Meyerheim, Friedrich EduardAntiquariat.de
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réf. 15531DBo.J. (Friedrich Eduard Meyerheim, geboren am 7. Januar 1808 in Danzig, gestorben am 18. Januar 1879 in Berlin. Deutscher Maler. Erste Studien beim Architekturmaler Johann Adam Breysig. Studium an der Dresdner Kunstschule, ab 1830 an der Berliner Akademie, die von Johann Gottfried Schadow geführte wurde, Lehrer waren Eduard Daege und Johann Gottfried Niedlich). [3 Warenabbildungen]
1530Bulino, 1530, firmato in lastra, in basso nell’immagine, con il monogramma “L” seguito dall’iscrizione “SPES”. Esemplare nel primo stato, di tre.Superba prova, ricca di toni e ben contrastata, impressa su carta vergata coeva, rifilata alla linea del rame, in eccellente stato conservativo.Della serie “Le Virtù”, composta da sette tavole. La data, 1530, è riportata sulla prima e sulla quarta tavola, raffiguranti le virtù della Fede e della Prudenza.“Le Virtù cristiane, dette teologali, erano Fede, Speranza e Carità, e a queste ultime i padri della chiesa aggiunsero le quattro virtù cardinali descritte nella repubblica di Platone: Giustizia, Prudenza e Temperanza. Cosicchè questi soggetti trattati dagli artisti come serie, alle volte in contrasto con i Vizi Capitali (che Luca non eseguì) erano graditi al Clero. Luca, sempre attento a eseguire immagini che potessero essere facilmente apprezzate, si impegnò a fondo eseguendo questi sette nudi nel suo stile italianeggiante in cui gli effetti di monumentalità e di tutto tondo sono particolarmente riusciti.” (Salamon, 114) Engraving, 1530, signed with the monogram "L" and lettered "SPES". First state, of three.Magnificent work, printed on contemporary laid paper, trimmed close to platemark, in excellent condition.A nude allegorical figure of hope sits on a stone ledge in profile to right, her hands are raised before her and she looks out of a doorway at back right toward a ray of light in the sky at upper right; an angel at upper left holds a halo over her head.The plate is the second in a series of seven plates of the Virtues. Two of the seven plates bear the date 1530.The Christian Virtues, called theological, were Faith, Hope and Charity, and to the latter the fathers of the church added the four cardinal virtues described in Plato's republic: Justice, Prudence and Temperance. So these subjects treated by the artists as serious, sometimes in contrast to the Capital Vices (which Luke did not perform) were appreciated by the Clergy. Luca, always careful to execute images that could be easily appreciated, worked hard to execute these seven nudes in his Italian style in which the effects of monumentality and all-round are particularly successful. Bartsch VII.420.128; Hollstein 128; Filedt-Kok, 128; The New Hollstein, 128; TIB, 115; Salamon, n. 114.
réf. 88321aafAmsterdam, by de Erwen de Wed J. Ratelband en J. Bouwer, 1803, 31x41 cm ( Bild) / 36.5x47 cm (Rahmen), handbemalter Holzschnitt auf Papier (urspr. gefaltet), mit Darstellungen frommer Szenen in den Ecken und gr. ovaler Rokokokartusche in der Mitte mit kalligraph. handgeschriebenem Text in schwarzer Tinte, kl. Kopf- und Fusskartuschen mit Psalmen (Text u. Musiknoten), gest. Druckerei-Angaben unterhalb, unter Glas in Holzrahmen, leichter Wasserfleck am unteren Bildrand. gerahmt im Orig.-Holzrahmen
réf. ANAIS-1576239977Alfred Music. paperback. Good. 9.3x0.6x12.3. Buy with confidence. Excellent Customer Service & Return policy. Alfred Music paperback
1830réf. 6526London 1830. Aquatints coloured by hand. A fine complete series of four anonymous prints of hunting scenes possibly after the Alkens. The style and naming of these prints suggests an Alken origin for the series. Siltzer records a number of series by the Alken family in which the first plate is titled "Unkennelling." This title appears to be unique to them and supports the supposition that the present series are after the Alkens. Henry Thomas Alken was born into what became an artistic dynasty. He studied under the miniature painter J. T. Barber and exhibited his first picture a miniature portrait at the Royal Academy when he was sixteen. From about 1816 onwards he "produced an unending stream of paintings drawings and engravings of every type of field and other sporting activity. He is best remembered for his hunting prints many of which he engraved himself until the late 1830s.To many sporting art is "Alken" and to describe his work or ability is quite unnecessary." Charles Lane British Racing Prints pp. 75-76 Cf. Siltzer pp.57-76. unknown books
