21 452 résultats
1774réf. 20168Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Moses coming down from Mount Sinai holding the tablets bearing the ten words of the Covenant his face "horned from the conversation of the Lord". Aaron and the children of Israel seeing the face of Moses "horned" are afraid to come near. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1774réf. 20165Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. In the main panel the Lord appears to Isaac and tells him not to go down into Egypt but to stay in Gerara. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1774réf. 17011Rome 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Shaved within plate mark expert neat repairs to left margin one just affecting the image area. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. The biblical scene depicted shows the infant brothers Cain and Abel vying for their mother's attention. Adam is sowing nearby. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog. 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1770réf. 20166Rome 1770. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Jacob at Luza having a vision of the angels ascending and descending by a ladder which reached from earth to heaven. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1774réf. 20167Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Joseph telling his brothers of his prophetic dreams "Hear my dream which I dreamed. I thought we were binding sheaves in the field: and my sheaf arose as it were and stood and your sheaves standing about bowed down before my sheaf . I saw in . another dream as it were the sun and the moon and eleven stars worshipping me." A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1774réf. 20169Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David having subdued Syria returning to Jersusalem with armour made of gold. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1774réf. 20170Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows the moment during the Last Supper when Jesus announces that one of the twelve disciples will betray him. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1772réf. 16447Rome 1772. Copper engraving with stunning early colour. Printed on laid paper with added wove margins. In excellent condition with the exception of some light foxing in the margins. Image size: 22 7/8 x 15 3/4 inches. This beautiful perspective view of Raphael's Loggia with contemporary colouring of the highest quality from the golden age of the hand-coloured print served as the frontispiece to the celebrated text "Loggie di Rafaele nel Vaticano". This arresting print is a general perspective view of Raphael's design for the Loggia at the Vatican with a large profile portrait of Raphael in a medallion over the entrance to the corridor. The plate served as the frontispiece to the first part of the "Logge di Rafaele nel Vaticano" which depicted the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. The project as a whole 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 plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was remarkable not just for the size and magnificent colouring of the prints 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 stimulated the taste for the "grotesque" in the neo-classical period. Cf. Brunet IV 1110; cf. Berlin Katalog 4068; Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Volpato 1; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104; G. Marini editor Giovanni Volpato 1735-1803 1988 no. 198. unknown books
1774réf. 20168Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Moses coming down from Mount Sinai holding the tablets bearing the ten words of the Covenant his face "horned from the conversation of the Lord". Aaron and the children of Israel seeing the face of Moses "horned" are afraid to come near. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1774réf. 20165Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. In the main panel the Lord appears to Isaac and tells him not to go down into Egypt but to stay in Gerara. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They 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. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
1915réf. 80765London: Martin Secker 1915. Hardcover. Very Good. First edition. Some modest spotting to the boards lettering rubbed but easily readable a near very good copy lacking the rare dust jacket. Along with Captain Blood and Scaramouche one of a trio of swashbuckling novels that helped to define the genre. This was the basis for one of the great silent adventure films directed in 1924 by Frank Lloyd and featuring Milton Sills as the Sea Hawk with Enid Bennett Lloyd Hughes Wallace MacDonald Marc McDermott and Wallace Beery. Also well-known is the 1940 Michael Curtiz swashbuckler with Errol Flynn which kept the Sabatini title but used an original story-line loosely based on the exploits of Sir Francis Drake and modified to draw obvious parallels to England on the verge of WWII. Martin Secker hardcover
