Retratos

Retratos — marelibri

(PORTRAITS - MONARCHS AND NOBLES). VAN DER WERFF, ADRIAEN, ArtistABAA

PORTRAITS DES ROYS ET REINES D'ANGLETERRE spine title presumably extracted from LARREY ISAAC DE. HISTOIRE D'ANGLETERRE D'ECOSSE ET D'IRLANDE

1697ref. ST19416Rotterdam: Reinier Leers 1697- ca. 1713. 390 x 245 mm. 15 3/8 x 9 5/8". APPEALING CONTEMPORARY MARBLED CALF GILT covers with border roll of alternating diamonds and lilies raised bands spine compartments with thistle tulip and acorn centerpiece foliate cornerpieces burgundy morocco spine label marbled endpapers all edges gilt. WITH 66 SENSITIVELY DRAWN AND EXPERTLY ENGRAVED PORTRAITS of notable personages after Adriaen van der Werff created for Larrey's "Histoire." Brunet III 852; Graesse IV 110-11; Lowndes II 1313 all citing Larrey’s "Histoire". Leather with a few minor scratches a half dozen plates lightly browned isolated mild marginal foxing but A VERY FINE COPY--the plates especially clean and fresh with rich impressions of the engravings and in a lustrous unrestored contemporaneous binding. These brilliant portraits by Dutch Baroque painter Adriaen van der Werff 1659-1722 were unanimously deemed by Brunet Graesse and Lowndes to be the only valuable part of Larrey's otherwise disappointing history of England Scotland and Ireland; and our former owner seems to have agreed choosing to have them bound--quite beautifully--apart from the text. The engravings here are mostly of 16th and 17th century kings queens religious figures and statesmen of England but they also include some continental European monarchs such as Holy Roman Emperor Charles V Philip II of Spain and Frederick the Great of Prussia. The plates are not only beautifully engraved—by accomplished Dutch engravers Pieter van Gunst Cornelis Vermeulen and Gerard Valck—but are wonderfully convincing images with considerable personality. For once Queen Elizabeth I looks like a real woman as opposed to a tightly cinched flattened figure floating above a farthingale and dwarfed by mountainous ruffs. And Henry VII looks much less regal than he does haggard and rueful. According to the "Handbook of Painting" van der Werrf's portraits "were so highly admired by princes and men of fortune that he found it impossible to execute all the commissions given him." His fortune was made when John William Elector of the Palatinate commissioned his own portrait: so pleased was the elector with this work that he put the artist on a generous retainer presented him with a portrait executed in diamonds and awarded him a knighthood. Larrey's "Histoire d'Angleterre d'Ecosse et d'Irlande" was issued between 1697 and 1713 with a second edition in 1723. Brunet notes that the work was available with and without plates suggesting the suite of engravings was issued apart from the text; it is obvious our set has been together from the beginning in its present early 18th century binding. Reinier Leers unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · Estados UnidosUS$ 3.640,00≈ € 3.252,03

(BINDINGS - COSWAY). (SHAKESPEARE, WILLIAM - PORTRAITS). BOADEN, JAMESABAA

AN INQUIRY INTO THE AUTHENTICITY OF VARIOUS PICTURES AND PRINTS WHICH FROM THE DECEASE OF THE POET TO OUR OWN TIMES HAVE BEEN OFFERED TO THE PUBLIC AS PORTRAITS OF SHAKESPEARE

