19 353 résultats
2001réf. 91034IDE Et CALENDE. New. 2001. Paperback. 2825801534 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in French. 336 pages; illustrated in black and white. Catalogue Raisonne Catalog Raisonné Complete Works La Vie et L'uvre Oeuvre Raisonnee -- with a bonus offer . IDE Et CALENDE paperback
1915réf. 57649N.p. 1915. old staple at corner. Slight creasing; very attractive original condition. 4to. With extensive deletions alterations and additions by the author. A story about a dandy who takes on a bet that he cannot capture a certain highwayman. unknown
1969réf. 91020Weidenfeld & Nicolson. As New. 1969. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - 128pp. Pages; 64 color plates 379 black and white illustrations. Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee -- with a bonus offer . Weidenfeld & Nicolson hardcover
2005réf. 87162Lanoo. New. 2005. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in Dutch. 198 pages; illustrated. Catalogue Raisonne Catalog Raisonné Complete Works Catalogus Het Complete Oeuvre Raisonnee Lanoo hardcover
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 "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
réf. 12843Soyer Raphael. LIFE CLASS. Cole 42A. Lithograph 1937. Edition size not known but likely very small. Titled and signed in pencil and with the blindstamp of the printer: "Jacob Friedland/Lithographic Printing/55 East 9th Street N.Y.C." 5 7/8 x 8 1/2 inches image 10 x 12 1/4 inches sheet. Light matstain else in excellent condition. unknown
1917réf. 51541917. Soyer Raphael. Soyer Raphael. NIGHT SCENE. Etching c. 1917 not in Cole but related to Cole 6. One of only a few impressions signed in pencil. 5 1/8 x 6 inches. unknown
réf. 50934Amsterdam Covens Mortier & Covens Jr. ca. 1758. Reissue of the edition by L. Schenk Amsterdam 1747. With a rare French part. Folio modern suede-like fabric covers. 2 15 22 pag. Illustrated with 2 portraits : J. v. Campen by Lutma and A. Quellinus by H. Quellinus. And with 109 engravings and etchings. Some of these are folding of which some are very large. Illustrators are A. de Putter Hub. Quellinus and J. Vennekool. They based their illustrations on designs by the sculptor Artus Quellinus but plate 69 and 70 are after 'R.V.H.'. This is a good and complete copy besides the modern covers with the French text part. In the Dutch part the signature mark D was corrected by pasting over with a C. After 15 pages of Dutch text follow 22 pages in French with a seperate title page in French. This French part has a seperate signature marking: A-E2 F1. The British Library seems to have a seperate French copy OCLC-nummer: 939433060. Other copies in Dutch and international libraries lack the French part. Literature: Fuhring 4169-4199. BookID nr. B1845. unknown
1772réf. 17002Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin expert repairs to left margin not affecting image area. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the first 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. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. 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 of importance 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; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 4; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
1772réf. 17009Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin expert repair to upper left corner just affecting image area small repairs to right blank margin. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the first 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. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. 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 of importance 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; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 5; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
1928réf. 56031928. Soyer Raphael. Soyer Raphael. EAST HOUSTON STREET. Lithograph 1928 Cole 15. 5 1/2 x 9 1/2 inches; 140 x 241 mm. Edition of about 50. Full margins. A repaired tear in the margin right and a light crease visible within the image upper right else a fine impression in very good condition. Very scarce. unknown
réf. 7245Soyer Raphael. Soyer Raphael. FIGURE COMPOSITION. Cole 31. Lithograph 1933. Edition of 25. 16 x 11 1/2 inches; 406 x 292 mm. Signed and titled in pencil. An affecting composition from the period of Soyer's fnest work. In excellent condition. unknown
1933réf. 128441933. Soyer Raphael. Soyer Raphael. IN STUDIO Cole 29. Lithograph 1933. Edition of 25. 15" x 10 1/4." Signed and titled in pencil and with Soyer's gift inscription "For Margaret Lowengrund" also in pencil lower left Margaret Lowengrund 1902-1957 was an American painter and printmaker; she was the founder of what is now the Pratt Graphic Arts Center at Pratt Institute. In excellent condiiton. unknown
