Estampes

Estampes — marelibri

Groot, Constantin de (Text by); Gilliam van der Gouwen (Engravings by)Biblio.com

Voor-bereidselen tot de Bybelsche wysheid en gebruik der heilige en kerklijke historien ; uit de alder-oudste gedenkkenissen der Hebreen Chaldeen Babyloniers Egiptenaars Syriers Grieken en Romeinen; Tot een merkelijke verligting der Goddeliijke Boeken. . . 2-vol. set Complete

1700réf. 18870Utrecht: Anthony Schouten; Hermannus Ribbius 1700. Second edition. Hardcover. Very good-. Two volumes folio 12 6/8 x 8 1/4". Text in Dutch. 42 844 36pp Index 4 845-1716 36pp Index. 19th-century half calf over burgundy cloth with gold lettering and tooling to spines. Raised bands. Marbled endpapers. Additional engraved allegorical titles by Gilliam van der Gouwen after Wilhelmus Goeree and Philip Tideman. Main title pages in red and black lettering. Decorative initials. Originally published in 1690 this work is an extensive encyclopedical study of Jewish Biblical life and times and of the Ancient Near East incl. Egypt. This complete two-volume set is embellished throughout with no less than 87 copperplate engraved plates including 29 folding and 36 in-text engravings. The magnificent engravings depict numerous Biblical scenes as well as the ancient coins of the period; the Enoch Hebrew Assyrian Phoenician Egyptian Copte Armenian and Chinese alphabets; astronomical observations; views of Jerusalem; scrolls and writing instruments; the first 13 Assyrian kings; footwear in Antiquity; mosaic floor tiles; Solomon's Temple etc. Moderate and sporadic rubbing along edges. Binding of second volume partly water-stained. Head and tail of spines rubbed with minor closed tears. A 3" closed tear at lower margin of page 59/60 of first volume. Light water-staining along upper gutter of second volume slightly affecting text in the very last leaves of the Index. Pages somewhat rippled in second volume else a very good set. Anthony Schouten; Hermannus Ribbius hardcover

Eric Chaim Kline - Bookseller · États-Unis2 000,00 $US≈ 1 783,33 €

[DEVOTIONAL PRINTS].Biblio.com

Gebeden en evangelien op de zondagen.

1800réf. ABC_49334Antwerp 1800. 16mo ca. 13 x 9.5 cm. Johannes Carolus Craen or his son-in-law Hendrik Leys Early 19th-century gold-tooled red sheepskin with a general title in Dutch lettered in gold on the spine gold-tooled board edges marbled endpapers gilt edges. 351 devotional engravings including 8 repeats printed on wove paper engraved by several 17th-century engravers printed from the original copper plates at the end of the 18th- or beginning of the 19th century. 351 ll. Intriguing and extensive collection of 351 devotional prints comprising ca. 16 print series and several separate engraved title pages of print series and some separate devotional prints. Each print shows a small engraving depicting a religious theme for almost every occasion and especially for the important days of the liturgical year. These prints were engraved and published in Antwerp which is considered to be the centre of production and publishing of devotional prints in the 17th- and 18th centuries. The majority of these praying cards were originally published by Franciscus Huberti or Frans Huybrechts 1630-1687 who seems to have been the first engraver and publisher to produce these types of works in Antwerp. He was mostly known for publishing so-called "gerijmde gebedsprentjes" rhymed devotional prints/prayer cards. After his death his plates were sold and used by others to republish the prints for example by Michiel Bunel 1670-1739 and later by Carolus Craen 1733-1799. Craen's plates were next used by Hendrik Leys d. 1853 not to be confused with the Antwerp painter Henri Leys. In 1805 Leys had married Craen's daughter and took over the publishing and printing business of his mother-in-law immediately after. He mostly continued publishing prints using older copperplates that were already part of the business since his father-in-law ran it and was one of the last printer-publishers to use copperplates in a time when lithography became more and more popular. At the end of his life Leys owned approximately 12000 usable copperplates made or sold by a whole host of 17th- and 18th-century engravers and/or publishers of devotional prints such as the Wierix-Barbé family Huberti Galle Van der Sande Bunel and the Van Merlen family. Cornelis van Merlen 1654-1723 was a publisher and engraver active in Antwerp. The Van Merlen family were important engravers and publishers of devotional engravings in Antwerp during the 17th- and 18th centuries. In 1687 he married Sara Maria Huybrechts who was the daughter of publisher and engraver Gaspar Huberti and Sara Voet and niece of the Antwerp engraver Franciscus Huberti 1630-1687 whose engravings make up the majority of the present work. The majority of the present work is most likely made up of Craen's or Leys' prints of the plates by Huberti Jacobus de Man Anton Wierix the Van Merlen family of engravers and others.A complete list of contents is available upon request.With a manuscript owner's inscription on the verso of the first flyleaf "Mimi Josephine Cogels 1822" a manuscript inscription on the recto of the second flyleaf "le 1er Avril 1822 1831" and some faint pencil annotations on the verso of the second to last flyleaf and the recto of the final flyleaf. The binding shows some slight rubbing the front joint is slightly weakened without any loss lacking the fore edge margin of the engraving of S. Gregorius no. 351 not affecting the engraving possibly lacking the 352nd engraving only a stub of paper remains possibly lacking the engraving of S. Ioannes Neponucenus by C. van Merlen a few leaves show minor marginal tears not affecting the engravings and with a brown stain on the final two flyleaves. Otherwise in very good condition.l Thijs A.K.L. Antwerpen: internationaal uitgeverscentrum van devotieprenten 17e - 18e eeuw Leuven 1993; Miscellanea Neerlandica 7 passim; cf. for the publishers see: https://archief.museumplantinmoretus.be/doc/au::108950 Huberti; https://archief.museumplantinmoretus.be/doc/au::109845:1 Craen; https://archief.museumplantinmoretus.be/doc/au::109887 Leys. unknown

