2 213 résultats
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 nel 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. Plate 55: old woman prettifying herself at mirror, maid and two male servants watching; from an album of the fourth edition. 1799 Etching, burnished aquatint and drypoint.From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.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 This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market.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 90; Delteil 92.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della seconda edizione di dodici, stampata dalla calcografia di Madrid. 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 nel 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. Plate 56: figures falling through air, including satyr; from a bound album of the second edition impressions. 1799 Etching and burnished aquatint.From the second edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.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 91; Delteil 93.
1913187 pages. Index. Attractive gilt advertisement upon black front board. Few black and white illustrations. Contents secured to boards by original black cord. "Covers a three-years course in Household Science." - from Preface. Above-average but not excessive overall wear. Errata page at front and memo page at back very heavily worn. Many contemporary hand-written recipes upon nine memo pages at back. Minimal markings to contents, excepting pages 114-115 upon which are handwritten contemporary prices of dozens of grocery items. A worthy copy of this wonderful and very uncommon antiquarian British Columbia household science text. Book
1875Acquaforte, 1875 circa, priva di firma. Stampata su carta cina applicata su supporto coevo. Opera non descritta dai repertori consultati. Telemaco Signorini nasce a Firenze il 18 Agosto del 1835 e, nonostante prediliga gli studi letterari, suo padre, un modesto pittore della corte del Granduca, lo avvia allo studio della pittura e fu lui il suo insegnante. Dopo aver frequentato i corsi di disegno dal nudo all'Accademia di Belle Arti fiorentina, e dopo aver dipinto dal vero con Odorado Borrani e Vincenzo Cabianca, inizia a frequentare il Caffè Michelangelo, accostandosi ai pittori che in quegli anni stavano teorizzando la pittura di macchia, ossia i Macchiaioli. Durante un viaggio a Parigi conosce personalmente l'anziano Camille Corot, interessandosi alla sua pittura di paesaggi e Constant Troyon; tornato a Firenze, con l'amico Diego Martelli, consolida l'amicizia con Silvestro Lega e Odoardo Borrani, insieme ai quali dipinge nei dintorni di Pergentina, divenendo il maggior rappresentante dei Macchiaioli. Bellissima prova, in ottimo stato di conservazione. Dimensioni 114x172 mm, il foglio 239x325 mm. Al verso timbro della collezione di Raffaele Alianello (Lugt 5K). Etching, circa 1875, unsigned. Printed on Chinese paper applied to carboard. Work not described by the repertories consulted. Telemaco Signorini was born in Florence on August 18, 1835 and, although he preferred literary studies, his father, a modest painter of the court of the Grand Duke, initiated him to the study of painting and he was his teacher. After having frequented the courses of drawing from the nude to the academy of Belle Arti fiorentina, and after having painted from the true one with Odorado Borrani and Vincenzo Cabianca, it begins to frequent the Cafe Michelangelo, approaching the painters that in those years were theorizing the painting of stain, that is the Macchiaioli. During a trip to Paris he knows personally the old Camille Corot, being interested in his painting of landscapes and Constant Troyon; returned to Florence, with the friend Diego Martelli, consolidates the friendship with Silvestro Lega and Odoardo Borrani, together with which it paints in the surroundings of Pergentina, becoming the greater representative of the Macchiaioli. Beautiful example, in excellent condition. Size: platemark, 114x172 mm; sheet 239x325 mm. On the verso collection mark of Raffaele Alianello (Lugt 5K).
