MAZZON, Galliano; CAVALLO, LuigiMareMagnum
2 054 résultats
1976Cartella di 3 opere a collage di Galliano Mazzon moltiplicate artigianalmente nell'Officina d'Arte Grafica A. Lucini e C. (cm 40x40). Con un testo di Luigi Cavallo . cm 40x40. pp. 8. . Ottimo (Fine). . Prima ed. di 90 es. numerati e firmati dall'Artist. . Mazzon (Camisano Vicentino 1896 - Milano 1978) emigrò con la famiglia a San Paolo del Brasile nel 1897 rimanendovi fino al 1916, quando rientrò in Italia per arruolarsi volontario in guerra. Dopo gli studi all'Accademia di Brera dove conseguì il diploma, cominciò a frequentare l'ambiente artistico milanese e dopo la seconda guerra mondiale entrò a far parte del Movimento Arte Concreta (MAC, 1948) partecipando ad importanti esposizioni. Nel 1953 abbandonò il gruppo e dopo una grave crisi depressiva partecipò, nel 1967, alla mostra storica degli astrattisti italiani ''Arte Moderna in Italia 1915-1935'' invitato da Ragghianti (Firenze, Palazzo Strozzi). Nel 1969 il Comune di Milano gli ha dedicato una grande mostra antologica alla Civica Galleria d'Arte Contemporanea.
Xilografia a 2 colori. Frontespizio della cartella omonima Firma e data a matita. Timbro a secco dello stampatore Giorgio Upiglio, Milano, Grafica Uno. Stampata su carta Hahnemuhle. cm 73,5x49,5 (Foglio 79x53,5). . . Ottimo (Fine). . Tiratura 42. .
24 puntesecche originali applicate su carta pesante, firmate a matita dall'Artista (cm 8x6,5, foglio 15x11,5). Testo di Luigi Filippo Bolaffio . Cm 20x30. pp. 12 + 24 plates. . Ottimo (Fine). . Edizione originale di 150 es. numerati. .
Dry-point etching on laid paper. Signed and captioned in the lower margin. 168 x 128 mm (leaf size 407 x 274 mm). Slightly browned and spotty; some glue shading (occasionally touching image). Exsteens 736. Mascha 712.
Acquaforte su rame. Stampa in edizione coeva Firma su lastra. Riprodotta alla tav. CXXXVII del catalogo "Giovanni Fattori. L'Opera incisa", A cura di Andrea Baboni, Edizioni Over 1983. Cm 20,4x27,5 (Foglio 33,5x44). . . . Qualche abrasione ai margini del foglio. . .
1961- Sorlier , Paris 1961, 56x76cm, une feuille. - Lithographie originale intitulée "Le Christ : Ayez Pitié", épreuve d'artiste justifiée en bas à gauche "E.A.", signature de Bernard Buffet également au crayon en bas à droite. Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
1965- Louis Broder, Paris s.d. (1965), 20x24,1cm, une feuille. - Eau-forte originale de Giacometti imprimée sur japon et réalisée pour l'ouvrage Feuilles éparses en hommage à René Crevel. Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
1743In folio, antiporta incisa e 210 tavole (di 212 mancano n. 43 e 134), legatura in piena pelle coeva con fregi in oro e tassello al dorso, cornice impressa a secco ai piatti. Il più importante e bel libro di calligrafia del secolo, e uno dei più interessanti libri di scrittura di tutti i tempi, frutto di un lavoro di anni e di un intero atelier di incisori. Comprende sia testi incisi di teoria che un grande numero di esempi di calligrafia, compresi alfabeti esotici. Fu uno dei primi esempi di libro uscito a fascicoli, qui nella prima edizione in forma di libro. Legatura con qualche abrasione e tracce di uso ai piatti, dorso restaurato; cinque tavole con marginali restauri.
