Various ContributorsMareMagnum
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1959Features: in colour - Azaleas, a comet, royal treasures, and land reclamation; Kariba Dam; Mt. Palomar; The Expansion of the Universe, Part I of a science series; 1959 Motor Show; Hadrian's Wall; Benenden School; Vineyards in England; Libyan desert reclamation; Britain's Collieries; and more. Moderate wear. Unmarked. Sound copy. Book
1959Features: The Ill-fated Hans Hedtoft; The Duke of Edinburgh in India; Westonbirt School; Ivory Poaching in Kenya; Queen Victoria's Railway Saloon; Stunning Bank Architecture in Oklahoma City; The Hammersmith Fly-Over; Work on the Great Mound of Charsada, Near Peshawar; Auto Feature - The M.G. MGA Coupe; and more. Moderate wear. Unmarked. Sound copy. Book
1959Features: The Martin P6M-2 Seamaster Jet Seaplane; The Duke in Sarawak and North Brunei; The Sweet and the bitter in Russia; The Planet Mars - Part IV of a science series; Mr. Macmillan speaks on Russian Television; Westminster School; Austin A40 colour full-page ad; and more. Moderate wear. Unmarked. Sound copy. Book
1959Features: Great Flagstaff of Kew Gardens Carved from a Single Douglas Fir from British Columbia; Lovely colour Humber Super Snipe Ad.; Florida's 'Red Tide' Plague kills fish by the Multi-Million; The Threat of the Aswan Dam to the 4200-year-old Abu Simbel Temples; Auto Feature - The Rolls Royce Phantom V; The 1959 Auto Show (multi-page); Manchester Grammar School; Around the world in 80 hours; and more. Average wear. Unmarked. Sound copy. Book
1960160 pages. Features: Castro's War on Capitalism in Cuba; Counting Heads - the first U.S. census was no easy job; Juvenile Integrity Starts in the Home; The Korean Myth - Misconceptions Americans have about Korea; 1960 Version of "The Little Red Hen"; Cold War in International Athletics - opposing Communist athletes intent on propaganda; The Tenth Man - baseball's most important player can be the groundskeeper; Facts Russia Does Not Tell; School Teaching Beats Working for a Living; The Truly Satisfying Life; The China Clipper; Who are the Metrocrats?; Listen to This; Honey - Nutritious Nostrum; Who Wants to Abolish the HUAC (House Un-American Activities Committee)?; They Tamed the Wild Missouri River; Is There Free Speech?; The greatest Train Robbery; Walter, The Adaptable Weasel; A Kentucky Political Education; Don't Let your Shoulder Freeze; This Is Christianity - Young Korean Joon Gon Kim's Ministry to Communists; You Can Do Something; Those Modern Eskimos; A Return to Common Sense in Education - Pennsylvania teacher shuns methods that produce illiterate blockheads; The Organization Mother; January-June 1960 Index. Back cover Flag Day coverage features lovely photo of youngsters Kay and Tony of the Dario Politella family of Lindenhurst, Long Island. Unmarked with moderate wear. A sound vintage copy. Book
195532 pages. Features: Dr. A.D. Hurt writes about "The True Israel"; Condensed version of speech given by Indiana Senator William E. Jenner regarding censure charges against Senator Joseph McCarthy; Time to Begin Again - Sermon of the Month; Photo of Dr. Harry M. Hoxsey with Mr. and Mrs. Leon Seago of Rockdale Texas and their baby boy , John Wayne Seago, whom Dr. Hoxsey cured of cancer; Joe Parelli's Case; Interview with Dr. C.A. Newcomb; Cedars of Lebanon; Archaeology and the Old Testament - a review of Dr. M.F. Unger's new book; Editorials mention Senator Fulbright, John Paton Davies, George Sylvester Viereck, the American Bible Society and Brotherhood Week; Foreign Missions - the printed page in other tongues; Book Reviews; Sunday School. Interesting ads. Three-inch tape repair to top of photo of Dr. Harry M. Hoxsey on page 9, otherwise unmarked with light wear. A quality vintage copy of this fascinating publication. Magazine
1978Loads of wonderful black and white photos. Approximately 94 pages. Prior owner's name blacked out atop front cover, otherwise unmarked with moderate wear. A sound vintage copy. Book
1979Approximately 100 pages. Loaded with great black and white photos. Moderate wear. Binding tight. Signed with marker by prior owner atop yellow front cover. A quality vintage copy. Book
1737Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