1650Acquaforte e bulino, 1650 circa, numerata 11 nell’angolo superiore sinistro. Questa tavola appartiene alla suite di Baccanalia descritte da Robert- Dusmenil (IV, 12-17) il cui frontespizio, inciso da Nicolas Cochin il Vecchio recita “Recueil de diverses Baccanales de Poussin, Chapperon, D’origny et autres”. Tutte le stampe della serie contengono gli indirizzi dei rispettivi editori ma non i nomi dei disegnatori e degli incisori, il che rende difficile attribuire definitivamente le opere ad artisti specifici. Le stampe furono probabilmente pubblicate per la prima volta dagli editori François Langlois, noto come 'il Ciartres' (1589 Chartres - 1647 Parigi), e Philippe Huart (attivo intorno al 1639-1648) e furono seguite da una seconda edizione pubblicata da Pierre Mariette. I disegni per le incisioni potrebbero provenire da Nicolas Chaperon o dallo stesso Dorigny. Sei tavole della suite, benchè prive della firma dell’autore, per ragioni stilistiche, sono riconducibili a Dorigny, autore di un’altra suite di Baccanalia, composta anch’essa da sei lastre, tutte recanti la sua firma (Robert-Dusmenil, IV, 6-11). Incentrate sulle attività di Bacco, Sileno e la loro allegra compagnia, queste due serie di affascinanti composizioni all'acquaforte dimostrano la ricchezza e la destrezza dei poteri di invenzione di Dorigny. In contrasto con la maggior parte delle sue prime interpretazioni delle opere di Vouet e altri, dove spesso usava il bulino per aumentare leggermente la sua vigorosa acquaforte (vedi cat. 102), alcune delle stampe successive di Dorigny, in particolare queste due suite di baccanali, si affidano ancora di più al bulino. Questa tendenza è parallela a un graduale cambiamento nel suo disegno, che rivela una crescente tendenza verso contorni pronunciati e figure più scultoree. Dopo essersi formato per cinque anni sotto Georges Lallemand a Parigi, Michel Dorigny si unisce presto alla cerchia del pittore Simon Vouet, con il quale stringe un'amicizia stretta e duratura. Dorigny divenne in seguito uno dei principali interpreti in campo tipografico dell'opera pittorica di Vouet e fu anche coinvolto come pittore in diversi progetti artistici del maestro. Le sue stampe comprendono opere su temi religiosi e mitologici così come stampe singole e serie su temi dionisiaci. Le suite probabilmente risalgono agli anni ’50 del XVII secolo quando, dopo la morte di Vouet. Bellissima prova, ricca di toni, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233. Etching and engraving, 1650 circa, numbered 11 at lower left. After training for five years under Georges Lallemand in Paris, Michel Dorigny soon joined the circle around the painter, Simon Vouet, with whom he struck up a close and lasting friendship. Dorigny subsequently became one of the main printmaking interpreters of Vouet’s painted oeuvre and was also involved as a painter in several of the master’s artistic projects. His prints include works on religious and mythological themes as well as individual prints and series on Dionysian topics. It is to this latter category that six etchings belong which Dorigny produced together with Nicolas Chaperon and other artists for the series entitled Recueil de diverses Bacchanales (Robert-Dumesnil, vol. IV, p. 254, nos. 12–17). All the prints in the series contain the addresses of the respective publishers but not the names of the designers and engravers, which makes it difficult to definitively ascribe the works to specific artists. The prints were probably first issued by the publishers François Langlois, known as ‘il Ciartres’ (1589 Chartres – 1647 Paris), and Philippe Huart (active around 1639–1648) and were followed by a second edition published by Pierre Mariette. The designs for the etchings may well stem from Nicolas Chaperon or from Dorigny himself. Another suite of six bacchanals (Robert – Dusmenil 6-11) bears on each plate the name of D’Origny as engraver. Both suites probably date to the 1650 when, after Vouet’s death, Dorigny became one of the most important decorative painters in Paris. Focused on the activities of Bacchus, Silenus, and their merry band of associates, these two etched sets of charming compositions demonstrate the wealth and dexterity of Dorigny's powers of invention. In contrast to most of his earlier interpretations of the works of Vouet and others, where he often used engraving to lightly augment his vigorous etching (see cat. 102), some of Dorigny's later prints, espe- cially these two suites of bacchanals, rely even more on engraving. This trend parallels a gradual shift in his draftsmanship, which reveals an increasing tendency towards pronounced contours and more sculptural figures. A fine impression, printed with tone on contemporary laid paper, with margins, very good condition. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233.