Acquaforte, acquatinta, puntasecca. Tre lastre di cm: 34,5x33,2 - 24,7x20,5 - 34,7x33. Variante di colore dell'acquaforte centrale stampata in azzurro, anziché in ocra, come pubblicata sul Catalogo dell'opera grafica dell'Artista Firma, data e numerazione a matita. Stampatore: Giorgio Upiglio, Grafica Uno. Stampa su carta Hahnemuhle. Timbri a secco dello stampatore e dell'Artista. Esemplare 10/20. Foglio cm 62,3x114,5. . . Perfetto (Mint). . Tiratura 20 esemplari + 8 p.d.a.. .
1947An original signed woodcut by Arthur C. Danto, executed in 1947 while he was an undergraduate at Wayne State University (he graduated in 1948). In this Expressionist image we see Joseph looking downcast in a dark cell, sitting on a bench with his ankle chained to the floor. 11 1/2" x 8 1/2" (block), 18" x 13" (sheet). Signed (A. Danto), dated ('47), titled (Joseph in Prison), and justified (3/25) in pencil. Only SIX IMPRESSIONS WERE ACTUALLY PRINTED, as indicated by the "6" at lower right (and confirmed by Danto). Monogrammed in the block. This is an extremely fine and rich impression, printed by the artist himself, on fine, thick, brownish-gray laid paper. A few marginal restorations, otherwise in excellent condition. Danto went on to have a successful career as an printmaker during the 1950s. In the early 1960s he turned to the philosophy and criticism of art, the field in which he achieved great acclaim. His early prints, dating from the 1940s, are of the greatest rarity. Possibly a unique survival.
SECOND AND LAST EDITION of the "Mascara Real", the greatest Spanish fete-book of the 18th century and the apex of Spanish etching of the period. Originally printed in 1764 (Palau 156971, "Magnifica publicacion....") in a very small edition, this is the second edition, with ALL TWELVE OF THE FULL-PAGE ETCHINGS (by Defehrt after Tramullas) PRINTED FROM THE ORIGINAL PLATES. Since the original edition was so small, the plates were in a perfect state of conservation when this second edition was printed, and ALL OF THE ETCHINGS ARE ABSOLUTELY BRIGHT AND SHARP. Edition limited to 150 numbered copies, all printed on extremely fine handmade Guarro wove paper. Oblong large folio (22 x 26 inches). Loose as issued in the original portfolio case with ties. BRIGHT AND FINE, WITH NO DEFECTS. Spectacular.
1924- s.d. (1924), 93x78mm, autre. - Diane et Actéon aux Marquises. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 mm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after two works by Paul Gauguin. Print on Japan silk, annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two works, the man holding a branch being a reproduction of a watercolor on page 37 of the Noa Noa manuscript, while the full-length woman originally observed by this browser, is presented here in bust with her hand to her face, model reproduced on a woodcut engraved by Gauguin on page 4 of the manuscript (and his original sketch pasted on page 51), evoking a similar scene. The final woodcut will serve as the head of chapter IV of the first true illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb engraving synthesizing a watercolor from the original Noa Noa manuscript, inspired by the myth of Diana and Actaeon, engraved by Gauguin's closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. A likely unique proof, part of 17 known test woodcuts from the early project to publish Noa Noa, all made on various fine papers and annotated by the artist. Woodcut engraved after a watercolor reinterpreting the myth of Diana, surprised in the bath by Actaeon. In the engraving, Monfreid took care to preserve the typical of deer antler shape of the branch seized by the indiscreet, which evokes its metamorphosis by the goddess. A very rare work by Gauguin mixing ancient mythology and island exoticism, whose subversive power seems entirely carried by the vahine Diana's expression of feint surprise. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The interm