1510Xilografia, 1510 circa, firmata con il monogramma in basso al centro, nell’immagine. Della serie “La Piccola Passione”. Esemplare dalla prima edizione latina, edita nel 1511. Magnifica prova, ricca di toni e ben contrastata, rifilata alla linea del margine, testo latino al verso, in ottimo stato di conservazione. Nota Strauss che l'apostolo in primo piano ricorda "l’Altare Heller", mentre la Vergine ha una stretta somiglianza con quella di Schäufelein nel foglio corrispondente Conformemente alla Scrittura, i seguaci di Cristo sono sormontati da "lingue di fuoco" (Atti 2:1-3) che simboleggiano "l'effusione dello Spirito Santo". Contrariamente a Schäufelein, l'evento si svolge all'aria aperta, e ci sono molti partecipanti in quanto non c'è evidenza che alla scena assistitano solo i discepoli. Uno studio dettagliato, condotto dalla Hass, rivela l’interpretazione personale dell'artista. L'aspetto più sorprendente della versione di Dürer della Penecoste è che l'effusione dello Spirito Santo non è limitata a Maria e ai discepoli: quindici fiamme escono dalle corone di Maria e dei vecchi e nuovi seguaci di Cristo, mentre sullo sfondo tre dei devoti ebrei menzionati negli Atti sono ancora seduti e, guardando, discuno gli eventi davanti a loro. Mentre l'ampliamento del numero – da dodici a quindici - esseri illuminati dallo Spirito può essere giustificata in termini di descrizione fornita negli Atti, rimane una licenza in termini pittorici. I precursori locali, tra cui il maestro di Dürer, Wolgemut, mostrano principalmente dodici figure benedette tra cui la Vergine. Inoltre, nel suo testo di accompagnamento per questa immagine Chelidonius commenta la discesa dello Spirito Santo solo in relazione ai discepoli; anche questo è in contrasto con l'evidenza visiva nell'immagine di Dürer. Intorno al 1509, mentre stava ancora completando la Grande Passione, Dürer iniziò la sua serie più estesa delle passioni di Cristo, La Piccola Passione, che comprende trentasette xilografie. La serie fu pubblicata come libro; ogni tavola è accompagnata da un testo narrativo-descrittivo composto dall'amico di Dürer, il chierico umanista Benedictus Chelidonius, che aveva precedentemente collaborato con l'artista per i testi delle serie di xilografie della Vita della Vergine e della Grande Passione. Fu Friedrich Winkler che nel 1941 suggerì che a fornire il modello per la Piccola Passione fosse stato Hans Schäufelein, uno degli allievi di Dürer, ma questa proposta non è accettata all'unanimità dagli studiosi. Angela Hass nota che, dato ciò che sappiamo del carattere di Dürer e delle relative doti dei due artisti, il rapporto maestro/allievo da solo è in contraddizione. Così come il fatto che c'è un’alterazione sia nella scelta che nell'interpretazione dei soggetti. Dürer include nove temi che non appaiono nella serie di Schäufelein, il frontespizio e le quattro scene introduttive che precedono l'Entrata di Cristo a Gerusalemme, altre quattro scene leggendarie sono state aggiunte, includono i Santi Veronica, Pietro e Paolo; due scene che figurano nell'arco della serie di Schaufelein sono omesse da Dürer, la Spogliazione di Cristo e, più importante, l'Incoronazione della Vergine. Un'altra ragione per mettere in dubbio l'opinione di Winkler deriva dal fatto che una parte sostanziale dell'iconografia che Dürer impiega nella serie della Piccola Passione può essere ricondotta a opere d'arte contemporanee e precedenti che erano facilmente accessibili per entrambi gli artisti. Bibliografia Hollstein, 160; Bartsch, 51; Panofsky, 271; Strauss, 135; TIB 1001.251; A. Hass, Two Devotional Manuals by Albrecht Dürer: The "Small Passion" and the "Engraved Passion." Iconography, Context and Spirituality, in Zeitschrift für Kunstgeschichte 63. Bd., H. 2 (2000), pp. 169-230 (62 pages) Woodcut, 1510 circa, signed lower centre in the image with monogram. From the series The Small Passion. Example from the first latin book edition of 1511. Magnificent proof, printed with tone on contemporary laid paper, irreguralely trimmed to the borderline, very good condition. The apostle in the foreground is reminiscent of the “Heller Altarpiece”, whereas the Virgin bears a close resemblance to Schäufelein’s in the correspondong sheet. Conforming to Scripture, Christ’s followers are surmounted by “cloven tongues as of fire” (Acts 2:1-3) that symbolize the “outpourung of the Holy Spirit”. Contrary to Schäufelein, the event takes place in the open air, and there are many participans as there is no record that the scene was witnessed only by the disciples. However, a detailed study reveals the artist’s personal understanding. The most striking aspect of Dürer’s version of the Penecost is similarly that th inspiration of the Holy Ghost is not confined to Mary and disciples: fifteen flames issue forth from the crowns of Mary and Christ’s old and new followers, while in background three of the devout Jews mentioned in Acts are still seated, looking on and discussing the events before them. While Dürer's expansion of the