1935162 pages plus advertisements. Includes the following four lectures: Theories of the Influence of Money on Prices; The Conditions of Equilibrium Between the Production of Consumers' Goods and the Production of Producers' Goods; The Working of the Price Mechanism in the Course of the Credit Cycle; The Case for and Against an 'Elastic' Currency. Appendix: Capital and Industrial fluctuations - a reply to criticism. No. 107 in the series of Monographs by writers connected with the London School of Economics and Political Science. Average wear. Prior owner's address and his Yale University address upon front endpaper else unmarked. Cohen 183, Cody & Ostrem B-2, Hutchinson 912. Book
1923Telephone 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: Photo of downton Nelson; Bird's-eye photo of Nelson from atop a mountain on north shore of west arm; Kootenay Feature 'The Romance of the 1890s - 8 pages of text and archival photos, including electric street cars in Nelson!; Table showing 'Exchanges in order of percent good toll calls; Cover advert. for Northern Electric Vacuum Cleaner!; Review of growth show steady expansion - 3 pages; Telephoning across Atlantic by AT&T Wireless continued for hours; When the Victoria and Esquimalt Telephone Company issued its own (one call) nickels; B.C. Industrial Review - statistics; Bar graph of # of phones operated from 1906 through 1923; the company's operator school; Issuing of monthly phone bills a work of magnitude - 4 page article with photos; photos of the halibut industry before 'the fish were scarcer in quantities and their habitats more scattered'; William Farrell- an appreciation of the former company president; 7 page article on B.C.'s deep sea fishing industry - great photos - halibut, herring, flounder; multiple photos from the Kootenays of snakes which have climbed up phone poles onto the wires!; photo of 25 year-old phone; Great full-page photo of the CIBC building at Hastings and Granville; 8 page article on the banks of vancouver with excellent photos; First interdepartmental football game; new power plant at Seymour office; A phone in B.C. for every 6 persons; Feature on Dams and the water-powers that turn the wheels of industry - photos of dams and various industries which use electricity, including the American Can factory and grain elevators; new power plant at Seymour office - illustrated; photos of productive farms and ideal homesites with super centerfold luxury Saanich home; Cover photo of U.S. President Harding in Stanley Park; Full-page photos of the U.S.S. Henderson entering the narrows and at dock with President Harding aboard; 13 page illustrated feature on the visit of President Harding - the first visit to Canada made by a President of the United States (President Harding died mere days later on August 2nd in San Francisco and this is reported as well); Photo of Crosland Bros. Farm in Duncan; 9 page illustrated feature on the seed growers of B.C.; photo of Duncan office under construction; Nice 8-page illustrated feature on Haney and area; photographing sound; Exploring Kootenay - Bill Skilling; 9 page illustrated feature on the Delta and Ladner district; Many miles of new long distance circuits; Improved inter-office trunk lines in Vancouver; and more. Half-leather binding. Average wear overall with the exception of the backstrip which is missing small chips and loose at back edge. Ink stamp of company executive E.P. LaBelle upon top edge else unmarked. Binding intact. Spine leaning moderately. Book
1925Acquaforte su lastra di zinco, misure: mm 103 x 190; foglio mm 375x 505. In basso a destra timbro a secco «Centenario Gio. Fattori 1925». Lastra conservata presso il Gabinetto Disegni e Stampe degli Uffizi. Esemplare appartenente alla tiratura Benaglia, eseguita in occasione del centenario dalla nascita di Giovanni Fattori nel 1925, quando Giovanni Malesci (nominato dal Maestro suo erede universale) decise di dare alle stampe 164 lastre (per un totale di 166 fogli, perchè due incise anche sul verso) tra le 178 ritrovate nello studio di Fattori stesso. Così furono eseguite 2 tirature da 50 esemplari presso l’editore Benaglia di Firenze, a seguito delle quali le matrici furono donate al Gabinetto dei Disegni e delle Stampe degli Uffizi. Bellissima impressione stampata su carta con filigrana "Corona merlata sulla scritta UMBRIA / ITALIA" e filigrana "Ovale con lettere CPO". Ampi margini intonsi, ottima conservazione. Pittore e incisore. Viene soprattutto ricordato come uno dei principali esponenti del movimento dei Macchiaioli e come artista di spicco nel panorama ottocentesco, nonché come prolifico incisore dal segno vivace e del tutto personale. Fattori era solito stampare da sé i suoi lavori utilizzando un piccolo torchio, esegue tirature irregolari spesso contraddistinte da una ricerca per gli effetti di chiaroscuro e da un uso sapiente delle velature. Gli esemplari di una stessa lastra sono perciò spesso differenti, più carichi e attenti agli effetti di luce nelle tirature curate dall’autore, meno caldi e più nitidi quelli fatti stampare presso la Calcografia. Il ritratto, i soggetti militari, testimonianza dell’interesse verso i fatti risorgimentali, gli animali della campagna e gli scorci di vita comune sono i soggetti che più lo impegnano. Bibliografia L. Servolini, 177 Acqueforti di Giovanni Fattori, Milano 1982, n. 87; 1983. Etching on zinc plate, size mm 103 x 190; sheet mm 375x 505. Bottom right stamp "Centenario Gio. Fattori 1925". The plate is kept at the Cabinet Drawings and Prints of the Uffizi. Example belonging to the Benaglia issue, made on the occasion of the centenary of the birth of Giovanni Fattori in 1925, when Giovanni Malesci (appointed by the Master as his universal heir) decided to print 164 plates (for a total of 166 sheets, because two of them were also engraved on the reverse) from among the 178 found in Fattori's studio. Thus, two issues of 50 copies were printed by the publisher Benaglia of Florence, and afterwards the plates were donated to the Gabinetto dei Disegni e delle Stampe of the Uffizi. Beautiful impression printed on paper with watermark "Crown embattled on the writing UMBRIA / ITALY" and watermark "Oval with letters CPO", wide margins uncut, mint. Literature L. Servolini, 177 Acqueforti di Giovanni Fattori, Milano 1982, n. 87; 1983.
