19 444 résultats
1772réf. 3753Rome 1772. Large folio. 29 3/4 x 17 1/4 inches. 2pp. letterpress text in French "Aux Amateurs des Beaux Arts" with uncoloured engraved head-piece and initial and colophon at foot of second page. One small format folding plate "Ordine tenuto nel disporre le stampe de pilastri delle logge Rafaele." 7 x 19 1/32 inches 34 hand-coloured engraved leaves comprising: 1 general perspective view with title and portrait of Raphael by Volpato after Pietro Camporesi strip attached at lower edge to bring up to size; 2 folding plates of doorways by Ottoviani after Gaetano Savorelli and Camporesi each on two sheets joined 36 x 17 1/4 inches overall; 14 views of pilasters on 28 plates by Ottoviani after Savorelli and Camporesi the first plate of each view cut to edge of image with strip attached to lower edge to bring up to size; general plan "Spaccato per il longe del seconde piano del loggia" on three plates by Ottoviani after Savorelli and Camporesi designed to form a single panoramic image . Lower blank margin of text leaf torn and repaired small tears to folds of the doorway plates. Bound with: RAPHAEL. - Nicolas DORIGNY 1648-1746 engraver. Psyches et Amoris nuptiae fabula a Raphaele Sanctio Urbinate Romae in Farnesianis hortis Transtyberim ad veterum aemulationem ac laudem colorum luminibus expressa a. Dorigny. delineata et incisa et a Ioanne Petro Belloriio notis illustrata. Rome: Domenico de' Rossi 1693 or later. Large folio 29 3/4 x 17 1/4 inches. 10 hand-coloured engraved plates by Dorigny titles and imprints printed in gold. 2 works in one volume. Late 18th-century Roman red morocco gilt contemporary with the first work covers with elaborate border of dog-tooth roll double-fillet and repeated use of a three-flower spray a heart and a rococo drawer-handle tool the same tool massed to form a lozenge shape at the corners and forming a triangular motif mid-way up the long sides with stars birds and small and large flower-spray tools all enclosing a large central lozenge formed from an outline of a simpler variant drawer-handle tool and large flower sprays enclosing a center of massed scrolling foliage with pomegranates and acorns the spine in seventeen sections with raised bands lettered in the second the others with repeat decoration of a central flower spray with smaller sprays at the corners patterned paper pastedowns. Ties lacking light worming to head and foot of spine with resultant small tears and loss modern cloth solander box morocco lettering-piece on the spine. A very fine collection with richly hand-coloured plates of the best of the decorative interior work carried out by Raphael in Rome. The album is hand-coloured and bound in Rome in the fourth quarter of the 18th-century. It is clearly as it was delivered to its original owner perhaps a Grand-Tourist perhaps a local dilettanti and perfectly echoes his wishes: the first part of Ottoviani's excellent work on Raffaello's Logge frescoes that is the part on the pilasters and including Maitre Dorigny's engravings but only the Loggia of Psyche set all hand-coloured and uniform in size. The first work part one of three concentrates on the decorative pilasters executed by Raphael and his assistants as part of a larger scheme of redecoration between 1518-1519 in the Logge on the main storey of the Vatican apartments. The remarkable prints the first to be carried out of the decoration of the Logge were probably planned as early as 1760 but were not executed until 1774 to 1776. The project was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plates were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to borrow elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the grotesque in the neo-classical period. The second work is of Raphael's Cupid and Psyche series of frescoes carried out by Raphael between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea executed in 1512: neither the plate nor the title were ever bound in the present collection. Originally published by the Rossis it is the work of Nicolas Dorigny 1658-1746 who lived and worked in Rome between about 1690 and 1719. The painter classicist and art historian Giovanni Pietro Bellori 1613-1696 provided the text at the foot of the plates appropriate excerpts from Apuleuis's Golden Ass. "Raphael Invenit: Stampe da Rafaello" 1985 Volpato 1; Ottaviano 2-19 and Dorigny 37-46. Brunet IV cf.1110 & 1111; Berlin "Kat". Cf.4068 & 4066; "Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg 1984 p.104 & no.245; "Giovanni Volpato 1735-1803" Bassano del Grappa 1988 173. unknown books
1890réf. ABC_473841890. Half blind-tooled greenish brown calf and grey/green net grained cloth over boards with the title in gold on the front board red edges and decorated endpapers. Large oblong album 32 x 40 cm. 89 original photographs mostly 20 x 26 cm. In 711 a Muslim army led by Tariq ibn Ziyad conquered most of the Iberian Peninsula which was then part of the Visigothic Kingdom. This region became known as Al-Andalus with Cordoba serving as its capital. In 756 Abd ar-Rahman I established the Emirate of Cordoba as an independent state. The present photo album covers in many photographs the magnificent architecture and features of the Great Mosque of Cordoba which is considered one of the most significant architectural monuments of the western Islamic world. Built in 785 the mosque's most notable feature was its enormous hypostyle hall comprised of rows of columns connected by double tiers of arches. The lower tier included horseshoe arches and was constructed with alternating red brick and light-colored stone. Abd ar-Rahman II expanded the mosque's dimensions in 836 while preserving its original design. His successors Muhammad Al-Mundhir and Abdallah also added new features to the mosque. One of the mosque's western gates Bab al-Wuzara' now known as Puerta de San Esteban is a famous prototype of later Moorish architectural forms and motifs featuring horseshoe arches with alternating coloured and decorated voussoirs set within a decorative rectangular frame called an alfiz. At the centre of Garzóns photographic work on