10.815 risultati
rif. 97061301Dong Ho Village n.d. ca 1950's. A suite of 15 color woodcuts each print ca. 7.5 x 13 cxm card matted contained in a ma- tching folder with one more print layed down. These hand make prints are used for the Lunar New Year cele- bration of "Tet" in Vietnam. They are displayed inside homes and by doors to invoke or exclude what is depicted in the prints in the hopes of gaining good luck good fortune and a good social life in the New Year. These prints were made in Dung Ho village about 30 miles North of Hanoi and have been made there for hundreds of years. Hand-made printed in color by hand on woodblockss. Each print depicts a charming folk illustration in a variety of 15 celebrated and famous images or icons. unknown
1700rif. 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
rif. 198855-nnew. unknown
1935rif. 050551New York City: E. P. Dutton 1935. First American Edition 1st Printing. Hardcover. Fine/Very Good. Xv 110 Pp. Red Cloth Gilt. First American Printing 1935 In The Dutton Dust Jacket With This Title Fifth From End In List On Rear Flap. Book Fine Gift Inscription Dated 1937. Dust Jacket With Light Wear 1" Tear At Bottom Of Rear Spine Edge. Complete Sets Of The New Temple Shakespeare In Jacket Are Available But Not In First Printings. E. P. Dutton hardcover
2004rif. 041968Los Angeles: The Love Press 2004. 1st Edition . No Binding. Fine/Portfolio and box. 50 Color Plates With A Haiku On Each With Cover Sheet. #46 Of 300 Copies Of A Limited Edition. Wikipedia Reports This Was Self-Published In 2005. Fine In Vellum Portfolio Enclosed In Box With Plate Of Thelonius Monk On Front Cover Lettered On Black On One Side Numbered In Pencil On The Flap. Contents Fine; Vellum Portfolio With Some Wrinkling And A 1/4" Tear At One Flap Fold; Box With Slight Wear And Aging. Per Wikipedia Amber Rose Tamblyn Born 1983 Is An American Actress And Writer. She First Came To National Attention In Her Role On The Soap Opera General Hospital As Emily Quartermaine At The Age Of 11. She Followed By A Starring Role On The Prime-Time Series Joan Of Arcadia Portraying The Title Character Joan Girardi For Which She Received Primetime Emmy And Golden Globe Nominations. Her Feature Film Work Includes Roles Such As Tibby Rollins From The First Two The Sisterhood Of The Traveling Pants And Megan Mcbride In 127 Hours 2010 As Well As The Critically Acclaimed Film Stephanie Daley Opposite Tilda Swinton Which Debuted At The Sundance Film Festival And For Which Tamblyn Won Best Actress At The Locarno International Film Festival And Was Nominated For An Independent Spirit Award. In 2021 She Starred Opposite Diane Lane In Fx's "Y The Last Man." Tamblyn Is A Published Author And Cultural Critic At Large. She Has Published Seven Books Across Genres And Writes For The New York Times And Other Publications On Issues Of Gender Inequality And Women's Rage. The Love Press unknown
1955rif. 041332Carmelite Father's At St. Albert's Press / Edward Walters 1955. 1st Edition . Soft cover. Fine. Small Press Production Two Large Folded Sheets Each Folded Into Eight Pages. One Of 200 Copies. Fine. Carmelite Father's At St. Albert's Press / Edward Walters paperback
1924rif. 041710London: Chatto & Windus 1924. 1st Edition 1st Printing. Hardcover. Near Fine/Near Fine. 94 Pp. Red And Black Boards With Paper Spine Label. Extra Spine Label Tippped In At Rear. First Printing. Near Fine No Marks Or Fading Light Foxing. Dust Jacket Taller Than Book Priced 5S Light Wear And Browning 4 Tears Along Bottom Edge Of Rear Panel And Rear Spine Edge. Chatto & Windus hardcover
1651rif. 038533Paris: Augustin Courbe 1651. 1st Edition . No Binding. Very Good. Eight Engravings From The Text Trimmed To Margins And Mounted On Two Large Sheets. Small Loss At Lower Left Corner Of "Philemon Baucis" Plate. Augustin Courbe unknown
