2213 risultati
1850Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.
1808Acquaforte, 1808, firmata in lastra in basso a sinistra. Edita da H. Humphreys a Londra.Bellissima prova, impressa su carta coeva, rifilata al rame, in ottimo stato di conservazione.L'opera raffigura, nello stile satirico tipico del Gillray, il ritratto di George Granville (1758–1833), secondo Duca di Stafford, all'ingresso della casa d'aste Christie's nel 1808. Etching, 1808, signed at lower left. A fine impression, printed on wove paper, trimmed to the platemark, very good condition. Published by H. Humphreys, London.This print is the satirical portrait of George Granville (1758–1833), the 2nd Marquis of Stafford walking into Christie's Auction House. Wright & Evans 560; British Museum Satires VIII.11076; Grego, p. 360; reprint G.W.G. (1830) II.66; Godfrey, Gillray 180B
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 63, Delteil 65.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 113, Delteil 115.
1799Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi assumono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example fomr the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031). Harris 89; Delteil 91.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 82, Delteil 84.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 56, Delteil 78.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 94, Delteil 96.
1891Monotipo o herkomergravure, 1891, firmato e datato sulla lastra in alto a destra Hubert Herkomer '91. Una bella impressione, stampata su carta contemporanea, con margini, condizioni perfette. “Il monotipo è il mezzo di stampa più diretto. L'artista dipinge su una superficie liscia e impermeabile, mette un pezzo di carta bianca sopra il dipinto e applica una pressione in modo che l'immagine dipinta venga trasferita sulla carta. […] Durante il diciannovesimo secolo ci fu molto ingegno nel trovare un modo per gli stampatori di creare edizioni che fossero pittoriche come il monotipo. Generalmente, gli inventori sperimentavano un composto speciale che poteva essere applicato al dipinto dell'artista ancora umido, non appena eseguito su una lastra di rame. Quando la lastra veniva asciugata e galvanizzata, poteva essere inchiostrata come una lastra incisa e stampata più e più volte, fornendo la spontaneità del monotipo, ma con la ripetibilità di altri mezzi di stampa. Vari inventori inventarono processi simili, e alla fine del 1800 erano disponibili tre processi per coloro che desideravano fare una stampa che avesse alcune delle qualità visive di un monotipo, ma che potesse anche essere prodotta in un'edizione di stampe identiche: il galvanografo, l'elettrotinta e l'herkomergravure, dal nome del suo inventore, Hubert Herkomer (1849-1914). William Merritt Chase (americano, 1849-1916) introdusse Herkomer al processo del monotipo nel 1885. Herkomer sviluppò il suo processo nel 1897, ma ne scrisse per la prima volta nel 1892. Potrebbe essere stato nel 1902 che Herkomer ricambiò il favore di Chase introducendolo all'herkomergravure, quando Chase tornò in Inghilterra. Il processo implicava la spalmatura di inchiostro su una lastra di rame e la creazione dell'immagine con le dita e/o i pennelli, come nel processo del monotipo. Poi la lastra veniva spolverata con una combinazione di polveri speciali, asciugata e placcata. L'immagine risultante era un quasi monotipo" (cfr. Andrew Stevens, American Monotypes from the Baker/Pisano Collection, pp. 3-6). Sir Hubert von Herkomer era un artista britannico di origine tedesca, e anche un regista e compositore pioniere del cinema. Sebbene fosse un ritrattista di grande successo, soprattutto di uomini, è ricordato soprattutto per le sue prime opere che avevano un approccio realistico alle condizioni di vita dei poveri Bibliografia Herkomer, Hubert. Etching and Mezzotint Engraving: Lectures Delivered at Oxford. New York: Macmillan, 1892; Andrew Stevens, American Monotypes from the Baker/Pisano Collection, Exh. Cat., by Russell Panczenko, Andrew Stevens, and D. Frederick Baker, pp. 3-6. Monotype or herkomergravure, 1891, signed and dated on plate at the upper right Hubert Herkomer ’91. A fine impression, printed on contemporary wove paper, with margins, perfect condition. “Monotype is the most direct print medium. The artist paints on a smooth, impermeable surface, places a blank piece of paper on top of the painting, and applies pressure so that the painted image is transferred onto the paper. […] Through the nineteenth century there was much ingenuity expended on finding a way for printmakers to create editions that were as painterly as monotype. Generally, inventors came up with a special compound that could be applied to the still-wet artist’s painting executed on a copper plate. When the plate was dried and electroplated, it could then be inked like an etched