1924- s.d. (1924), 93x78mm, autre. - La Mémoire et l'Imagination. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after a watercolor by Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved after a watercolor from the Noa Noa manuscript, pasted on a page of text of the famous album. The final woodcut will serve as the head of the first illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work after Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving after a very specific watercolor from Paul Gauguin's manuscript, a real breakthrough in text, engraved by his closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. The initial watercolor was cut out in waves around the female figure and pasted on the last chapter to prevent it from being read and thus get the story back on track. Gauguin had also added winding lines starting from the watercolor on the text page, thus giving the impression of a cave breaking through the page, by the psychic power of the sitting woman whose head diffuses the undulating rays. Monfreid decided to place it at the head of the work accompanied by two birds taken from other works, to illustrate the power of the artist and his imagination. A likely unique proof, part of 17 known test woodcuts from the early project to publish Noa Noa, all made on various fine papers and annotated by the artist. Unique proof of a woodcut engraved after the mystical watercolor erasing the first ending of the story to allow the reader to graphically enter the painted album, repeated in the printed version as the initiatory opening of the engraved story. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illu
1924- s.d. (1924), 93x78mm, autre. - Les Odalisques aux mangues. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved after two different works. The back of the woman is an exact reproduction of an ink from page 92 of the Noa Noa manuscript, while the woman lying down takes up the well-known theme of the woman with mangos, Te Arii Vahine-Opoi, that Gauguin represented in paint as well as with an engraving in 1898. The final woodcut will serve as the head of chapter V of the first true illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work from Paul Gauguin and a majestic tribute to one of the precursors of modern art. Superb and significant engraving uniting two major themes of the Tahitian work, including the central drawing of the Noa Noa manuscript, faithfully engraved by Gauguin's closest friend and executor, the artist George-Daniel de Monfreid. A likely unique proof, part of 17 known test woodcuts from the project to prematurely publish Noa Noa, all made on various fine papers and annotated by the artist. Woodcut engraved from two major original works. By uniting these two vahines with sensual postures, Monfreid brings about a true synthesis of Gauguin's work, all while using the traditional double figure of the artist's paintings. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts, until then unknown, testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: "When I saw Gauguin for the first time, I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations
1924- s.d. (1924), 93x78mm, autre. - Retour de pêche aux thons et bonites. Noa Noa. Unique proof of the woodcut drawn and engraved after Paul Gauguin by George-Daniel de Monfreid [between 1904 & 1924] | 9,3 x 7,8 cm | one sheet Original proof, likely unique, of this intermediate state of a woodcut drawn and engraved by George-Daniel de Monfreid after a watercolor by Paul Gauguin. Print on fine cream laid paper, annotation by the artist in the left-hand margin. Woodcut drawn and engraved from the first watercolor of the Noa Noa manuscript, pasted on a page of text of the famous album. The final woodcut will serve as the head of chapter X of the first true illustrated edition of Noa Noa, published by Crès in 1924, the first illustrated work from Paul Gauguin and a majestic tribute to this precursor of modern art. Superb and significant engraving of the work opening Paul Gauguin's manuscript, engraved by his closest friend and executor, the artist George-Daniel de Monfreid, heir to the album he would offer to the French State in 1927. This likely unique proof, part of 17 known test woodcuts from the project to prematurely publish Noa Noa, all made on various fine papers and annotated by the artist. Woodcut engraved from the watercolor inaugurating one of the painter's most beautiful albums, symbolizing the Tahitian art of living, between the nourishing sea and earthly pleasures. It is from the original illustrated manuscript of Noa Noa, brought back from Tahiti by Segalen on the artist's death in 1903, that Monfreid began producing this fundamental work from as early as 1904. This is the second version of this "to read and look at" notebook. The first manuscript, written on the return of his first voyage and entrusted by Gauguin to Charles Morice in 1893, responded to a different project. Gauguin had composed only the text, interspersed with blank pages for Morice's poems. But after several years without news, Morice preferred to publish a version entirely rewritten by himself in 1901. Gauguin, therefore, copied his manuscript and