ERNST MaxMareMagnum
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1950- 1950, 31,5x50cm, une feuille. - «Masque» - Original aquatint signed by Max Ernst 1950, 31.5 x 50 cm, single sheet Original aquatint by Max Ernst signed in pencil on bottom right by the artist. Autograph pencil note to bottom left: "BAT (avec fond)". A handsome proof on vergé d'Arches paper of this original aquatint engraved by Max Ernst in 1950 and only printed 20 years later in the workshop of Georges Visat in 100 numbered copies and signed [Spies/Leppien, 38]. This copy is the contract proof of the engraving. Two small pinholes to top left and bottom right of subject, as on all the plates in the printing. [FRENCH VERSION FOLLOWS] Aquatinte originale de Max Ernst signée en bas à droite au crayon par l'artiste. En bas à gauche, mention autographe au crayon : "BAT (avec fond)". Belle épreuve sur vergé d'Arches de cette aquatinte originale gravée par Max Ernst en 1950 et tirée seulement 20 ans plus tard dans l'atelier de Georges Visat à 100 exemplaires numérotés et signés [Spies/Leppien, 38]. Notre exemplaire est le bon à tirer de la gravure. Deux petits trous d'épingles en haut à gauche et bas à droite du sujet, comme sur toutes les planches du tirage.
1973- Erker Press 1973, 55,5x76cm, une feuille. - Xylographie originale imprimée sur vélin BFK de Rives filigrané. Signature de l'artiste et numérotation (1/10) au crayon en bas de la planche. Tampon à sec de l'éditeur Erker Press. [ENGLISH DESCRIPTION ON DEMAND]
1923Volume four (of four) [Le monument du Costume; Suite de Larmessin pour les Contes de la Fontaine; The Illustrations of Moreau le Jeune for the Works of Jean Jacques Rousseau; Illustrations for the tales of La Fontaine. pp. 497- 641, [1]. Beautifully printed on soft unbleached Arnold paper. With many etched, engraved and photogravure plates - some finished in aqua-tint color. Folio. Handsome elaborate full crushed red morocco gilt binding, by Riviere and Son. Top edge gilt. Original slip case. Number 20 of an edition limited to only 120 copies. The plates are wonderful, and the beautifully printed explanatory text is illuminating. The full four volume set retails for about $7000.00 today. This collection, originally formed by Albert Christophle, was preserved by the wealthy American art collector and sportsman Joseph Early Widener (1871-1943). Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Joe was the uncle of the famed brilliant young book collector Harry Elkins Widener, who died (with his father) on the Titanic. He was a founding benefactor of the National Gallery of Art in Washington, D.C., and a major figure in thoroughbred horse racing. **PRICE JUST REDUCED!
1923Volume two (of four) [Drouais-Krantzinger]. pp. x, 172-331 [1]. Beautifully printed on soft unbleached Arnold paper. With many etched, engraved and photogravure plates - some finished in aqua-tint color. Folio. Handsome elaborate full crushed red morocco gilt binding, by Riviere and Son. Top edge gilt. Original slip case. Number 20 of an edition limited to only 120 copies. The plates are wonderful, and the beautifully printed explanatory text is illuminating. The full four volume set retails for about $6000.00 today. This collection, originally formed by Albert Christophle (1830-1904), was preserved by the wealthy American art collector and sportsman Joseph Early Widener (1871-1943). Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Joe was the uncle of the famed brilliant young book collector Harry Elkins Widener, who died (with his father) on the Titanic. He was a founding benefactor of the National Gallery of Art in Washington, D.C., and a major figure in thoroughbred horse racing. **PRICE JUST REDUCED!
1969Acquaforte originale Firma e numerazione a matita. Carta Fabriano Rosaspina. Timbro a secco dello stampatore Romero. Esemplare 21/40. cm 8,7x11,8 (Foglio 36x50). . . Molto buono (Very Good). Piccole macchioline di umidità (Mildew spotting overall). Tiratura 40. .
1962Cartella contenente 6 litografie originali a colori, eseguite da Luigi Bartolini nel laboratorio delle Edizioni d'Arte il Bisonte a Firenze, tra il dicembre 1961 e il marzo 1962, ed un frontespizio litografico inciso dall'Autore. Titoli delle opere: "Villa in Sabina", "Strada di Villa Madama", "Il davanzale in fiore", "Anna nei boschi", "Fonte di campagna", "Le fioraie" (cm 65x46 - 46x65 c.ca). Le litografie sono numerate, titolate e firmate da Bartolini a matita. Con due poesie dell'Autore: "La passeggiata" e "Gli uccelli" Esemplare 6/30. Cm 66x48. pp. 4 + 7. . Molto buono (Very Good). . Prima edizione di 100+XXX es. numerati. .