common number of twelve to fifteen enlightened beings can be justified in terms of the description provided in Acts, it remains a license in pictorial terms. Local forerunners, including Dürer's teacher Wolgemut, principally show twelve blessed figures including the Virgin. Further, in his accompanying text for this image Chelidonius comments on the descent of the Holy Ghost in relation to the disciples only; this too is at odds with the visual evidence in Dürer’s image. The original wood block is in the British Museum. Around 1509, while still completing the Large Passion, Dürer commenced his most extensive series of the Passion of Christ, The Small Passion, which comprises thirty-seven woodcuts. The series was published as a book; each platesi s accompanied by a descritive narrative text composed by Dürer’s friend, the humanist cleric Benedictus Chelidonius, who had previously collaborated with the artist on the texts for the woodcut series of the Life of Virgin and the Large Passion. It was Friedrich Winkler who in 1941 suggested that Hans Schäufelein, one of Dürer’s students, provide the model for the Small Passion, but this proposal is not unanimously accepted by scholars. Angela Hass notes that given what we know of Dürer character and of the relative gifts of the two artists, the Master/pupil relationship alone speaks against it. So, too, does the fact that there is an altered emphasis in both the choice and interpretation of subject matter. Dürer includes nine themes that don't appear in Schäufelein's series , the title page and the four introductory scenes that precede Christ's Entry to Jerusalem, further four legendary scenes were added , they include Sts Veronica, Peter and Paul ; two scenes that feature in Schaufelein's series arc omitted by Dürer , the Disrobing of Christ and , more importantly , the Coronation of the Virgin . Another reason for questioning Winkler’s view arises from the fact that a substantial parte of the iconography which Dürer employs in the Small Passion series can be traced back to contemporary and prior works of art which were readily available to both artists. Bibliografia Hollstein, 160; Bartsch, 51; Panofsky, 271; Strauss, 135; TIB 1001.251; A. Hass, Two Devotional Manuals by Albrecht Dürer: The "Small Passion" and the "Engraved Passion." Iconography, Context and Spirituality, in Zeitschrift für Kunstgeschichte 63. Bd., H. 2 (2000), pp. 169-230 (62 pages)
1932réf. 58217Leighton PA: Leighton High School. 1932. Hardcover. Very Good with no dust jacket; Two Yearbooks From Leighton High School Leighton Pennsylvania 1931 and 1932. Franz Kilne was a student there and was Artist for the Yearbook in his Junior Year. Most of the cartoons and decorations were done by him. His Signature appears in both books. Franz Kline was part of abstract expressionist movement in New York City in the 1940's and 50's. Both Books are in good condition. The 1931 Yearbook has a weak and loose spine. The 1932 Yearbook has a weak spine. Both have some edgewear. ; B&W Illustrations . Leighton High School hardcover
1930réf. 232561930. Stanford University Military Engineering Archive Documenting the First Army Ordnance Reserve Gauging Program ca. 1930. Stanford University photo archive documenting the emergence of interwar military-industrial technical education ordnance gauging instruction and precision engineering research on campus during the early development of Stanford's engineering and applied science programs. Rather than depicting science classrooms in a general sense these photographs specifically document the technical culture surrounding Army ordnance training instrumentation systems machine calibration and laboratory-based engineering instruction that linked universities to the expanding infrastructure of American military preparedness between World War I and World War II. Taken together the archive captures Stanford at the moment when higher education increasingly merged scientific research industrial precision manufacturing and military technical training into a unified research model that later shaped the wartime and Cold War defense university system. Photo archive of 11 large silver gelatin photographs each approximately 8" x 10" Stanford University California dating from 1930 into the 1950s; two later views mounted to decorative yellow board. Several photographs depict laboratory interiors filled with precision instrumentation gauging apparatus optical and mechanical measuring devices machine-tool equipment calibration benches microscopes drafting stations and technical worktables arranged for instruction and inspection work. One especially important close-up photograph shows a large precision gauging or rotational calibration apparatus associated with ordnance measurement and machine tolerance