1737Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
1737Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
1931Tavola tratta da A l'ombre de la Croix Studies Of Jewish Life In The Carpathians di Frank Brangwyn, stampato da Jérôme & Jean Tharaud a Parigi, Éditions Lapina, 1931). Si tratta di un’edizione con tiratura di 222 esemplari. Impressione fine su carta giapponese, con margini, condizione perfetta. Queste 64 acqueforti e puntasecca raffigurano scene di Israele e di un villaggio nei Carpazi. Secondo 'Frank Brangwyn, a mission to decorate life (Londra: The Fine Art Society, 2006), il libro era in due volumi e descrive la vita degli ebrei nell'Europa contemporanea. Le stampe di Brangwyn illustrano la città di Belz in Polonia che era un centro di pellegrinaggio. Sembra che Brangwyn abbia inciso la maggior parte delle tavole da fotografie. Sir Frank William Brangwyn era un artista gallese, pittore, acquerellista, stampatore, illustratore e designer. Brangwyn nacque a Bruges, in Belgio, dove suo padre, William Curtis Brangwyn, si trasferì dopo aver vinto un concorso organizzato dalla corporazione belga di San Tommaso e San Luca per progettare una chiesa parrocchiale. Brangwyn era un artista di tutti i mestieri. Oltre ai dipinti e ai disegni, produsse progetti per vetri colorati, mobili, ceramiche, vetreria da tavola, edifici e interni, fu litografo e illustratore di libri. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, non descritte. Plate taken from the Frank Brangwyn’s A l’ombre de la Croix, Studies Of Jewish Life In The Carpathians by Jérôme & Jean Tharaud (Paris: Éditions Lapina, 1931) edition of 222. Fine impression on Japan paper, with margins, perfect condition. These 64 etchings and drypoints are from Anglo-Welsh artist, painter, engraver, and illustrator Frank Brangwyn's depict scenes from Israel and a village in Carpathian Mountains. According to 'Frank Brangwyn, a mission to decorate life' (London: The Fine Art Society, 2006), the book was in two volumes and describes the lives of Jewish in contemporary Europe. Brangwyn's prints illustrate the town of Belz in Poland which was a centre of pilgrimage. Brangwyn seems to have etched a majority of the plates from photographs. Sir Frank William Brangwyn was a Welsh artist, painter, watercolourist, printmaker, illustrator, and designer. Frank Brangwyn was born in Bruges, Belgium where his father, William Curtis Brangwyn, moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, non descritte.
1789Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1789. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
1789Acquatinta e acquaforte, stampata in seppia, 1786. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1786. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
1763Acquaforte stampata in marrone, da Parmigianino. La deposizione, particolare da uno schizzo del Parmigianino (Popham 1971, n. 373); il corpo di Cristo sostenuto da una figura che siede a sinistra e che lo guarda addolorata; in una cornice rettangolare a imitazione di una montatura per lavabo. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Parmigianino. The Deposition, a detail after a sketch by Parmigianino (Popham 1971, no. 373); Christ's body supported by a figure who sits to left, looking down at Him sorrowfully; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
1763Acquaforte stampata in marrone, da Salvator Rosa. Un giovane in piedi di profilo a destra. Da un disegno di Salvator Rosa; in cornice rettangolare a imitazione di un supporto del disegno. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Salvator Rosa. A man standing in profile to the right; after a drawing by Salvator Rosa; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778.The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
1763Acquaforte stampata in marrone, da Salvator Rosa. Un giovane in piedi di profilo a sinistra, con cappello piumato, la mano destra sul petto, la sinistra sull'elsa della spada, un'altra figura sullo sfondo a sinistra. Da un disegno di Salvator Rosa; in cornice rettangolare a imitazione di un supporto del disegno. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Salvator Rosa. A youth standing in profile to the left, wearing feathered hat, his right hand on his chest, the left hand on the hilt of his sword, another figure in the background to the left; after a drawing by Salvator Rosa; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