1865rif. 036424New York: Johnson Fry And Co. 1861 1862 1863 1864 1865 1865. 1st Edition . Hardcover. Very Good. 620 660 642 Pp. Three Volumes. Various Copyright Dates From 1861 To 1865 On Plates And Copyright Pages But Text Goes Through End Of War So Actual Publication Date Presumably 1865. Three Massive Volumes The Deluxe Issue In Full Brown Embossed And Gilt Morocco Five Bands Spines Stamped In Gilt Covers Stamped In Dark Brown Beveled Edges All Edges Of Page Block Gilt. Wear Fraying At Corners Gilt Bright. Volume I And Volume Ii Have Front Boards With New Cords. No Marks Or Stains Or Other Damage Text Block Square And Unworn. General Refurbishing By A Binder Made This An Exceptional Set. Johnson, Fry And Co. (1861, 1862, 1863, 1864, 1865) hardcover
1959rif. 031990Los Angeles: Anais Nin 1959. 1st Edition 1st Printing. Soft cover. Very Good. Softcover Issue Beige Wrappers Printed In Black; Unpaginated. Inscribed By Nin To A Female Friend And With The Friend's Signature. Wear Foxing To Covers Spine Bowed Still Very Good. Anais Nin paperback
rif. 69703Societe des bibliophiles et iconophiles de Belgique 1939. Losbladige uitgave met 48 facsimile platen van Spirituale Pomerium 1447-1452 en 72 paginas uitleg in het Frans 34 x 26 cm FR. goede staat. Spirituale pomerium Bibliotheque Royale de Belgique. Manuscript 12070 Societe des bibliophiles et iconophiles de Belgique 1939 unknown
2003rif. BECKETTS002141Kickshaws Paris. 2003. First edition thus: an alternative English version by John Crombie. Small square octavo. Loose folded sheets printed with characters of varying sizes. Wrappers. One of ''a handful of copies. printed for the translator's personal pleasure''. Originally not commercially available no doubt due to the unauthorised nature of the translation.Fine. Rare. [Kickshaws, Paris.] unknown
2003rif. P�RETBEN002140Kickshaws Paris. 2003. First edition. Original title: ''Imp�ratif''. Small square octavo. Loose folded sheets printed in various typefaces against decorative backgrounds in a characteristically playful Kickshaws manner. Wrappers. One of 120 numbered copies.Fine. Kickshaws, Paris. unknown
1991rif. RAMPANTL000801The Gruffyground Press Sidcot. 1991. First edition. Narrow octavo. pp 8. Sewn wrappers. Publisher's catalogue describing thirteen illustrated poetry books these being by Thomas Hardy Edward Thomas Thom Gunn Elizabeth Jennings Robert Graves James Reeves Peter Scupham et al.450 copies printed. On the title-page is the engraving of a polecat used for the publisher Anthony Baker's bookplate printed from the original block. Signed by Anthony Baker at the colophon most copies were not signed.Loosely inserted is a Typed Letter Signed by Anthony Baker and dated February 19th 1973: about 600 chatty words to the poet Ted Walker mostly discussing the possibility of publishing an illustrated verse bestiary.Fine. The Gruffyground Press, Sidcot. unknown
rif. FREDERIC013688Pawlet Vermont. Various dates. First editions. Printed by Claude Fredericks for presentation to his friends at Christmas.A A Plan for the ''Sonnets'' of a Proposed Shakespeare. 1960. Wrappers. Sonnets xxxiii to xlvi are printed. Fine in printed tissue dustwrapper.B A Page from Bacon's ''Essays''. 1956. Wrappers. Number 20 of 180 copies. Spine faded. Near fine.C Psalms cl & cxxxiii. 1958. Wrappers. Single leaf in loose wrappers. Covers lightly tanned at edges. Near fine.D Meister Eckhart's Sermon on Beata Pauperes Spiritu. 1960. Wrappers. 220 copies printed. Taken from R.B. Blakney's translation. Very near fine. Pawlet, Vermont. unknown
1929rif. POETRYQU011103Random House New York. 1929. First edition. Royal octavo. Twelve four-page pamphlets stitched each with a cover illustration by Paul Johnston. One of 475 sets. The poets are Genevieve Taggart Robert Frost "The Lovely Shall be Choosers". Vachel Lindsay "Rigamarole Rigamore" Edwin Arlington Robinson "The Prodigal Son" Louis Untermeyer Alfred Kreymborg H.D. "Red Roses for Bronze" Theodore Dreiser William Rose Ben�t Conrad Aiken "Prelude" and Witter Bynner. A fine set in publisher's paper chemise with long closed tears. Lacks the slipcase. Random House, New York. unknown
