Veillée" "The Vigil" A group of five in a cottage waiting expectantly although who knows what for. Woodcut under varnish. 9cm diameter. 2cm depth. Sound but with slight damage to the base. 3 "La tendresse Maternelle" "a mother's tenderness." Appears to be a mother trying to save a child from drowning. Woodcut under varnish. 8.5cm x 2cm. Gold painted edges and wood veneer base. Good condition. . Trois jolies tabatières en papier maché. Françaises vers 1830. Chacune présente une gravure sous vernis sur le couvercle. L'une est colorée les deux autres ne le sont pas. Les boîtes ont des bords peints autour de l'image. Les images sont un peu assombries et les bords sont un peu éraflés mais les boîtes sont encore très présentables. Les trois images sont les suivantes : 1 "Devinequi " "Devinez qui". Deux jeunes hommes dans une scène arcadienne. L'un d'eux est derrière et couvre les yeux de son ami. Image colorée Semble être une aquarelle sous vernis. 85 cm de diamètre 15 cm de profondeur. Sain mais avec un léger dommage à la base. 2 "La Veillée" Un groupe de cinq personnes dans une chaumière attendant avec impatience mais on ne sait pas pourquoi. Gravure sur bois sous vernis. 9 cm de diamètre. Profondeur de 2 cm. Sain mais avec un léger dommage à la base. 3 "La tendresse Maternelle" "La tendresse d'une mère". Semble représenter une mère essayant de sauver un enfant de la noyade. Gravure sur bois sous vernis. 85 cm x 2 cm. Bords peints à l'or et base en placage de bois. Bon état. S.P. unknown
1950rif. 48571950. Three attractive postcard sized original water colours pasted onto a dark paper background. Held in a simple wooden frame under glass. Unsigned and anonymous. The first image shows a woman and officer inspecting a parade of Algerian soldiers in uniform with Fez. One of them is smoking! The second shows a woman approaching a statue of St Raphael seemingly in devotion but actually reaching for a bottle of wine the statue is holding. The third shows a line of circus / carnival folk queuing at an optician's reception. All are in good clean condition and painted by a competent hand. Each image is 8.5cm x 14cm. Frame is 21cm x 48cm. . Trois jolies originale aquarelles de la taille d'une carte postale collées sur un fond de papier sombre. Elles sont présentées dans un simple cadre en bois sous verre. Non signées et anonymes. La première image montre une femme et un officier inspectant un défilé de soldats algériens en uniforme avec Fez. L'un d'entre eux fume ! La deuxième image montre une femme s'approchant d'une statue de Saint-Raphaël apparemment en signe de dévotion mais cherchant en fait à attraper une bouteille de vin que la statue tient à la main. La troisième montre une file d'attente de gens du cirque ou du carnaval à la réception d'un opticien. Toutes les images sont en bon état propres et peintes par une main compétente. Chaque image mesure 85 cm x 14 cm. Le cadre mesure 21 cm x 48 cm. unknown
rif. 1126601934-1937. . 8vo three pamphlets text in Hebrew and English; 1st - 18 pp. wrappers printed in red ink; 2nd - 4 pp. fold mark small worming mark education in old black ink dated '19th Oct. 1935'; 3rd - 12 pp. closed tear to front wrapper affecting text professionally repaired. Including Memorial Service for George V and a sermon delivered at the Coronation Service of George VI. 1934-1937. unknown
rif. 121212Jerusalem c.1920. . Three small cloth backed albums 9.5 x 16 cm; 8.5 x 12 cm; 9.5 x 14 cm olive wood boards one of them carved containing colour-lithograthed plates and pressed flowers protected by tissue paper on opposite pages pages slightly browned. 9 ll.; 13 ll.; 13 ll. Early 20th-century souvenirs from Jerusalem containing local dried flowers and colour-lithograthed views of the Holy Land. Jerusalem, [c.1920]. hardcover
1919rif. 001969Little Brown 1919 84 pages. Pencil inscriptions on front free endpaper some foxing to text otherwise a nice clean copy. "Occult Bookshelf San Diego" stamp on title page. Scarce. Small 8vo. Hardcover. Very Good/Dust Jacket Included. Little, Brown hardcover