or engraved plate and printed again and again, providing the spontaneity of the monotype, but with the repeatability of other print media. Various inventors came up with similar processes, and by the end of the 1800s three processes were available for those wishing to make a print that had some of the visual qualities of a monotype, but could also be produced in an edition of identical prints: the galvanograph, the electrotint, and the herkomergravure, named after its inventor, Hubert Herkomer (English, 1849–1914). Herkomer was a popular painter of portraits and social genre scenes, and an inveterate experimenter in the arts. William Merritt Chase (American, 1849–1916) introduced Herkomer to the monotype process in 1885. Herkomer developed his process by 1897, but first wrote about it in 1892. It may have been in 1902 that Herkomer returned Chase’s favor by introducing him to the herkomergravure, when Chase next returned to England. The process involved smearing ink onto a copper plate and creating the image with fingers and/or brushes, as with the monotype process. Then the plate was dusted with a combination of special powders, dried, and electroplated. The resulting image was a quasi-monotype” (cfr. Andrew Stevens, American Monotypes from the Baker/Pisano Collection, pp. 3-6). Sir Hubert von Herkomer was a German-born British artist, and also a pioneering film-director and composer. Though a very successful portraitist, especially of men, he is mainly remembered for his earlier works that took a realistic approach to the conditions of life of the poor. Bibliografia Herkomer, Hubert. Etching and Mezzotint Engraving: Lectures Delivered at Oxford. New York: Macmillan, 1892; Andrew Stevens, American Monotypes from the Baker/Pisano Collection, Exh. Cat., by Russell Panczenko, Andrew Stevens, and D. Frederick Baker, pp. 3-6.
1790Acquaforte, fine del XVIII secolo, nel margine inferiore, un’iscrizione su due righe, non chiaramente leggibile: “Joanni Baptistae Locatelli sculpori Egreggio Quas es Augustino Caraccia .... Primitias suas Verae Amicitiae in ...gum D D Lomazzi ?” Bell’esemplare, impresso su carta azzurra, rifilato alla linea marginale, in ottimo stato di conservazione. Copia, in controparte, di un’incisione di Agostino Carracci (1598) a sua volta basata sull'acquaforte di Annibale Carracci del 1597. Sconosciuta a De Grazia, non abbiamo trovato alcun riscontro bibliografico. Etching, 1790’ circa, in lower margin an inscription on two lines, not clearly readable: “Joanni Baptistae Locatelli sculpori Egreggio Quas es Augustino Caraccia .... Primitias suas Verae Amicitiae in ...gum D D Lomazzi ???” Beautiful example, printed on blue paper, trimmed at the marginal line, in excellent condition. Copy, in reverse, of an Agostino Carracci’ engraving (1598) based on the original etching by Annibale Carracci.. Unknown to De Grazia, we have not found any bibliographical reference. Non descritta.
1747Acquaforte e bulino, 1747, stampata da H. Woodfall per John e Paul Knapton a Londra, nel 1749. Ottima impressione su carta vergata coeva, con margini, perfette condizioni. Questo raro lavoro fa parte dello splendido atlante anatomico del XVIII secolo, il The Tables of the Skeleton and Muscles of the Human Body di Albino. Venne pubblicato da John e Paul Knapton, a Londra, senza il permesso dell'autore solo due anni dopo la prima edizione del 1747, a Leida. Questa seconda edizione è stampata nello stesso enorme formato della prima edizione, con le illustrazioni derivanti dalle celebri tavole di Jan Wandelaar, curate qui da Charles Grignion, Jean-Baptiste Scotin, Ludovico Antonio-Ravenet e Louis-Pierre Boitard. Wandelaar posò scheletri e figure muscolose contro lussureggianti sfondi ornamentali per dare loro l'illusione di vitalità, arricchiti con contrasti di massa e luce per produrre un effetto tridimensionale. Etching with engraving, 1747. Printed by H. Woodfall for John and Paul Knapton, London, 1749. A very good impression on contemporary laid paper, with margins, perfect condition. This rare work is part of the most splendid anatomical atlas of 18th century, The Tables of the Skeleton and Muscles of the Human Body, published by John and Paul Knapton in London without author's permission (later that year they issued an English translation of the work), only two years after the 1st edition was published in 1747 in Leiden (largely at Albinus' own expense). This second edition is printed in the same enormous format as the first of 1747, with the celebrated Jan Wandelaar's plates re-engraved for this edition by Charles Grignion, Jean-Baptiste Scotin, Ludovico-Antonio Ravenet and Louis-Pierre Boitard. Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. ESTC (RLIN) N49651 Garrison-Morton (5th ed.), no. 399 Russell, K.F. British anatomy (2nd ed.), no. 5 Wellcome cat. of printed books, vol. II, p. 26.