Acquaforte acquatinta a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata cu carta Goya. Esemplare 7/60. cm 31x53,5 (Foglio 51x71). pp.. . Ottimo (Fine). . Tiratura 60. .
Acquaforte acquatinta a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata su carta Hahnemuhle. Esemplare E/A. cm 36x58 (Foglio 55x86). . . Ottimo (Fine). . Tiratura 99 + 5 prove d'artista. .
Acquaforte acquatinta a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare p.d.a.. cm 29,5x24,5 (Foglio 67x51). . . Ottimo (Fine). . . .
Acquaforte originale appartenente all'album Marino Marini Opera Grafica (tavola XII) Firma e numerazione a matita. Stampa di Luigi De Tullio su carta Magnani. Timbro a secco dell'editore. Esemplare 49/60. Cm 43,1x35 (Foglio cm 70x50). pp.. . Ottimo (Fine). . Tiratura 60 + XX + 5 es. A/E. .
Linoleumgrafia a 6 colori Firma a matita. Timbro a secco dello stampatore Giorgio Upiglio, Milano Grafica Uno. Stampata su carta BFK Rives. Esemplare p.d.a.. cm 85x65 (Foglio 89,5x69,5). . . . . Tiratura Waddington Graphics. .
194913 grandi litografie originali numerate, titolate e firmate dall'Artista (cm 34x25) Scritte in nero al piatto. Esemplare 27/45. cm 51x41. 13 fogli sciolti in cartella di tela. . Ottimo (Fine). . Edizione originale di 45 es. numerati. .
Large oblong folio (553 x 350 mm). 144 views on 16 ff. Contemp. blue morocco with giltstamped title, cover fillets, and corner fleurons; gilt title to spine. Marbled endpapers. All edges gilt. Rare series of 144 splendid lithographed views of Paris and its environs (115 x 60 mm each), including Notre Dame, Hôtel de Ville, Palais Royal, Dôme des Invalides, Cemetiére Pére Lachaise, most scenes charmingly enlivened with figures. Similarly masterful is the treatment of the interiors and views of the principal buildings of chrches of Paris. The lithographs are by Benard and Frey after Jean Baptiste Arnout (1788-1865). "Arnout is best known as a dexterous and prolific lithographer. He was one of the men who founded that art in France and published several series of views of Paris (1820, 1837, 1844)" (cf. Thieme/B.). - Binding shows slight traces of handling; corners somewhat bumped. Occasional foxing. Remains of two bookplates on inside of front cover. Thieme/Becker II, 146. Nagler I, 167.
4to (ca. 173 x 233 mm). Engraved portrait. Executed by the French engraver and publisher Baltasar Moncornet (1600-68), the portrait shows Osman, the son of Sultan Ibrahim I, who was captured with his mother by the Maltese fleet in 1644 and educated by the Knights of Malta to become a Dominican friar. As an adolescent he was baptized and adopted the name Dominique de Saint-Thomas on 23 February 1656. He studied in Naples and Rome and went to Paris in 1664, where he spent two years. In 1667 he travelled to Candia on Crete, a Venetian-ruled city besieged by Ottoman forces since 1648, on an unsuccessful mission to convince the latter to make peace. Appointed vicar general on Malta around 1669, he returned to the island, where he spent his final years. - Slightly foxed.
232:172 mm (size of plate), mounted on cardboard (330:250 mm).
Original watercoloured pen-and-ink drawing, trimmed to ink borders, signed and dated by Raimo. 253 x 192 mm. Matted (432 x 362 mm). Early watercoloured drawing of a grocer selling his produce in the port of Naples, at the beginning of the main pier leading up to the old lighthouse (lanterna del molo), with Vesuvius in the distance giving off a faint cloud of smoke. On the right a housewife is seen haggling with the merchant over cucumbers, while on the left a mother is handing her daughter a bunch of Welsh onions. Signed "Raimo inv. et fece 1818". - Some brownstaining, but still a very charming view.
235:174 mm (size of plate), mounted on cardboard (330:250 mm).
545:397 mm. Hinter Glas gerahmt. Schönes, großformatiges Portrait aus dem Atelier des Hofphotographen Ernst Hoenisch, dessen Atelier in Leipzig ab dem Jahre 1903 nachgewiesen ist. - Mit gepr. Signet von Hoenischs Atelier am linken unteren Rand.