Córdoba was the Palace of the Lions also known as the Court of the Lions Patio de los Leones; . Situated in the center of the Alhambra with its ancient citadel consisting of a complex of forts palaces and gardens this is one of the most buildings of the period of Muslim rule. The palace was commissioned by the Nasrid sultan Muhammed V of the Emirate of Granada during the second phase of his reign between 1362 and 1391 AD. The general layout of the Palace of the Lions courtyard comprises an elongated rectangle with two halls facing each other at opposite ends which is a common feature in numerous earlier palaces throughout Al-Andalus including other Nasrid palaces located within the Alhambra such as Comares Palace. Similar designs can even be traced back to the 10th century at Madinat al-Zahra located near Cordoba. What sets the Palace of the Lions apart is the addition of two more halls which face each other across the courtyard's shorter axis. This innovation is accompanied by an extension of the columned portico to encompass all four sides of the courtyard. The four converging water channels within the courtyard's floor are generally believed to be a symbolic representation of Paradise which both Muslim and Christian traditions describe as having four rivers. This arrangement may have drawn inspiration from the Persian chahar bagh tradition which involves a garden divided into four symmetrical parts along its central axis. The Palace of the Lions combines this with the classical peristyle tradition which features a portico or arcade surrounding a courtyard. Other monuments in Al-Andalus and North Africa where they are commonly referred to as a riad or riyad also feature gardens with a chahar bagh-type quadripartite division.Rafael Garzón 1863-1923 was born in Granada became known as one of Spains foremost photographers of the early twentieth century. He owned studios situated inside the Alhambra of Granada and in Seville. His photographic work mainly focused on capturing the landscapes and monuments of Andalucía particularly his photographic portraits which gained him recognition. His studio inside The Alhambra became particularly famous. Upon his arrival in Seville in 1901 he established a studio with an elaborate Arabic theme to enhance his photographs. He photographed the aristocrats of Seville as well as the earliest tourists of the 19th century who visited Andalucía. The spread of his photographs contributed greatly to the rising touristic interest in Spain. Garzón's photography encompassed two distinct styles. His monumental photography of prominent Spanish structures such as the Alhambra the Mosque-Cathedral of Córdoba and the Cathedral and Reales Alcázares of Seville. The other style was a popular type of photography designed to cater to the preconceived notions of foreign visitors seeking classic gypsy portraits from Sacromonte or the Carmenes from Córdoba or Seville. His photographic work was both of high quality and commercially attractive and Garzón distributed them in various formats including postcards collector's items and travel books.The binding shows very slight signs of wear mainly around the foot of the spine the interleaved tissue paper is slightly browned the upper-outer corner of the leaves is occasionally slightly dustsoiled. hardcover
1693réf. 15680Rome: Domenico de' Rossi 1693. Large folio. 10 hand-coloured engraved plates by Dorigny on laid paper each 15 7/8 x 26 inches approximately titles and imprints printed in gold black ink-ruled borders each plate cut to the edge of the image mounted on large sheets of contemporary thick laid paper each 29 3/8 x 40 3/8 inches approximately. Unbound A very fine suite of richly hand-coloured plates offering a stunning visual record of one of the best of the decorative interior schemes carried out by Raphael in Rome. This wonderful series records Raphael's 'Cupid and Psyche' series of frescoes carried out by him between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea executed in 1512: neither the plate nor the title are present here. Originally published by the Rossis the engravings are the work of Nicolas Dorigny 1658-1746 who lived and worked in Rome between about 1690 and 1719. The painter classicist and art historian Giovanni Pietro Bellori 1613-1696 provided the text at the foot of the plates appropriate excerpts from Apuleuis's Golden Ass. "Raphael Invenit: Stampe da Rafaello" 1985 Dorigny 37-46; cf. Brunet IV 1111; cf. Berlin Kat 4066. Domenico de' Rossi unknown books
1577réf. 66536First Edition of Holinshed's Chronicles an Important Shakespeare Source Book HOLINSHED Raphael and others. The First -Laste Volumes of the Chronicles of England Scotlande and Irelande. London: George Bishop and John Hunne 1577. First edition. Two median folio volumes 11 1/2 x 7 3/4 inches; 289 x 197 mm. Titles with woodcut borders McK. 147a numerous woodcut initials and vignettes of various sizes throughout many repeated. Blank b6 lacking in I:2; second leaf of errata lacking from I; several leaves supplied G5-8 I2-3 in I:3; 4S2 in II and probably others from another genuine copy; map of Edinburgh remargined and with other minor repairs; several paper repairs to the titles and text with occasional loss; some printed marginal notes shaved as usual. A made-up copy "as many copies have been made-up by later owners who combined parts having different imprints" Pforzheimer. This copy with the George Bishop title in Vol. I and the remaining titles with the John Hunne imprint. Early nineteenth-century full tan calf over thick boards gilt wide fillet bordering on covers gilt-ruled board edges spines gilt in compartments with six raised bands. Yellow endpapers. All edges gilt. A little rubbed; a few scuffs. Hinges and joints just becoming tender. Overall a very good copy of this important work. Housed in a custom quarter brown morocco clamshell gilt-stamped. While in the employ of London printer/publisher Reyner Wolfe King's Printer in Greek Latin and Hebrew Raphael Holinshed began planning the Chronicles that are known by his name though by several hands. This work formed the first authoritative vernacular and continuous account of the whole of English history. The Historie of Englande was written by Holinshed himself. The Description of Britaine was written by William Harrison. The Historie and Description of Scotlande and the Historie of Irelande were transcriptions or adaptations. The Description of Irelande was written by Richard Stanyhurst and Edmund Campion. Provenance: Borowitz Sotheby Parke Bernet 15 November 1977. STC 13568 most sets seem to have variations in imprint. Grolier Langland to Wither 146. Lowndes 1086. Pforzheimer 494. HBS 66536. $25000 George Bishop [and] John Hunne hardcover books
