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rif. 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 books
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.
1736rif. 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.
rif. 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
rif. 8380Vista panoramica di Venezia.Gouache sur trait gravé,avec rehauts de gomme.L’auteur serait P. MAJOOCHI,et la gravure de Francesco CITTERIO. Chez Vallardi éditeur à Milan,vers 1850.1075x425mm y compris son cadre doré, d’époque.880x230mm hors marges. Très bon état.Le cadre n’a jamais été démonté,ce qui explique ces quelques traces de poussière sur le verre. Coloris frais. La vue de Venise est centrée sur la piazza San Marco, la tour du Campanile bissectrice de la composition avec le port sur la droite. Antonio VALLARDI est une maison d’édition italienne basée à Milan. Fondée en 1750 par Francesco Cesar VALLARDI
1961rif. 2080302106809091Nagasaki University School of Medicine 1961. Soft Cover. Fine. Number of books: 2 Nagasaki University School of Medicine paperback
2012rif. 2081502111905134old books in shanghai 2012. Soft Cover. Fine. The book is in fine condition. old books in shanghai paperback
1932Acquaforte, 1932, esemplare unico terminato ad acquarello. Lastra 130x220 mm. Firmata e datata in lastra 1932. Titolo autografo a matita in basso a sinistra dove riportata l’iscrizione “unica a colori”. Firma a matita in basso a destra “Luigi Bartolini”. Un esemplare unico della stampa viene descritto in diversi repertori (vedi bibliografia sotto) e riprodotto ne Gli esemplari unici o rari (Casini editore, Roma 1952). Il presente esemplare sarebbe dunque l’unico terminato a colori da Bartolini. 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). Magnifica prova, con margini, in ottime condizioni. Il presente esemplare proviene dalla mostra di Bartolini presso la Galleria d’Arte Moderna Viotti di Torino, tenutasi il 22 febbraio 1969. Viene allegata la targhetta della galleria. Etching, 1932, unique example finished in watercolor. 130x220 mm plate. Signed and dated on plate 1932. Autograph title in pencil at lower left where inscribed "unique in color". Signature in pencil at lower right "Luigi Bartolini". A unique example of the print is described in several repertories and is reproduced in (Casini editore, Roma 1952). The present example would therefore be the only one finished in color by Bartolini. Magnificent proof, with margins, in excellent condition. The present example comes from Bartolini's exhibition at the Galleria d'Arte Moderna Viotti in Turin, on February 22, 1969. The gallery plaque is enclosed. 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, Bartolin... Gli esemplari unici o rari, Casini editore, Roma 1952; C.A. Petrucci, Le incisioni di Luigi Bartolini, Calcografia Nazionale Roma (1951), n. 379 (e.u.); G. Ronci, Le incisioni di Luigi Bartolini, Calcografia Nazionale Roma (1962), n. 379 (e.u.); C. Barsan
1889rif. E00911889. Titelblatt von J. Berjon in Tinte signiert / titre signé en encre par Berjon. 11 Lagen starkes Papier mit Kordelbindung. Lederband der Zeit mit goldgeprägtem Deckel- u. Rückentitel. Zustand 1.
1600Bulino, 1600 circa, firmata in lastra nell’immagine, in basso a destra: “Joannes Muller. fecit”, at left: “Harmannus Muller. excud. Amstelodamj”. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame ed applicata su antico supporto del XIX secolo, tracce di usura nella parte inferiore, nel complesso in buono stato di conservazione. Questa incisione, anche se per ragioni stilistiche strettamente legata a Spranger, dev’essere stata disegnata dallo stesso Muller. Il disegno di questa stampa, firmato "JMuller fecit", è attribuito da Bartsch (III, p. 284, n. 64) a Spranger. Obheruber (cfr. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), ha evidenziato l'inesattezza di quest’attribuzione. Bibliografia Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10. Engraving, 1600 circa, signed below in the image, at right: “Joannes Muller. fecit”; at left “Harmannus Muller. excud. Amstelodamj”. A fine impression, printed with tone on contemporary laid paper, trimmed to the borderline and pasted on 19th Century mounting, good condition. This print, though stylistically closely related to Spranger, must have been designed by Muller himself. The drawing for this print, signed “JMuller fecit”, is attributed by Bartsch (III, p. 284, n. 64) to Spranger. Obheruber (cf. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), has pointed out the inaccuracy of the attribution to Spranger. Literature Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10.