illustrated it during his second stay in Polynesia, with sketches, watercolors and collages. This album, that the artist enriched and safely preserved until his death, is preserved today at the Musée d'Orsay. It is, therefore, from this manuscript, the only one illustrated, that Monfreid composed the edition of Gauguin's Noa Noa. However, although Monfreid's publication was forward, it took more than twenty years to complete, in part due to a copyright dispute with Charles Morice who wanted to be co-author of the forthcoming edition and whose poems would eventually be preserved. The result of several years of reflection and work, the 1924 edition is both faithful to the watercolors and woodcut engravings illustrating the precious manuscript, and to the whole of Gauguin's Tahitian work, who died in indifference. Monfreid thus engraves several drawings from the original notebook and enriches it with woodcuts made from other works of which he is the custodian. Some of these compositions combine several paintings, while scrupulously respecting the artist's line, transforming the work into a true journey through the painter's works. The very choice of using wood engraving is a tribute to this technique prized by Gauguin, who, in Pont-Aven, produced 10 woodcuts to illustrate his manuscript between his two Polynesian stays. The intermediate woodcuts, until then unknown, testify to the slow work of composition to restore the artistic richness of Gauguin's work by his most faithful artistic companion and first champion: "When I saw Gauguin for the first time, I was greatly disconcerted by the details of art that radiated from his works as well as from the conversations of this extraordinary man... You immediately felt that he was the Master" (in L'Hermitage, 1903). [FRENCH VERSION FOLLOWS] Epreuve originale probablement unique de cet état intermédiaire d'un bois dessiné et gravé d'après une aquarel
234:174 mm (size of plate), mounted on cardboard (330:250 mm).
1823In4° grande oblungo, legatura solida in mezza pelle rossa con angoli, fregi dorati al dorso, tasselo con titolo in oro al piatto superiore. Seconda edizione la prima completa con tutte le tavole. PP. (6), 170, più 52 tavole. Buon esemplare. I dodici canti del poema eroicomico, in dialetto romanesco, che diede la notorietà a Giuseppe Berneri (1637-1701) pubblicato insieme alle famose incisioni all’acquaforte di Pinelli (1781-1835) che ritraggono vivide scene popolari, con personaggi e costumi contemporanei, iconografia della Roma ottocentesca.
1750In-4°; pp. (32), con 2 tavole f.t. incise da Francesco Bartolozzi (1727-1815), una vignetta incisa su rame al frontespizio, una testatina e 3 grandi finalini, di cui due da invenzioni di Piazzetta, incise da Fiorenza Marcello e Felicita Sartori. Sonetto introduttivo di Gasparo Gozzi, al termine una poesia di Giovanni MArsili. Legatura in cartonato colorato. Gamba p. 613.
1766Folio (c. 485 x 335 mm) XVI ff. and printed dedication (to Carlo Emanuele III) with engr. initial. Fine series of decorations with elaborate cartouches and emblems, some including architectural or marine designs. The Bologna painter Gaetano Bernardino Ottani (1736-1827), long active in Turin, created the stage decorations of his native city's Teatro Formagliari in 1742. - Plates mostly engraved by Dionisio Valesi, others by Pietro Peiroleri and Angelo Ghizzardi. Margins occasionally wrinkled and fingerstained (especially t. p. and dedication). Wants the two portraits engraved by Ghizzardi. Rare; the San Francisco State Univ. Library copy wants the dedication; the OCLC record linked by Princeton and Harvard states one portrait and two plates as missing. Ornamentstichkat. Berlin 592. Guilmard, Les maitres ornemanistes (Paris 1880), S. 334. OCLC 34976429 u. 27192168. Cf. N. Aprà, Dizionario enciclopedico dell'antiquariato (Milano 1969), s. v. Thieme/Becker XXVI, 86.
1952Litografia a colori. 3° stato in cui le figure sono state modificate nei contorni, le mani e i volti, dai quali è stato cancellato il fondo ocra chiaro, sono ridisegnati in ocra e i panneggi in verde chiaro e bruno. Il fondino è tirato in bruno chiaro o grigio. Tiratura: alcune prove d'artista in parte firmate + 200 es. numerati + LX es. in colori diversi Firmata, numerata e datata a matita. Stampatore Desjobert, Parigi. Carta Arches, timbro a secco dell'editore. Esemplare 197/200 su fondino grigio. Cm 42,6x32,2. . . Molto buono (Very Good). Qualche lievissima fioritura ai bordi del foglio (Some light yellowing on the edges of the sheet). Tiratura: alcune p.d.a. + 200 + LX es. numerati. .