1587réf. 2142London: John Harrison George Bishop Rafe Newberie Henrie Denham and Thomas Woodcocke 1587. Second Edition. 18th-century calf rebacked. Very Good. THE SECOND EDITION 1587 OF HOLINSHED'S "CHRONICLES": THE BOOK AND THE EDITION USED BY SHAKESPEARE AS A SOURCE FOR A DOZEN OF HIS PLAYS. "In 1548 the prominent London printer and bookseller Reyner or Reginald Wolfe ambitiously decided to produce a universal history and cosmography. of the world. After Wolfe's death in 1573 his assistant Raphael Holinshed took over the project hired more writers and restrained its scope to the British Isles. The Chronicles was first published in 1577 in a two-volume folio edition illustrated with numerous woodcuts. After Holinshed's death in 1580 Abraham Fleming published the significantly expanded revised second edition of 1587 in a larger folio format this time without illustrations" British Library. By scholarly consensus it is the second 1587 edition offered here that Shakespeare used as the source of many of plays: "Shakespeare used Holinshed as a source for more than a third of his plays including Macbeth King Lear and the English history plays such as Richard III. He used it in a range of ways sometimes following the text of the Chronicles closely even echoing its words and phrases; sometimes using it as an inspiration for plot details; and at other times deviating from its account altogether either preferring other sources or his own imagination. Comparing Shakespeare's plays to Holinshed and other sources can provide rich insight into his creative intentions and processes as well as giving us an idea of some of the context in which Shakespeare's contemporary audiences would have understood his plays" British Library. The major use that Shakespeare made of Holinshed was certainly in the British history plays: "Queen Elizabeth herself said that Shakespeare's history plays existed 'aswell for the recreacion of our loving subjects as for our solace and pleasure.' Both sovereign and subject certainly found much comfort and recreation in Shakespeare's histories because they stage a thematic movement that shapes Holinshed's Chronicles 1377-1485; from the death of a frequently chaotic violently chivalric medieval world to the birth of the 'Peaceable and Prosperous' early modern commonwealth of their day. "An astute reader Shakespeare transformed into the medium of drama four major political themes and messages taught by Holinshed and his successors who enlarged the 1587 text: the ideal and decorum of English kingship the role of France in English public discourse the idea of Englishness and the idea of the commonwealth." Igor Dhjordjevic "Shakespeare and Medieval History" Oxford Handbook. On the bibliography of the 1587 edition: In February 1587 the Archbishop of Canterbury was ordered by the Privy Council to recall and censor "reform" the book on the grounds that the new material in the second edition included "sundry things which we wish had bene better considered; forasmuch as the same booke doth also conteyne reporte of matters of later yeeres i.e. the reign of Elizabeth I that concern the State and that "ther is inserted such mention of matter touching the King of Scottes as may give him cause of offence." As a result some 16 pages in volume II and almost 150 pages in volume III were excised "castrated" and replaced by a much smaller number of pages only seven leaves in volume III to paper over the gaps. The censors however neglected the index which continued to contain references to the excised pages. In the early eighteenth century three separate publishers issued sets of replacement leaves that collectors could use to complete their castrated sets of the 1587 edition. Cyndia Susan Clegg "Censorship" in Oxford Handbook; Keith L. Maslen "Three Eighteenth Century Reprints of the Castrated Sheets in Holinshed's Chronicles" The Library 5th Series. There is wide variation among the surviving sets of the second edition partly because of the presence of three different eighteenth century sets of replacement leaves and partly because the original sixteenth century castrations and replacements were apparently not applied consistently to all of the then-existing sets. Some sets now have one or more of the castrated pages; some have the sixteenth century replacement pages; some have the eighteenth century replacement pages; and some are mixed-and-matched. Thus "no two copies of Holinshed's Chronicles. are likely to have identical text" Randall McLeod "Cronicling Holinshed's Chronicles: Textual Commentary" in "The Peaceable and Prosperous Regiment of Blessed Queene Elisabeth: A Facsimile from Holinshed's Chronicles" 2005. In the copy offered here the replacement leaves in volume III appear to conform to the set issued in 1722/1723 by William Mears Fletcher Gyles and James Woodman "The castrations of the last edition of Holinshed's Chronicle: both in the Scotch and English parts containing forty four sheets; printed with the old types and ligatures and compared literatim by the original". However volume II of the offered copy does not include a complete set of the 18th-centurty replacement leaves and the replacement pages that are present do not conform to the Mears/Gyles/Woodman set. Thus this volume most likely contains the publisher's original sixteenth-century replacement leaves. Castrated pages 421-24 are here replaced by a single leaf with the recto numbered 421 and the verso numbered 424; 432-38 are replaced by a single page 433 and 443-50 are replaced by two leaves numbered 443/444 and 445/450. Provenance: With stamps on titles and privilege leaves from "Bibliotheca Regia" an unidentified Royal library including the de-accession stamps "Double Vendu". London: John Harrison George Bishop Rafe Newberie Henrie Denham and Thomas Woodcocke 1587. Folio 234x363mm eighteenth-century calf rebacked. Some wear to boards. Text extraordinarily clean with wide margins. A beautiful and important set. John Harrison, George Bishop, Rafe Newberie, Henrie Denham, and Thomas Woodcocke unknown books