1615Acquaforte e incisione, 1645, numerata "14" in basso a destra. Dalla serie: Amoenissimae aliquot Regiunculae, et antiquorum momentorum ruinae: a Ioanne Veldio Iuniore delineatae, et per chalcographiam in luck aeditae a Nicolao Ioannis Vischerio anaglijptario. Anno. MDCXV. AMSTELODAMI, composta da diciotto paesaggi con rovine, pubblicato da Claes Jansz. Visscher (II) nel 1615. Sebbene priva di titolo e genericamente descritta dalle bibliografie, la veduta raffigura il Tevere e ponte Sisto a Roma. Si tratta di uno dei numerosi paesaggio con rovine romane che Van de Velde ritrasse durante il suo periodo italiano. Magnifica prova, stampata su carta vergata contemporanea, rifilata vicino alla marca da lettera, in ottime condizioni. Jan van de Velde II proveniva da una famiglia di artisti. Suo padre era un celebre calligrafo e insegnante ed era il nipote di Esaias van de Velde, un importante pittore di paesaggi. Anche Jan si specializzò in paesaggi, ma si fece notare come incisore e disegnatore. I suoi paesaggi incisi erano spesso basati su disegni dalla natura e la sua enfasi sui dettagli naturalistici e sulla composizione semplice influenzò altri artisti tra cui Rembrandt Harmensz. van Rijn. Cresciuto a Rotterdam, Van de Velde si formò come incisore con l'artista Jacob Matham a Haarlem. Nel 1614, si unì alla Gilda di San Luca di Haarlem e iniziò a produrre stampe in serie. In questa fase iniziale della sua carriera, Van de Velde era tra gli artisti più prolifici di Haarlem e aveva prodotto più di cento incisioni di paesaggi entro il 1617 (all'età di ventiquattro anni). Oltre ai paesaggi, Van de Velde creò più di cinquanta ritratti, così come scene di genere, illustrazioni di libri e dipinti. Con il progredire della sua carriera, cominciò a basare la sua produzione incisa sul lavoro di altri artisti, compreso quello di suo cugino Esaias. Lavorò anche come insegnante e suo figlio, Jan Van de Velde III, fu un pittore di nature morte. Etching and engraving, 1645, numbered “14” at bottom right. From the series: Amoenissimae aliquot Regiunculae, et antiquorum momentorum ruinae: a Ioanne Veldio Iuniore delineatae, et per chalcographiam in luck aeditae a Nicolao Ioannis Vischerio anaglijptario. Anno. MDCXV. AMSTELODAMI." consisting of of eighteen landscapes with ruins, published by Claes Jansz. Visscher (II) in 1615. Magnificent proof, printed on contemporary laid paper, trimmed close to platemark, in very good condition. Jan van de Velde II came from an artistic family. His father was a celebrated calligrapher and teacher and he was the nephew of Esaias van de Velde, an important landscape painter. Jan also specialized in landscapes but made his mark as a printmaker and draftsman. His engraved landscapes were often based on drawings from nature and his emphasis on naturalistic detail and simple composition influenced other artists including Rembrandt Harmensz. van Rijn.Raised in Rotterdam, Van de Velde trained as an engraver with the artist Jacob Matham in Haarlem. In 1614, he joined Haarlem's Guild of St. Luke, and began producing prints in series. At this early stage in his career, Van de Velde was among Haarlem's most prolific artists and had produced more than a hundred landscape etchings by 1617 (at the age of twenty-four).In addition to landscapes, Van de Velde created more than fifty portrait prints as well as genre scenes, book illustrations, and paintings. As his career progressed, he began to base his engraved output on the work of other artists including that of his cousin Esaias. He also worked as a teacher and his own son, Jan Van de Velde III, was a still-life painter. Hollstein 194; Franken & van der Kellen (1883), n. 233 p. 104.
19185 vols., [of 6], roy. 8vo., First Edition, on laid paper, with numerous mounted portraits toned in sepia; ivory boards, oatmeal holland backs, upper boards and backstrips with printed paper labels, gilt tops, uncut, blue silk markers, boards mildly dust-soiled else a very good, bright, clean, crisp run. One of the finest and most comprehensive of the public school WWI rolls of honour. The run comprises Vol. I: 23 August 1914 to 20 March 1915; Vol. II: 31 March 1915 to 11 September 1915; Vol. III: 13 September 1915 to 3 July 1916; 5 July 1916 to 11 April 1917; Vol. V: 11 April 1917 to 10 April 1918. A crisp run tragically wanting the sixth and final volume. SCARCE IN THIS CONDITION.