rif. 3730412Pittsburgh. 1835. 12¼ x 7½ inches. One page circular previously folded and bound. A Large notched-out area to inner margin does not affect text short edge-tears else Very Good. Printed circular and subscription announcing to Pittsburgh’s citizens a meeting of the Board of Trustees to raise money to hire Gilbert Morgan the second chancellor of what is today University of Pittsburgh. Testimonials give on behalf of Morgan were made by Theodore D. Weld Dr. Miller of Princeton Rev. Breckenridge Rev. Uffold and so forth. The trustees announce: “The undersigned approve heartily of that part of Mr. Morgan’s plan which would impart a more popular cast to the Institution by enlarging the range of studies and yielding a prominent place and consideration to such as may be turned to account in active life in whatever sphere. Our citizens have had too much reason perhaps to regard it heretofore as something which stood apart in lofty seclusion from their pursuits and and sympathies. This erroneous notion will be discarded and a deep interest claimed from all in that which is designed for the common benefit of all.” “The University’s buildings along with most of its records and files were destroyed in a widespread 1845 fire that wiped out 20 square blocks of the most valuable part of Pittsburgh.” Wikipedia Unrecorded in OCLC. unknown
rif. 50719London : H. Such Printer & Publisher 177 Union Street Boro' S. E. after 1863. Broadside sheet size 255 x 185 mm printed in two columns with title of the first ballad in bold at the head of the left-hand column and with a woodcut illustration and title of the second ballad at the head of the right-hand column; publisher's serial number '499' in bold at lower right; printed on cheap and brittle paper which has browned edges with chipping and a few old tape repairs to verso partial loss of the opening capital letter of Young Henry otherwise the texts of both ballads are complete. An extremely late transportation broadside with versions of two convict ballads that are both known from much earlier printings. The State Library of New South Wales appears to hold the only copy of this particular broadside in Australian collections. The narrator of Young Henry the poacher sings that he was brought up near Southam in Warwickshire. After being caught poaching game one night in Squire Dunhill's Park he is convicted at the Warwick Assizes and sentenced to 14 years' penal servitude in Van Diemen's Land. He is brought out on the transport Speedwell then with some poetic licence! ""marched to Sydney"" where he is sold to a gentleman as a book-keeper. Having found happiness in his work he then falls in love with a convict servant from Wolverhampton named Rosanna and in the final stanza he proclaims that he and his sweetheart are now ""rattling off our chains in foreign lands to roam"". The ballad Botany Bay is also told in the first person. Its narrator sends a stark warning to other young men to heed his advice and ""quit night walking and shun bad company"" else they suffer the same fate and are transported to New South Wales. However it is important to note that the London printer and publisher Henry P. Such did not commence business at 177 Union Street until 1863 meaning that this broadside was printed at least two decades after January 1842 when the last ships bringing convicts arrived in New South Wales; and at least a decade after the last convict transport arrived in Van Diemen's Land in May 1853. While it is true that convict transportation to Western Australia persisted up until 1868 neither of the ballads in this broadside makes mention of that destination. Interestingly the present broadside is listed as number 499 out of 930 songs in the Henry P. Such catalogue of songs published around 1890. On the title-page of his catalogue which has been digitised - see below Such states that these songs are 'constantly kept in stock'. If they were also constantly being added to this might suggest an original publication date as late as 1875 for number 499 Young Henry the Poacher / Botany Bay - roughly the mid-point between 1863 and 1890: 'Henry Parker Such was one of the last London publishers of broadside ballads. In a letter to the folk song collector Francis James Child dated 23 August 1890 Harvard University MS Eng 863 Appendix no. 5 Sabine Baring-Gould writes: The only three printers of Broadside ballads now in London are Fortey S. Andrew’s St Seven Dials. He has no catalogue & no collection of his old ballads. Still – you can have something from him. Then there is Such 177 Union St Borough who has a catalogue. It is now out of print but he is reprinting. A third is Taylor 92 Brick Lane Spitalfields. I have not been to him to see if he has a catalogue.' Ian Maxted Exeter Working Papers in Book History https://bookhistory.blogspot.com/2013/01/baring-gould-and-such-song-catalogue.html This all leads us to conclude that the present broadside was already being regarded as a historical and musicological curiosity when it was printed and sold - whether that was in 1863 or as late as 1875 - as by this time the two ballads had already become part of the burgeoning phenomenon that was the craze for English folk-song collecting; and needless to say neither ballad by this time carried the same urgency or potency as it would have done in the 1820s or 1830s. unknown
