Prosseda, Lodovico.MareMagnum
2 054 résultats
1820Gestochene Kupferplatte (142:177 mm). Schön gestochene Madonna mit Kind, beide einen Rosenkranz haltend. Zum Kupferstecher Lodovico Prosseda vgl. A. M. Comanducci (Dizionario illustrato dei pittori, disegnatori e incisori italiani; Milano 1970ff.) und L. Servolini (Dizionario illustrato degli incisori italiani; Milano 1955).
Litografia a colori Firma e numerazione a matita. Esemplare 59/120. cm 40x61. . . Molto buono (Very Good). . Tiratura 120. .
1958Acquatinta a colori Firma, numerazione e data a penna. Esemplare 33/120. Cm 37,5x49,5. . . Ottimo (Fine). . Tiratura 120. .
1952Rara acquaforte e acquatinta originale di Renzo Vespignani. In basso a destra firmato e datato "Vespignani '52" Esemplare 8/10. Cm 24x26, foglio 35x50,5. . . Molto buono (Very Good). Leggere fioriture nella parte inferiore del foglio che non interessano la parte incisa (Light yellowing at the lowre part of the sheet). Tiratura di 10 (Edition of 10 copies). . Nel "Catalogo dell'Opera Incisoria" di Renzo Vespignani. Franca May Edizioni, 1982, l'opera viene riportata nell'Appendice con il titolo "Spiaggia e barche" ma datata 1954.
Litografia a 4 colori. Opera appartenente al portfolio pubblicato in occasione del 500° anniversario della nascita di Michelangelo Firma e numerazione a matita. Stampata su carta Rives Couronne da 250 gr Da Matthieu, Zurigo. Esemplare 173/200. cm 80x60. . . Perfetto (Mint). . Tiratura 200 + XX p.d.a.. .
1957A posthumous homage to Dutch typographer and artist Hendrik Nicolaas Werkman, publisher of the magazine "The Next Call" and pioneer in the art of avant-garde printing. As a member of the Dutch resistance in World War II, Werkman operated an illegal printing press and was shot by the Gestapo in 1945. His colleagues and peers compiled this homage book more than a decade later to commemorate his work. The book contains both examples of Werkman's own art prints, as well as art and text from the many contributors - totaling around 100 distinct pieces of artwork from all involved, as well as multiple pieces of artistically-arranged texts about (or related to) Werkman. Contributors include F.R.A Henkels, W. Sandberg, Kurt Martin, HAP Grieshaber, H.L. Greve, Riccarda Gregor, Herbert Schwobel, Emil Kiess, Raoul Ubac, Wilhelm Geyer, Walter Renz, Werner Oberle, Fritz Ruoff, and the students of the Karlsruhe academy of arts. [ATTRIBUTES:] 295x210mm. ~120 unnumbered pages. Beige board hardcover with tan cloth spine. A reproduction of the cover of issue #9 of "The Next Call" appears on the front cover. [CONDITION:] Cover corners bumped and mildly worn. Front cover very lightly scratched. Otherwise, this loving homage to a pioneer and martyr is in very good condition.