1843Santa Cecilia, da Domenichino; la santa raffigurata a mezzo busto a sinistra, mentre strimpella un liuto e legge da uno spartito tenuto aperto per lei da un cherubino sdraiato su un tavolo, a destra, con globi e un altro schizzo della santa che suona un violino appesi al bordo, appuntati sotto i libri. Acquaforte e bulino, 1843 circa, con titolo e titolo 'Painted by Domenichino - Engraved by L.Stocks. The Picture in the collection of John Noble Esq. F.S.A. / London Published for the Proprietors by Geo. Virtue, 26, Ivy Lane, 1844'. Buona impressione, stampata su carta vergata coeva, con margini, in ottime condizioni. Bibliografia Stocks 1993, A Catalogue of Line Engravings by Lumb Stocks R A collected by J P Stocks (undescribed). St Cecilia, after Domenichino; the saint shown half-length on the left, strumming a lute and reading from a score held open for her by a cherub lying on a table, on the right, with globes and another sketch of the saint playing a viol hanging over the edge, pinned below books; lettered state. Etching and engraving, 1843 circa, lettered with title and 'Painted by Domenichino - Engraved by L.Stocks. The Picture in the collection of John Noble Esq. F.S.A. / London Published for the Proprietors by Geo. Virtue, 26, Ivy Lane, 1844'. After Domenichino. A good impression, printed on contemporary wove paper, with margins, very good condition. Bibliografia Stocks 1993, A Catalogue of Line Engravings by Lumb Stocks R A collected by J P Stocks (undescribed).
2008Exhibition catalog is in excellent condition with one small mar at upper spine. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind. Organized by the Museum of Modern Art in Paris with the cooperation of the foundation of Georges Rouault, the Archives of Henri Matisse with the coordination of the Brain trust, Inc. of Tokyo. Text is in French and Japanese. 198 pages with a great many full size prints from both artists. In the spring of 2006, the Rouault Foundation's rediscovery of Henri Matisse's letters to Georges Rouault, coming to respond to Rouault's letters that have remained classified in the Henri Matisse Archives, shed light on the "lively sympathy of art" which linked the two artists throughout their lives, from their beginnings in the studio of Gustave Moreau at the Ecole des Beaux-Arts in Paris, at the end of the XIXth century, until their last meeting, in Cimiez, in February 1953. The correspondence found to date opened in the summer of 1906, when Matisse resided in Collioure, to resume in the 1930s; while Rouault enters into professional contact with Matisse's son, Pierre, who devotes three special exhibitions to Rouault in his New York gallery between 1933 and 1947; it intensified during the Second World War. Theatrical projects, personal health concerns, artistic considerations, exhibition projects, resurgence of memories of their youth intermingle in the letters of the 40s and 50s. Carried out in close collaboration with the Georges Rouault Foundation and the Henri Matisse Archives, the presentation of the correspondence between Rouault and Matisse testifies to this friendly and artistic network. While the exchange of letters was lacking, especially between 1907 and the 1930s, chronological research and archives made it possible to reconstruct the seemingly relaxed framework of their friendship, bringing to light many events which on the contrary attest to its constancy: numerous exhibitions, participation in the first "Jury of the Painters' Prize" in June 1923, at the Ballets russes, collaboration with T?riade for the review Verve. This edition, an original contribution to the history of art, highlights the highlights of their correspondence by articulating multiple meeting points, and sheds light on the parallel journey of two artists who have asserted their own personalities from a point of common departure: the "erotic symbolism" (Philippe Dagen) of Gustave Moreau, figure of their youth which holds a central place until the evening of their life.