1937réf. 33151937. Soyer Raphael. Soyer Raphael. SKETCH CLASS ART CLASS Cole 47. Etching 1937. 6 x 9 7/8 in. Edition of about 25. Executed for and printed by WPA Federal Art Project. Titled "Art Class" and signed in ink. "We used to have sketch groups. We artists would get together and hire a model then meet at someone's house and draw from the nude. I made many drawiings not only of the model but also of the whole scene of people drawing the model." Gettings #38 unknown
1929réf. 18911929. Soyer Raphael. Soyer Raphael. UNION SQUARE. Lithograph 1929. Cole 17A Edition of 10 titled and signed in pencil. 7 1/8" x 8 3/4". With the blindstamp of the printer Jacob Friedland center bottom and the date stamp of Downtown Gallery "Nov 15 1932" on reverse. In Very Good condition. One of five New York scenes produced by Soyer in 1929-30 Cole 15-18. All were done in very small editons 10-25 and are therefore very rare. unknown
1827réf. 2164Bolivar improves medical services in Venezuela Simón Bolívar 1783-1830; José Rafael Revenga 1786-1852. Decreto sobre el rèjimen i gobierno del hospital militar. Caracas April 23 1827. 8°. 18 pp. Recent paper covers. Decree by Bolivar to improve the military hospital at Caracas Venezuela and the medical infrastructure in general. Issued by his Secretary General José Rafael Revenga this lists 19 articles to which the hospital and all other medical establishments should adhere to. The final pages states that this decree was "Given at my headquarters in Caracas on April 23 1827-17°". Medical services had been largely the responsibility of religious organisations. Bolivar aimed to strip monastic orders of their influence and the present decree can be seen as an example of that development. This decree was issued just after settling temporarily the rebellion of Jose Antonio Paez in Venezuela. In 1826 Bolivar travelled to Venezuela to subjugate the resistance instigated by General Paez. This was resolved peacefully when Bolivar confirmed Paez's military authority in Venezuela and Bolivar's subsequent stay to celebrate. This in turn caused De Paula Santader to revolt in Bogota urging Bolivar to leave Venezuela in June. He left Paez in charge of Venezuela with the title of jefe superior. Thus when the present decree was issued in April Bolivar was still in Venezuela. José Rafael Revenga was Secretary of Foreign Affairs of Colombia since 1825 and became private secretary of Bolivar when he travelled to Caracas in 1826 making it likely that this was printed in Caracas. The first book was printed in Caracas in 1810. Condition: slightly spotted more on the last pages. Small hole in final leaf affecting text. Reference: not in Palau; Sabin.
réf. 29967Lakewood CO: Centipede Press. 2013; 2014; 2015; 2017; 2018; 2021; 2023; 2025. Limited edition. Limited edition. Eight volumes. Signed by the author of the introduction cover artist and editor. Publisher's original black cloth with silver titles to the spine with blind illustration stamped to the upper boards in the Jacob McMurray illustrated dustwrappers. Satin ribbon page markers in every volume. With black and white photographs of the author featured in the introductions. A near fine set the binding square and firm the cloth mostly bright and fresh with some mottling to the boards of volume I. The contents with light spotting to the top edge of the closed text block of volumes I and III are otherwise clean throughout and without previous owners' inscriptions or stamps. Complete with the original dustwrappers; that of volume I lightly rubbed nicked and mildly spotted to the underside with a few light marks to the front panel and a couple of scuffs and punctures to the upper spine fold. The other seven dustwrappers with just a hint of rubbing to the extremities of volumes VI and VII and a tiny nick to the rear flap fold of volume VII are free from fading loss or tears. Not price-clipped. Issued in an edition of 300 copies from which this set is numbered 48 across all eight volumes and signed by the cover artist Jacob McMurray in volumes I-VI in facsimile in volumes VII and VIII and authors of the introductions Michael Swanwick Harlan Ellison Richard Lupoff Michael Kurland Neil Gaiman Scott Bradfield and Gary K. Wolfe respectively in black and green ink on the colophon. Signed by the editor John Pelan in green ink in volumes I-VI and in black facsimile on the colophon of the last two volumes. The complete collected short fiction of R. A. Lafferty as of April 2026 comprises eight volumes of an expected 12 total and marks the first ever publication of Lafferty's entire corpus of short stories. The project was initiated by editor John Pelan a science fiction-horror author known for founding the publishing house Axolotl Press who sadly passed away in 2021 before the series' completion. 