1891Sm. folio, First Edition, with frontispiece (original tissue guard present), title-vignette and numerous illustrations (a number full-page) in the text, endpapers very lightly spotted; elegantly bound in green full morocco, sides with multiple frame border stopped at corners by Eton lilies and rosettes, and enclosing title and decorative cartouche reprising Eton lilies and rosettes all in gilt, back gilt extra, gilt edges, gilt doublures, marbled endpapers heightened in gilt, a splendid, crisp copy in themed Eton binding. A PRESENTATION COPY FROM AINGER TO HIS PUPIL ANGUS VALDEMAR HAMBRO WITH THE FORMER'S SIGNED HOLOGRAPH INSCRIPTION ON FRONT FREE ENDPAPER. Ainger (1841-1919) taught at Eton until his retirement in 1901. Hambro (1883-1957) was educated at Eton, elected twice as MP for Dorset and served as High Sheriff of the county. This copy was presented at Election 1900.
1928Very Good Turkish, Ottoman (1500-1928) Contemporary red cloth bdg. 16mo. (15 x 11 cm). Text in Ottoman script; some terminological words in French in text. 80 p. First, only, and early Turkish Edition of this extremely rare tractate on Jesuit instructions. There's a description on verso of imprint page like: "Memanat yoktur; J. B. Kosta J. T.'den 23 Kanun-u Sâni 1926'da tâb olunmustur"; means it's printed from [original title] 'J. B. Kosta J. T.' in 1926, January 23. 'J. B.' should be Jerusalem Bible. This note is written by A. Rota according to the descriptive continuing text, and it goes on as 'Hasmetlü Papa hazretleri Dersaadet vekili, 25 Mart 1927' means 'The Pope the Great, his majesty, Dersaadet (Constantinople) delegate; 1927, 25 March'. This tractate was translated from the early Jesuit Christian instructions according to the Paris bishopric during the 17th century. It's printed by Jesuit Monks' Church in Beyoglu, Ayazpasa, in Constantinople. Just one copy in Bogaziçi University Library in OCLC: 949501963. Not in Özege. Extremely rare book on Jesuit literature in Turkey.
1691Natura morta da tavolo con rose e altri fiori in un ampio vaso di vetro bombato, illuminata da sinistra. Da un dipinto di Jean Baptiste Le Monnoyer. Mezzotinto, 1691 circa, firmato sotto l'immagine "J Baptiste Monnoyer pinxit" e "J Smith fecit & excudit". Esemplare del secondo stato di tre, prima della rielaborazione con i ritocchi alla lastra. Buona impressione su carta vergata, con margini molto sottili, una piega obliqua della carta nell'angolo superiore sinistro, per il resto buone condizioni. Nagler indica per questa lastra la data del 1691. John Smith (1652-1743) fu un editore e stampatore dotato e ambizioso, la cui lunga carriera iniziò sotto il regno di Carlo II e si concluse dopo l'ascesa di Giorgio II. Nato nel Northamptonshire, lavorò a Londra, specializzandosi nella tecnica relativamente nuova del mezzotinto. Tra il 1683 e il 1729 produsse oltre trecento stampe. La raffinatezza e la "modernità" delle sue stampe gli procurarono fama e poi prosperità materiale. Smith apprese la tecnica del mezzotinto dal tipografo Isaac Beckett (1653-88 circa) e dall'artista olandese Jan Van der Vaart (1653-1727). Riprodusse anche opere di alcuni artisti contemporanei britannici e stranieri. Secondo il curatore del British Museum questo è la sequenza degli stati: (i) con la scritta "J Baptiste Monnoyer pinxit". (ii) scritta "J Baptiste Monnoyer pinxit // J Smith fecit & excudit". (iii) come sopra, ma con lastra ritoccata. L'opera è molto rara; le altre impressioni conosciute sono: Londra BM, 1876,1111.21 (ii); Parigi BN (i, ii); Chatsworth (ii, 2 impressioni); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); Londra NPG (ii); New York PL (riedizione Boydell; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); Londra V&A (ii); CLB (3 impressioni, ii). Al verso della stampa firma della collezione di Giuseppe Storck (Lugt 2291), più altro timbro di collezione sconosciuto a Lugt. Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500. Table-top still-life with roses and other flowers in a wide, rounded glass vase, lit from the left; after Monnoyer. Mezzotint, circa 1691, lettered below image with 'J Baptiste Monnoyer pinxit' and 'J Smith fecit & excudit.' Example of the second state of three, before the plate reworked. A good impression on laid paper, with very thin margins, an oblique paper crease at upper left corner, otherwise good condition. Nagler gives the date 1691 for this plate. John Smith (1652-1743) was a gifted and ambitious printmaker and publisher whose long career began in the reign of Charles II and closed after the accession of George II. He was born in Northamptonshire and worked in London, specializing in the relatively new technique of mezzotint printing. Between 1683 and 1729 he produced over three hundred prints. Trained as a printmaker he was able to retain a controlling hand when, in the early 1690s, he turned from pure printmaking to printmaking and publishing. The refinement and 'modernity' of his prints brought him fame and then material prosperity and Smith's career, largely independent of interference from outside publishers, must have been an inspiration to William Hogarth (1697-1764) and the next generation of printmakers. Smith learnt the technique of mezzotinting from the printmaker Isaac Beckett (c.1653-88) and the Dutch artist Jan Van der Vaart (1653-1727). Smith also reproduced works of a number of contemporary British and foreign artists. According to the curator of The British Museum this is the list of states: (i) lettered 'J Baptiste Monnoyer pinxit' (ii) lettered 'J Baptiste Monnoyer pinxit // J Smith fecit & excudit.' (iii) lettering as above; plate reworked.). The work is very rare; the other known impressions are: London BM, 1876,1111.21 (ii); Paris BN (i, ii); Chatsworth (ii, 2 impressions); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); London NPG (ii); New York PL (Boydell reissue; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); London V&A (ii); CLB (3 impressions, ii). Collection mark of Giuseppe Storck (Lugt 2291). Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500.