Asher Rare Books · Pays-Bas1 950,00 €

British Museum Dept of Prints and Drawings ; Colvin, S and othersBiblio.com

Reproductions of Prints in the British Museum : New Series. 15 fascicules complete set

1886réf. BIBLIO-31166Trustees of the British Museum London first edition 1886 - 1906. 15 fascicules each in its own portfolio 52 cm parts I-IV and 66 cm parts V-XV. introductions of a few pages each and a total of 233 plates on stiff card. . Uncommon. A complete set of this series which comprises 15 portfolios each with a short introduction list of plates and between 11 and 22 finely-printed plates as follows: Part I. Early Italian. 20 plates; Part II. Early German and Flemish 22 plates; Part III. German Dutch and Italian. 18 plates; Part IV. Italian 16th century. 18 plates; Part V. Specimens of early mezzotint engraving. 16 plates; Part VI. Specimens of line-engraving by Masters of Germany and the Low Countries 1530-1620. 15 plates; Part VII. Specimens of line-engraving by Masters of the Netherlands Schools under the influence of Rubens and Vandyck about 1620-1660. 12 plates; Part VIII. Specimens of line-engraving by Masters of the French School about 1580-1680. 14 plates; Part IX. Specimens of line-engraving by the earliest Masters practising in England about 1545-1695. 18 plates; New Series Part X. Additional specimens of line-engraving by the earliest Masters working in England about 1580-1670. 21 plates; Part XI. Specimens of line-engraving by French Masters of the Eighteenth Century. 14 plates; Part XII. Specimens of line-engraving by French Masters of the Eighteenth Century continued. 12 plates; Part XIII. Specimens of line-engraving by English Masters of the Eighteenth Century. 11 plates; Part XIV. Specimens of line-engraving by Italian Masters of the Eighteenth Century. 11 plates. Part XV. Specimens of line-engraving by German Masters of the Eighteenth Century. 11 plates. The plates are generally Very Good clean copies: the versos of the final plate in each potrtfolio and the title-page rectos are in most cases tanned from contact with the portfolios. Some plates have small 'British Museum facsimile' stamps on the versos and there is sometimes a small library blindstamp in the lower margin well away from the image. The portfolio boards are generally rather duststained and a little rubbed the portfolio for Part VI has bumping and tearing to its top edges and that for Part XV is torn at the head of spine with trifling edgewear to a few plates a few other portfolio corners have minor edgewear. The porfolio flaps are generally in very good condition and seem to have been renewed in most cases; a few others are broken. A few portfoilios have library bookplates on their front inner boards. Overall a well-preserved set of a series rarely found complete. Trustees of the British Museum, London, first edition, 1886 - 1906 hardcover

