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2008Paperback Like New. Ships from publishers directly but must allow a minimum of 20 - 25 business days shipping time.
2019réf. 2081502111905323Chinese book office 2019. Soft Cover. Fine. Number of pages: 5582 pages of text Number of books: 12 hardcovers Chinese book office paperback
réf. 2081502111906889Zhejiang People's Art Publishing House N.A. Soft Cover. Fine. The book is in fine condition. Zhejiang People's Art Publishing House paperback
réf. 13210[La Sauvetat], Robert Chatin, Imprimerie Vatel à Brioude, 1995 - Paris, Art inprogress Editions, 2007 ; 2 forts vol. in-4. 597 pp.-1 f. / 733pp. Cartonnages illustrés de l'éditeur, avec une jaquette couleurs por le second volume. Exemplaires neufs.
1928réf. 4601Paris Les Editions d'art Devambez 1928 grand in-4 en feuilles Paris, Les Editions d'art Devambez, 1928. 33,5 x 26 cm, grand in-4, (4) 109 (6) pp. - frontispice et 14 planches hors texte d'après Le Gréco, 8 larges en-têtes, vignette de titre et 7 culs-de-lampe également gravés, en feuilles sous couverture blanche rempliée et imprimée, chemise et étui.
1774réf. 18311Amsterdam et Paris, Fr. Ambr. Didot aîné, 1774 ; in-12 (178 mm), demi-veau caramel, dos à nerfs décorés de filets dorés, pièce de titre rouge, date en queue, non rogné (reliure du XIXe) ; 324 pp.
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)
1870réf. 210511870 Huile sur toile, (1870), 26,5 x 21,5 cm., encadrée.
1882réf. 123261882. 233x354mm. 9¼x14". h. 1882-1830. 233 x 354mm. Pluma y aguada gris anverso y pluma reverso sobre papel avitelado amarillento Inscrito; "France" en el reverso. unknown
1805réf. xs2314Paris, Allais, libraire, quai des Augustins, n°44 Relié 1805 Deux volumes in-4 (20,5 x 26,2 cm), reliure plein veau, dos lisse, 308 et 299 pages, complet des 20 planches dans le premier volume et des 13 planches dans le second ; coiffes et coupes usées, mors inférieur fendu aux coiffes au tome 2, mouillure sur le bord des planches au tome 1, par ailleurs bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1805réf. 17590Paris, Bernard (imprimerie de H.L. Perronneau), XIII-(1805) ; in-4, demi-basane marbré, dos lisse, titre en long (reliure moderne) ; (4), 56 pp., 1 planche hors texte gravée par Aubertin d'après L.J. Girard.
1936réf. 19391936 Paris, Albert Skira, 1936. 32,5 x 25,5 cm, grand in-4, 66 pp. - 2 ff. - 11 eaux-fortes hors texte dont une en frontispice, 10 eaux-fortes dans le texte, en en-tête, en feuilles sous couverture blanche imprimée, chemise et étui de l'éditeur.
réf. 63194Nineteenth Century. Apx. 7 x 11 inches image size. Matted framed and glazed. Apx. 7 x 11 inches image size. Provenance: Estate of Esmond Bradley Martin unknown
réf. 63194Nineteenth Century. Apx. 7 x 11 inches image size. Matted framed and glazed. Apx. 7 x 11 inches image size. Provenance: Estate of Esmond Bradley Martin unknown books
1931réf. 14390Minden LA 1931. Very Good. Minden LA: 1931. Original black and white photograph 15.5x25.5cm. depicting the girls' basketball team alongside their coach Mr. Russ each player identified in ink manuscript along bottom of image. Photograph slightly curled with very small flaw at bottom of image else Very Good overall. Misidentifying manuscript label mounted to verso identifying the team in "Shreveport LA / Circa 1947 / Washington ". The label is a red herring misdating and misplacing the photograph sixteen years late and thirty miles west. The center player holds a basketball dated '31 nineteen years before Booker T. Washington High School was founded. The school almost certainly is Webster High School in Minden Louisiana thirty miles east. The building in the background and the women's slightly mismatching uniforms conform to those depicted in W.L.G. Abney's 1950s booklet "The History of Webster High School." Indeed the simple whitewashed wooden structure sitting on a brick pile foundation appears to be either the back of the dormitory or the newly-completed library the ground still unpaved dirt. The story of the founding of Webster High School less than ten years earlier in 1922 displays the dedication and financial burden of a Black community in the heart of the Jim Crow South. According to Abney's history a Colored Board of Trustees comprised of members of the community first set out to find a suitable site for a new school settling on a piece of land "owned and occupied as a home by one of Minden's colored citizens Mr. Henry Harris who was perfectly happy there and had no desire to sell." Abney glosses over the displacement of Harris but the site was secured and approved by the White Parish board "with