testing. Surrounding the device are machined cylindrical components threaded fittings gauge rings and polished metal parts likely used in dimensional inspection bore alignment concentricity testing or interchangeable manufacturing instruction. Another darkened workshop view depicts what appears to be a heavy precision lathe or gauging bench fitted with a mounted cylindrical test component equipment consistent with ordnance inspection and military engineering instruction during the interwar period. Additional photographs show groups of students and instructors posed around technical apparatus inside instrumentation laboratories while later mounted photographs document more formalized postwar engineering office and drafting environments associated with large-scale technical administration and research organization. Most important is a detailed handwritten verso inscription reading: "Equipment used Feb 1930 Ordnance School at Stanford University. This was first time a course in gauging was given in any Army Ordnance Reserve Unit permanent facilities excepted. Instructor; Lieut Merrill S. Hingo. Photo; Lieut Howard Story Taylor." The inscription firmly identifies the archive as documentation of early Army ordnance reserve technical instruction conducted at Stanford and specifically ties the machinery to military gauging education. In the 1920s-30s "gauging" referred not merely to ordinary measurement but to the specialized science of precision dimensional inspection used in artillery manufacture weapons-part standardization shell tolerances bore measurement interchangeable machining systems and industrial calibration. Such instruction formed a critical component of modern military-industrial production where even minor deviations in machining tolerances could affect artillery accuracy chamber pressure shell seating or mechanical reliability. Several outdoor group portraits further reinforce the military context. One large group stands beneath a doorway marked "Military Science and Tactics" while another includes Colonel Donald C. Cubbison a career U.S. Army officer and West Point graduate who served as professor of military science and tactics at Stanford from 1930 to 1935 before later attaining the rank of major general during World War II. His appearance situates the archive directly within Stanford's interwar military training system and links the photographs to broader national efforts to train technically educated reserve officers in engineering ordnance artillery science and industrial preparedness. The archive also reflects Stanford's broader transformation into a modern research university centered on applied science and engineering. During the interwar years Stanford's scientific departments expanded laboratory instruction instrumentation programs and research-based technical education under faculty including Robert E. Swain John P. Mitchell William H. Sloan and George S. Parks. Parks in particular became associated with analytical chemistry and geochemical laboratory science disciplines heavily dependent upon precision instrumentation and calibrated measurement systems. The engineering and laboratory culture documented here overlaps with contemporary developments in industrial metrology applied physics materials testing optical measurement and machine-tool inspection that increasingly tied university research to industrial production and military logistics. What makes the archive especially significant is the way it documents the transitional infrastructure between traditional university instruction and the emerging defense-oriented research university model. These photographs preserve not simply classrooms but the physical systems of technical education itself: calibration benches inspection machinery gauging apparatus optical instruments drafting rooms and laboratory spaces where students and reserve officers were trained in the precision engineering practices underlying twentieth-century industrial warfare and mass manufacturing. In doing so the archive visually traces the early foundations of the university-based defense engineering culture that would later expand dramatically during World War II and the Cold War throughout California research institutions and the broader military-industrial complex. Photographs are sharp and highly detailed with clear views of equipment and interiors; handwritten identifications remain legible. The two mounted 1950s photographs have several large tears without image loss with lighter handling wear elsewhere. Overall good condition. unknown