1915réf. 80765London: Martin Secker 1915. Hardcover. Very Good. First edition. Some modest spotting to the boards lettering rubbed but easily readable a near very good copy lacking the rare dust jacket. Along with Captain Blood and Scaramouche one of a trio of swashbuckling novels that helped to define the genre. This was the basis for one of the great silent adventure films directed in 1924 by Frank Lloyd and featuring Milton Sills as the Sea Hawk with Enid Bennett Lloyd Hughes Wallace MacDonald Marc McDermott and Wallace Beery. Also well-known is the 1940 Michael Curtiz swashbuckler with Errol Flynn which kept the Sabatini title but used an original story-line loosely based on the exploits of Sir Francis Drake and modified to draw obvious parallels to England on the verge of WWII. Martin Secker hardcover books
1937réf. 46644Jerusalem: Monsohn Print 1937. Original artwork. Framed. Atlas Folio 25 1/4 x 16 1/4". Lithograph on heavy stock paper. Printed by Shimon Barmatz. Monsohn Print unknown
1937réf. 46644Jerusalem: Monsohn Print 1937. Original artwork. Framed. Atlas Folio 25 1/4 x 16 1/4". Lithograph on heavy stock paper. Printed by Shimon Barmatz. Monsohn Print unknown books
réf. 7338Soyer Raphael. Soyer Raphael. STREET SCENE WITH MOSES SOYER. Gettings 113 not in Cole. Lithograph 1970. 19 1/4 x 14 1/4 inches; 488 x 362 mm. Edition of 150 printed by Burr Miller. Numbered 54/150 and signed in pencil. In excellent condition. Very attractively framed. unknown
réf. 1830Soyer Raphael. Soyer Raphael. WAITRESSES. Lithograph 1954. Cole 71. AAA Ed of 250. 11 1/2" x 9 1/2" signed. Excellent condition frmed. unknown
réf. 7246Soyer Raphael. Soyer Raphael. YOUNG DANCERS. Cole 112. Lithograph 1966. A trial proof before the edition of 100. Signed in pencil and inscribed "Sylvan - These are rough proofs" and "Light." In excellent condition. Rare."Sylvan" is Sylvan Cole the director of Associated American Artist the publisher of this and other prints by Soyer. unknown
1807réf. 20249London: Johnson J. Et Al. Poor with no dust jacket. 1807. First Edition. Hardcover. Oversized six volume set. Calfskin titled in gilt marbled textblock edges. 1807 new edition. Poor to fair condition. Ex-library with bookplates and reinforced/taped spines a few library stamps. The first volume is in the poorest condition. Hinges cracked and boards detached on V. 1 and boards nearly detached in other volumes. Scattered foxing. The pages are still reasonably well attached to the spines and the contents are quite legible. The leather board edges are frayed and deteriorating. Scarce. ; Folio 13" - 23" tall . Johnson, J. Et Al hardcover
2000réf. SONG1555534392Brand: Northeastern 2000-05-25. hardcover. Used: Good. 6.00x0.50x9.00. Buy with confidence. Excellent Customer Service & Return policy. Brand: Northeastern hardcover
réf. Z1-Q-020-03410Routledge Kegan & Paul. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Routledge Kegan & Paul unknown
1880réf. 3132Circa 1870-1880. Album in plano (30,5 x 24,5cm) composé de 52 feuilles cartonnées. Pleine percaline noire d’époque, muette, tranches dorées. Rares rousseurs, quelques photos au contraste faible, une photo avec une légère déchirure en marge, sinon très bon état de conservation. L’album est composé de soixante photos, la plupart de grand format (24 x17 cm).
1914réf. 52000Reliure demi-maroquin chocolat à coins. Dos lisse orné de motifs mosaïqués et de points et filets dorés. Tête dorée. Couvertures et dos conservés. Reliure signée Charles Lanoë. Edition richement illustrée de 100 eaux-fortes en noir de Raphaël FREIDA, dont un frontispice et 18 hors-texte, l'ensemble gravé par Edmond Pennequin.
1662réf. 30315DBO.O. und Neuburg a. d. Donau, o.V. und Strasser, 1662 und 1665. 8°. (6) Bl., 155 (recte 157) S. Mit gestochenem Kupfertitel; (8) Bl., 300 S. Pappband des 18. Jahrhunderts mit schwarz geprägtem Supralibros des Klosters Lambach.
1662réf. 30315DB1662. O.O. und Neuburg a. d. Donau o.V. und Strasser 1662 und 1665. 8°. 6 Bl. 155 recte 157 S. Mit gestochenem Kupfertitel; 8 Bl. 300 S. Pappband des 18. Jahrhunderts mit schwarz geprägtem Supralibros des Klosters Lambach. Hirsch-H. V 104. I: VD17 23:268633R. II: VD17 12:191152W. Haller I 614. Seltene Monographien über Karlsbad bzw. Bad Pfäfers beschrieben durch den Stadtarzt von Neuburg an der Donau. Laut VD17 ist beim Titel über Karlsbad kein Drucktitel nachweisbar hingegen fehlt offenbar eine Kupfertafel beim Band «Waldbad zu Pfeffers». Titelblätter sehr stark gebräunt und fleckig. Das Papier knapp beschnitten stellenweise mit leichtem Textverlust. Im Innenfalz mit durchgehendem Wasserrand. Papierbezug am Rücken angeplatzt. unknown
1662réf. 30315BBO.O. und Neuburg a.d. Donau, o.V. und Strasser, 1662 und 1665. 8°. 6 n.n. Bl., 155 (recte 157) S. Mit gestochenem Kupfertitel; 8 n.n. Bl. 300 S. Pappband des 18. Jahrhunderts mit schwarz geprägtem Supralibros des Klosters Lambach.