réf. 7170Soyer Raphael. Soyer Raphael. BOWERY NOCTURNE. Cole 28. Lithograph 1933. 12 3/4 x 17 7/8 inches. Edition of 25. Signed in pencil. In excellent condition. Soyer considered this and its companion piece "The Mission" to be among his most important works as a printmaker. Rare. unknown
1587réf. 000443London: London: printed by Henry Denham in Aldersgate street at the signe of the Starre 1587. 2nd Edition . Hardcover. Very Good. Second edition; large folio; 3 volumes bound into 2 physical volumes. Vol. 1: 10 250; 4 202 2pp. Vol. 2: 61 13 183 1; 421 424-430 436-438 431-433 439-445 450-464 56pp. Vol. 3: 8 1080 1080-1327 2 1332-1371 1371-1421 1490-1491 1536-1555 1574-1592 62pp. Mismatching set. Volumes 1-2 bound in 17th century reversed calf somewhat worn with a few old repairs hinges cracked corners and spine ends worn with minor loss blind rolls to margins of boards spine with five raised bands gilt-lettered red leather spine label to second compartment and additional hand-written leather spine label to third compartment housed in attractive custom-made clam-shell box in red half leather over marbled boards with five raised spine bands and gilt lettering direct to spine in second compartment. Unobtrusive creasing and wear to opening and closing leaves lower outer quarter of title page missing and sometime laid down lacks preliminary blanks together with divisional titles to History of England Ireland and Scotland title-page to 'Second Volume of Chronicles' and preceding blank "The Epistle Dedicatorie to S. William Brooke" the "Names of the Authors" the "Table of Chapters" and the fold-out plate of the Map of Edinburgh i.e. lacks 10 leaves in all without loss to substantive text with occasional contemporary ink marginalia and early ink inscriptions of Joseph Brooke 1733 to front free endpaper and Edward Gostwyk to top of title page. Volume 3 bound in contemporary full leather somewhat worn with minor loss of leather to board corners expertly respined over six raised spine bands with gilt lettered title direct to spine in second compartment and gilt lettered date/regnal year direct to foot of spine. Lacks title page preliminaries and first 4 pages of text ie. first 6 leaves A-A6 missing but otherwise complete including dated colophon on closing leaf. Very early ink inscriptions on opening blanks a few marginal annotations in an indecipherable early hand very feint marginal dampstaining on a few rear leaves last leaf remargined just touching colophon rearmost two leaves somewhat creased and torn with mostly marginal loss. Two bookplates to front pastedown including 18th century ownership label of Thomas Weld Britwell Oxfordshire. Overall a clean and attractive copy of this celebrated monumental history printed in black gothic typeface and with attractive woodcut capitals and head and tail pieces. Holinshed's Chronicle needs little introduction given its influence on literature and especially on Shakespeare. The present set provides an original example of the 2nd edition text Shakespeare used as the basis for his History plays. STC 2nd edn 13569. ESTC S122178. London: printed [by Henry Denham] in Aldersgate street at the signe of the Starre hardcover
1587réf. 95438London: John Harrison George Bishop Rafe Newberie Henrie Denham and Thomas Woodcocke 1587. Preferred second edition of the greatest Elizabethan repository of English history which served as an important source for Shakespeare's plays. Folios 3 volumes bound into 2 bound in full calf gilt titles and tooling to the spine raised bands red morocco spine labels gilt ruled woodcut initials and title pages. Separate title pages and pagination for The Description and Historie of England The Description and Historie of Ireland and The Description and Historie of Scotland comprising volume 1. When this expanded second edition of the Chronicles appeared in January 1587 the Privy Council responding to Queen Elizabeth’s displeasure at certain passages ordered the Archbishop of Canterbury to recall and censure the work; as a result extensive cancellations 74 pages were made of offending sections in Volumes II and III. The censors removed “all references to English intervention in Scottish politics raised the profile of the Earl of Leicester and distanced England from Elizabeth’s one time suitor the Duc d’Alençon. Any accounts of trials and executions were altered to ensure proceedings were unequivocally portrayed as being fair and legal” King’s College London. The work of altering the entire edition of the Chronicles was rather haphazardly carried out so that the sections affected vary from copy to copy. In this copy all of the offending sections are cancelled or excised. A nice example scarce and desirable. An immediate success upon publication Holinshed’s Chronicles “form a very valuable repertory of historical information. The enormous number of authorities cited attests Holinshed’s and his successors’ industry. The style is clear although never elevated and the chronicler fully justified his claim ‘to have had an especial eye unto the truth of things” DNB. As the foremost British history available at the time the Chronicles did more to shape Elizabethan literature than any English historical work. “The Elizabethan dramatists drew many of their plots from Holinshed’s pages” and this second edition is demonstrably the edition employed by Shakespeare as the principal source of his “history” plays. “Both W. G. Boswell-Stone and H. R. D. Anders have shown that it was this second edition which Shakespeare employed as the source sole or part of ten of his