réf. 27351Original artwork. c.1880s. A series of six highly accomplished watercolour studies of hands and feet by a pupil of the South Kensington Art Schools renamed the Royal College of Art in 1896. The largest measuring 21.5 x 15 cm. Each bearing the embossed stamp E.S.K. Examined South Kensington. The set is in very good condition with just the occasional dot of foxing and a small area of browning to the foot of one image. The colours remain fresh and vivid. Housed in a bespoke quarter leather solander case. A remarkably realistic series of late nineteenth-century watercolours which skilfully capture the delicacy and nuance of their subjects executed by a pupil at what would soon become the prestigious Royal College of Art. Hung together they form a most attractive and unusual group. Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. Original artwork. c.1880s hardcover
1850réf. 8857Paris 1850. Pencil pen and wash drawing with numerous detailed measurements. A fascinating and beautiful drawing--or "rendu"--of an ancient Roman sarcophagus. A fine drawing from an architectural student at the Ecole des Beaux-Arts in Paris the most influential architectural school in existence during much of the 18th century the whole of the 19th century and the first part of the 20th century. 'Students were eligible for the Ecole if they were at least fifteen years old or under thirty. They began with the seconde classe in which they competed in the concours d'émulation. These alternated between an esquisse --a rough sketch for which up to twelve hours was allowed--and a rendu --the large-scale finished drawing for which one to three months were allowed.Two to four years were usually required for a student to accumulate enough credits to enter the première classe. The same system was followed again usually for two to three years after which the student should have accumulated enough credits to compete for the Grand Prix de Rome. The winner of the Grand Prix was entitled to five years study under the auspices of the French Academy in Rome. For each of his first three years he was required to submit an analytical study of an ancient monument. For his fourth year he had to submit a complete reconstruction of a major classical work. For his fifth year he was required to submit an original work designed to a program of his own invention. "This study of the sarcophagus of Lucius Cornelius Scipio Barbatus was part of an Ecole de Beaux Arts student's portfolio. The sarcophagus was one of many in the Scipio family tomb on the Via Appia just outside of Roma and it dates from c. 290 B.C. The obituary text reads English "Lucius Cornelius Scipio Barbatus son of Gnaeus a valiant gentleman and wise whose fine form matched his bravery very well was aedile consul and censor among you he conquered Taurasia and Cisauna in fact Samnium he overcame all the Lucanian lands and brought back hostages." Arthur Drexler The Architecture of the Ecole des Beaux-Arts. New York MoMA 1977. unknown books
1840réf. 23481840. Fine. Watercolor graphite and grayish ink on two sheets of cream laid paper with an 1836 M and smiling sun watermark 10 1/4 x 25 7/8 inches 260 x 658 mm the full sheet. Titled in ink in French on the recto. In very good condition with minor edge wear including creasing and nicks. A splendid panorama with each of the major peaks and point of interest labeled and identified in French. The iconic symbol of the Swiss resort the "Sun of St. Moritz" was adopted from early European heraldic marks and rebranded around 1930 by graphic designer Walter Herdeg. The image was patented in 1937 by spa director Walter Amstutz becoming the world's first visual trademark for a tourist destination. unknown
réf. 798302020. Thirty-Two 32 linear feet shelf space. Thirty-Two 32 linear feet shelf space. Northwestern Law Review. Volumes 1 to 113 1906-2019 in 133 bound books with volume 75 no. 6 1981 softbound supplement. Volume 114 2019-2020 no. 1-7 in 7 softbound books. Together 140 books. Title varies: Illinois Law Review. Volumes 1-46 1906-1952; Northwestern Law Review. Volumes 47-114 1952-2020. Ex-library with shelf location labels property stamps to page edges small bar code labels to lower front coversand lacking spine labels on volumes 11 13 16 19 and 22 else very good. Thirty-two 32 linear feet of shelf space. $2295. The Northwestern University Law Review is a student-operated journal that publishes six issues of high-quality general legal scholarship each year. Student editors make the editorial and organizational decisions and select articles submitted by professors judges and practitioners as well as student pieces. In 2022 it was ranked No. 14 among general-topic law reviews by the Washington and Lee law journal rankings. First published in 1906 the Law Review has been distinguished by the scholarly qualifications and variety of its participants. Prior Editors-in-Chief include: Roscoe Pound long-time dean of Harvard Law School; Judge Robert A. Sprecher of the United States Court of Appeals