1912Telephone 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: Photo of new office in Victoria; Advances in rates; Increased Rates in Manitoba; Telephoning across the Atlantic; Exchanges ranked in order of per cent good toll calls, November 1911; Statement of development - number of phones operating in each exchange as of 1 December 1911; Cover photo of Grand Forks Switchboard; Photo montage of underground work at Victoria; Birth of the Telephone - 3 page article; Mr. F.J. MacGougan; Photo of types of protected terminals; Vancouver Switchboard photos from 1908 and 1898; Great 2-page photo of the huge 'A' switchboard at Seymour; Load Curve Graph of Seymour Office; Cut-over of Victoria Plant - new epoch in phone history of B.C.'s capital; Vancouver Island Toll Rates; Special Victoria Issue - photo montage of city and district officials; Photo of New B.C. Office; Table showing # of phones in Victoria since 1880; Photos of underground work in Victoria; May 1880 list of Victoria subscribers; 1890 list of subscribers; cable-laying scenes from last September; Nanaimo and Sidny facilities; New Gulf Cable Ordered by William Farrell in England; Miss Mina Kerr; Record work at Highland; New Plant Department Building; How a Directory is Produced; Jolly moonlight excursion to Nanaimo aboard the steamer Princess Patricia; Great photo of 5 new auto wagons of the construction department in front of the Seymour Office (horses having been recently displaced); Some Victoria cable troubles; Photo montage of the Royal visitors, the Duke of Connaught, the Duchess of Connaught, and Princess Patricia; Training school for operators; interior and exterior views of the Royal trolley coach; 3-page Kamloops feature with photos; Functionalization of Plant - reorganization of the department; laying North Vancouver Cable; Photos of large buildings under construction in the Fairmont exchange - the Lee Building, the hospital buildintgs, Steel plant in G.N.R. yards; Fairmont feature - 4 pages with photos; Instructions for Operators; North Vancouver Cable Ready; Importance of Transmission; and more. Half-leather binding. Hinges tender but intact. Backstrip very rough. Ink stamp of company executive E.P. LaBelle upon top edge. Mr. LaBelle's signature upon front free endpaper and his initials are penned to top edge. He is mentioned on page 8 of the July issue as being the new Plant Engineer. Binding intact. Please note: small article clipped from page 18 of the December issue. Book
1900Acquaforte e puntasecca, circa 1900. Titolo a matita in basso e firma autografa in basso a destra “C. Biseo”. Magnifica prova, impressa con inchiostro verde su carta coeva, tracce di antica inquadratura, per il resto in eccellente stato di conservazione. Marcelle Renée Lancelot, coniugata Croce (Parigi, 26 gennaio 1854 – ca 1946), è stata una pittrice, scultrice e medaglista francese naturalizzata italiana. In seguito al matrimonio con lo scultore Leonardo Croce, prese la nazionalità italiana, cambiando il nome in Marcella. Visse per diversi anni a Roma, a partire dal 1895. Oltre alla pittura e alla scultura, si dedicò anche fin da giovane alla professione di medaglista. Cesare Biseo pittore, acquarellista e incisore, nasce a Roma, ove il padre, Gian Battista, valente pittore accademico di Brescia, si era da poco trasferito essendo stato chiamato a decorare il castello di Bracciano. Riceve dunque dal padre i primi insegnamenti artistici e, a seguito del genitore, trascorre da giovane un lungo periodo a Parigi. Nel 1869, in occasione dell’inaugurazione del Canale di Suez, il Kedivé d’Egitto lo chiama a decorare prima il suo palazzo in Alessandria e poi il Teatro dell’Opera al Cairo. Innamoratosi dell’Africa la visita più volte e nel 1875 con Edmondo De Amicis e il pittore Stefano Ussi fa parte della prima missione italiana in Marocco. Ne trae diversi albi di schizzi, che utilizza per illustrare, insieme ad Ussi, il libro di De Amicis, Marocco, edito nel 1877 dalla casa editrice Treves di Milano. Nello stesso anno accompagna De Amicis a Costantinopoli, illustrando poi l’omonimo libro dello scrittore pubblicato nel ’78 sempre dalla Treves. Il grande successo di entrambe le edizioni consacra Biseo “orientalista”, spingendolo ad intensificare la produzione di oli ed acquarelli a soggetto