1993135 pages. Many autographs. Average wear. A sound copy. Book
1970111 pages. An awesome collection of blues songs including: All Your Love, Back Door Man, Blues Get Off My Shoulder, Boom Boom, Bring it on Home, Call Me, Can't Hold On Much Longer, Carol, Checkin' Up on my Baby, Close to You, Don't Start Me Talkin', Every Day I Have the Blues, Evil is Going On, Fattening Frogs for Snakes, Goin' Down Slow, Good Morning Little School Girl, Here Tis', I Can't Quit You Baby, I Love the Life I Live, I'd Rather Go Blind, It do me so Good, Killing Floor, Little Queenie, Mellow Down Easy, Mother Earth, Reconsider Baby, The Seventh Son, Sitting on Top of the World, Smokestack Lightnin', So Many Roads, Spoonful, Steppin' Out, The Sun is Shining, Susie-Q, Tell Me, That's All Right, Walking by Myself, Wang Dang Doodle, Who Do You Love, Who's Been Talking, You Shook Me. Binding intact. Above-average wear. Unmarked. Three-inch opening to front cover at base of spine. A worthy copy of this superlative compilation. Book
18454to. [272 x 215 mm.] (192p.). Each page framed in a red printed floral border. All edges gold. Riviere binding of calf is worn and now needs re-backing. ** Eton Prize Book (Swann, 1850). Decimus Juniu s Juvenalis (Circa: 55 - 130 A.D.) was one of the greatest of Roman satirists. Born in Aquinum, Italy, he served in Britain and in Egypt as tribune in the army. He is best known for sixteen splendid s atires in verse, dealing with life in the Roman era under Domitian and his successors. He affected the attitudes an angry Stoic moralist. He exposed unnatural vices; anguished over the misery of pover ty; fooled with the precarious life of courtiers and status-seekers; and condemned the extravagance of the ruling classes. His works are often bound with those of Aulus Persius Flaccus (34?62 A.D.), a nother Roman satirical poet who was greatly attached to the Stoic philosopher Lucius Annaeus Cornutus. His writings (only six short satires), exposed to censure the corruption and folly of contemporar y Roman life, contrasting it with the ideals of the Stoics and of earlier Rome. The text of this edition is quite beautifuly printed. W112
2000Book is in excellent condition, as new with deep red covers and gilt print in very large format. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind, printed on heavy, glossy paper Dust jacket shows the slightest signs of shelf wear only, no tears. 263 pages with large full color photos throughout with sections on the school of Sukhothai, Ayutthaya, Rattanakosin (1st and 2nd periods) the ddhas of the past, Ten great Jatakas, The Buddha, Personas of high rank, Secondary persons; with a map, notes, bibliography, glossary at the back. Lots of boobs, abductions, the occasional cock n' balls, demons, big hats, elephants.
1927Very Good Turkish, Ottoman (1500-1928) Original manuscript autograph letter / document signed by Köprülüzâde Mehmed Fuad, (1890-1966), sent to the director of library of Darülfünûn [i.e. Istanbul University] Fehmi Edhem Karatay, (1888-1968). 25x16 cm. In Ottoman scrript. 1 p. 7 lines. Letterhead 'Türkiye Cumhuriyeti Istanbul Darülfünûnu'. Dated 8 Tesrinisani [1]927. Signed as 'Darülfünûn Edebiyat Fakültesii Reisi' [i.e. President of the Istanbul University Faculty of Literature]. "Darülfünûn Kütübhâne Müdürü Fehmi Bey'e, Vazifenizdeki gayret ve faaliyetden dolayi taltifiniz lüzûmu hakkinda...". Köprülü was a highly influential Turkish sociologist, turkologist, scholar, Minister of Foreign Affairs and Deputy Prime Minister of the Republic of Turkey. A descendant of the illustrious noble Albanian Köprülü family, whose influence in shaping Ottoman history between 1656 and 1711 surpassed even that of the House of Osman, Fuat Köprülü was a key figure in the intersection of scholarship and politics in early 20th century Turkey. Following the coup d'état in 1960 he was tried at the Yassiada trials but found not guilty. Fehmi Edhem Karatay, (1888-1968), was a Turkish / Ottoman who had important services in the establishment of modern Turkish librarianship. He was known with his very important catalogue on the printed books in Turkish with Arabic letters before Seyfettin Özege.
1974Book shows very little wear with creaseless spine and back cover, two small creases at front. Tiny bit of edge and corner wear. Binding is solid and square, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. 139 pages, over 50 poems.