Wykeham Books · Royaume-Uni2 275,00 $US≈ 2 028,53 €

Bly, Robert; Smith, Thomas R (Foreword); Cranmer, Keith (Wood Engravings)Biblio.com

The Indigo Bunting; 15 love poems

réf. 24061405Santa Rosa: Nawakum Press 2010. Limited Edition. Hardcover. Fine. Cranmer Keith. One of 20 deluxe copies quarto size 32 pp. signed by Robert Bly with extra print signed by Cranmer in a clamshell box. An early publication by the Nawakum Press run by the inimitable David Pascoe whose name has become synonomous throughout the world of fine press publishing with meticulous craftsmanship and design often paired with original art work by contemporary artists. As is stated on their web site "While incorporating the very best from the fine press tradition the Press also chooses to stretch the boundaries of the modern day book." This work presents fifteen poems by Robert Elwood Bly 1926-2021 renowned poet and activist who won the National Book Award for Poetry in 1968 for his book "The Light Around the Body". Per the prospectus "It has been said that Bly has taken on many roles among them groundbreaking poet and remains one of the most hotly debated artists of the past half century The psychologist Robert Moore has said that 'when the cultural and intellectual history of our time is written Robert Bly will be recognized as the catalyst for a sweeping cultural revolution.' " Presented with two original wood engravings by Berkeley artist Keith Cranmer who began engraving by hand in 1975. He "works on paper with drawing gouache ink and painting.his main interest is representational figurative drawing with at times a surreal edge" n.b. quote from the web site of the American Society of Bookplate Collectors and Designers. This one of twenty deluxe copies with a separate engraving in a wallet numbered and signed by Cranmer the engraving and book in a clamshell box. ___DESCRIPTION: Quarter bound in foil stamped rich brown leather with burnt orange Cave Paper over boards paper label on the front board with a wood engraving of the Indigo Bunting patterned endpapers the frontispiece a two-colour wood engraving both this and the engraving on the front board printed letterpress directly from the blocks title page in brown and black poem numbers and titles in brown signed by Robert Bly in ink at the colophon; monotype Walbaum on Hahnemühle Biblio quarto size 10 3/4" by 6 3/8" 32 pages limited edition this no. 9 of 20 deluxe copies total edition 100. Enclosed in a paper chemise is an engraving of the Indigo Bunting also used for the cover signed and numbered in pencil by Keith Cranmer. Both contained in a clamshell box of Japanese brown book cloth leather spine label with gilt lettering inset. ___CONDITION: Volume fine with clean boards straight corners without rubbing a strong square text block with solid hinges the interior is clean and bright and entirely free of prior owner markings; as new directly from the Press. Separate print and chemise also fine clean and without wear; clamshell box fine also clean and without wear. Overall a stunning production. ___POSTAGE: International customers please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind every book we sell. Please contact us with any questions you may have we are here to help. Nawakum Press hardcover

Swan's Fine Books · États-Unis2 750,00 $US≈ 2 452,07 €

[Revere Engravings] Ames, NathanielBiblio.com

An astronomical diary; or almanack for the year of our Lord Christ 1772 : . Calculated for the meridian of Boston New-England lat. 42 25 north

1771réf. 3835Three engravings by Paul Revere are certainly the most distinctive feature of this Boston almanac for 1772 namely: Miss Emma Leach a dwarf born in Beverley Massachusetts on front cover. The Patriotic American Farmer John Dickinson. Mrs. Catharine M'Caulay. Almanac making in colonial America was a rather unscrupulous affair at times. The notion of copyright was unknown among publishers. Indeed almanac piracy or perhaps liberal borrowing was the accepted industry practice. The present almanac offers an excellent example of heavy borrowing. The Boston Ames Almanack for 1772 was published in two versions: one by Ezekiel Russell and the other a pirated version by an unnamed printer/publisher. The text and images of the two are very similar although the cuts of the three subjects differ very slightly between the two almanacs. Paul Revere's daybook for December 1771 identifies two purchasers of plates for a 1772 Ames almanac Ezekiel Russell and Edes & Gill. Within a matter of a week it's apparent that Revere produced two sets of plates of the same subjects for competing almanacs. In an advertisement for Russell's version of the Ames almanac he "hopes that the publick with their usual impartiality will give him preference in buying of his Ames' genuine almanac before any pirated edition." Revere's contributions were in both the original and this pirated edition of the almanac. References: Evans: 11961; Drake Almanacs of the U.S.: 3205; Brigham Paul Revere's Engravings: pp. 202-203; Hamilton Early American Book Illustrators and Wood Engravers: 56; O'Neal Early American Almanacs: 115 mistakenly citing Russell as publisher. Condition: Disbound; leaves are separated with a later paper reinforcement in the gutter of two leaves. Chipping to lower corners of two leaves. Scattered mostly light staining and a few spots of foxing. Good. ICN 7815. [Printed by T. & J. Fleet and Edes & Gill. Price 2s. 8d. per dozen, and six coppers single. ]