arabo. Intanto nel 1875, assieme a E. Roesler Franz e N. Cipriani, fonda a Roma la Società degli Acquerellisti, di cui diviene presidente nel 1881. La vena orientalista, infatti, non gli aveva fatto dimenticare la passione per i paesaggi della Campagna Romana, ritratti con grande fedeltà ed originali tagli di luce (“l’ardito effetto di sole”), evolvendo dall’originario gusto classico verso soluzioni sempre più veriste. Lo troviamo anche tra i soci fondatori del Gruppo dei XXV della Campagna romana, ove Pascarella gli affibbia il nomignolo di “cariate” per i suoi trascorsi egiziani. Ebbe lo studio a via Margutta e fu, come le foto di Oreste Sgambati stanno a dimostrare, un frequentatore assiduo del Caffè Greco, dove fu soprannominato “professorissimo” per la sua maestria a biliardo. Oltre agli affreschi ed alle decorazioni degli esordi, dipinge ugualmente bene ad olio e all’acquarello. Si è inoltre dedicato con successo all’acquaforte, come dimostrano le sue bellissime illustrazioni di libri. Il presente ritratto di Marcella Lancelot Croce, confrontando le biografie dei due artisti, risale al periodo tra il 1895 e il 1909, tra l'arrivo della pittrice a Roma e la scomparsa di Biseo. Opera non descritta da nessuno dei repertori consultati. Molto rara. Etching and drypoint, circa 1900. Title in pencil at bottom and autograph signature at bottom right "C. Biseo". Magnificent example, impressed in green ink on coeval paper, traces of old framing, otherwise in excellent condition. Marcelle Renée Lancelot (Paris, January 26, 1854 - ca 1946) was a French painter, sculptor and medallist naturalized Italian. Following her marriage to the sculptor Leonardo Croce, she took Italian nationality, changing her name to Marcella. She lived for several years in Rome, starting in 1895. In addition to painting and sculpture, she devoted herself to the profession of medallist since she was young. The present portrait of Marcella Lancelot Croce, comparing the biographies of the two artists, dates from the period between 1895 and 1909, between the painter's arrival in Rome and Biseo's death. Work not described by any of the repertories consulted. Very rare. Cesare Biseo painter, watercolorist and engraver, was born in Rome, where his father, Gian Battista, a talented academic painter from Brescia, had recently moved to decorate the castle of Bracciano. Receives therefore from the father the first artistic teachings and, following the parent, spends as a young man a long period in Paris. In 1869, on the occasion of the inauguration of the Suez Canal, the Kedivé of Egypt called him to decorate first his palace in Alexandria and then the Opera House in Cairo. Having fallen in love with Africa, he visited it several times and in 1875 with Edmondo De Amicis and the painter Stefano Ussi was part of the first Italian mission to Morocco. It draws several albums of sketches, which used to illustrate, along with Ussi, the book of De Amicis, Morocco, published in 1877 by the publisher Treves in Milan. In the same year accompanies De Amicis in Constantinople, then illustrating the homonymous book of the writer published in '78 always by Treves. The great success of both editions consecrates Biseo "orientalist", pushing him to intensify the production of oils and watercolors to Arab subject. Meanwhile in 1875, along with E. Roesler Franz and N. Cipriani, founded in Rome the Society of Watercolorists, of which he became president in 1881. The orientalist vein, in fact, had not made him forget the passion for the landscapes of the Roman countryside, portrayed with great fidelity and original cuts of light ("the bold effect of the sun"), evolving from the original classical taste towards more and more realistic solutions. We also find him among the founding members of the Group of XXV of the Roman Countryside, where Pascarella gives him the nickname of "cariate" for his Egyptian past. He had a studio in Via Margutta and was, as the photos of Oreste Sgambati demonstrate, a frequent visitor to the Caffè Greco, where he was nicknamed "professorissimo" for his mastery at billiards. In addition to the frescoes and decorations of the early days, he painted equally well in oil and watercolor. He also devoted himself successfully to etching, as evidenced by his beautiful book illustrations.