1971- Bramsen et Georges Clot s.d. (1971), 48,7x65,6cm, une feuille. - Lithographie originale imprimée sur vélin d'arches filigrané. Signature de l'artiste et numérotation (4/300) au crayon en bas de la planche. Cette lithographie intitulée "La cafetière" fait partie de la série L'Intérieur des choses. [ENGLISH DESCRIPTION ON DEMAND]
1941- 1941, 24,5x33cm, 82 feuilles., relié. - Recueil constitué par l'artiste de 82 lithographies réalisées entre 1939 et 1940 d'après ses dessins. Toutes sont des portraits du personnel enseignant de l'université de Genève, au crayon noir ou gras, et comportent en légende le nom du modèle et la signature de l'auteur, ainsi qu'une date. On distinguera le portrait de Jean Piaget, qui fut amplement utilisé comme image du psychologue. Le papier habituellement utilisé est celui usité pour le dessin, et les qualités de la lithographie laissent penser qu'il s'agit de dessins originaux ; on pense que l'auteur possédait sa propre presse et réalisait ses lithographies. Reliure en pleine basane citron marbré d'époque. Dos lisse, titre argenté. Sur le plat , en lettres d'argent : Université de Genève, avec les armes au-dessous, et en bas à droite : Oscar Lazar, 1941. Frottements et quelques épidermures. L'artiste fera relié semblablement ses recueils de dessins originaux, cette reliure agissant comme une reliure personnalisée pour les oeuvres de Lazar. Envoi : Dédié à Monsieur Albert Lagier. Chêne-Bougerie, le 20.IV. 1942. Lazar. Albert Lagier était alors recteur de l'Académie de Genève. Dessinateur et portraitiste d'origine hongroise, Oscar Lazar s'est installé à Genève en 1924. Il publie plusieurs ouvrages sur des personnalités genevoises, suisses et internationales d'après ses dessins (Rotary, Saint-Moritz, Zurich, Société des Nations). La bibliothèque de Genève possède des dessins originaux. [ENGLISH DESCRIPTION ON DEMAND]
1971RARE, NUMBERED COPY #124 OF 500. Enlarged facsimile edition of an illustrated Haggadah published in 1864 Trieste: the first Haggadah in the history of Hebrew printing to make use of lithographs. Each page of the Haggadah (save for the final two pages) feature a large b/w illustration and unique text decorations. The facsimile is printed on high-quality paper, patterned as parchment. 480x350mm, 42 pages. Red cloth hardcover with gilt lettering and illustration on front. [CONDITION:] Top cover edge worn in one particular spot. Bottom cover corner bumped. Section of the bottom front cover faded. Thin streak of paint along rear cover. Spine bottom worn. Other than this light external damage, this rare facsimile is in excellent condition.
1948RARE! COPY No.52 of 200 copies SIGNED BY ARTIST - ARTHUR KOLNIK, printed on Lana paper (altogether were printed 1126 numbered copies, only 226 of them signed by artist). This album is the HEBREW version of a hasidic story by the great Yiddish writer Isaac Leib Peretz illustrated by the renowned Jewish painter and printmaker Arthur Kolnik (1890-1972) who was born in Stanislaviv (today Ivano-Frankovsk), Ukraine and studied at the Academy of Fine Arts in Krakow in the studio of Professor Joseph Mehoffer. After an exhibition in the United States of America in 1921 settled in Chernivtsi and moved to Paris in 1931 where he worked as illustrator. Tel Aviv Art Museum organized a major exhibition of his works in 1968. 320x240mm. 25 pages. 20 woodcuts. Unbound double sheets with softcover. Each woodcut protected by a layer of transparent foil. Red lettering on front cover. Cover yellowing and slightly dirty. Front cover detached from rear cover. Cover edges tattered. Whitepages yellowing/age-stained. Pages slightly yellowing. Woodcuts in mint condition. [SUMMARY]: This extremely rare copy of illustrated Jewish prose has sustained some external damage to cover, but is otherwise in very good condition.
The bibliography and catalogue raisonne of the livres d'artiste and print portfolios of Masafumi Yamamoto (born 1949), one of the world's great printmakers and book artists. Yamamoto has produced illustrated books in collaboration with Yves Bonnefoy, Michel Butor, Kazunari Suzumura, Joan Brossa, Pere Gimferrer, and many others. The author, William Cole, holds a doctorate from Harvard University and has written many scholarly articles and books about books and prints. FROM A TOTAL EDITION LIMITED TO 300 NUMBERED COPIES, THIS IS ONE OF ONLY 35 COPIES WITH AN ORIGINAL PENCIL-SIGNED AND NUMBERED ETCHING BY MASAFUMI YAMAMOTO. Book also signed by the author (in ink) and the artist (with his inkstamp). Includes high-resolution color plates (many full-page) of all of the prints in the books, and exhaustive bibliographical descriptions. Printed on fine paper. Folio. New.