1867Acquaforte e bulino, circa 1810/15. Il titolo dell’opera è tratto da una scrittura a mano in una prova di stampa dell’opera che Goya include nell’album dei “Disastri della guerra” che donò al suo amico Ceán Bermúdez e che ora è conservato al British Museum di Londra. Il disegno preparatorio dell’opera è conservato al Prado di Madrid. Esemplare nel terzo stato di quattro, inserito nella Gazette des Beaux-Arts (1867); si tratta della prima vera edizione dell’opera, conosciuta altrimenti solo attraverso due prove di stampa. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cfr. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris ritiene che la matrice di rame si trovi in una collezione privata di Parigi. Bibliografia Harris 26 III/IV; Delteil 31. Etching and engraving, circa 1810/15. The title of this work is taken from the handwritten title of a state proof that Goya included in the album of his Disasters of War prints which he gave to his friend Ceán Bermúdez and which is now in the British Museum, London. The preparatory drawing for this etching is in the Prado Museum, Madrid. Example of the third state of four, form the Gazette des Beaux-Arts (1867), firts edition of this work, before known only for proof states. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cf. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris believes that the plate for this etching may be in a private collection in Paris. Literature Harris 26 III/IV; Delteil 31. Harris 26, III/IV; Delteil 31.
1745Xilografia a chiaroscuro, 1745, in basso al centro la dedita dello stampatore: Illustrissimo, & Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. Da un dipinto di Paolo VeroneseBell’esemplare, impresso su carta vergata coeva, completo dei margini bianchi, in ottimo stato di conservazione.La tavola è una della 24 dell’opera dal titolo “Titiani Vecelli, Pauli Caliarii, Jacobi Robusti, et Jacobi de Ponte opera selectiora” edita da J. B. Jackson nel 1745.La stampa è tratta dal dipinto di Paolo Caliari, detto il Veronese (1528-1588) per la cassa dell’organo della chiesa di S. Sebastiano, a Venezia, realizzato tra il 1558 e il 1560: le portelle dell’organo, chiuse, mostrano la “Presentazione di Gesù al Tempio”, mentre sul retro, visibile quando lo strumento è in uso, appare la scena della “Probatica piscina”. Chiaroscuro woodcut, 1745. inscribed lower center: “Illustrissimo, & Erudito Viro CAROLO FREDERICK Armigero, liberalium Artium Patrono, / Pauli Cagliari praeclarum hoc Opus in Ligno coelatum, in grati animi argumentum humiliter D. D. D. / J: B: Jackson”. After Paolo Veronese.Good example, printed on contemporary laid paper, white margins, in very good condition.Published as 1 of 24 prints and originally issued in portfolio with title: “Titiani Vecelli, Pauli Caliarii, JacobiRobusti, et Jacobi de Ponte opera selectiora”The plate is after an organ shutter of ca. 1588 painted by Paolo Veronese (1528-1588) for the Church of San Sebastiano, Venice. In 1558, Paolo designed the organ and painted its external shutters with the Presentation of Christ and the internal ones with a Pool of Bethesda (1560). The Presentation represents the bringing of the infant Jesus by Mary and Joseph to the Temple in Jerusalem to be 'consecrated to the Lord.' The Jewish rite of the 'purification' of the mother was celebrated simultaneously and involved the sacrifice of doves or pigeons and incorporated a procession of candles, both of which are portrayed by Veronese. The painted and actual architecture of Paolo's organ in San Sebastiano are coordinated so that, whether the shutters are open or closed, painted architecture continues the organ’s exterior architecture in both perspective and vocabulary. Kainen, Jacob. John Baptist Jackson : 18th-century master of the color woodcut, 1962