1882Acquaforte e puntasecca, 1882, da un soggetto di Théodore Rousseau. Impressione con firma autografa di Bracquemond; in basso a destra, timbro a secco della Printseller Association. Magnifica prova, del sesto stato su sei descritto da Beraldi, impressa su carta Cina, in eccellente stato di conservazione. Il dipinto di Rousseau da cui proviene l'acquaforte è Coucher de soleil : ou, Un abreuvoir ( ca. 1850-55 ), che è apparso all'asta da Sotheby's . New York, 17 febbraio 1993, lotto n. 12, intitolato Coucher de soleil dans les landes prés de Begaar e che oggi si trova in una collezione privata. Il quadro di Rousseau fu il primo dipinto dell'importante maestro acquistato dalla neonata galleria Arnold & Tripp, che aveva aperto nel gennaio 1881: fu acquistato da Georges Petit, esperto di Vente Hartmanna, per 20.000 franchi il 16 maggio 1881, e venduto il giorno seguente per 26.000 franchi al collezionista portoghese Pedro Eugenio Daupias. Arnold & Tripp, dopo aver acquistato e subito venduto il quadro Coucher de soleil, decisero di chiedere a Bracquemond di realizzare una lastra da cui ricavare delle copie da vendere. Questo indica che la galleria aveva mantenuto i diritti di riproduzione del dipinto, o almeno aveva un accordo con il proprietario in tal senso. L'identificazione del quadro da cui proviene l'acquaforte è quindi particolarmente interessante perché Bracquemond non fu incaricato di produrre un'incisione per promuovere la vendita del quadro, che la galleria aveva già venduto a Daupias nel maggio 1881. Piuttosto, come era comune con le incisioni, si rivolgeva al suo particolare mercato di collezionisti, sicuramente interessati ad avere un'incisione da un dipinto che era diventato parte di una famosa collezione di Lisbona, e che non avrebbero più potuto ammirare a Parigi. La scoperta del contratto stipulato tra la galleria parigina Arnold & Tripp e il pittore e incisore Felix Bracquemond è un fatto recente. Il contratto fa parte di un gruppo di sette lettere, contenute nel carteggio Arnold & Tripp, che illustrano tutti gli aspetti dell'affare, dal contratto formale del luglio 1881, alle varie fasi delle prove, fino alla lastra finale da presentare al Salone parigino del 1882. Per un’approfondimento sul tema, si rimanda al saggio di Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in “Getty Research Journal”, n. 10 (2018), pp. 207-224). Già nel contratto Bracquemond fa riferimento a sei stati della lastra, poi descritti da Henri Beraldi (cfr. Les Graveurs du XIXe siècle s…, t. 3, pp. 109-110). Etching and drypoint, 1882, inscribed beneath the image lower left B lower Publie par Arnold et Tripp. & Rue St Georges a Paris. In the image, lower right TH. R After a painting by Théodore Rousseau. Example in the sixth finale state, with the signature and the publisher’s address lower centre. Etched by Félix Bracquemond (1833–1914). Impression signed by Bracquemond, in pencil. Printsellers' Association's blind stamp at lower left. The painting from which the etching comes is Coucher de soleil : ou, Un abreuvoir ( ca. 1850-55 ), which appeared at auction at Sotheby's . New York , 17 February 1993 , lot no . 12 , titled Coucher de soleil dans les landes prés de Begaar and which today is held in a private collection. The Rousseau painting was the first painting by the important master purchased by the newborn gallery Arnold & Tripp gallery, which had opened in January 1881. The painting was bought from Georges Petit for 20,000 francs od 16 May 1881, and sold the following day for 26,000 francs to the Portuguese collector Pedro Eugenio Daupias. Arnold & Tripp, after having purchased and immediately sold the painting Coucher de soleil , decided to ask Bracquemond to produce a plate from which to derive copies to sell . This indicates that Arnold & Tripp had retained the reproduction rights for the painting , or at least had an agreement with the owner to that effect. The identification of the painting from which the etching comes is therefore particularly interesting because Bracquemond was not contracted to produce an engraving in order to promote the sale of the painting, which the gallery had already sold to Daupias in May 1881. Rather, as was common with artists' etchings, it was aimed at its own particular market of collector, surely interesting in having an engraving of a painting that had become part of a famous collection in Lisbon, and which they would no longer be able to admire in Paris. Recently, in the archives of the Getty Research Institute was discovered a contract between the Parisian gallery Arnold & Tripp and the painter and etcher Felix Bracquemond (1833-1914) in order to realize a plate after a painting by Théodore Rousseau. The contract is part of a group of seven letters, contained in the Arnold & Tripp correspondance, that illustrate all the aspects of the deal, from the formal contract in July 1881 , to the various phases of the proofs, toward the final plate to be presented at the Parisian Salon of 1882. (cfr. Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in Getty Research Journal, n. 10 (2018), pp. 207-224). H. Beraldi, tome 3, pp. 109 - 110; Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in “Getty Research Journal”, n. 10 (2018)
2008Paperback Like New. Ships from publishers directly but must allow a minimum of 20 - 25 business days shipping time.
A complete suite of 10 signed and numbered prints by Maurice Asselin. Without the text pages or folding case. Edition limited to 100 sets. Includes 5 etchings and 5 lithographs, one printed in color. 13 x 10 inches (sheets). Loose as issued. Printed on fine wove paper. Perfect condition.