1200 x 400 mm. Gerahmt hinter Glas. Schöne Ansicht von Leipzig, gestochen von Friedrich Salathé (1793-1858) nach der Zeichnung von Adolf Eltzner. Aus dem Besitz des gebürtigen Leipzigers Walter Ulbricht (1893-1973), rückseitig in Bleistift bezeichnet: "Geschenk an den Vorsitzenden des Staatsrates, Gen. Walter Ulbricht, anlässlich des 75. Geburtstages. 30.6.1966 [!] überreicht von Prof. Dr. Dieckmann". Händleretikett Erwin Paetzel, Berlin, Linienstraße 155.
1967Cartella di 5 serigrafie originali a colori firmate e numerate di Enrico Baj (cm 36x36) Serigrafie stampate da Brano Horvat. Esemplare 9/100. cm 40,5x41,5. . . Perfetto (Mint). . Edizione originale di 100+V+2 esemplari numerati (Original edition of 100+V+2 numbered copies). .
7 Kupferstiche je 37,5 x 25,5 cm (Leopolds Portrait zusätzlich signiert "A. Bloem delin."). Folge von sieben Kupferstichen von Habsburgerportraits: Maximilian II., Ferdinand I., Matthias, Ferdinand II., Rudolf II., Ferdinand III. und Leopold I. (die letzteren beiden mit stärkeren Wurmgängen, sonst wohlerhalten und in guten, kräftigen Abzügen). Der Nürnberger Zeichner, Stecher, Radierer und Kunsthändler J. A. Böner (1647-1720) ist vor allem für seine historisch interessanten, meist kleinformatigen Darstellungen von Stadtansichten und Trachten aus Nürnberg, Fürth und Umgebung bekannt.
1980Una poesia inedita ''Capelli biondi'' e 5 xilografie originali numerate e firmate di Primo Conti. Le xilografie sono state impresse da Giorgio Upiglio a Milano e il testo dalle Edizioni D'Arte Cantini di Firenze. Le dimensioni delle xilografie variano da cm 19,5x16 a cm 29x23. Una dei XX esemplari su carta Japon imperiale formato 33x40 (es. VIII/20). Folio. pp. 8 + stampe. . Ottimo (Fine). . Prima edizione di 80 + XX esemplari. . Capelli biondi ? ispirata ad un amore giovanile di Conti e fu scritta nel 1915. Le xilo furono realizzate nell'inverno 1914-1915, nel suo studio di via dei Della Robbia. Le matrici sono state riscoperte in anni recenti. Prima che il libro fosse stampato da Giorgio Upiglio, l'autore esegu? un certo numero di prove a mano. Fino all'et? di 16 anni Primo Conti us? lo pseudonimo Umberto come indica la firma ''U.C.'' incisa nella matrice.
1 Blatt. Ca. 148:165 mm. Dargestellt ist ein kleines Steinmarterl mit umgebender Vegetation. Die Zeichnung dokumentiert die künstlerische Ausdrucksweise Elisabeths als junges Mädchen, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und in jungen Jahren in Schloss Possenhofen am Starnberger See lebte. - Papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz. Die Zuordnung zu Elisabeths Hand erfolgte durch Stilvergleich mit eigenh. signierten und datierten Zeichnungen Elisabeths, die in demselben Konvolut beilagen.
Litografia originale a colori dalla cartella ''El circulo de piedra'' Firma e numerazione a matita. Timbro a secco dell'Editore Giorgio Upiglio. Stampata su carta delle Cartiere Filicarta. Esemplare n. 122/125. cm 56,5x45. . . . . Tiratura 125 + XXV. .
Small folio (260 x 336 mm). Album comprising two lithographic series: 1) H. Lecomte. Unidentified set, "imp. Lith. de Delpech". 37 lithogr. plates (numbered 1-37, complete thus?), monogrammed "H.te L.". 2) H. Bellangé. "Fantaisies par Bellangé". [Paris, Gilhaut, 1829]. 12 lithogr. plates, signed "H.te Bellange". Half calf with printed cover label. A fine collection of two lithographed series: genre scenes with riders, coaches, soldiers, hunting, salons, etc. The lithographer Hippolyte Lecomte (1781-1857) is known for his landscapes and genre and history paintings, "but mainly for his battles and scenes of historical representation" (cf. Thieme/B. XXII, 526). - The French military painter Hippolyte Bellangé (1800-66) "was capable of painting anecdotal scenes and combining the most comical situations with the most serious ones. His style made him extremely popular as a painter of French military success. Apart from his numerous paintings he created a body of some 600 lithographs" (cf. Thieme/B. III, 232). - Edges somewhat rubbed and bumped; margins show some fading. OCLC 830769201 (2nd series only).