1824ref. ST18708London: Robert Triphook 1824. FIRST EDITION. 233 x 143 mm. 9 1/8 x 5 3/4". 2 p.l. v 3 206 pp. 1 leaf ads. HANDSOME SCARLET MOROCCO BY RIVIERE & SON stamp-signed on front turn-in front cover WITH FIVE MINIATURE PORTRAITS OF SHAKESPEARE on ivory under glass ALMOST CERTAINLY BY MISS C. B. CURRIE surrounded by delicate gilt tooling rear cover and spine compartments framed by double gilt fillets raised bands gilt lettering to two compartments gilt-ruled turn-ins olive green silk endleaves top edge gilt other edges untrimmed. In a maroon fleece-lined slipcase. With five engraved plates reproducing portraits of Shakespeare. Jaggard pp. 586-87. Slight wear to silk endleaves at front hinge isolated small printing smudges or other trivial defects final leaf ads with short closed tear at head otherwise A VERY FINE COPY the text with no signs of use and the splendid binding in perfect condition. This analysis of portraits purporting to depict Shakespeare is the perfect vehicle for a Cosway binding used here to present the leading contenders on the front cover these likenesses also appear on engraved plates in the book. The portrait at the center of our cover is considered the most authoritative being that done by Martin Droeshout for the First Folio of 1623. The other portraits shown in the plates and in the miniatures are the Chandos Head the Stratford Bust the engraving by W. Marshall from the 1640 edition of the poems and the Jansen portrait of 1610. A Shakespeare scholar who raised the alarm about forgeries of Shakespeare manuscripts in the 1790s Boaden 1762-1839 sets forth here as indicated in the preface "a careful examination of the evidence" by which "the pretended portraits have been rejected and the genuine confirmed and established." The so-called "Cosway" binding with painted miniatures inlaid in handsome morocco--either inside or as here on the outside of the front cover--apparently originated with the London bookselling firm of Henry Sotheran about 1909. In that year G. C. Williamson's 1905 book entitled "Richard Cosway" which celebrated the career of this leading Georgian and Regency miniature painter was remaindered by Sotheran and presumably given this special decorative treatment in order to boost sales. The name "Cosway" then was used to describe any book so treated whatever its subject. The finest miniatures on Cosway bindings were executed by Caroline Billin Currie 1849-1940 who is known to have created such paintings for Sotheran's from 1910 until her death usually from designs by J. H. Stonehouse and typically for bindings executed as here by Riviere. Not present in this volume is an inserted leaf acknowledging Currie's work--something normally seen with Cosway bindings featuring her miniatures; but she has a distinctive deftness to her brush strokes and a recognizably refined execution that are clearly present here. The precision and detail of these portraits and the wonderfully expressive eyes are hallmarks of her work. Robert Triphook unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · Estados UnidosUS$ 28.600,00≈ € 25.551,70

(HISTORICAL PORTRAITS, COUNCIL OF CONSTANCE). LENFANT, JACQUESABAA

HISTOIRE DU CONCILE DE CONSTANCE TIRÉE PRINCIPALEMENT D'AUTEURS QUI ONT ASSISTE AU CONCILE

1714ref. ST19517bAmsterdam: Pierre Humbert 1714. FIRST EDITION. 290 x 220 mm. 11 1/2 x 8 3/4". Two volumes. Excellent contemporary calf raised bands spine lavishly gilt in compartments with unusual architectural centerpiece intricate scrolling cornerpieces with lancet accents two red morocco labels marbled endpapers. Title pages with engraved vignette of the council dedication page with engraved royal arms of Frederick William of Prussia decorative engraved initials and 19 ENGRAVED PORTRAITS BY BERNARD PICART. A Large Paper Copy. Front pastedowns with private library shelf label of Bessinge. Title pages of both volumes with signature of Charles Richard Tronchin. Brunet III 976. ◆Volume II with half-inch split at head of front joint and small patch of lost patina from insect activity on front board joints and extremities of both volumes a little rubbed boards with light chafing or faint scratches isolated mild browning or other trivial imperfections but still AN EXTREMELY APPEALING SET--entirely clean and fresh internally with especially ample margins with sharp impressions of unusually bright plates and with bindings showing no significant signs of use and looking very attractive on the shelf. This is a handsomely illustrated history of the Council of Constance the 15th century ecumenical council that resolved the Western Schism elected a new pope for the unified Roman Catholic Church and condemned reformer Jan Hus as a heretic. It is enlivened with beautiful portraits of the participants by an artist Ray considers "the outstanding professional illustrator of the first third of the eighteenth century." Our author French Protestant divine Jacques Lenfant 1661-1728 drew heavily on writings by those present at the council for this account which is considered a fair recording of the proceedings. Lenfant likely felt some sympathy for Hus tried and burned at the stake for heresy and for his countryman Jerome of Prague who came to support Hus and ended up meeting the same fate. Picart has referenced their martyrdom in his portraits depicting Hus' execution in a vignette beneath his portrait and balancing the tondo portrait of Jerome on a pile of burning logs. Similarly the radical English theologian John Wycliffe posthumously convicted of heresy at the council is pictured over a stack of burning books his writing having been condemned to this fate. But in addition to the harsh reality of burning execution Picart employs gentler details: Parisian Jean Gerson the formidable Chancellor of Paris is in sober robes but the adorable fluffy puppy beneath his portrait softens his image considerably. The cardinal of Foix who had negotiated the end of the schism involving rival popes in Rome and Avignon is flanked by a cherub holding an olive branch looking askance at a slain dragon which has been relieved of his many heads. The new pope Martin V is shown with the insignia of the papacy and a dove clasping an olive branch in its beak. The portrait of Italian humanist Poggio Bracciolini is shown hanging in an open window that looks out on his city of Florence with a stack of books by Quintilian and other classical authors Poggio had rescued from obscurity on the windowsill. Throughout Picart's facial images are strikingly individuated--these are convincing portraits that project history from the book's pages. Picart 1673-1733 was born in Paris where he learned engraving from his father Etienne and from Sébastian Le Clerc and "early acquired a reputation both as an artist and engraver." He moved to the busy publishing city of Amsterdam sometime before 1712 and established himself as both printseller and illustrator/engraver. There he designed and engraved an impressive body of illustrations for Dutch printers at a time when in Ray's words "designs for the finest illustrated books were typically drawn by leading painters." Our previous owner Charles Richard Tronchin 1763-1835 was a Swiss politician of great wealth who donate very substantial sums to relieve the sick and destitute. Pierre Humbert unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · Estados UnidosUS$ 1.300,00≈ € 1.161,44