plays” Pforzheimer 494 note. “Nearly all of the historical plays as well as Macbeth King Lear and part of Cymbeline are based on Holinshed” DNB. In fact Shakespeare drew not only his plots from Holinshed but occasionally his phrases. The complete story of the rise and fall of Macbeth can be found in the Scottish history Part III pp. 170-76 and the Chronicles’ eloquent descriptions intimate at times the very wording of Shakespeare’s drama: Macbeth is described as “a valiant gentleman and one that if he had not beene somewhat cruell of nature might have beene thought most worthie the governement of a realme”; the three “weird sisters… women in straunge and wild apparell resembling creatures of elder world” deliver to Macbeth and Banquo the fateful prophecies; and in the final battle Macduffe reveals that “I am even he that thy wizzards have told thee of who was never borne out of my mother but ripped out of her wombe” Whitaker Shakespeare’s Use of Learning. John Harrison, George Bishop, Rafe Newberie, Henrie Denham, and Thomas Woodcocke hardcover
1587réf. 95438London: John Harrison George Bishop Rafe Newberie Henrie Denham and Thomas Woodcocke 1587. Preferred second edition of the greatest Elizabethan repository of English history which served as an important source for Shakespeare's plays. Folios 3 volumes bound into 2 bound in full calf gilt titles and tooling to the spine raised bands red morocco spine labels gilt ruled woodcut initials and title pages. Separate title pages and pagination for The Description and Historie of England The Description and Historie of Ireland and The Description and Historie of Scotland comprising volume 1. When this expanded second edition of the Chronicles appeared in January 1587 the Privy Council responding to Queen Elizabeth's displeasure at certain passages ordered the Archbishop of Canterbury to recall and censure the work; as a result extensive cancellations 74 pages were made of offending sections in Volumes II and III. The censors removed "all references to English intervention in Scottish politics raised the profile of the Earl of Leicester and distanced England from Elizabeth's one time suitor the Duc d'Alencon. Any accounts of trials and executions were altered to ensure proceedings were unequivocally portrayed as being fair and legal" King's College London. The work of altering the entire edition of the Chronicles was rather haphazardly carried out so that the sections affected vary from copy to copy. In this copy all of the offending sections are cancelled or excised. A nice example scarce and desirable. An immediate success upon publication Holinshed's Chronicles "form a very valuable repertory of historical information. The enormous number of authorities cited attests Holinshed's and his successors' industry. The style is clear although never elevated and the chronicler fully justified his claim 'to have had an especial eye unto the truth of things" DNB. As the foremost British history available at the time the Chronicles did more to shape Elizabethan literature than any English historical work. "The Elizabethan dramatists drew many of their plots from Holinshed's pages" and this second edition is demonstrably the edition employed by Shakespeare as the principal source of his "history" plays. "Both W. G. Boswell-Stone and H. R. D. Anders have shown that it was this second edition which Shakespeare employed as the source sole or part of ten of his plays" Pforzheimer 494 note. "Nearly all of the historical plays as well as Macbeth King Lear and part of Cymbeline are based on Holinshed" DNB. In fact Shakespeare drew not only his plots from Holinshed but occasionally his phrases. The complete story of the rise and fall of Macbeth can be found in the Scottish history Part III pp. 170-76 and the Chronicles' eloquent descriptions intimate at times the very wording of Shakespeare's drama: Macbeth is described as "a valiant gentleman and one that if he had not beene somewhat cruell of nature might have beene thought most worthie the governement of a realme"; the three "weird sisters. women in straunge and wild apparell resembling creatures of elder world" deliver to Macbeth and Banquo the fateful prophecies; and in the final battle Macduffe reveals that "I am even he that thy wizzards have told thee of who was never borne out of my mother but ripped out of her wombe" Whitaker Shakespeare's Use of Learning. John Harrison, George Bishop, Rafe Newberie, Henrie Denham, and Thomas Woodcocke hardcover books
1776réf. 27836Rome 1776. Large folio. 29 1/4 x 26 3/4 inches. 12 of 13 hand-coloured engraved plates each printed on two joined sheets by Ottaviani after Gaetano Savorelli and Pietro Camporesi. Interleaved with blanks. Bound without the engraved title soft vertical center crease light abrasions in the images some marginal chips and edge tears to a few plates. A very fine set with particularly fine contemporary hand-colouring of the second part of this great work which concentrates on the quadrants above the windows and doors in the Vatican Logge. The work was completed in three parts and depicts the decorative work executed by Raphael and his assistants between 1518-1519 in the Logge on the main storey of the Vatican apartments. The remarkable prints the first to be carried out of the decoration of the Logge were probably planned as early as 1760 but were not executed until 1774 to 1776. The project was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plates were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to borrow elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate taste in the neo-classical period. Raphael Invenit: Stame da Rafaello 1985 Ottaviani 18 21-33; cf. Brunet IV 1110; cf. Berlin Kat. 4068; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg 1984 p.104. unknown books