'The Man Who Made Models' volume I and 'The Man with the Speckled Eyes' volume IV were nominated for the Locus Award for 'Best Collection' in 2015 and 2018 respectively. In a writing career spanning more than three decades R. A. Lafferty has been nominated for a World Fantasy Award four Hugo winning the 1973 Hugo Award for his short story 'Eurema's Dam' and seven Nebula Awards. In 1990 the author was the recipient of the World Fantasy Lifetime Achievement Award. 'R. A. Lafferty is unique in the old unspoiled sense of the word. A genius as wild and joyful delightful and unpredictable as his comes along but once in a lifetime. Cherish him. If there were no Lafferty we would lack the imagination to invent him.' Michael Swanwick. Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. Lakewood, CO: Centipede Press. 2013; 2014; 2015; 2017; 2018; 2021; 2023; 2025. hardcover
1970réf. mon0000071408Macmillan Co. NY 1970-01-01. Paperback. Acceptable. in x in x in. Creased cover. Some pages creased. Some writing. Macmillan Co. NY, paperback
1772réf. 17002Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin expert repairs to left margin not affecting image area. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the first 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. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. 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 of importance 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 Kat. 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 4; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown books
1772réf. 17009Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin expert repair to upper left corner just affecting image area small repairs to right blank margin. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the first 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. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. 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 of importance 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 Kat. 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 5; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown books
1970réf. WRCLIT57895New York: Touchstone Publishers 1970. 244pp. plus lithographs. Large folio 65 x 48 cm; 25.5 x 19 inches. Loose sheets and signatures laid into folding cloth case. Case rather faded and smudged with lower edge of upper lid broken internally very good; except for two small marginal spots to one plate the plates are in fine state. First edition. One of the earliest of the several collaborations between the Nobel Prize-winning author and Soyer. From an edition of 175 copies and 20 a.ps. this is one of 150 numbered sets with the lithographs printed on Arches each signed and numbered by the artist in the margin and with the title-leaf signed by the author. Touchstone Publishers hardcover books
réf. 88002801Paris 1918 Laurens. Red cloth tall folio very good index of painters general table glossary 497 b. w. gravures 28 x 40 cm. minor wear to corners spine head/tail clean solid copy. RARE FIRST & ONLY LIMITED NUMBERED EDITION 550 COPIES . . . THE FIRST MONOGRAPH ON THE MUSTARD SEED GARDEN . . . IN A EUROPEAN LANGUAGE . This is a wonderful work with superb detail coverage of the JIE ZI YUAN HUA ZHUANG HUA NIAO PU: MUSTARD SEED GARDEN. GUIDE TO PAINTING a Chinese classic by Li Li-Ong & Wang Kai in 1679. . This work discusses and illustrates a great portion of the original with additional commentaries. Hailed as the most important Chinese book on painting ever issued it has been a continual source of instruction for Chinese and Japanese as well as for Western artists over the centuries. This covers landscapes flowers flowers birds and figures with critical notes on the principles and technical advice on painting. . Useful analyses of the methods of drawing for landscapes and for flower & birds. This superb work was begun in 1677 and finished in 1679. It has become a classic of Ming & Ch'ing painting and a guide to both scholars & artists throughout China. . A major European reference on this great Chinese classic few works in Western languages were written about this book therefore this is the one single and most copious of any resource. Issued in a huge folio size 30 x 41 cm. over all in heavy rag paper a monumental work ! . End of the book description. . . . NOTES ON THE SEPARATE ENGLISH TRANSLATION TYPED MANUSCRIPT: . TITLE: THE CHINESE PAINTERS This is a typed manuscript from the Justin D. Metzgar collection. This translation consists of the following parts from the original book in French. This is the only known translation excerpt to have been don't on this classic title . This item is sold separately from the above described book. . Preface Part I: THE TECHNIQUE: 1. Tools of the painter 2. The representative of forms 3. The division of subjects 4. Inspiration . Part II 1. Origins 2. Chinese painting before the coming of Buddhism 3. The intervention of Buddhism 4. Chinese painting in the T'ang Epoch 7th-10th centuries 5. Painting in the Sung epoch 10th to 13th centuries 6. Chinese painting in the Yuan epoch 13th to 14th . centuries 7. Chinese painting in the Ming epoch 14th to 17th . centuries 8. Chinese painting in the Ch'ing epoch 17th to 20th . centuries . 