1984The standard catalogue raisonnÈ of the lithographs. 112 items reproduced and thoroughly described. Profusely illustrated in color and black & white. From a total edition of 2222 numbered copies, this is ONE OF ONLY 111 COPIES SIGNED IN THE COLOPHON BY SCHWARZ, WITH TWO ORIGINAL LITHOGRAPHS BY SCHWARZ printed on fine wove paper bound in. In this copy, exceptionally, ONE OF THE TWO LITHOGRAPHS IS ALSO SIGNED IN PENCIL. This copy additionally has ONE OF 111 SUITES OF THE SAME TWO LITHOGRAPHS, PRINTED IN COLORS WITH LARGE MARGINS (sheet size: 60 x 42 cm) AND JUSTIFIED AND SIGNED IN PENCIL. In this copy, THESE TWO LITHOGRAPHS ARE JUSTIFIED 1/111. The loose lithographs with large margins are cat. nos. 108 (9 colors) and 109 (7 colors); he bound-in lithographs are nos. 108.1 and 109.1. Folio. Publisher's laminated boards. FINE AND BRIGHT. Like new, with no defects.
120:200 mm. Auf Kartonträger montiert (350:445 mm). Beiliegend eine Ansicht der Via Flaminia (185:282 mm), auf gleichformatigen Kartonträger montiert. Hübsche, unsignierte Ansichten der italienischen Hafenstadt Castellamare di Stabia am Golf von Neapel, darunter zwei Darstellungen der ehemaligen königlichen Residenz Reggia di Quisisana, die im 18. Jahrhundert durch die Bourbonen renoviert wurde und 1878 vom Haus Savoyen in Gemeindebesitz überging. Die übrigen Zeichnungen zeigen den Blick von Vico Equense über Castellamare, mit dem rauchenden Vesuv im Hintergrund, eine Ruine sowie den Hafen von Castellammare. Beiliegend eine Zeichnung der Via Flaminia in Rom. - Wohlerhalten.
Engraving in original hand-colour. 16 x 13 cm (sheet dimensions: 30 x 21 cm). Matted. A rare engraving showing the Indian priest Aaron, the first converted native preacher of Malabar, dressed in white cloth and presenting to the viewer two pages from the Acts of the Apostles in Tamil. The Tamil Bible translation was famously published in 1713 by the Saxon missionary Bartholomaeus Ziegenbalg, who had been posted to the Danish colony of East India (Malabar) in the early 18th century. A nearly half-page letterpress text below the engraving elaborates on the conversion and life of Aaron, who was born ca. 1699, baptised in 1718, and ordained in 1733. - The engraver and botanist J. S. Müller (1715 - ca. 1792), known as John Miller in Britain, was born in Nuremberg, where he trained under Johann Christoph Weigel. He came to England in 1744 with his brother Tobias - an engraver of architecture - and remained there the rest of his life, producing several important botanical works and apparently also forging several oil paintings for London's appreciative art market. - Traces of folds; insignificant duststains to margins.
1950Acquaforte inclusa nella cartella ''Cinquanta incisioni di artisti italiani'', pubblicata da Prandi nel 1963 Firma e numerazione a matita (Firma e data sulla lastra). Esemplare 37/75. Cm 24,5x17 (Foglio 45x32). . . Ottimo (Fine). . . .
1978Cartelle di 6 incisioni a puntasecca originali, numerate, firmate e datate a matita dall'Artista (cm 22x16,5, foglio 50x35) Incisioni stampate su carta delle Cartiere Sant'Ilario di Pescia sui torchi di Giorgio Upiglio a Milano. Es. H.C. riservato allo stampatore. Cartella cm 50x35. . . Ottimo (Fine). . Edizione originale di 25 esemplari numerati. . Yasmin Brandolini D'Adda, di famiglia sudafricana di lingua inglese, ha vissuto a Londra e Firenze, dove ha studiato all'Accademi di Belle Arti.. Nel 1951 sposò il poeta e scrittore veneziano Brandolino Brandolini D'Adda. Ha esposto regolarmente sia in Italia che all'estero sin dal 1971.
1985Sei acqueforti acquetinte a colori originali, numerate e firmate a matita, di Remo Brindisi per la Storia della colonna infame. Introduzione critica di Roberto Sanesi Tiratura delle incisioni realizzata con torchi a mano su cartoncino Magnani per incisioni. Testo composto e impresso dalla Tipografia Annesio Nobili di Pesaro. Opera ideata e curata da Piergiorgio Spallacci. Es. VII/XXV. Cm 55x37,5. pp. 32. . Ottimo (Fine). . Edizione originale di 125 + XXV es. numerati. .