2021rif. 2081502111905282Chinese book office 2021. Soft Cover. Fine. The book is in fine condition. Chinese book office paperback
rif. 98166101Japan n.d. ca 1830. A superb scroll painting on silk 39.5 cm. wide by 233 cm. long painting size: 29.5 x 185cm. fine mounting pale silk chrysanthemum patterned border flawless flawless excellent pastel colors excellent condition.RARE! THIS IS A GREAT AND STUNNINGLY BEAUTIFUL HAND-PAINTED SCROLL THE SUBJECT: Kato Kiyomasa 1562-1611 was the son of Kiyotada a relative of Hideyoshi Toyotomi and served him and distinguished himself as one of the seven most famous warriors of that time by his heroic acts at the Battle of Shizugadatake. . During the invasion of Korea he followed Yukinaga Konishi -1600 to Pusan and on to Seoul in 1592 where he fought so fiercely that the Koreans named him "Devil Kiyomasa." Yukinaga was a Christian warrior & retainer of Hideie Ukita and was appointed Lord of Settsu by Hideyoshi Toyotomi. . Hideyoshi appointed these two to spearhead the Korean invasion with Yukinaga the commander. The plan was to launch waves of army corps by ship across the 56 mile wide Tsushima straits to Pusan. Some 300000 fighting men a truly serious force embarked. The first force of 9200 Samurai armed with matchlocks bows and swords set out. Upon landing they rapidly advanced North up the peninsula taking out Korean castles and subduing the regions through power of force. They advanced to Seoul as the armies divided into two parts each racing to see who would enter Seoul first. . At Cho-ryung pass they united then both advanced on Seoul & took the castle as the Korean King and his entourage fled over the river at Imjin where the Koreans up their valiant effort to check the Japanese. This is a most magnificent painting of both Kiyomasa and Yukinaga as each holds a Naginada while the Korean King prepares to rides a black steed effecting his escape while being protected by a retainer who also holds an elaborate Naganada with the Imperial banner. THE ARTIST AND PAINTING SCHOOL: . This work was done in the Utagawa school style and was likely painted by Utagawa Kuniyoshi or one of his star pupils. It was painted in the "Ukiyo-e" style similar to that of a color woodblock print. . It is painted in a firm solid confident strong hand this work is executed with most impressive brush strokes style & manner expressing the Bushido spirit celebrating triumph over the Koreans. Marvelous detail to the whole work renders this a major piece. Skillfully drawn & painted on silk which is the most difficult medium to control ink flow this work is flawless and a fine example worthy of display in any Tokunoma. . The top is blue paper with black Sumi inscription naming the heroes and citing the Korean Battle. REFERENCE: For biographical details see JAPAN BIOGRAPHICAL ENCYCLOPEDIA & WHO'S WHO pp.592 689-90. . F. Brinkley: A HISTORY OF THE JAPANESE PEOPLE pp.509-520. . unknown
rif. 60722Holland 18th century. . Water-colour on Dutch laid paper some light toning. Framed and glazed overall size: 38.7cm by 45.7cm. Dimensions: 18 by 13cm. 7 by 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c.1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. [Holland, 18th century]. unknown
rif. 60952Holland 18th century. . Water-colour on Dutch laid paper light paper toning. Framed and glazed overall size: 38.7cm x 45.7cm. Dimensions: 180 x 130mm. 7 x 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection. [Holland, 18th century]. unknown
rif. 60719Holland 18th Century. . Water-colour on Dutch laid paper some light toning. Framed and glazed overall dimensions: 38.7cm by 45.7cm. Dimensions: 18 by 13cm. 7 by 5 inches. From a "Tulip Book" in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right with several highly accomplished works to his name. However as with most of the great Dutch masters of this period they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection. [Holland, 18th Century]. unknown
rif. RGW26779Watercolour on wove paper later inscription in ballpoint on reverse of surround 'View of Kew' inlaid small loss on far right The Archives of Kew Gardens in an email dated March 2026 were unable to identify this watercolour with any particular building but point towards a similar design of a garden pavilion by William Chambers 1723-1796 in the Sir John Soane's Museum Ref. 43/7/12. Numerous garden buildings were erected at Kew Gardens by Chambers and other designers and many are unrecorded. This pavilion could even have been for another garden in Kew like Syon Park.See HARRIS J. & SNODIN M. Sir William Chambers Architect to George III. 1996 and DESMOND R. Kew The History of the Royal Botanic Gardens 1995.Provenance: Tom Greeves 1917-1997 Architect and Artist. unknown
rif. Z1-C-018-02820Cambridge University Press. 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. Cambridge University Press unknown