1939rif. SPENDERS007080Atelier 17 Paris & New York. March 1939. First edition. Octavo. Spender's poem ''Fall of a City'' and Louis Aragon's translation ''Chute d'une Cit�'' together with nine engravings loose within wrappers. The engravings were printed by Atelier 17 and Henri Hecht and include one with aquatint and roulette one with soft ground etching one drypoint and one etching. All are on Montval handmade paper with deckle-edges. Held within the original plain board chemise but lacking the slipcase which had a Hayter titling-piece pasted onto the front. Stanley Hayter founded Atelier 17 in Paris in 1927 and it continues to this day in Rue Didot albeit with the name changed to Atelier Contrepoint. This production was his contribution to the raising of funds to help children orphaned by the Spanish Civil War.101 numbered copies were printed for sale and 12 for the contributors. This copy is unnumbered and hors commerce marked ''h.c'' on the limitation page. Each copy including this one was signed by Spender and Aragon at their respective contribution and by each artist in the lower margin of the etched sheet.Fine in custom burgundy morocco box with ''FRATERNITY'' in gilt on the lid. Very scarce with all nine loose etchings as most sets have been broken up for piecemeal sale. Atelier 17, Paris & New York. March, unknown
1960rif. 018241New York : Philadelphia Museum of Art. American Federation of Arts 1960. Soft cover. Near Fine. 1960 B00K: Near Fine/ . B00K: Near Fine/ $100.98 Reduced From. MAURICO LASANSKY ZIGROSSER Carl Vice~Director and Curator Prints and Drawings. Philadelphia Museum of Art. American Federation of Arts New York 1960 UnStated 1sT Edition Small Square S/c Sun Browning On A Tan Spine With Title In Black Letters Soft Cover B00K: Near Fine/ Slight Shelf Edge And Corner Wear. Pages Appear To Be Lightly Read Clean And Tight To The Spine Printed On 0ff~White Paper In Fine/ Condition. Right Side Of Pages Have Spotting From Aging. D/j: None. This Item Will Be Sent Wrapped In Plastic Taped Shut And In A = Padded Mailing Envelope Prevent Shipping Damage So That It Will Arrive In The Description Described Which Applies To This B00K Only. = No Odors No Writing No Names No Rippling Not Stuck Together No Book Plate Not X~Library No Other Marks. = Will Make It An Excellent Addition To Your Own Personal Library Collection Or As A Gift For The Discriminating Reader / Collector. = WORLD WIDE SHIPPING AVAILABLE Philadelphia Museum of Art. American Federation of Arts paperback
1871rif. FOSTERBI004667E. Moxon London. 1871. First edition thus: illustrated with 22 exquisite engravings by Birket Foster. Quarto. pp viii 109 1 adverts. 22 plates. Fine period binding by H. Sotheran of full straight-grain morocco with raised bands gilt decoration and rules all edges gilt.A bit of foxing here and there otherwise fine. E. Moxon, London. hardcover
1970rif. STEADMAN001332Steam Press London. 1970. First edition. Sheet folded twice. Broadsheet number 2. A nine line poem. Designed and printed by Ralph Steadman on Swedish paper at Steam Press.Number 24 of fifty numbered copies signed by Stephen Spender.Fine. Steam Press, London. unknown
1685rif. 53234München Johann Hermann Gelder 1685. 4to. Later hcalf rebound spine worn but intact. Shaved close throughout loosing pagination number mainly at end. Some leaves with repairs some loosing text. Scattered brownspots. Traces of use. Some leaves frayed in margins. 22 pp. lacking titlepage.The first part paginated 1-1506 the second part ca. 400 pp. pagination shaved and ending abruptly. 14 engraved plates mounted and some with loss and defective. With around 70 large textengravings by Leonhard Heckenauer Jeremias Renner H.G. Bodenehr et al. Richly illustrated by estimated Baroque-engravers such as Heckenauer Renner Bodenehr and others. unknown