9. Conclusions . INDEX OF PAINTERS by dynasty epochs per above. . The above is the excerpt is the only translated part into English. A useful resource. . See spine.jpg photo posted to our website for the title page of this item. Other photos are of the Petrucci book. . End of typed manuscript item. . BIBLIOGRAPHY . K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ILLUSTRATED BOOKS p.406-410. J. Needham SCIENCE AND CIVILIZATION IN CHINA: vol.3 p.596 et al for more details. SZE Mai-Mai: THE TAO OF PAINTING: A Study of the Ritual Disposition of Chinese Painting. With Translation of the Chieh Tzu Yuan Hua Chuan or Mustard Seed Garden Manual of Painting 1679-1701. Please inquire with us as we may have this in stock. RAWSON Jessica. ed. et al.: THE BRITISH MUSEUM BOOK OF CHINESE ART.: page 124. . unknown
réf. 211707Signed Raphael Soyer lower left inscribed Kelekian center right. 1 vols. 14 x 9.25 inches. Fine. In frame. Signed Raphael Soyer lower left inscribed Kelekian center right. 1 vols. 14 x 9.25 inches. Kelekian 1868-1951 one of the most important art/antiquites dealers of the modern era. Known to his peers as the "dean of antiquities" Kelekian's connoisseurship of the ancient art of the Near East opened the eyes of many Americans to a heritage hitherto unknown and unappreciated. Kelekian was born in Kayser in modern-day Turkey began his career in Constantinople opened a gallery in Paris in 1891 and moved to New York shortly after the 1893 Chicago World's Fair. Very quickly Kelekian's gallery developed clients among America's wealthiest families e.g. the Havermeyers John D. Rockefeller Jr. the Astors the Walters of Baltimore et. al. Kelekian ws primarlily responsible for building the Coptic Early Christian and Classical collections of Henry Walters later founder of the Walters Art Museum in Baltimore and the Gothic collection of financier and Metropolitan Museum of Art president George Blumenthal. Kelekian was equally well known as an early champion of modern art and began collecting and promoting such artists as Henri Matisse André Derain and Pablo Picasso at a very early date. Boisterous expansive a friends to many artists he died in his eighties at his hime in New York with world-wide reputation. for a sketch of his life and career see the excellent sketch by Hrag Vartanian for the Armenian General benevolent Fund http://www.agbu.org/agbunews/display.aspA_ID=69. unknown
réf. 12036Soyer Raphael. Soyer Raphael. WOMAN DRYING HERSELF. Drawing charcoal and watercolor on laid paper circa 1940. Inscribed and signed lower right in ink. 19 x 12 1/2 inches sheet. This drawing is closely related to Soyer's color lithograph "Young Woman Drying Herself" of 1940 Cole 57a. and is likely a preparatory study for it. Sensitive and exquisite the drawing is superior to the lithograph in both its draughtsmanship and in the coloring. In excellent condition but with instructions for framing or reproducing written in Soyer's hand at the bottom of the sheet just below the image. unknown
1914réf. 77730Santiago de Chile: Imprenta Universitaria 1914. Presumed First Edition First printing thus. Hardcover. Good. THIS WORK IS IN SPANISH. 59 5 pages. Footnotes. This appears to be a 1914 reprint of a portion of a larger work as the title page states Publicado en "La Revista Chilena de Historia y Geografia" Tomos XI y XII. Inscribed by the author on the third page. Cover has some wear and soiling. Front and back boards show some weakness. This appears to have been bound by the publisher and has El P. M. Lacunza in gilt on front cover. Rare item possibly unique with the author's signature. Manuel De Lacunza S.J. July 19 1731 - c. June 18 1801 was a Jesuit priest who used the pseudonym Juan Josafat Ben-Ezra in his main work on the interpretation of the prophecies of the Bible which was entitled The Coming of the Messiah in Majesty and Glory. In 1790 Lacunza completed the three volumes of his major work "The Coming of the Messiah in Glory and Majesty" La venida del Mesías en gloria y majestad. Recognizing that royal patronage was the surest guarantee that his work would be published and that he would be protected against his enemies he made repeated attempts to obtain approval by the Spanish court but in this he was unsuccessful. However his book circulated in manuscript form in Spain and in the whole of South America. In September 1824 Pope Leo XII placed it on the Index of Prohibited Books. Lacunza's various works are valuable as a record of the experience of exile and intellectual persecution which results from religious belief. Imprenta Universitaria hardcover