1936Telephone Talk was the glossy bimonthly publication of the British Columbia Telephone Company. It was written by employees for employees to present information of interest to those engaged in the plant, traffic, commercial, operating, accounting and other departments of the service. Each issue is replete with black and white photos and information on topics such as: company, industry and technological news, traffic levels, expansion plans, personnel announcements, publicity and social events, deaths, weddings, lists of exchanges, and more. As such, these issues serve as a vital preserve of rare and fascinating British Columbia history. This volume covers topics including: Service to Japan, Hawaii and the Philippines now available; Anchors foul cable 4 times within 10 days - Burrard Inlet; Classified system will be extended to remainder of territory - includes full-page rate sheet; Company gains telephones in 1934 after 3 year decline (presumably due to the Great Depression); Company architect, Hugh D. Simpson; Our overseas service kept growing last year; Employee Sales Team Results; Statement of Development, 1 January 1935 - show # of phones per community; System suffers heaviest storm damage in history - January 1935 - 8 pages with photos; New exchange for the Albernis; John C. Miles succeeds John Johnston as Building Head; World Telephone network now includes 60 countries; Billy Palliser - champion salesman for Victoria Plant; Sechelt Company picnic; New phone system for thriving Alberni area - 4 pages with photos; Record 19,000 mile call from Vancouver to Perth, Australia; Dog's bark in Vancouver heard in Scotland; Round the world telephone talk sets record; Telephony's part in Canada's Jubilee celebration - 2 pages with photos; Parksville Exchange has Dial Unit at Qualicum Beach; Arthur R. Harness - garden awards; New switchboard handled by sightless operator - article with photos; PNE float details and photo; 2-page bio. with photo of Eugene P. LaBelle, the company's General Superintendant of Plant *MR. LABELLE'S NAME IS STAMPED ON THIS COPY*; Carrier circuits established between Vancouver and Calgary; Number of phones increased last year; Miss Elizabeth Murray, Vancouver's first chief operator, dies; New radio stations established; Fraser telephone building remodelled; Conference calls link Canadian cities by long distance (!); Operator school reopened; George E. Pittendrigh of Cloverdale, BC - installed Vancouver's first telephones; Telephone folks to the rescue; New Long Distance developments embrace Howe Sound Points; Key to Safety on the Job; New radio link serves Quesnel and adjacent mining area; Vancouver's first emergency phone calls; Newcastle Island Picnic; C.A. (Charlie) Price - Queer theories prove that people read the 'Yellow Pages"; James Welsh - our first formen; Article on the challenges of information operators; Seymour operating room photo; Mr. W.F. Salsbury - helped pave the way for our present telephone system; *CARICATURE OF E.P. LABELLE* and other company executives; Vancouver Arena fire damage quickly repaired; PNE float photo and details; Long Distance developments this year; Dominion Telephone organization meets in Victoria; Ex-policeman Ernest A. Harris recalls use of telephone in 1891; Monte Butler wins more rowing laurels; and more. Average wear. Ink stamp of company executive E.P. LaBelle upon fore- and top edges, and inside front board, else unmarked. Half-leather binding intact. Backstrip loose along front edge. Book
1910Features: The "White Avengers" - III; A German Venice; Hassoo the Traitor; A Record Trip in the Yoho Valley; The Raiding of Robben Island; A Lonely Trans-African Tramp - II; A Bolt from the Blue; Across America on an Automobile; How I became a Lion-Tamer; The Bird-Charmer of Paris; The Strange Story of John Evans; On Foot to Thibet (Tibet) - I; The Stronghold of the Snakes; My Spanish Servants; The Mystery of the Cross-Marked Trail; Sword-Fishing; Caught in a Death-Trap; The Haunted House by the Creek; On Foot to Thibet (Tibet) - II; At Sea with a Lioness; A Railway Race with Robbers; Through the Copland Pass; The Tale of the Tiger-People; The Voyage of the "Vaskapu"; Two Remarkable Walking Competitions; The Story of Vasili the Fisherman; "Up a Tree"; A Lonely Trans-African Tramp - III; "Dead or Alive"; In Search of a Treasure Island; The Fairy-Tale Castle; Trooper Lovelace, T.T.P. - III; In the Far North-West - II; The Medicine Wagon; A Wonderer in Asia Minor - II; The "Bandit Hunters" - The Disappearing Islands; The "Mountain Mystery"; A