the understanding that the colored people themselves would have to make substantial financial contribution if they were to secure this site because no money had been budgeted for the cause at that time." Indeed by 1931 the list of state-sponsored schools in Louisiana for White and Black students was sixty-eight to four. Webster was not one of those four schools. As Abney's history delineates however the money was raised by the community through the leadership and outreach of the Colored Board of Trustees and by 1931 a library had been erected and numerous sports teams active. The date is also significant as it coincides with the founding of two of the first all-Black all-women's professional basketball clubs the Philadelphia Tribune Girls and the Chicago Romas. Perhaps these pioneering teams inspired the formation of Webster High School's girls' basketball team. In any case the members listed are as follows: Coach Mr. Russ Tena Lowery Hazel Garrett Willie Stewart B. Green M. Ford Bran Watson M. Gafford E. McCorey Ella B. Gafford Lorscie Henry and Louella Ruffin. unknown books
réf. PC88Large folio album ca. 35.5 x 27.5 cm 14 x 10 ¾ in. 86 original photographs including 80 albumen prints and 6 cyanotypes mounted on recto and/or verso of 29 leaves ca. 34.5 x 24.5 cm 13 ½ x 9 ½ in. 10 large photographs from ca. 23.5 x 17.5 cm 9 ¼ x 6 ¾ in. to ca. 27.5 x 23.5 cm 10 ¾ x 9 ¼ in. one photograph ca. 5.5 x 9 cm 2 x 3 ½ in. and the rest ca. 13.5 x 9.5 cm 5 ¼ x 3 ¾ in. to ca. 12 x 18.5 cm 4 ½ x 7 ¼ in. All captioned in period manuscript black ink on mount and/or in negative on the photograph. Period brown half sheep with gilt bands brown pebbled cloth boards and moiré endpapers. Album leaves slightly waved covers with some mild wear at extremities but overall album and photographs in very good condition. This album contains photographs showing onboard activities landscapes and port cities during the travels of two French Navy School ships. The majority of the album focuses on a voyage aboard the Iphigénie frigate from October 5th 1886 to July 30th 1887 around the Mediterranean sea and across the Atlantic Ocean to the Caribbean. Two large photographs show a rare views of a equatorial line-crossing ceremony in November 1886 during which the crew dress up in costumes. Several photographs show landscapes of the Caribbean including the Islands of the Saints « La Grande Anse » and the Chameau Mountain in Guadeloupe as well as the Madame river in Martinique. Additionally there are two portraits of laundresses in Fort de France Martinique. Eight photographs of Malta include a panorama of Valletta views of the port and streets in the Faubourg of Lisla. There are several images showing Portugal including the Tower of Belem in Lisbon and eight views of the Pena Palace in Sintra. Photographs of Algeria include views of Alger and Mers-el-Kébir and two portraits of Moorish women. Also shown are several onboard exercises such as firing the canon and military exercises on land such as landing exercises. The album also contains photographs of another Naval School ship’s voyage from Manche France to Anvers Belgium onboard the Bougainville in 1885. These include views of the Saint André Church and the Calvaire St Paul in Anvers as well as two destroyer stationed in the Brest port the Terrible and the d’Estaing. Overall a historically interesting early album showing scenes of the voyages and activities of French Naval School ships in the Mediterranean Atlantic and Caribbean. List of Captioned Images : Chaire de la cathédrale d’Anvers ; Chaire de l’église de St André Anvers ; Anvers Lot de la Bourse ; Salle du Conseil – Palais des Grands Maîtres Malte ; Chef de Corporation par G. De Vos – Musée d’Anvers ; Malte – Le Port Polyphemus torpilleur anglais lance torpilles sous l’eau- guille mobile ; Le Christ de Léonard de Vinci cathédrale d’Anvers ; Malte – L’entrée du port ; Le Christ de Rubens ; Malte – Le Port ; L’Intérieur de St André Anvers ; Calvaire St Paul Anvers ; L’Adoration de l’agneau de Van Dyck ; Iphigénie au mouillage dans le port de Philippeville Mai 1887 ; Tour de Belem – Lisbonne – Octobre 86 ; Faubourg de Belem Lisbonne ; Couvent des Hicronymites – Lisbonne ; Château Royal de la Pena sur la Suerra Cintra 30 kil ouest de Lisbonne ; Porte d’entrée du Château de la Pena ; Château de la Pena ; Château de la Pena porte d’entrée ; Ruines du château des Maures sur un piton en face de la Pena ; Autre vue de la Pena prise de la route qui y conduit ; Cour intérieure de la Pena. À gauche vue sur l’océan. A droite porte d’entrée diable ; Château de la Pena Porte donnant accès aux galeries qui