for the Seventh Circuit; Justice John Paul Stevens; Dean James A. Rahl; Governor Daniel Walker; and Newton N. Minow former chairman of the Federal Communications Commission. Other editorial officers have included Justice Arthur Goldberg and Adlai E. Stevenson. The equally distinguished list of contributors to the Law Review includes Dean Leon Green Sir William Holdsworth Justice Oliver Wendell Holmes Albert M. Kales Nathan William MacChesney Charles T. McCormick Sir Frederick Pollock Dean Roscoe Pound Dean John Henry Wigmore Justice Felix Frankfurter Justice Tom Clark Justice William O. Douglas Justice Abe Fortas Chief Judge Harry T. Edwards Erwin Griswold Archibald Cox Paul Freund W. Willard Wirtz Albert Ehrenzweig H.L.A. Hart Gerald Gunther Edward H. Levi Hubert H. Humphrey Brunson MacChesney Nathaniel Nathanson Dean James A. Rahl Dean now professor David Ruder Martin Redish Kenneth Culp Davis Raoul Berger Bernard Schwartz Ian Macneil John Coffee Gary Lawson Mary Becker Stephen Schulhofer Nadine Strossen Judge Jose A. Cabranes Judge Richard Posner Cass S. unknown
2017réf. 2081502111906635Chinese book office 2017. Soft Cover. Fine. The book is in fine condition. Chinese book office paperback
1891réf. 2092902143300143Mono fumei 1891. Soft Cover. Fine. Number of pages: 26 Size: 32cm Mono fumei paperback
1897réf. 2092902144200899Not Available 1897. Soft Cover. Fine. The book is in fine condition. Not Available paperback
réf. 98101501Canton 1860-80's Cheungqua. A group of 7 pith or Tongcao color paintings usual minimal issues mostly clean & solid sold "as is" as a collection with the typical chips & a few fox spots else very good clean examples. A RARE GROUP ! . . . . A SUITE OF 7 FINE CHINESE COLOR PITH PAINTINGS . . . SHOWING BEAUTIFULLY DRESSED CHINESE WOMEN . . . PLAYING MUSICAL INSTRUMENTS . . . EXECUTED IN STUNNING & BRILLIANT COLORS . . . AKA: CHINESE EXPORT WATERCOLOURS . A group of typical "trade paintings" executed by Chinese native artists for foreign traders visiting Canton or Macao during the early to mid-19th century. . A SUPERB SUITE OF FABULOUS COLOR PITH PAINTINGS: A stunningly beautiful group of hand-painted color pith paintings depicting a woman playing a musical instrument. . "GOLDEN LOTUS" or "LOTUS FEET" BOUND FEET Chanzu: This like most illustrations of the period show the women with bound feet. Chanzu bound feet was an erotic obsession and fetish in ancient China. The erotic ramifications are outlined in the references below. . The paintings illustrate Chinese women in a domestic scene with furniture playing musical instruments. Subjects are: . a. Yue1in Ruan Moon Guitar Moon Zither 4 stringed . b. Yanqin Chinese Dulcimer . c. Sanxian three-stringed Chinese lute . d. Drumming on the back of a Chinese ceramic bowl . e. Dizi Chinese bamboo flute . f. Huqin Chinese violin . g. Tong Luo Chinese Brass Gong . DESCRIPTION OF THE PAINTING ART WORK AND CONDITION: . Each painting is in brilliant vivid and stunning colors. Each is skillfully painted with a fine hand delicate fine-point brush with great detail incredible reality texture and appeal. . As usual the set paintings were tipped to a contemporary backing period Each painting is backed with a contemporary stiff paper or a more current back card. . Items "a" & "b" are matted see cover.jpg & title.jpg photos posted to our website. . Each painting is approximately 21 x 34 cm. most have a blue silk ribbon border partial border or border lacking chipped and the like on has restorations on the verso in the margin only. . Each painting has some chips parts missing on the edges or with small holes here and there 'e' by and large the images are complete but some may have usual and often typical age-related cracks or splits a touch of fox spots on "c." . Suitable for framing & display. Please review photographs posted to our website for details. . "RICE PAPER" PAINTINGS: Several authors refer to this name rather than the proper name "Pith" paper paintings also can be called "Tung Tsao." . THE CANTON ARTIST OR 'SCHOOL' OF CHEUNG QUA: Cheung Qua was an export watercolor painter in Canton. He and followers of his school produced various single and albums of these paintings which were sold from his studio. . Often his in-house artists began painting on their own thus replicating the techniques subjects and essence of their masters. Because these paintings were rarely signed the one and only identification ever found was occasionally on the album cover or spine with the studio name. . Often these paintings were sold in various shops in Macao the main resting and gathering place of foreigners during part of the year. . REFERENCE: . CLUNAS Craig.: CHINESE EXPORT WATERCOLOURS. This entire book is devoted to Pith or Rice paper paintings. For musical instruments see