rif. 60107c.1880. . Albumen print. Good tonal range with slight damage to top right-hand corner otherwise a good print in good overall condition. [c.1880]. unknown
1875rif. 5523Paris: N.D. Photo / X. Photo. C1875. Two attractive albumen photographs of Paris pasted onto two sides of the same piece of stiff card. Both are 21cm x 28cm. One is a view of the Champ Elysées taken from on top of the Arc de Triomphe. A good clean and bright image showing quite a crowd of carriages on the road with pedestrians on the wide pavements to the side. The view fades into the distance. Clean and good photograph. The second side shows the front of the National Opera with carriages omnibuses and pedestrians milling around. What is particularly interesting in this shot is that the lamp posts are being installed in Front of the Opera. These enable us to date the photograph as they were originally installed in 1875. These form part of the "Ring of Light" Ceinture de Lumière a set of 60 lighting fixtures designed by architect Charles Garnier as integral to the opera house's exterior when it opened on January 5 1875. A nice photograph if slightly faded. The backing card is 25.5cm x 30.5cm and has a couple of closed tears to the edges. not affecting the prints. The sheet has obviously been removed from an album at some point. . Deux superbes photographies sur papier albuminé représentant Paris collées sur les deux faces d'un même carton rigide. Elles mesurent toutes deux 21 cm x 28 cm. L'une représente une vue des Champs-Élysées prise depuis le sommet de l'Arc de Triomphe. Une image nette et lumineuse montrant une foule de voitures sur la route avec des piétons sur les larges trottoirs latéraux. La vue s'estompe au loin. Une photographie nette et de bonne qualité. Le deuxième côté montre la façade de l'Opéra national avec des voitures des omnibus et des piétons qui s'affairent. Ce qui est particulièrement intéressant dans cette photo c'est que des lampadaires sont en cours d'installation devant l'Opéra. Cela nous permet de dater la photographie car ils ont été installés à l'origine en 1875. Ils font partie de la « Ceinture de Lumière » un ensemble de 60 luminaires conçus par l'architecte Charles Garnier comme partie intégrante de l'extérieur de l'opéra lors de son ouverture le 5 janvier 1875. Une belle photographie bien qu'un peu décolorée. La carte de support mesure 255 cm x 305 cm et présente quelques déchirures fermées sur les bords qui n'affectent pas les tirages. La feuille a manifestement été retirée d'un album à un moment donné. N.D. Photo / X. Photo. unknown
1953rif. 13063n.p. Bender 1953. 1953. Square 4to. Publisher's preface. Text by various sportsmen. Illustrated. Original eige boards stamped in blue soiling. Very good. Includes race results winners and place winners for 1952. 1st Edition. Hardcover. Very Good/No Jacket. [n.p., Bender, 1953]. hardcover books
rif. 3734846N.p. n.d. ca. 1880s–1890s. 10¼ x 7¼ inches. Printed via a photomechanical process. A very good example. This broadside poem voices the imagined last words of a dying Union soldier held at Camp Sumter more widely known as Andersonville. The text is set in display type with decorative borders and features a central image of a flag-bearing Zouave soldier rendered in a style simulating a wood engraving. The anonymous verse describes thirst starvation and emotional torment portraying the prison as a “cruel rebel den.” It emphasizes separation from home appeals for letters and rescue and ends with a vision of death as release. The soldier dreams of water“green fields in which to roam” and peace beyond the “Dead Line”—a reference to the real boundary in Andersonville beyond which prisoners were shot. Poems like this circulated widely in the decades following the war reinforcing narratives of Confederate cruelty and the martyrdom of Union soldiers. Likely produced in the 1880s or 1890s using a photo-mechanical process this piece reflects the ongoing work of remembrance in the North through inexpensive printed ephemera. Curiously the broadside is printed on a single sheet of paper with a soft matte vermilion-pink wash applied only to the verso. Unrecorded in OCLC. unknown
rif. 60225Italy c.1880 . Albumen print. Good rich tones and in good condition. Photographer's number in negative; Dimensions: 180 x 230mm. 7 x 9 inches. Italy [c.1880] unknown
rif. 61178c.1880. . Albumen print. Very good rich tones and in good overall condition. Upper corners have been cut with a very small hole in the middle of image; Dimensions: 195 x 245mm. 7.5 x 9.5 inches. [c.1880]. unknown