1935Volume I, No. I of this publication. Contents include two long complete novels of war flying entitled "One Man's War", a tale of a Handley-Page night-bomber, and "Gas-Bag Aces", a tale of Seaplane and Blimp adventures of the Coast Defence Forces in the Great War; Terror in the Sky - A Pilotless R.A.F. Fighter crashes in the centre of New York; Murder in the Air - The Red Prop School trained the Foreign Legion of the Air; Cundall of the Camels - The remarkable life of a Camel pilot of the R.F.C. on the Western Front; Real Life Adventures - Crashing Aeroplanes for Movie Thrills and Thrills and Spills in Parachuting; and more. Interesting cover illustration depicts kilt-wearing machine-gunner. Above-average wear. Binding intact. Book
1579Acquaforte su ferro, 1579 circa. Primo stato di due, avanti la numerazione. Pubblicata nel Catalogus gloriae mundi, di Barthélemy de Chasseneuz (ca. 1480-1541) – noto anche con la forma latinizzata del nome Bartholomaeus Cassaneus, edito Francoforte nel 1579 da Sigmund Feyerabend. La tavola raffigura un re seduto su un trono che tiene uno scettro sullo sfondo centrale, a sinistra uno scriba, ai lati della stanza i consiglieri del re, soldati in piedi in primo piano. Inserita in una cornice ovale, gli angoli riempiti con motivi ornamentali. Il Catalogus gloriae mundi, tipico prodotto dell’enciclopedismo rinascimentale, opera umanistica e giuridica, si incentrava sull’onore, problema per definizione interdisciplinare e di vastissimo successo nella pubblicistica cinquecentesca. Ma nel saggio di Chasseneuz il concetto di onore divenne addirittura la griglia di una vera e propria enciclopedia di tutto il creato. In dodici libri l’intera esperienza secolare e celeste si condensava compatta, ritrovando intorno all’onore il proprio archetipico motivo d’ordine: I. considerazioni generali sull’onore II. onori e ordini dell’uomo e della donna in generale III. onori e ordini degli spiriti celesti e infernali IV. onori e ordini degli ecclesiastici V. onori e ordini dei Principi VI. onori e ordini degli ufficiali del sacro palazzo VII. onori e ordini dei magistrati e di tutti gli ufficiali di giustizia VIII. onori e ordini dei nobili IX. onori e ordini dei militari X. onori e ordini delle scienze e dei letterati XI. onori e ordini dei plebei e degli artigiani XII. onori e ordini di pietre, vegetali, animali e di tutti i rimanenti esseri, celesti e terrestri. Di famiglia borghese, Bathélemy de Chasseneuz studiò diritto alle Università di Dole, Poitiers, Bologna, Torino e Pavia. Dopo l’occupazione del Ducato di Milano da parte di Carlo VIII vi svolse incarichi giudiziari, conseguì nel 1502 il dottorato in utroque ed accompagnò Charles d’Amboise nella sua spedizione contro Bologna. Esercitò poi l’avvocatura ad Autun, divenendo avvocato del Re e baglivo dell’abbazia di Saint Martin d’Autun. Consigliere nel parlamento di Digione dal 1525, nel parlamento di Parigi dal 1531, fu presidente in quello di Aix dal 1532. Morì nel 1541. Di lui rimangono a stampa una raccolta di pareri legali, i commentari sulle consuetudini del Ducato di Borgogna e, appunto, il Catalogo della gloria del mondo. La prima edizione dell’opera fu pubblicata nel 1529. Nel 1579 Sigmund Feyerabend, tipografo di Francoforte, decise di pubblicare una nuova edizione dell’opera, arricchita dalle illustrazioni realizzate ad hoc da Jost Amman allo scopo di rendere più facilmente comprensibili le teorie del giurista e valorizzare maggiormente l’opera. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, tracce di colla al verso, per il resto in ottimo stato di conservazione. Bibliografia The New Hollstein, Part VI.87.144.23.i, p. 87. Etching on iron, 1579, unlettered. First state, of two, before the numbering 6 added lower right in the plate. The plate depicts a king sitting on a throne holding a sceptre in centre background, on the left a scribe, on either side of the room the king's advisors, soldiers standing in the foreground. Set in an oval frame, the corners filled with strapwork ornaments. A fine impression, printed on contemporary laid paper, trimmed to the paltemark, very good condition. Printed in Catalogus Gloriae Mundi by Barthélemy de Chasseneuz, printed in 1579, Frankfurt - Sigmund Feyerabend. Barthélemy de Chasseneuz (1480–1541) was a lawyer, and he was neither a narrow-minded one nor a bad one – quite the opposite. He had attended French and Italian universities and had been the student of some of the most famous teachers of his time. The talented legal scholar had acquired experience at the court of the duke of Milan and even at the court of the Pope himself. And yet, he returned to his home country in 1506 where he took up high offices. As his contemporaries, Barthélemy de Chasseneuz was convinced that everything on earth had a precise order. He believed that any kind of dispute arose solely from the fact that humankind was unaware of the exact structure of this order. It was obvious that the King of France was of higher status than a juggler. But what about the King of France and the King of Aragon? Who of them was of higher status? Being a good lawyer, Chasseneuz sat down and studied the sources. He wrote more than 1,000 pages setting out which office held which rank based on all theological, philosophical and legal sources available to him – from the hierarchy of the Heavens to the social ranks of humankind and to animate and inanimate nature. In 1529, this book was published for the first time. Chasseneuz’ book was of huge importance to all those who had to deal with issues of ceremonial protocol. All princes and city councillors had enough money to afford an expensive book. That’s why, at some point during the 70s of the 16th century, Sigmund Feyerabend from Frankfurt decided to publish a new edition of Chasseneuz’ work. He did not simply reprint the first edition, instead, he hired the famous book illustrator Jost Amman to transform Barthélemy de Chasseneuz’ theoretical considerations into impressive – and easily understandable – copper engravings. Bibliografia The New Hollstein, Part VI.87.144.23.i, p. 87.