color plates on pp.50-53 especially plates on pp.66-67 plates 39 & 40 are particularly similar to our examples that is to say by the same or an artist who was in the same house of Cheungqua or that school. CHU Arthur. et al.: ORIENTAL ANTIQUES AND COLLECTIBLES: A GUIDE pp.62-66. THE CHINESE PITH PAINTING COLLECTION AT THE NATIONAL LIBRARY OF AUSTRALIA: An Annotated Guide. Crossman Carl L. The decorative arts of the China trade : paintings furnishings and exotic curiosities. LEVY Howard S.: CHINESE FOOT BINDING: The History of a Curious Erotic Custom. . --. THE LOTUS LOVERS: The Complete History of the Curious Erotic Custom of Foot binding in China. JACKSON Beverly.: SPLENDID SLIPPERS: A THOUSAND YEARS OF AN EROTIC TRADITION. . . unknown
1870réf. 279111870. Finely executed portraits of women and their musical instruments larger and more detailed than many other albums. From the school of Youqua. The portraits have no background painting. 8 images mounted with dark turquoise border silk some with cracks; 3 images are mounted on card at a later date. All images loose in papered boards which open Western style and are disbound and very rubbed. Most images are in lovely and larger than most. Besides some small cracks they are in very good condition. 4to 11 1/2 x 8 unknown
réf. 006911Chefoo China: Women's Bible School American Presbyterian Mission Book. Near Fine. Soft cover. First Edition. Oblong Folio. No Date circa 1930. Near Fine pages with light toning. Oblong folio 10" x 13 3/4". Bound in beautiful red pictorial embossed silk over limp boards string-tied 28 pp of cut-out illustrations in black and white many with colorful silk inlays with tissue guards publisher's 1 page explanatory leaf laid in also an original 6 1/2" x 10 1/2" cut-out with colorful silk inlays and string hanger readt-to-hang laid in. Cut-out chapter headings are Travel and Transportation Customs and Habits Chinese Birth-Year Cycle latest date 1935 Occupations The Eight Immortals Myths and Legends Chinese Recipes Chinese Children Chinese Junks and The Magician. Well over 100 cut-outs in all including the bonus laid in cut-out and SCARCE THUS. Women's Bible School, American Presbyterian Mission Paperback
1930Acquaforte, 1930 circa. Lastra mm 125x165, figlio mm 355x505. Firma a matita in basso a destra “L. Bartolini”. Dedica incisa in lastra, in basso “V. Cardarelli”. Dalla biografia di Luigi Bartolini si evince che nel gennaio 1928 ha inizio la corrispondenza epistolare con Vincenzo Cardarelli, che durerà fino al febbraio 1930. Pertanto, la datazione della lastra viene ricondotta a tale periodo. 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). Opera rarissima, non descritta dai repertori. Etching, circa 1930. Plate mm 125x165, son mm 355x505. Pencil signature at lower right "L. Bartolini". Dedication engraved on plate, at bottom "V. Cardarelli". From Luigi Bartolini's biography it is clear that in January 1928 he began his correspondence with Vincenzo Cardarelli, which lasted until February 1930. Therefore, the dating of the plate can be traced back to that period. 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 ...
1513Xilografia, 1513, senza monogramma. In una lettera indirizzata a Dürer da Nikolaus Kratzer (1486-155), astronomo di corte del re Enrico VIII d'Inghilterra, Kratzer chiede a Dürer: "Ti prego di mandarmi il ritratto di Stabius, raffigurato come San Kolman, tagliato in legno". La paternità dureriana di questa xilografia non è stata ancora accettata da tutti. Strauss la include tra le xilografie per la forte possibilità che sia basata su un disegno di Dürer, forse frettoloso, e poi tagliata nel blocco senza la sua super visione. Dodgson attribuisce questa stampa a Springinklee, come fa Meder, mentre Schoch afferma che la figura è disegnata troppo bene per essere stata disegnata da Springinklee. L'assenza del suo monogramma non può essere necessariamente interpretata come un'indicazione che Dürer non sia l'autore, perché la xilografia serviva come illustrazione di un foglio accompagnato da un'ode saffica di Stabius, e recante, sopra l’immagine, il seguente testo 'Divo Colomanno martyri sancto: Austrieque patrono/ presentissimo: Joann. Stabius. Au. voti reus. Hoc/ carmen dedicat. Anno dni. etc. M.D.xiij' Dürer conosceva bene Johannes Stabius (morto nel 1522), filosofo e astronomo di corte dell'imperatore Massimiliano. Stabius accompagnò l'imperatore nella sua visita a Norimberga, 3-15 febbraio 1512, ma a quanto pare rimase più a lungo perché il 30 luglio ha preparato un oroscopo a Norimberga per Matthäus von Gurk . Stabius è qui raffigurato nelle vesti di San Colomanno, venerato in Austria. Il santo fu impiccato nel 1020 a Stockerau. Indossa un cappello da pellegrino e tiene nella mano sinistra una frusta intrecciata. I quattro