1870rif. 4230na: na 1870. First Edition. Circa 1870. Unknown artist the image shows two French soldiers conversing in the foreground outside a sentry post. A couple of youths are talking to another soldier in the background. In the time honoured way of bored soldiers they complain about their lot. Water colour to paper. A touch of staining to the corner of the paper and a little darkening to the page otherwise in excellent original condition. 220 x 280 mm . Artiste inconnu l'image montre deux soldats français conversant au premier plan à l'extérieur d'un poste de garde. À l'arrière-plan deux jeunes gens discutent avec un autre soldat. Selon la tradition des soldats qui s'ennuient ils se plaignent de leur sort. Aquarelle sur papier. Un peu de tache dans le coin du papier et un léger assombrissement de la page sinon en excellent état d'origine. 220 x 280 mm na unknown
1980rif. 5249France: S.P. C1980. First edition / original artwork. Anonymous and unsigned. An original water colour illustration of a fox watching himself or his neighbours through a complex system of pipes. The work appears to be a piece being prepared for a publication. There are pencil grid lines to the the edge. The "splatter effect" on the wall also continues beyond the pencil margin of the page although doesn't affect the sign so applied where the artist wanted. Although virtually finished on close inspection the fox figure may not have been completed or may be intended to be a black and white figure. A little edgewear to the top right corner. A surreal scene. 50cm x 35cm. . Première édition / œuvre d'art originale. Anonyme et non signée. Illustration originale à l'aquarelle d'un renard s'observant ou observant ses voisins à travers un système complexe de tuyaux. L'œuvre semble avoir été préparée pour une publication. Il y a des lignes de quadrillage au crayon sur le bord. L'effet d'éclaboussure sur le mur se prolonge également au-delà de la marge de crayon de la page bien qu'il n'affecte pas le signe il a donc été appliqué là où l'artiste le souhaitait. Bien qu'elle soit virtuellement terminée en y regardant de plus près la figure du renard n'a peut-être pas été achevée ou est peut-être destinée à être une figure en noir et blanc. Le coin supérieur droit est légèrement usé. Une scène surréaliste. 50cm x 35cm. S.P. unknown
1750rif. 5729S.P.: S.P. 1750. Circa 1750. A lovely hand coloured vue d'optique of the storming of Bergen op Zoom in the Netherlands by the French. This occurred as part of the War of the Austrian succession in the late 1740's. This image is quite closely cropped so there are no printer engraver or title visible. Still attractive colouring and in excellent condition. The title is written in French in pencil to the passe partout. Engraving is 23cm x 27cm. The passe partout is 33.5cm x 48cm. Passe partout has a touch of marking only. Curiously there are also examples of this engraving offered suggesting it was by Robert Sayer and showed the siege of Barcelona in 1713. However we go with the majority of museums that this is the French in the Netherlands ! . Vers 1750. Une ravissante « vue d'optique » coloriée à la main représentant la prise de Bergen op Zoom aux Pays-Bas par les Français. Cet événement s'est déroulé dans le cadre de la guerre de Succession d'Autriche à la fin des années 1740. L'image est cadrée de très près de sorte qu'aucun nom d'imprimeur de graveur ou de titre n'est visible. Elle présente néanmoins une coloration attrayante et est en excellent état. Le titre est inscrit en français au crayon sur le passe-partout. La gravure mesure 23 cm x 27 cm. Le passe-partout mesure 335 cm x 48 cm. Le passe-partout ne présente que quelques légères traces d'usure. Curieusement on trouve également sur le marché des exemplaires de cette gravure attribués à Robert Sayer et représentant le siège de Barcelone en 1713. Nous nous rallions toutefois à l'avis de la majorité des musées selon lequel il s'agit bien des Français aux Pays-Bas ! S.P. unknown
1760rif. 2936London 1760. Rare Latin / Spanish version of this copper engraving of Somerset House and St. Mary le Strand in London. Circa 1770. Originally designed to be viewed through a zograscope. Good condition. Slightly wrinkled / creased with some small closed tears to sheet edge not affecting the actual engraving. A few pale spots of foxing. Neat repair to verso. Light water stains only obvious from otherwise blank verso. 280 x 420 mm image; 306 x 490 mm sheet. A zograscope is an optical device for magnifying flat images as the shape of the lens enhanced the sense of the depth shown in the picture. The precursor to 3D images! These were very fashionable in the late 18th century. Rare version latine/espagnole de cette gravure sur cuivre de Somerset House et St Mary le Strand à Londres. Vers 1770. Conçu à l'origine pour être vu à travers un zograscope. Bonne condition. Légèrement froissé / froissé avec quelques petites déchirures fermées sur le bord de la feuille n'affectant pas la gravure proprement dite. Quelques taches pâles de rousseurs. Réparation soignée au verso. Légères taches d'eau évidentes uniquement à partir du verso autrement vierge.28 x 42 cm image; 36 x 49 cm feuille. Un zograscope est un appareil optique pour agrandir des images plates car la forme de la lentille améliore le sens de la profondeur montrée dans l'image. Le précurseur des images 3D ! Celles-ci étaient très à la mode à la fin du XVIIIe siècle. unknown