Acquaforte acquatinta originale a colori. Data su lastra Firma a matita. Timbro a secco dell'Editore Giorgio Upiglio. Stampata su carta delle Cartiere Filicarta. Esemplare p.d.a.. cm 25x49,5 (Foglio 49,5x71). . . . . . .
Acquaforte acquatinta originale a colori Firma e numerazione a matita. Esemplare 66/70. Cm 32x49,5 (Foglio 50x70). . . . . Tiratura 70. .
21,5 x 16,5 cm (neatline). Etching on paper. With traces of former mounting. Rare copy of this charming etching depicting a dog, probably a terrier, in a domestic setting with carpet, water-pipe, a couch, and a baroque chair. Ferdinand II of Portugal was a talented draughtsman and etcher and a lifelong benefactor of the arts, which earned him the nickname "Rei Artista". Among his favorite motifs were animals and peasants. The etching at hand is indicative of Ferdinand's eclectic taste, combining orientalist and historistic influences. The most famous example of this inclination is the Pena Palace built on his commission between 1842 and 1854. - In 1836 the future Queen Victoria started an album of her cousin's etchings that would be continued until 1850, ultimatively assembling 54 of Ferdinand's works. In her journal entry of 24 March 1836, Princess Victoria describes how she "copied some of Ferdinand's drawings". - Diffuse foxing. With a minor tear to the upper right corner (not affecting the etching). An old Italian caption in ink erroneously describes the piece as a pen drawing.
Litografia originale in bianco e nero Firma e numerazione a matita. Stampata sui torchi di Giorgio Upiglio su carta delle Cartiere Filicarta. Esemplare 70/70. cm 51,5x72. . . Ottimo (Fine). . Tiratura di 70 esemplari (Edition of 70 copies). .
Acquaforte Firma, data e numerazione a matita in basso a destra. Esemplare 89/190. cm 39x49,6 (Foglio 56x76,5). . . Ottimo (Fine). . Tiratura 190. .
Acquaforte acquatinta originale tratta dal libro ''Méta.Morphoses'' di Arturo Schwarz stampato in 150 copie su carta Arches da Georges Fall, Parigi Firma a matita. Incisione stampata presso l'Atelier Crommelynck, Parigi. cm 21,5x14,8 (foglio 38x28,5). pp.. . . . . .
1900Bleistiftzeichnung auf bläulichem Papier, signiert “Perger”. 35,9:21,5 cm (Bildausschnitt) auf Untersatzkarton (43:32,3 cm). Die eh. Verse am unteren Rand der Darstellung: “Ach - unser Leben leitet | Ein starrer Herrscherblick. | Und jeder glaubt bereitet | Ein neues sich und schreitet | Nur durch ein alt Geschick”. - Seiner politischen Schriften wegen 1854 aus dem Staatsdienst entlassen, wurde Traun 1859 Generalsekretär der Versicherungsanstalt ‘Vindobona’ in Wien und später Mitglied des Reichsrats, wo er sich als liberaler Gegner des Tiroler Klerikalen Josef Greuter zu profilieren wußte. Von 1870 an lebte der mit Theodor Storm befreundete Schriftsteller zurückgezogen auf Schloß Leopoldskron bei Salzburg und verfaßte u. a. die später von Carl Zuckmayer bearbeitete Novelle ‘Der Schelm von Bergen’ (1879) und die an Heine orientierten ‘Exkursionen eines Österreichers’ (1881). Vgl. Kosch III, 2475f. (Schindler) und Giebisch-G. 359. - Das schöne Brustportrait stammt aus der Hand des Wiener Malers Anton Ritter von Perger, der seit 1845 als Professor der Anatomie an der Wiener Kunstakademie tätig war. Vgl. Thieme/B. XXVI, 411 und Fuchs III, 216.
Serigrafia originale a colori su specchio Firma e numerazione a penna dell'Artista. Montata su pass-partout di specchio. Edizione Il Torcoliere, Roma per L'Espresso (cartella Grafica 68). Incorniciata. Cm 45x60 (Specchio 54x69). . . . . . .