stemmi sono (in senso orario) quelli dell'Impero, dell'Arciducato d'Austria, della Scozia e di Stabius. San Colomanno, secondo la leggenda, era un discendente della famiglia reale scozzese. Magnifica impressione, impressa su carta vergata con filigrane doppia croce e lettere ICP”, in perfetto stato di conservazione. Esemplare nella seconda edizione descritta da Meder e pubblicata da Adam von Bartsch utilizzando la matrice originale conservata all’Albertina di Vienna e datata 1781. Woodcut, 1513, without monogram. In a letter, addressed to Dürer by Nikolaus Kratzer (1486-155), court astronomer to King Henry VIII of England, Kratzer asks Dürer: “I beg you to send me the portrait of Stabius, portrayed as Saint Kolman, cut into wood. "Yet Dürer's authorship of this woodcut has not gained general acceptance Dodgson attributes this print to Springinklee, as does Meder, while Schoch states that the figure is drawn too well to have been designed by Springinklee. Strauss included it among on Dürer’s woodcuts because of the very strong possibility that it is based on a drawing by Dürer, perhaps a hasty one, due to his preoccupation with the master engravings of this period, and then cut into the block without his super vision. The absence of his monogram cannot necessarily be construed as an indication that Dürer was not the author because the woodcut served as illustration of a broadsheet accom panied by a sapphic ode by Stabius, lettered above the woodcut on left sheet: 'Divo Colomanno martyri sancto: Austrieque patrono presentissimo: Joann. Stabius. Au. voti reus. Hoc carmen dedicat. Anno dni. etc. M.D.xiij' Dürer was well acquainted with Johannes Stabius (d. 1522), philosopher, and court astronomer to Emperor Maximilian (see the following woodcuts). Stabius accompanied the emperor on his visit to Nuremberg, 3-15 February 1512, but apparently stayed on for some time because on 30 July he prepared a horoscope at Nuremberg for Matthäus von Gurk. Stabius is pictured here in the guise of St. Coloman, venerated in Austria. The saint was hanged in A.D. 1020 at Stockerau. Wearing a pilgrim's hat, he is holding in his left hand a braided whip. The four coats of arms are (clockwise) those of the Empire, the Archduchy of Austria, Scotland, and of Stabius. St. Coloman, according to legend, was a descendant of the Scottish royal family” (cf. Strauss. p. 483). Example of the second issue described by Meder, printed by Bartsch from the block in the Albertina dated MDCCLXXXI. A fine impression, printed on laid paper with “ICP with Doublecross” watermark, perfect condition. Bartsch, 106; Meder n. 194; TIB 1001.306 (137): Strauss, p. 483-485, n. 169.
1736réf. CHE2987MReliés, 319 et 298 pages, paru en 1736 à Paris, chez Jacques Guérin, libraire-imprimeur, 19,5x13,5cm. Très bon état général, très bien conservés, reliures légèrement usées, certaines pages légèrement brunies ou présentant des rousseurs.
réf. Z1-L-017-01553Architectural Association. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Architectural Association unknown
193794 pages plus 3 pages of advertisements at back. "The five lectures which are here reproduced are necessarily confined to certain aspects of the wide subject indicated by the title. They are printed essentially as they were delivered." - from Preface. Lectures include: National Monetary Systems; The Function and Mechanism of International Flows of Money; Independent Currencies; International Capital Movements; The Problems of a Really International Standard. Blue cloth-covered boards. Gilt lettering legible upon spine despite moderate sunning. Binding and hinges intact. Unmarked. Average wear. Very light foxing to front endpaper - even less to back endpaper. Moderate foxing to edges. A sound copy. COHEN 916, MACHLUP B-3. Book
1949xv, 889 pp. Index. A comprehensive and systematic treatise on economics, social philosophy, and the social sciences. A survey of the science of human action, its epistemology, its theories derived by reasoning logically from a priori axioms, and their application to specific economic phenomena. A rewritten version of Nationalokonomie, Theorie des Handelns und Wirtschaftens, published in 1940. Usual library markings. Ink markings to page 265. Above-average wear to grey boards. Binding intact. A worthy first printing example of this, the author's masterwork. Greaves & McGee B-16. Hutchinson 351. Fundaburk 1806. Book
1800réf. 225275England 1800. Watercolor drawing. 31.8 x 45.7 cm. 12-1/2 x 18 inches. Framed and matted. Watercolor drawing. 31.8 x 45.7 cm. 12-1/2 x 18 inches. Superb hilltop view of the old port in this village in North Devon showing several large frigates anchored in the bay sloops moored in the harbor cattle grazing on the slopes sea and sky in the distance. unknown books