2008SIGNED LIMITED EDITION copy of an elaborately-illustrated Haggadah. 480x325mm. This beautiful Haggadah is enclosed in a thick wooden box, with a colorfully-painted front lid. Inside are 34 color lithographs (not bound). Each lithograph comprises one page of the Haggadah, including the text (in Hebrew) relevant to the image on that lithograph - together making up the complete Haggadah text. Each lithograph is SIGNED by Eliyahu Sidi (in pencil), and marked with a number to indicate the exemplar to which it belongs. The box also contains a large 25-page booklet, wherein is found the introduction by David Moss, English translations for each of the 34 color lithographs (alongside a small image of each lithograph, for reference purposes), and concluding with an interpretation of each lithograph from an artistic viewpoint by David Moss and Noam Zion. The booklet is written entirely in the English language. All copies sold fresh (not second-hand) directly from the artist, and are in PERFECT CONDITION. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Kl.-Folio (280:220 mm). Album mit zus. 32 Zeichnungen auf 27 Bll. Die Zeichnungen im Postkartenformat (90:120 mm) teilweise in Blei aquarelliert und teilweise mit Tusche laviert, mit Motiven meist aus den Niederlanden, Flandern und Frankreich, zumeist monogr. "ES", jeweils flächig montiert und mit Goldlinien gerahmt. Lederband der Zeit mit goldgepr. Deckeltitel "Reise Erinnerungen 1887", gepr. Rücken und dreiseitigem Goldschnitt; Vorsatzpapiere aus goldbedrucktem Karton mit feinem ornamentalen Muster. 1 Messingschließe. Die Zeichnungen, ausgeführt von einem geübten Zeichner und jeweils beschriftet und datiert, dokumentieren die Stationen einer Reise: Nijmegen, Kampen, Enkhuizen, Ursem bei Alkmaar, Rotterdam, Utrecht, Antwerpen, Brügge, Brüssel, Mecheln, Tournai, Laon, Soissons, Paris, Rouen, Versailles, Chinon, Fontainebleau, Sully sur Loire und Moulins. - Der Künstler mit dem verschlungenen, wohl als "ES" zu lesenden Monogramm konnte nicht ermittelt werden; vermutlich trug er den Nachnamen Schmidt: Darauf deuten drei beiliegende Photokopien, die wohl die Rückseiten von drei der Zeichnungen zeigen, die als Postkarten an einen Carl Schmidt in Berlin versandt wurden. - Bis auf eine Bleistiftzeichnung mit Allgäuer Gebirgslandschaft, bezeichnet und datiert "Mädelegabel, 15. 8. [18]86", entstanden alle Zeichnungen auf der Reise durch die Niederlande, durch Flandern und Fankreich. Der Spruch "Wie hat das Gott so schön erdacht, dass er den Wanderburschen schafft" unter der Zeichnung von Kampen zu Beginn der Reise deutet darauf hin, dass die Reise zu Fuß angetreten wurde. - Der Zeichner versteht sich meisterhaft auf die minutiöse Wiedergabe von Stadtansichten und historischen Gebäuden; oft beleben treffend skizzierte Staffagefiguren den Vordergrund, oder die Landschaft ist in zarten Aquarellfarben angedeutet. Ein Selbstportrait zeigt den Künstler auf einem kleinen Schemel hockend, mit Zylinder auf dem Kopf, in der Pariser Avenue de Montaigne; ein anderes Selbstportrait, durch einen Spiegel in der Decke gesehen, entstand im Schloss von Fontainebleau. - Einband etwas berieben. Einige Zeichnungen mit Poststempel oder Abklatschspuren eines Poststempels. Innengelenke gebrochen, gering fleckig, Trägerkartons leicht gebräunt.