1802réf. B5905Roma: : Work I: Roma: Niccola de Antoni; Work II: Roma: n.p. Work I: c. 1802; Work II: c.1770. . A handsome fine example. Prints are clean and crisp. . Binding: Skillfully rebacked half calf preserving contemporary blue speckled - marbled boards. Spine raised with six 6 bands; compartments elegantly gilt ornamented at borders corners and centres and gilt lettered title on two. Notes: Work I: Raphael 1483-1520 painted the ceilings walls and columns of the Vatican Logge over the two-year period before he would pass away. Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period. These particular images are renowned for their clarity and accessibility. Much of the subject matter on the columns is traced to Roman iconography. Such items as coins vases sarcophagi and various other items are done with stunning clarity and accuracy. Carlo Lasinio 1759 – 1838 was an Italian engraver who worked chiefly in Florence. Lasinio started as a painter at the Accademia di Belle Arti Venice. He quickly placed more emphasis on printmaking especially after moving to Florence in 1778. He established his reputation with two large series of etchings in 1787 and 1789. Lasinio also taught engraving at the Accademia in Florence becoming a Professor in 1800. Work II: A collection of plates from this work with no title page. The Raphael fresco decorations in the Vatican's three-storied balconies known as the 'Logge' quickly became famous and various suites of plates were issued from the 17th century onward. However this set was the first to attempt to show all the decoration of the pilasters and pillars. A set of the present engravings stimulated Catherine the Great to have a replica of the Logge built at the Hermitage in St. Petersburg. Size: Folio 621x478mm. Illustration: Illustrated with plates after Raphael: Work I: 14 decorative copper engraved plates; engraved title page by Giovanni Balzar; remaining by Carlo Lasinio after Raphael’s depictions of the Vatican’s loggia and columns. Work II: collection of 31 full page etchings amounting to thirteen 13 pairs or sets of engravings after the Vatican frescoes by Raphael. Volume: Two works in one volume Provenance: Upper pasted endpaper ex libris bookplate marked “Dampierre”. All leaves of the first work of wove paper contain the watermark “Pietro Miliani Fabriano.” References: Berlin Kat. 1048 Pages: Work I: illustrated half-title plates numbered figure: II No. I &II III No. III & IV IV No. V& VI V No. VII & VIII VI No. IX&X I No. I&II II No. III&IV III No. V&VI IV No.VII&VIII V No. IX&X dated 1802 VI No.XI&XII VII No.XIII&XIV VIII No.XI&XII ; Work II: plate I-XIII Num I-XIII I-V Category: Book Art Architecture & Design; Book Europe Italy; Book Plate Books General; Work I: Roma: Niccola de Antoni; Work II: Roma: [n.p.] hardcover
1935réf. 133111935. Soyer Raphael. Soyer Raphael. PASSER-BY. Etching 1935 Cole 40. 9 5/16 x 6 7/8 inches; 237 x 175 mm. Edition of 2 or 3 per Cole "about three" per Gettings "Raphael Soyer Sixty-Five Years of Printmaking Hirschorn catalogue." signed in pencil. Provenance The Arnold Collection New York to Swann Gallies New York to a private New York collection. One of the rarest and among the finest of Soyer's early prints. In excellent condition. This is the second example of this print we have owned. It differs from the example illustrated as Cole 40 and both are different from the other one we owned. It suggests that Soyer experimented with different states of this etching and ended by abandoning it without producing and edition. Soyer comment quoted in Gettings: "This is after a painting called "New Hat." The model was Erica a young woman who posed for me a great deal. She also posed for Reginald Marsh. The etching is about a girl dressed up in a coat gloves and hat passing a store window on a cold day. I observed people walking like this girl and tried to reproduce it in my studio." In later years Soyer reworked and published in large editions of 250 to 300 images from his early graphic oeuvre. Often these later pieces were done in color where the original has been in black & white usually they are lithographs almost always they suffer in comparison with the originals on which they are based. The image for Passer-By is one which was reworked in this manner but done in lithography printed in sepia and of different dimensions.See other works by Raphael Soyer at https://edpollackfinearts.com/cgi-bin/edp1/creator2011.htmlme=253&te=2 unknown
réf. 7705Soyer Raphael. Soyer Raphael. SPRINGTIME. Cole 56. Lithograph 1938. 14 x 17 1/4 inches; 356 x 440 mm. Signed and titled in pencil. Edition of about 25. Upper right corner professionally replaced else a very good impression in very good condition. Inscribed to "For Morris Carnovsky" in the margin just below the image.Together with The Mission and Bowery Nocturne of 1933 Cole 27 and 28 Springtime is one of three large format lithographs in which Soyer powerfully portrayed Depression-era scenes of New York City life. Although done in the studio it depicts Washington Square ParkA scarce and important item in Soyer's graphic oeuvre.Morris Carnovsky 1897-1992 was a distinguished American stage and screen actor whose long career included work with the Yiddish Theater the Provincetown Playhouse starring roles in Odets' "Awake and Sing" and "Golden Boy" the film "Life of Emile Zola" and acclaimed portrayals of King Lear and Shylock. He was blacklisted in 1950 but was cast by John Houseman in Ibsen's Enemy of the People.An interesting Association Copy of this rare print. unknown
1693réf. 15680Rome: Domenico de' Rossi 1693. Large folio. 10 hand-coloured engraved plates by Dorigny on laid paper each 15 7/8 x 26 inches approximately titles and imprints printed in gold black ink-ruled borders each plate cut to the edge of the image mounted on large sheets of contemporary thick laid paper each 29 3/8 x 40 3/8 inches approximately. Unbound A suite of ten engraved plates with very fine original hand colouring offering a stunning visual record of one of the best of the decorative interior schemes carried out by Raphael in Rome. This wonderful series records Raphael's 'Cupid and Psyche' series of frescoes carried out by him between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea executed in 1512: neither the plate nor the title are present here. Originally published by the Rossis the engravings are the work of Nicolas Dorigny 1658-1746 who lived and worked in Rome between about 1690 and 1719. The painter classicist and art historian Giovanni Pietro Bellori 1613-1696 provided the text at the foot of the plates appropriate excerpts from Apuleuis's Golden Ass. "Raphael Invenit: Stampe da Rafaello" 1985 Dorigny 37-46; cf. Brunet IV 1111; cf. Berlin Katalog 4066. Domenico de' Rossi unknown