1950Acquaforte. Lastra mm 118x152, foglio 160x222 mm. Firma a matita a sinistra Luigi Bart. Titolo a matita in basso a sinistra non ben leggibile. Possiamo ipotizzare Invadenza. L’incisione non è catalogata in nessuno dei numerosi repertori sull’artista da noi consultati; è notorio che la catalogazione delle opere di Bartolini non è ancora completa. Bellissima prova, impressa su carta coeva, piccolo strappo perfettamente restaurato nella parte superiore, leggera abrasione al verso, per il resto in ottimo stato di conservazione. 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). Etching. Plate mm 118x152, sheet 160x222 mm. Signature in pencil on the left Luigi Bart. Title in pencil at lower left not well readable. We can assume Invadenza. This work is not catalogued in any of the several repertories we consulted about the artist; it is well known that the cataloguing of Bartolini's works is not yet complete. Beautiful proof, printed on contemporary paper, small tear perfectly restored in the upper part, light abrasion on the back, otherwise in excellent condition. 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 su...
1763Silografia stampata in bruno, 1763, firmata e datata in tavola in basso a destra.Da un disegno di Luca Cambiaso, prima nella collezione Fawkener (come indicato nell'opera in basso al centro), ora al British Museum.Magnifica prova, impressa su due grandi fogli di carta vergata coeva, con margini, 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. Woodcut printed in brown, 1763, signed at lower right.After a drawing by Luca Cambiaso, at that time in the Fawkener's collection and now at the British Museum.A fine impression, printed on two large sheet of contemporary laid paper, with margins, perfect condition.The work is part of Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors'. London: printed by J. Nichols, 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'
1593Bulino, 1593, monogrammata in lastra, nell’immagine in basso a destra “HG Jnve.” Numerata 5, in basso a sinistra. Stato unico. Eccellente esemplare, impresso su carta vergata coeva, rifilato ai margini, qualche spellatura al verso, in ottimo stato di conservazione.L’incisione appartiene a una serie di quattordici dedicata ai Vizi Capitali e alle Virtù. L’invidia è raffigurata dentro una nicchia, nelle sembianze di una vecchia megera nell’atto di mangiare un cuore, mentre nella mano sinistra tiene dei serpenti. Nei due alnoli superiori, i suoi attributi, il serpente e il caneSotto l’immagine, due versi in latino che definiscono il Vizio: “Invidia asperius nihil est, nec acerbius usquani/Tabificum pravis malum et exitiale venenum F.E[stius]”. Engraving, 1593, signed on plate, in the image lower right “HG Inve”, numbered 5 at lower left. Only state.Excellent example, printed on contemporary laid paper, trimmed at margins, some scratch on verso, in very good condition.In this print, which comes from a series of fourteen engravings, representing the Seven Capital Vices and Virtues, Envy is shown as an old hag eating a heart, inside a niche adorned with two shields that represent her two main attributes, the snake and the dog.Under the image, the following latin inscription: “Invidia asperius nihil est, nec acerbius usquani/Tabificum pravis malum et exitiale venenum F.E[stius]”. Hollstein 154
2008Hardcover Like New. Ships directly from publishers being a new release book . Pls. allow a minimum of 25 business days delivery time.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quinta edizione di dodici, stampata dalla calcografia di Madrid, circa 1883. 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 nel 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 Plate 1: portrait of the artist wearing hat, bust-length to left; Fifth Edition c.1883 impression. 1799 Etching, aquatint, drypoint and burinFrom the fifth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1883].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 36, Delteil 38.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
1739Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