1766rif. 2870Londres / Paris: Wichnyther / Basset 1766. Copper engraving beautifully hand coloured. Originally designed to be viewed through a zograscope. Title in both English and French. 23 x 41 cm image; Bottom left reads: Published according to Act of Parliament 1766. Sheet size: 340 x 515 mm 13½ x 20¼ inches. In very good condition with a very small loss to left edge and some minor soiling. Blank to verso. A zograscope is an optical device for magnifying flat images as the shape of the lens enhanced the sense of the depth shown in the picture. The precursor to 3D images! These were very fashionable in the late 18th century. Gravure sur cuivre magnifiquement colorée à la main. Conçu à l'origine pour être vu à travers un zograscope. Titre en anglais et en français. 23 x 41 cm image ; En bas à gauche se lit : publié conformément à la loi du Parlement 1766. Taille de la feuille : 340 x 515 mm 13½ x 20¼ pouces. En très bon état avec un très petit manque au bord gauche et quelques salissures mineures. Blanc au verso. Un zograscope est un appareil optique pour agrandir des images plates car la forme de l'objectif améliore le sens de la profondeur montrée dans l'image. Le précurseur des images 3D ! Celles-ci étaient très à la mode à la fin du XVIIIe siècle. Wichnyther / Basset unknown
1760rif. 2871Paris: Maillet 1760. Scarce copper engraving finely hand coloured. Originally designed to be viewed through a zograscope. Title in French. Behind neat cream passe partout. 24 x 37 cm image; actual size: 335 x 475 mm 13¼ x 18¾ inches. In an excellent condition for such a scarce item. Blank to verso. A zograscope is an optical device for magnifying flat images as the shape of the lens enhanced the sense of the depth shown in the picture. The precursor to 3D images! These were very fashionable in the late 18th century. Rare gravure sur cuivre finement colorée à la main. Conçu à l'origine pour être vu à travers un zograscope. Titre en français. Derrière un passe partout crème soigné. 24 x 37 cm image ; taille réelle : 335 x 475 mm 13¼ x 18¾ pouces. En excellent état pour un objet si rare. Blanc au verso. Un zograscope est un appareil optique pour agrandir des images plates car la forme de l'objectif améliore le sens de la profondeur montrée dans l'image. Le précurseur des images 3D ! Celles-ci étaient très à la mode à la fin du XVIIIe siècle. Maillet unknown
rif. 59060Paris 18th Century. . Hand-coloured engraving with etching and hand-colour. Dimensions: 280mm x 420mm. 11 x 16.5 inches. Paris, 18th Century. unknown
1950rif. 5653Disney 1950. Vintage Disney Danish paper theatre / cut-out novelty mid-20th century complete with all components. A scarce and highly collectible children's paper theatre set based on Disney's Pinocchio issued in Denmark and designed to be assembled into a miniature stage with characters scenery and props. Complete example in original box the box has been repaired with tape. This is a delightful survivor of mid-century Disneyana and toy-theatre publishing appealing both for its interactive format and its strong display value. Complete sets are considerably harder to find than loose or incomplete examples and the original box adds to the appeal despite the repair. Box measures: 270 by 335mm 10¾ by 13¼ inches. . Théâtre de papier danois vintage Disney / jouet à découper milieu du XXe siècle complet avec tous ses éléments. Un ensemble de théâtre de papier pour enfants rare et très recherché par les collectionneurs inspiré du film Pinocchio de Disney édité au Danemark et conçu pour être assemblé en une scène miniature comprenant des personnages des décors et des accessoires. Exemplaire complet dans sa boîte d'origine la boîte a été réparée avec du ruban adhésif. Il s'agit d'un charmant vestige de l'édition Disneyana et des théâtres de jouets du milieu du siècle qui séduit tant par son format interactif que par sa grande valeur d'exposition. Les ensembles complets sont considérablement plus difficiles à trouver que les exemplaires épars ou incomplets et la boîte d'origine ajoute à l'attrait de l'objet malgré la réparation. Dimensions de la boîte : 270 x 335 mm 10¾ x 13¼ pouces. Disney unknown