1924réf. 80043Boston and New York: Houghton Mifflin Company 1924-37. Signed and handsomely bound The Autograph Edition number 632 of 750 sets signed by the author on a special leaf in the first volume. This attractively bound complete set includes Sabatini's famous historical adventures Captain Blood 1922 Scaramouche 1921 and The Sea Hawk 1915. The pleasing illustrations are by Charles Edmund Brock 1870-1938 who is particularly well-regarded for his illustrated editions of period books. Sabatini 1875-1950 reached a worldwide audience via both his swashbuckling novels and their early film adaptations. His "greatest gift was the ability to bring the past to life in vivid and convincing colours and to enthuse millions of readers with his own love of history" ODNB. 34 vols octavo. With numerous plates with captioned tissue guards after drawings by Charles E. Brock. Attractively bound in recent burgundy half morocco titles and decoration to spine burgundy cloth boards marbled endpapers top edges gilt others untrimmed. An excellent set. hardcover
réf. 8412Soyer Raphael. Soyer Raphael. PORTRAIT STUDY FOR "PORTRAIT OF A MAN - A TRANSIENT. Drawing pencil c. 1937. c. 13 x 12 1/2 inches 330 x 317 mm. The same subject Soyer's model Walter Broe posed similarly to Cole 49 except in reverse and with the hand resting on the table as opposed to being out of sight as in the lithograph. In excellent condition. Framed. unknown
réf. B-26-040005MIRÓ Joan 1893–1983 & ALBERTI Rafael 1902–1999. Maravillas con Variaciones Acrósticas en El Jardín de Miró Wonders with Acrostic Variations in Miró's Garden. Barcelona: Ediciones Polígrafa S.A. 1975. Folio complete portfolio loose as issued housed in the original publisher's cloth slipcase and lithographic chemise. A vibrant collaboration between two titans of 20th-century Spanish art and literature pairing Rafael Alberti's celebratory acrostic poems with Joan Miró's expressive surrealist graphics. Beautifully illustrated with 15 original color lithographs by Miró signed in the stone including 6 double-page spreads plus 2 additional original color lithographs decorating the chemise and slipcase printed on fine Guarro paper with custom watermark. From a limited edition of 315 copies this copy is #259 of the primary edition run of 225 hand-signed in pencil on the colophon page by both Joan Miró and Rafael Alberti. Reference: Cramer Books 211; Mourlot 1051–1072. Ediciones Polígrafa
1937réf. 51511937. Soyer Raphael. Soyer Raphael. FURNISHED ROOM. Etching 1937 Cole 48. Edition of 25 or fewer signed and titled in pencil. Published by the W.P.A. Federal Arts Project with its ink stamp in the margin lower left. 7 x 8 3/4 inches 180 x 224 mm. Three parallel printing creases right else a fine impression in excellent condition of this very scarce print. One of Soyer's most affecting images of the period of the depression. unknown
réf. 3631Valldemossa Mallorca: New Seizin Press / Libra Press 1999. THE LAST TRULY GREAT ILLUSTRATED BOOK OF THE TWENTIETH CENTURY: A BRILLIANT EXPOSITION OF JOAN MIRO'S WORK THAT REQUIRED SEVEN YEARS TO PRODUCE WITH TWENTY PENCIL-SIGNED ORIGINAL PRINTS BY NILS BURWITZ. Twenty texts about Miro by leading Spanish and Catalan intellectuals and artists including Camilo Jose Cela Rafael Alberti and Robert Graves who spent much of his life living in Mallorca. The texts are in Spanish or Catalan except for Graves' poem which is in English and all appear here in first edition. Each text is accompanied by a AN ORIGINAL COLOR FULL-PAGE HORS-TEXTE MIXED-MEDIA PRINT BY NILS BURWITZ JUSTIFIED AND SIGNED IN PENCIL BY THE ARTIST. These twenty highly complex prints are mostly etchings often with aquatint and embossing. They brilliantly illuminate various aspects of Miro's work--and unmistakably demonstrate Burwitz' artistic and technical virtuosity. EDITION LIMITED TO 125 COPIES ALL PRINTED ON EXTREMELY FINE HANDMADE PAPER AND SIGNED BY THE ARTIST IN THE COLOPHON. Large folio. Loose as issued in the original solander case covered with beautiful dyed fabric made in Mallorca. Ceramic plaque with the title mounted to the front cover. Housed in a cloth slipcase. FINE AND BRIGHT WITH NO DEFECTS. Laid in is a prospectus and a copy of the explanatory booklet--one of 1000 copies also signed by Burwitz--that contains reproductions of all of the prints portraits by Burwitz of course of all of the authors and translations of all of the texts into English and German and into Spanish for the Catalan texts and Catalan for the Spanish. A monumental and stunning work. Valldemossa, Mallorca: New Seizin Press / Libra Press, 1999 hardcover
1917réf. 133091917. Soyer Raphael. SELF-PORTRAIT. Cole 3 Gettings 2. Etching c.1917. One of a very few printed. Signed in pencil lower right. 4 1/16 x 3 inches plate 5 3/4 x 4 3/8 inches sheet. In very good condition notwithstanding a repaired break going through the image. The repair is so skillful that it is not visible from the recto but is clearly seen on the verso. Provenance the Arnold Collection New York to Swann in 2000 to a private collection New York. The National Portrait Gallery has a copy but we are not aware of another copy. This was one of a group of portrait etchings that were the first prints Soyer made. Cole 1 is a portrait of his father Cole 2 a portrait of his mother. Cole 3 and Cole 3A are self-portraits and Cole 4 is a portrait of his brother Isaac. All four were printed in only a few copies each and all are very rare. Soyer's comments to Gettings on these early portraits in general and on this one specifically: "I did everything myself prepared the plate put it in acid and printed it myself. I printed on the only kind of paper I had. I didn't try to get fancy paper." "In those days I did many drawings of myself. This was the earliest etching of myself. I didn't think it was very successful because the features are too big for the face the lips and nose are too big and so on. When I did it I thought of Rembrandt of Rembrandt's early etchings of himself but I didn't consider it successful.See other work by Raphael Soyer at https://edpollackfinearts.com/cgi-bin/edp1/creator2011.htmlme=253&te=2 unknown