1638rif. 193614to. Cont. marbled boards somewhat worn. Engraved title with text on verso. 2 engraved allegorical titles with portrait of Drexel with the years 1638 and 1645. Having 50 of 54 allegorical and symbolical engravings numbered 1-54 nos. 172932 a. 41 lacks. Interfoliert. Some traces of use. A few tears repaired. At the title: FL = Johan F. Lindencrone. hardcover
rif. 475291750-1850 approx A nice collection of var. prints 25x mixed. Some spotting o/w G 1750-1850 approx unknown
1994rif. 616780Roslyn New York: The Stone House Press 1994. Unbound. Fine. Partial proof of the deluxe edition consisting of four nonconsecutive folded and gathered but unsewn signatures. Illustrated with seven woodcuts by John De Pol from the original blocks. Tall octavo. 2 blank 8 9-12 2 32-42 2 61-92pp. The final gathering ends four paragraphs into chapter XLI. Fine. According to a note in an unknown hand that accompanies the signatures they are from the deluxe edition 30 copies on Rives of 170 total. Nicely printed and illustrated with potential use as a teaching tool. The Stone House Press unknown
1550rif. ABC_49514Italy 1550. 17th-century gold-tooled brown calf sewn on 6 supports with the corresponding raised bands on the spine a red morocco title label on the spine with the title "Novissima urbis Romae descriptio" lettered in gold gold-tooled board edges. Large oblong folio ca. 59 x 42.3 cm. With 76 full-page engravings and 12 full-page etchings. Remarkable album with 77 beautiful examples of 16th-century Italian cartography all in very fine dark impressions. The collection includes plans of important Italian towns such as Rome Venice Genoa Naples Milan Florence Palermo Siena Bologna and Pisa as well as detailed views of individual buildings and monuments in Rome. They are engraved by several cartographers from the school of Antonio Lafreri 1512-1577 primarily Claudio Duchetti d. 1585 Matteo Florimi d. 1613 and Lafreri himself. Florimi's works are among the rarest of the Lafreri school map makers especially his Siena imprints of which several have here been included.In the middle of the 16th century Italy was the centre of map production and distribution in Europe. This industry primarily took place in Venice and Rome. The most notable of the publishers in Rome was Lafreri. His most important and most popular work is the Speculum Romanae magnificentiae a collection of plans an views of Rome's monuments; no two copies of the Speculum are the same. The present collection contains more than thirty plates from the Speculum. When Lafreri died his nephew Claudio Duchetti inherited the company. He continued to produce the Speculum plates but often made small adjustments and signed his own name at the bottom. Most of the Speculum plates in the present album are by Duchetti. After his death the copperplates were sold to other publishers such as Giovanni Orlandi before 1590-after 1640 who reissued them. The majority of the plates in the present album were printed by Orlandi in 1602.The album further contains 32 engraved city plans mostly of Italian towns although a few foreign cities are also included; one of the rarest is the view of Moscow which is also included here. The collection ends with a incomplete series of 11 etchings of landscapes and biblical scenes.A list of contents is available upon request.With the bookplate of Louis Routy de Charodon seigneur de Grésigny and Charodon 1710-1794 on the front pastedown and remnants of another bookplate above. The boards are somewhat scratched and stained the spine shows traces of use the edges of the boards have been professionally restored and the boards have been lengthened to fit the maps. The maps are slightly browned some are slightly foxed the first few maps have been mounted onto 17th-century leaves the longer maps are somewhat soiled on the fore edge three maps are restored at the fore edge and one at the bottom edge some maps have been cut slightly short. Otherwise in good condition.l Cf. Parshall P. "Antonio Lafreri's "Speculum Romanae magnificentiae"" in: Print Quarterly vol. 23 1 2006 pp. 3-28. hardcover