Californian Rabbit-Drive; Two Bachelor Girls in Madeira; A Home in a Tree-Top; The Great Feuds of Kentucky - I; With Pen and Camera in Nigeria - III; The Legend of Manaia; The "Boy Police"; Amidst Snow and Swamp in Central Africa - I; Christopher the Bear; The Monkey Gods of India; How We Settled the Tie; The Last Fire-Dance of the Sabobas; The Story of Kusanga; A Training School for Cowboys; Trooper Lovelace, T.T.P. - IV; The Hold-Up at Hugo; On the Trail in Texas and New Mexico - I; Peasants at Play; The Great Feuds of Kentucky - II; An Open-Air School in France; The Grey Scourge; Mistletoe Farming; The Bear and the Barrel; The Hut in the Jungle; The Romance of Seal-Hunting; The Haunted Ferry; A City inside a Palace; What Happened to Ferguson; Christmas in Many Lands; The Great Feuds of Kentucky - III; Amidst Snow and Swamp in Central Africa - II; The Squatter's Cup; Riding on the Sea; On the Trail in Texas and New Mexico - II; Down the Wire; The Alligator Pool; A Race with a Flood; A Maori Wedding; My Debut at Kimberley; The Wild Ponies of Exmoor; The Quest for the "Biggest Bear"; Fun on a Liner; Two Ladies and a Pony-Cart in Central Japan - I; Captured by Filipinos - I;; The Dog-Derby of the Far North; My Turkish Wife; Into Unknown Papua - I; The Strike; The "Servant Problem" in East Africa; A Battle with Ice-Floes. Average wear. Binding intact. A sound copy. Book
2008Paperback No expedite shipping. Pls. allow 4 - 6 weeks delivery being a newly release book from publishers. Ships from publishers directly.
1798Acquaforte e acquatinta stampata con inchiostri blu, rosso, giallo e nero. Nel margine inferiore, sotto l'immagine, a sinistra: Schall px. a destra: Descourtis st. Due donne nude sedute in riva a un fiume, impegnate a leggere una lettera, mentre due giovani uomini nascosti nelle rocce dietro cercano di rubare i loro vestiti con una canna da pesca. Questa stampa a colori meticolosamente realizzata riproduce un dipinto a olio di Jean-Frédéric Schall, un artista meglio conosciuto per le sue scene pastorali e vagamente erotiche. Durante la Rivoluzione francese (1789-99), il mercato delle stampe a colori di lusso declinò, poiché i soggetti stuzzicanti e i segni del lusso erano considerati immorali. Quando gli atteggiamenti si rilassarono intorno al 1800, stampatori come Descourtis realizzarono alcune stampe a colori usando piastre multiple per stratificare inchiostri colorati come avevano fatto prima della Rivoluzione. Descurtis era allievo di Jean-Francois Janinet, che è considerato dalla critica artistica uno dei più importanti incisori a colori francesi e si mise in evidenza per le sue innovazioni tecniche, quali l'acquatinta in quadricromia, oltreché per lo stile caratterizzato dall'intensità dei colori Tuttavia, questo processo lungo e costoso fu presto sostituito dalla colorazione a mano che i lavoratori potevano realizzare più facilmente ed economicamente. Esemplare in ottimo stato di conservazione. Wash manner etching and engraving printed in blue, red, yellow, and black inks. In lower margin, beneath the image, at left: Schall p.x at right: Descourtis s.t Two naked woman sitting by a river and busy reading a letter, while two young men hidden in the rocks behind are trying to steal their clothes with a fishing rod. This meticulously crafted color print reproduces an oil painting by Jean-Frédéric Schall, an artist best known for his pastoral and mildly erotic scenes.During the French Revolution (1789–99), the market for deluxe color prints declined, as titillating subjects and signs of luxury were considered immoral. When attitudes relaxed around 1800, printmakers like Descourtis made a few color prints using multiple plates to layer tinted inks as they had before the Revolution. Descourtis learned his method of multiple-plate color printing from Jean Frarnçois Janinet and like him used toolwork on the plate rather than aquatint, an acid immersion process used to create general areas of shading. However, this time-consuming and expensive process was soon replaced by hand coloring that workers could more cheaply and easily accomplish. Very good example. Portalis & Béraldi 3; Model/Springer p. 50, plate 20.