1917réf. 133141917. Soyer Raphael. SELF-PORTRAIT. Cole 3A. Etching c.1917. One of a very few printed. Signed in pencil lower right. 3 5/8 x 2 3/16 inches plate 8 3/4 x 6 7/16 inches sheet. In excellent condition with tack holes for drying and a small tear at the sheet edge upper right. Provenance the Arnold Collection New York to Swann in 2000 to a private collection New York. We are not aware of another copy; this copy may be the one illustrated in reverse in the Supplement which was added to the Second Edition of the Cole Catalogue. This was one of a group of portrait etchings that were the first prints Soyer made. Cole 1 is a portrait of his father Cole 2 a portrait of his mother. Cole 3 and Cole 3A are self-portraits and Cole 4 is a portrait of his brother Isaac. All four were printed in only a few copies each and all are very rare.See other works by Raphael Soyer at https://edpollackfinearts.com/cgi-bin/edp1/creator2011.htmlme=253&te=2 unknown
réf. 9178New York: Dieu Donné Papermill Inc 2002. Limited Edition. Hardcover. Fine in Fine Slipcase. Limited Edition. Hardcover. An artist book with poems by Raphael Rubinstein. "Each book cover is a one-of-a-kind handmade paper collage created by the artist in the papermaking studio assisted by Susan Gosin and Mina Takahashi. The white cotton text paper and colored abaca chapter covers were handmade at Dieu Donne Papermill. The circles in the chapter covers were die-cut by hand. Carol Joyce bound the edition and slipcase each book in one of four colors of raw Indian silk to match the colored chapter covers. The text is letterpress printed in Avenir types by Ruth Lingen." from the colophon. OCLC finds 5 copies only Getty U.Minnesota U.Wisconsin U.Washington BNF; we find 2 additional copies at the Met and MoMA. Tight bright and unmarred. Collaged covers composed of hand-cut paper and string with translucent paper overlaid onto boards; contents variously letterpressed photo-copied and digitally printed with die-cut chapter covers and various inserts; matching slipcase in gold silk. 4to. np. Illus. color and b/w plates. Numbered limited edition this being 15 of 17 Artists Proofs in addition to the 30 of the Standard edition for a total of 47 copies. Dieu Donné Papermill, Inc hardcover
1924réf. 25216Paris - La Renaissance du Livre éditeur 1924. Enorme in-8 relié à grande marges de 296 pages au format 20 x 4,5 x 15 cm. Magnifique reliure demi maroquin rouge, avec plats en papier marbré. Dos rond avec titre gravé et doré. Tête dorée. Livre glissé sous bel emboitâge. Intérieur parfait, à l'exception d'une petite restauration au filmoplast au bord de la page 53/54. Couvertures illustrées par Lorenzi et dos conservés. Magnifiques illustrations in et hors texte en couleurs et noir et blanc de Raphaël Kirchner, Chimot, Domergue, Jaquelux, Lorenzi, Robaudi, Bourdelle. Superbe ex-libris érotique gravé et signé, contrecollé au verso de la couverture. Tirage sur grand papier, non justifié. Superbe état, proche du parfait. Edition définitive en grande partie originale. Exemplaire unique, contenant une carte postale avec dédicace autographe de Félicien Champsaur, 2 dessins originaux à la plume sur calque, 33 dessins originaux à la plume, retouchés à la gouache, ayant servi à l'illustration de l'ouvrage, quelques-uns avec le monogramme de Raphaël Kirchner et un pastel de Bourdelle, signé, retouché aux crayons de couleur. De toute rareté.
1875réf. 018433Mexico: Imprenta de Ignacio Escalante 1875. Book. Good condition. Hardcover. First Edition. 4to - over 9¾ - 12" tall. ii 60 pages of text followed by 12 beautifully hand-colored plates of hummingbirds. The text has sustained water damage but those pages have been professionally washed and stabilized. Signatures page gatherings were reformed and resewn. Rebound with a new leather spine with gilt-lettered leather spine label and linen-covered boards. The tinted lithographed frontisportrait and six pages of text are affected by dark areas of discoloration from the water exposure and many pages have minor rippling as some treated pages were discreetly detached for treatment and re-inserted on an added tab. Minor rippling to the hand-colored plates but the images remain bright and are not noticeably affected. There is minor soiling to the plates. All page edges were trimmed by about a half inch to remove damaged paper and does not affect any text or plates; the size is about 10.5 inches height by about 7.5 inches. Imprenta de Ignacio Escalante Hardcover books
2002réf. 9178New York: Dieu Donné Papermill Inc. 2002. Limited Edition. Hardcover. Fine in Fine Slipcase. Tight bright and unmarred. Collaged covers composed of hand-cut paper and string with translucent paper overlaid onto boards; contents variously letterpressed photo-copied and digitally printed with die-cut chapter covers and various inserts; matching slipcase in gold silk. 4to. np. Illus. color and b/w plates. Numbered limited edition this being 15 of 17 Artists Proofs in addition to the 30 of the Standard edition for a total of 47 copies. An artist book with poems by Raphael Rubinstein. "Each book cover is a one-of-a-kind handmade paper collage created by the artist in the papermaking studio assisted by Susan Gosin and Mina Takahashi. The white cotton text paper and colored abaca chapter covers were handmade at Dieu Donne Papermill. The circles in the chapter covers were die-cut by hand. Carol Joyce bound the edition and slipcase each book in one of four colors of raw Indian silk to match the colored chapter covers. The text is letterpress printed in Avenir types by Ruth Lingen." from the colophon. OCLC finds 5 copies only Getty U.Minnesotta U.Wisconsin U.Washington BNF; we find 2 additional copies at the Met and MoMA. Dieu Donné Papermill, Inc. hardcover books