BICKERSTAFF'S BOOKS, MAPS &C. · États-Unis3 200,00 $US≈ 2 853,32 €

Joan of Arc Prints ArchiveBiblio.com

Joan of Arc Original Prints Archive Illustrating Her Military Leadership Cross-Dressing Trial and Imprisonment 18th-19th Century Engravings

1700réf. 229131700. Cross-DressingWomen Military Joan of Arc engraving archive depicting the French military leader and martyr Jeanne d'Arc in iconic images of battle persecution and faith ca. 1770-1850s. The prints focus on Joan's leadership during the Hundred Years' War and on the gender-bending aspects of her identity and dress that contributed to her 1431 trial for heresy. Particular attention is given to her appearance in armor while directing troops or appearing before political authorities. These visual depictions emphasize Joan's adoption of male military clothing an attribute which has lead modern scholars of LGBTQ history to celebrate the saint as a queer and proto-transgender figure. Archive of eight engravings and proof impressions executed primarily in copperplate and steel engraving processes during the eighteenth and nineteenth centuries. The images depict several key episodes associated with Joan of Arc's historical narrative including portraits showing her wearing armor and holding a sword scenes of military command in which she appears mounted or directing troops and representations of her recognition by Charles VII and entry into the city of Orléans. A prison scene portrays Joan during captivity prior to her execution in 1431 emphasizing the moment when her continued cross-dressing became a major point of contention during her heresy trial. Several engravings were produced for historical publications and illustrated histories circulating in the eighteenth and nineteenth centuries including editions associated with François Guizot's History of France reflecting the renewed interest in Joan of Arc as a figure of national history. Archives includes: 1 Engraved for J. Sydney's History of England. The Maid of Orleans Receiving the Sword of St. Catherine. England c.1770-1820. A fine copper engraving framed within an elaborate Rococo border showing Joan receiving the sacred sword of St. Catherine an episode derived from medieval hagiography rather than strict historical documentation. Joan is mounted on horseback surrounded by armed men and clergy with a fortified tower rising behind her. The ornamental border and English publication context reveal the 18th-century Protestant fascination with Joan as a paradoxical figure: a warrior-prophetess both admired and viewed with suspicion. 2 Anonymous Artist. Va va fille de Dieu; délivre la France! Vision Scene. France c.1820-1850. A preparatory hand panciled engraving proof depicting Joan of Arc's divine revelation framed within penciled border guidelines. An angel descends from the clouds carrying a banner while pointing downward toward Joan who kneels in astonishment as cherubs hover above. The inscription "VA VA / FILLE DE DIEU / DELIVRE LA FRANCE!" anchors the scene as an allegory of Joan's heavenly mandate. 3 Henry Richter after. Joan of Arc Recognizes the King. London: The London Printing and Publishing Co. mid-19th century. A steel engraving portraying Joan's revelation of Charles VII at Chinon the pivotal moment when she identifies him despite his attempt at disguise. The richly detailed crowd scene and Gothic architectural setting emphasize both spectacle and legitimacy visualizing Joan as divinely guided rather than politically manipulated. 4 G. Greatbach engraver; after a painting by J. Opie R.A. Joan of Arc Declaring Her Mission. London: The London Printing and Publishing Co. Ltd. mid-19th century. Joan is shown making a dramatic gesture as she proclaims her mission before astounded soldiers and clergy. The engraving captures the tension between gender expectations and prophetic authority: Joan's outstretched arm determined expression and illuminated figure contrast with the skeptical figures behind her. 5 E. Scriven engraver. Joan D'Arc. London: H. Moore Sons & Co. mid-19th century.An engraving presenting a romanticized half-length portrait of Joan of Arc in armor holding a sword upright while gazing serenely into the distance. Behind her appear faint bystanders rendering her both an individual and an emblem of national deliverance. 6 Entry of Joan of Arc into Orléans. From Guizot's History of France. Paris/London c.1840s. A sweeping steel engraving of Joan riding triumphantly into Orléans accompanied by monks soldiers and citizens. The composition foregrounds her as a mounted military leader sword raised while crowds kneel and look upward in awe. Johannot's design visualizes Joan as a unifying national leader. 7 G. Stodart engraver; after H. E. Selous. Joan of Arc and Charles. London: Virtue & Co. mid-19th century.A dramatic steel engraving showing Joan standing beside Charles VII directing his attention toward the field of battle. The caption references their military collaboration. The interplay of armor banners and a stormy sky underscores Joan'smilitary might. 8 T. Brown engraver; after E. Corbould. Joan of Arc in Prison. London: The London Printing and Publishing Co. mid-19th century. A somber interior scene depicting Joan in captivity clasping her hands as guards and clergy surround her. Corbould emphasizes her steadfastness and the emotional gravity of her final days. Produced for an illustrated royal history King Henry the Sixth the image cast Joan as a martyr of conscience. In recent decades scholars in LGBTQ history and gender studies have increasingly examined Joan of Arc as a proto-queer icon who challenged traditional ideas of gender identity and expression. Medieval trial records document that Joan consistently wore male military clothing during her campaigns and continued to wear such clothing during imprisonment a choice that became a central accusation in the charges brought against her in 1431. Some historians and queer theorists have interpreted Joan's refusal to abandon male dress even under threat of execution as evidence of a personal gender identity that did not conform to contemporary expectations for women. Joan of Arc has been cited as an example in Medieval history of an individual navigating queer identity long before the modern understanding of terms like trans non-binary or genderfluid. Light toning and mild foxing to some edgewear and staining present to some margins. Prints are clear and paper crisp. Overall very good condition. A compelling and diverse archive of eight Joan of Arc engravings and artistic proofs representing two centuries of European historical illustration and devotional imagery. The collection captures Joan's transformation from medieval visionary to modern nationalist and feminist icon. unknown

