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1870réf. 21530Good. Antique woodcut lithograph plate is toned with very modest foxing. Overall size: 16" x 12".; Prints . 1870. unknown
1870réf. 21531Good. Antique woodcut lithograph plate is toned with very modest foxing. Overall size: 16" x 12".; Prints . 1870. unknown
1870réf. 21529Good. Antique woodcut lithograph plate is toned with very modest foxing. Overall size: 16" x 12".; Prints . 1870. unknown
réf. BN316199Editions Opéra. Softcover. L'héraldique & ses arcanes L'héraldique & ses arcanes Claude René d' Estampes Editions Opéra paperback
réf. BN370214Pietro Sarto. Catalogue Raisonné des gravures et lithographiesLes Estampes 1947-1992 Album Album Pietro Sarto. Catalogue Raisonné des gravures et lithographiesLes Estampes 1947-1992 Album Album Pietro Sarto. Catalogue Raisonné des gravures et lithographiesLes Estampes 1947-1992 Album Album unknown
réf. 365112The Folio Society 1998. IN SLIPCASE super octavo blue heavy boards gilt lettering to spine gilt & white/black illus to front board 735pp illus/engravings Near FINE in slipcase VG The Folio Society 1998 hardcover
1974réf. ZB1354368Easton Press 1974. Price HAS BEEN REDUCED by 10% until Monday Oct. 26 weekend SALE item Gilt-stamped full maroon leather hardcover moire endpapers and pastedowns a.e.g. fine. Includes Notes from the Archives laid in. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Easton Press hardcover
réf. 361129Jonathan Cape 1996. Square folio black cloth boards stamped blind lettering to front board and spine frontispiece 83pp illus/photos sl fading to board edges sl soiling to eps sm internal reinforcing of front gutter with paper tape in d/w Near FINE minimal creasing to upper edge of rear flap Jonathan Cape 1996 hardcover
1745réf. 855Regensburg: H. Lentz and H.G. Neubauer et al. 1745. First edition. Very good. Mezzotint engraving printed in color finished by hand 12.75 x 8.25 inches platemark approx; 15.25 x 9.5 inches overall approx. Left edge retains sewing stabs neatly disbound in some earlier century else a very vibrant example of a hand colored mezzotint engraving. The individual botanicals in this plate are: a. Phaseolus flore puniceo b. Phaseolus major c. Phaseolus orthocaulus d. Phaseolus Indicus e. Phaseolus major seu Faba purgatrioc. Drawn from Johann Wilhelm Weinmann's Phytanthoza Iconographia this dazzling print is part of a riotous celebration of plants trees shrubs herbs flowers fruits mushrooms and trailing vines. Printed in color and delicately finished by hand the series stands among the earliest triumphs of color printing and marks the first published collection to feature the work of George Dionysus Ehret one of the eighteenth century's most admired botanical artists. Other artists/engravers included in this work are Bartholomaus Seuter Johann Elias Ridinger and Johann Jakob Haid. In Great Flower Books Satcheverall Sitwell refers to this set as the "pioneering work of botanical prints engraved to be inked in color." . NISSEN2126. DUNTHORNE 327. SITWELL/BLUNT Great Flower Books p. 151 166. . H. Lentz and H.G. Neubauer, et al. unknown
réf. 356941J Snow 1837. SIXTH THOUSAND octavo half leatherbound brown heavy boards gilt lettering & tooling/decoration to spine with rsaised bands also aeg frontispiece illus title page xviii 590pp illus VG moderate scuffing & surface loss to leatherwork minor fading & rubbing to boards moderate soiling to gilt page edges & eps occasional light cracking to gutters prev. owner's name in ink to prelims moderate foxing throughout J Snow 1837 hardcover
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
réf. 347998The Folio Society 2006. IN SLIPCASE imperial octavo illus cloth boards gilt lettering to red leather spine top page edges stained red xxxviii 438pp illus Near FINE in slipcase Near FINE sl chafing/soiling The Folio Society 2006 hardcover
1946réf. 18488Very Good. This 1946 magazine print is toned but clean and in very good condition. 12.5" x 9".; Prints . 1946. unknown
1935réf. 18479Very Good. These magazine prints are on a single sheet and are clean and in excellent condition. 15" x 11" sheet.; Prints . 1935. unknown
1898réf. 18486Very Good. This 1898 page from Forms & Fantasies has very minimal toning and is in very good condition. 12" x 9.5". Illustration is 6.5" x 5"; Prints . 1898. unknown
1946réf. 18489Very Good. This 1946 magazine print includes 2 2-sided sheets that are toned but clean and in very good condition. 12.5" x 9".; Prints . 1946. unknown
1935réf. 18478Very Good. These magazine prints are tipped-in on a single heavy stock sheet with silver border on the background sheet. Because they are tipped-in they should be removable with care if you want to frame them. The lithographs are clean and in excellent condition. 15" x 11" sheet. Lithos are 7.5"x4" 2 ; 8"x6.5"; and 4.5" x 3.25".; Prints . 1935. unknown
1935réf. 18475Very Good. This magazine print on heavy stock with gilt border is in excellent and clean condition. It is two-sided on heavy stock. 15" x 11".; Prints . 1935. unknown
1898réf. 18484Very Good. This 1898 page from Forms & Fantasies has very minimal toning and is in very good condition. 12" x 9.5". Each illustration is 5.5" x 3.75" and 5.5" x 3.5".; Prints . 1898. unknown
1898réf. 18482Very Good. This is the cover only from Forms & Fantasies which was illustrated by Henry Erkins. The red cover has a black smudge near the lower left corner and two 1/8" tears at the top edge but in very good condition. 12" x 9.5".; Prints . 1898. unknown
1935réf. 18477Very Good. These magazine prints are tipped-in on a single heavy stock sheet with silver border on the background sheet. Because they are tipped-in they should be removable with care if you want to frame both. The lithographs are clean and in excellent condition. 15" x 11" sheet. Each litho is 12.25" x 8.25".; Prints . 1935. unknown
1935réf. 18480Very Good. These magazine prints are on a single sheet and are clean and in excellent condition. 15" x 11" sheet.; Prints . 1935. unknown
1898réf. 18485Very Good. This 1898 page from Forms & Fantasies has very minimal toning and is in very good condition. 12" x 9.5". Illustration is 6.5" x 5"; Prints . 1898. unknown
1935réf. 18476Very Good. These magazine prints with gilt borders have some foxing in the margins but in very good condition. Two sheets each being 2 sided. 15" x 11".; Prints . 1935. unknown
1935réf. 18474Very Good. This magazine print on heavy stock with gilt border is in excellent and clean condition. It is two-sided on heavy stock. 15" x 11".; Prints . 1935. unknown