1798Acquaforte e acquatinta stampata con inchiostri blu, rosso, giallo e nero. Nel margine inferiore, sotto l'immagine, a sinistra: Schall pinx. a destra: Descourtis sculp. Questa stampa a colori meticolosamente realizzata riproduce un dipinto a olio di Jean-Frédéric Schall, un artista meglio conosciuto per le sue scene pastorali e vagamente erotiche. Durante la Rivoluzione francese (1789-99), il mercato delle stampe a colori di lusso declinò, poiché i soggetti stuzzicanti e i segni del lusso erano considerati immorali. Quando gli atteggiamenti si rilassarono intorno al 1800, stampatori come Descourtis realizzarono alcune stampe a colori usando matrici multiple per stratificare inchiostri colorati come avevano fatto prima della Rivoluzione. Descurtis era allievo di Jean-Francois Janinet, che è considerato dalla critica artistica uno dei più importanti incisori a colori francesi e si mise in evidenza per le sue innovazioni tecniche, quali l'acquatinta in quadricromia, oltreché per lo stile caratterizzato dall'intensità dei colori Tuttavia, questo processo lungo e costoso fu presto sostituito dalla colorazione a mano che i lavoratori potevano realizzare più facilmente ed economicamente. Esemplare in ottimo stato di conservazione. Wash manner etching and engraving printed in blue, red, yellow, and black inks. In lower margin, beneath the image, at left: Schall pinx. at right: Descourtis sculp. A young woman surprises her sweetheart, whom she has found reading love letters in a wooded park. The love-struck fellow carries a miniature portrait of her as a keepsake. Verdant foliage, a nearby brook, and a blooming rosebush signal fertility and the bounty of life. The nude female statue sitting on a pedestal seems to watch the playful lovers. This meticulously crafted color print reproduces an oil painting by Jean-Frédéric Schall, an artist best known for his pastoral and mildly erotic scenes. During the French Revolution (1789–99), the market for deluxe color prints declined, as titillating subjects and signs of luxury were considered immoral. When attitudes relaxed around 1800, printmakers like Descourtis made a few color prints using multiple plates to layer tinted inks as they had before the Revolution. Descourtis learned his method of multiple-plate color printing from Jean Frarnçois Janinet and like him used toolwork on the plate rather than aquatint, an acid immersion process used to create general areas of shading. However, this time-consuming and expensive process was soon replaced by hand coloring that workers could more cheaply and easily accomplish. Very good example. Portalis/Béraldi 3; Model/Springer p. 50, plate 20.
1770Acquaforte, 1770-1780 circa. In basso a destra, nel margine, nota manoscritta “G. Gandolfi f.”. Magnifico esemplare, impresso su carta vergata coeva, sottili margini, in ottimo stato di conservazione. L'acquaforte appare anche insieme ad altre sei stampe di Gandolfi, due delle quali firmate, in un unico grande foglio; esemplari si trovano alla Pinacoteca Nazionale di Bologna e in una collezione privata. Gaetano Gandolfi è un’importante ed eclettica figura del ‘700 bolognese. Pittore e abilissimo disegnatore, si dedicò con successo anche all’attività incisoria. Come concordemente ricordano i biografi, nel disegno, sin dalla giovinezza, era solito definire progressivamente la giustezza dell'intuizione. Sono decine e decine gli schizzi, i disegni del Gandolfi nei musei o nelle collezioni private di tutto il mondo; oggetto di collezionismo sin dal Settecento sono il mezzo sicuro per conoscere lo sviluppo del suo pensiero, l'evoluzione dello stile che influenzerà, sino a metà del secolo successivo, la scuola bolognese. Etching, 1770-178 circa. Beneath the image, on the right, hadwritten note “G. Gandolfi f.” Excellent example, printed on contemporary laid paper, thin margin, in perfect condition. The etching also appears along with six other prints by Gandolfi, two of them signed, in a single large sheet; examples are in the Pinacoteca Nazionale in Bologna and in a private collection. Gaetano Gandolfi was an important and eclectic figure of 18th-century Bologna. He was a painter and a very skilful draughtsman, but also devoted himself successfully to engraving. As his biographers agree, from an early age he used to progressively define the rightness of his intuition in drawing. Dozens and dozens of Gandolfi's sketches and drawings are to be found in museums and private collections all over the world. Since the 18th century, they have been collectors' items and are a sure way of learning about the development of his thought and the evolution of the style that was to influence the Bolognese school until the middle of the following century. Donatella Biagi Maino et al, “Idea Prima”: Disegni e modelli preparatori, pittura di tocco dal ‘500 al ‘700, exhibition catalogue, Bologna, 1996, pp.112-115; De Vesme, 19. Gozzi, 10.
1952Acquaforte,1952. Lastra mm. 148x82. Firma a matita in basso a destra Luigi Bartolini. Dedica a matita in basso “Auguri per il 1954”. Tiratura a 20 esemplari, inserita nelle copie di testa del libro Ombre fra le metope, Schwarz Editore 1953, stampato da Luigi Maestri, Milano. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia https://www.luigibartolini.com/gli_amanti_crucciati_74.html Etching,1952. Plate mm. 148x82. Signature in pencil at lower right Luigi Bartolini. Dedication in pencil at the bottom "Auguri per il 1954". Limited edition of 20 copies, inserted in the leading copies of the book Ombre fra le metope, Schwarz Editore 1953, printed by Luigi Maestri, Milan. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his ...