Max Rambod Inc. · États-Unis3 500,00 $US≈ 3 120,82 €

Groot, Constantin de (Text by); Gilliam van der Gouwen (Engravings by)Biblio.com

Voor-bereidselen tot de Bybelsche wysheid en gebruik der heilige en kerklijke historien ; uit de alder-oudste gedenkkenissen der Hebreen Chaldeen Babyloniers Egiptenaars Syriers Grieken en Romeinen; Tot een merkelijke verligting der Goddeliijke Boeken. . . 2-vol. set Complete; Voor-bereidselen tot de Bybelsche

1700réf. 18867Utrecht: Anthony Schouten; Hermannus Ribbius 1700. Second edition. Hardcover. g to vg. Folio 15 6/8 x 10 2/8". 42 844 36pp Index 4 845-1716 36pp Index. Text in Dutch. Contemporary blind-stamped vellum with gold lettering and tooling to spines. Raised bands. Additional engraved allegorical titles by Gilliam van der Gouwen after Wilhelmus Goeree and Philip Tideman. Title pages in red and black lettering. Decorative initials. Originally published in 1690 this work is an extensive encyclopedical study of Jewish Biblical life and times and of the Ancient Near East incl. Egypt. This complete two-volume set is embellished throughout with no less than 87 engraved plates including 29 folding and 36 in-text engravings. The magnificent engravings depict numerous Biblical scenes as well as the ancient coins of the period; the Enoch Hebrew Assyrian Phoenician Egyptian Copte Armenian and Chinese alphabets; astronomical observations; views of Jerusalem; scrolls and writing instruments; the first 13 Assyrian kings; footwear in Antiquity; mosaic floor tiles; Solomon's Temple etc. Moderate and sporadic rubbing along edges. Gold partly and slightly faded on spines. Light and minor water-staining along margin of very first leaves in first volume. Title page remargined not affecting text. Front free endpaper fly-leaf additional engraved title and title of second volume slightly and partly chipped along edges not affecting text or illustration. Very minor and sporadic foxing/age-toning throughout. A nearly fine amply-magined copy with clean plates throughout. Anthony Schouten; Hermannus Ribbius hardcover

Eric Chaim Kline - Bookseller · États-Unis4 500,00 $US≈ 4 012,48 €

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