1762Zeichentusche auf Papier (Blattmaß 485:295 mm). Unter Passepartout (615:430 mm). Die schöne Dedikationszeichnung zeigt Apoll, auf eine geborstene Schrifttafel weisend. Auf derselben findet sich ein 21zeiliges kalligraphiertes Festgedicht: "Apollo spielt, die Gegend hört | Den Wunderklang der reinen Leyer; | Mir ist kein gleiches Glück beschert, | Ich lodre nicht in gleichem Feuer, | Nur Ehrfurcht ist's und wahre Treue | Die ich der Grosen Fürstin weyhe | [...]". Der Steinblock, auf dem Apolls Leier ruht, trägt außerdem eine 15zlg. Widmung "Der Durchlauchtigsten Fürstin und Frau, Frau Charlotten Amalien, Herzogin zu Sachsen, Jülich, Cleve und Berg auch Engern und Westphalen, Landgräfin zu Thüringen, Marggräfin zu Meissen, gefürsteten Gräfin zu Henneberg, Gräfin zu der Marck und Ravensberg, Frau zu Ravenstein, gebornen Landgräfin zu Hessen, Fürstin zu Hersfeld, Gräfin zu Katzenelnbogen, Diez, Ziegenhain, Nidda, Schaumburg und Hanau, auch Sayn und Witgenstein [...]"; am Schluß der Widmung vom Gratulanten Heinrich David Trinks in millimeterhoher Schrift signiert. Das Motiv von etwas Pflanzenstaffage eingerahmt; im Hintergrund ein Monopteros. Außerhalb des Rahmens vom sonst nicht nachgewiesenen Zeichner signiert: "Calamo delin." (nicht im AKL). - Charlotte Amalie (1730-1801) war die Tochter des Landgrafen Karl I. von Hessen-Philippsthal und seiner Gemahlin Christine von Sachsen-Eisenach. 1750 heiratete sie 20jährig den 43 Jahre älteren Herzog Anton Ulrich von Sachsen-Meiningen, dem sie in der verbleibenden Zeitspanne seines Lebens noch acht Kinder schenkte. 1763 übernahm sie als Vormund ihrer Söhne die Regentschaft im Herzogtum, das finanziell und wirtschaftlich völlig ruiniert war. Aufgrund ihrer straffen Reformen und Sparmaßnahmen, ihres wirtschaftlichen Wiederaufbaus und ihrer Förderung des geistigen Lebens gilt sie als "Retterin des Herzogtums". Die beliebte und volksverbundene Herzogin wurde nicht in der Fürstengruft, sondern gemäß ihrem Wunsch auf dem städtischen Friedhof begraben. - Hübsche Zeichnung als Jubiläumsgabe, womöglich auch Vorzeichnung für einen Kupferstich.
Plan view, semi-bird's-eye perspective, with key. 465 x 340 mm. Framed and glazed. Rare view of Cairo, based on the view in the "Civitates orbis terrarum" by Braun and Hogenberg. - Matteo Florimi, a student of A. Lafrery and C. Duchet, moved to Siena in 1581, where he worked as a publisher and dealer in books and prints, often for A. Carracci, C. Galle, and P. de Jode. - A longish tear to the left edge, touching the image (ca 20 cm), trimmed to the borders, smoothed creases.
Bildformat: 265 mm im Rund. Blattgröße: 390:330 mm. Gerahmt in schwarz gelackter Biedermeierleiste. Das Brustbild in Rund von Lips gilt als eines der schönsten graphischen Bildnisse Goethes. Prägnanter Abzug in tadelloser Erhaltung. - Johann Heinrich Lips gilt als künstlerischer Ziehsohn von Lavater, der seine Begabung früh entdeckte und ihn wie einen Vater förderte. Über Lavater lernte Lips auch Goethe kennen, auf dessen Verwendung hin er 1789 eine Professur an der Zeichenakademie zu Weimar erhielt.