[Indigenous Australian Portraits]. WASHBOURNE, Thomas JestonBiblio.com

A collection of 24 carte-de-visite portrait photographs of Indigenous Australians circa 1860s most from the Yarra Valley and North-East Victoria

ref. 84432First Edition. Hardcover. Very Good. Large quarto four thin card leaves sewn together with a total of 35 mounted albumen silver prints most approximately 90-95 × 55-60 mm. Leaves a little cockled and lightly tanned around the edges; some prints a little unevenly discoloured; overall in excellent condition now housed in a custom-made cloth portfolio with a contrasting leather title-label on the front cover. The Aboriginal portraits of Thomas Jeston Washbourne 1832-1905 are rare on the open market and in institutional holdings and their attribution can be problematic. The most readily-attributable images are a series of ten tableaux taken in or near Wangaratta around 1866. They show 'King' Billy Elengeit Barwidgee and members of his extended family and community in a studio setting adorned with eucalyptus foliage. All sitters have been identified see Ruth E. Lawrence: 'Thomas Jeston Washbourne's photographs of Indigenous Australians' in 'The La Trobe Journal' Number 107 2022. This group includes two prints of a single portrait of Maggie Stone granddaughter of Billy and Queen Mary. The remaining images comprise individual or group portraits most likely taken at Coranderrk Aboriginal Station. All but one are posed against a plain white cloth backdrop but these portraits are less formal than the studio tableaux with the sitters generally ungroomed and in everyday clothes or partial undress. These are also likely by Washbourne. One of them explicitly attributed to Washbourne by the National Library of Australia PIC/18179 shows Thomas Bamfield a Taungerong clan head circa 1866 and the others are in the same style. Some are captioned in pencil although these captions appear to be later and are not always accurate. One image a half-profile portrait of a well-groomed man in his Sunday best may be by Carl Charles Walter as it is in keeping with his fine series of portraits of the inhabitants of Coranderrk produced for the 1866 Intercolonial Exhibition although it does not feature in the panel held by the State Library of Victoria H91.1/1-106. Several of these images have been attributed to Italian anthropologist and zoologist Enrico Hillyer Giglioli 1845-1909. Four are reproduced in Aldo Massola's 'Coranderrk: A History of the Aboriginal Station' 1975 and six are attributed to Giglioli or 'Giglioli' in the finding aid for the 'Aldo Massola Collection: historical photographs principally from Victoria' at the Australian Institute of Aboriginal and Torres Strait Islander Studies AIATSIS. However Giglioli was known as a collector rather than a photographer and this attribution may have resulted from his habit of signing his name at the foot of the album leaves on which he mounted images by other photographers. Jane Lydon has added to the confusion in her 2005 book 'Eye Contact. Photographing Indigenous Australians' pages 95-98. Eleven further photographs are mounted on the same album leaves. The first is a contemporary view captioned 'Dandenong State Forest. Sassafras Creek - view under the fronds' 155 × 206 mm. The remainder are of New Zealand interest and comprise a view of Nelson College 135 × 210 mm; an oval carte-de-visite of Port Lyttelton; a very large view of eight giant moa skeletons 215 × 295 mm most likely in the Canterbury Museum; a view of two individuals in traditional dress in front of a Maori house; and six carte-de-visite portraits of Maori people some of whom we have identified from institutional holdings. 1 An unidentified man captioned 'Fifeu Reuboi Chief' apparently in error; 2 Tomika Te Mutu chief of Ngaiterangi by John Crombie miscaptioned 'Rewi Maori Chief'; 3 Nopera Te Ngiha a chief miscaptioned 'Remera Teiko'; 4 An unidentified woman captioned 'Maori Girl'; 5 Haniota Henere; 6 Haniota Henere with another woman. hardcover

Michael Treloar Antiquarian Booksellers · AustráliaAU$ 45.000,00≈ € 28.232,64

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