1891rif. 10008Seneca Falls NY 1891. No Binding. Near Fine. 3-inch diameter globe anchored in magnifying glass as issued; 5 ½ inches total height. Color-printed wax-engraved gores; some fading of place names a few repair in extreme southern portion but overall remarkably little wear; overall excellent condition. An unrecorded delightful cartographic curiosity: a very good quality miniature globe with a magnifying paperweight as its base. Only two other globes by the American Globe and Supply Company are known: a six-inch terrestrial recorded by Rumsey dated 1892 and an eight-inch terrestrial cited in Rittenhouse dated 1891; see below. This Seneca Falls New York company was one of several for which Rand McNally supplied gores for the globes it produced. Rand McNally did not issue its first globe until 1887. Very nice condition for an object of this kind. Cf. Rumsey 5120; Rittenhouse Vol. 2 No. 1 p. 23. unknown
1891rif. 10008Seneca Falls NY 1891. No Binding. Near Fine. 3-inch diameter globe anchored in magnifying glass as issued; 5 ½ inches total height. Color-printed wax-engraved gores; some fading of place names a few repair in extreme southern portion but overall remarkably little wear; overall excellent condition. An unrecorded delightful cartographic curiosity: a very good quality miniature globe with a magnifying paperweight as its base. Only two other globes by the American Globe and Supply Company are known: a six-inch terrestrial recorded by Rumsey dated 1892 and an eight-inch terrestrial cited in Rittenhouse dated 1891; see below. This Seneca Falls New York company was one of several for which Rand McNally supplied gores for the globes it produced. Rand McNally did not issue its first globe until 1887. Very nice condition for an object of this kind. Cf. Rumsey 5120; Rittenhouse Vol. 2 No. 1 p. 23. unknown books
1884rif. 23391884. Very good . A unique quarto 15 x 12 1/2 inches 382 x 318 mm; 30 double-sided sheets containing approximately 80 preserved specimens of seaweed and sea mosses which are individually dried mounted to card stock and tipped-in; each with the genus in Latin and the date and location of collection handwritten in pencil in the lower mount. Approximately 1 to 5 specimens per page. Binding is broken and significantly worn with some pages loose. Specimens are intact and separated by blotting paper and remain in very good to excellent condition with some exhibiting only minor losses. While seaweed collecting was a popular Victorian pastime in Britain this rare herbarium is filled with a profusion of north American specimens primarily from Bay Ridge Brooklyn to Nantucket island as well as some from California and Bermuda. In the Victorian era seaweed collecting or algology was far more than a casual beach activity; it was a massive cultural trend that married scientific curiosity artistic expression and social freedom. While the Victorians were obsessed with all things natural history a trend called "natural theology" seaweed held a unique appeal especially for women. While studying animal anatomy was seen as "unladylike" at the time collecting seaweed was considered a genteel and healthy outdoor activity. As a result several women used the opportunity to make significant scientific contributions. Often called "Ocean Flowers" or "Sea Mosses" these specimens became the focus of elaborate scrapbooks and pioneered some of the world's first photographic techniques Anna Adkins's Produced Photographs of British Algae: Cyanotype Impressions 1843 was the first book ever illustrated with photographs. Today these Victorian albums are more than just relics of a cultural fad; they are vital biological records. Scientists utilize the DNA from these 150-year-old pressed samples to track how ocean temperatures and species distributions have changed since the Industrial Revolution. Creating a seaweed album was a meticulous process. Collectors didn't just dry the weeds; they "resurrected" them to look alive on the page. This album demonstrates the incredible skill of the maker. unknown
1895rif. 223921Paris: Gauthier-Villars et Fils 1895. First. hardcover. fine. Illustrated throughout with nicely printed portraits and other historical reproductions. 3 volumes. lxviii 519; 572; 646pp. Very thick short 4tos beautifully rebound by Stroobants in older 3/4 tan morocco over marbled boards; ornate gilt-stamped spines with burgundy leather labels; uncut edges t.e.g. original wrappers bound-in marbled board slipcase worn. Paris: Gauthier-Villars et Fils 1895-1897. Fore-edges foxed and also some light foxing throughout the first volume otherwise a fine copy in a lovely binding. Gauthier-Villars et Fils unknown
1895rif. 223921Paris: Gauthier-Villars et Fils 1895. First. hardcover. fine. Illustrated throughout with nicely printed portraits and other historical reproductions. 3 volumes. lxviii 519; 572; 646pp. Very thick short 4tos beautifully rebound by Stroobants in older 3/4 tan morocco over marbled boards; ornate gilt-stamped spines with burgundy leather labels; uncut edges t.e.g. original wrappers bound-in marbled board slipcase worn. Paris: Gauthier-Villars et Fils 1895-1897. Fore-edges foxed and also some light foxing throughout the first volume otherwise a fine copy in a lovely binding. Gauthier-Villars et Fils unknown books