conduisent à la porte principale diable ; La Pena ; Blanchisseuse de Fort de France dans ses plus beaux atours ; Maison particulière sur la savane à Fort de France ; La fête du passage de la Ligne à bord de l’Iphigénie Passage à la baille pour le baptème ; Paysages des environs de Fort de France ; Arbre à Pain ; Rivière Madame Fort de France ; La fête du passage de la Ligne à bord de l’Iphigénie Novembre 1886. Le défilé du roi tropique et sa suite ; Decembre 86 à Janvier 87 Deux Vues prises des flancs du chameau ; Mouillage des Saintes terre d’en haut le bourg à droite le fort Napoleon à gauche le fort de la bête rouge au premier plan l’Iphigénie ; La terre d’en haut Le Bourg anse du fond curé au premier plan puis petite anse puis anse du bourg ; Alger Vue générale prise des jetées ; Mauresque d’Alger – Aïcha ; Le Bourg des Saintes ; Vue Prise des flancs du Chameau du bourg des Saintes et d’un ravin ; Terrible cuirasse d’escadre canon du 42 eme ; L’Iphigénie au mouillage des Saintes prise des bords de l’anse du bourg porte sable à droite porte à vache et paté à gauche ; L’ilet à Cabrits l’Iphigénie les aspirants aux observations ; Square sur le quai d’Ajaccio 13 Mai 1887 ; L’ilet à Cabrits ; Montagne du Chameau aux pieds le fort de la tête rouge puis le pain de sucre au dernier plan la terre d’en bas ; Exercice du canon de débarquement aux Saintes ; Blanchisseuse du Fort de France ; Exercices en terrains variés compagnie de débarquement de l’Iphigénie aux Saintes Montagne de Chameau au milieu au dernier plan ; Formation contre la cavalerie ; Ruines près de Quimperlé Juillet 1887 ; Appartements du 1er président à Alger Mai-Juin 1887 ; Exercices de débarquement aux Saintes ; Dakar mi-Novembre 1886 ; Le bourg des saintes ; La Grande Anse Saintes Tir du fusil ; L’Iphigénie aux Saintes – Port Napoléon à droite ; Ajaccio place Grandal ; Statue d’Abattuci Ajaccio près du rivage sortie de la ville en allant à Bastia ; La Valette Malte fin de Mai 1887 ; 4e poste Babord l’Iphigénie ; 1er poste Babord ; Champion poste de guerre de Malte-Anse des Français ; Strada Crocifixo Malte; Strada Vittoria Malte ; Grotte de Napoléon à Ajaccio ; Saintes-Escrime au Sabre ; Galerie dans le palais des Grands Maître Malte ; Iphigénie à Malte- Anse des Français ; Iphigénie Gaillard d’arrière ; Tir du canon de l’Iphigénie ; Gaillard d’Avant l’Iphigénie ; Tir du canon revolver sur la dunette ; Dunette de l’Iphigénie ; Le Terrible en armement dans le port de Brest ; Le d’Estaing en armement dans le port de Brest ; Mers-el-Kébir 10-13 Juin 1887 ; Mers-el-Kébir Le Port vue prise de la route d’Aïn el Turk ; Tir du canon de 10 c/m Gaillard d’avant de l’Iphigénie ; Ecouvillonnez ; Types Algériens Femme Mauresque d’Oran ; Dunette tribord prise de la grande hume ; Gaillard d’avant de l’Iphigénie prise de la Grande Hume hardcover
1904réf. 190595Paris: Armand Guerinet 1904. Hardcover. Good heavy scuffing and shelfwear to covers age toning throughout remnants of a label on spine of volume 2 leather spine of volume 2 is torn volume 3 front cover is unattached and leather spine is torn with pieces missing volumes 2 3 4 have a bookplate inside front covers volume 4 leather spine torn with front cover loose appears all plates are present but difficult to determine bc they are not bound consecutively. Four volume set bound in 3/4 red leather and marble paper over boards 5 raised bands with gilt lettering on spines top edge gilt marble end papers. Volume 1 has 16 text pages followed by various paginations of plates. Volumes II III and IV are all bw plates with various paginations. This is a complete four volume set. Text is in French. At head of title: Ecole nationale des beaux-arts. Cinquantenaire. The Grands Prix de Rome for architecture from 1850 to 1900: Reproduction in collotype of the 1st 2nd and 2nd second Grand Prix with the competition programs subjects given by the Academy of Fine Arts. 18x13x5" Armand Guerinet hardcover
1904réf. 190595Paris: Armand Guerinet 1904. Hardcover. Good heavy scuffing and shelfwear to covers age toning throughout remnants of a label on spine of volume 2 leather spine of volume 2 is torn volume 3 front cover is unattached and leather spine is torn with pieces missing volumes 2 3 4 have a bookplate inside front covers volume 4 leather spine torn with front cover loose appears all plates are present but difficult to determine bc they are not bound consecutively. Four volume set bound in 3/4 red leather and marble paper over boards 5 raised bands with gilt lettering on spines top edge gilt marble end papers. Volume 1 has 16 text pages followed by various paginations of plates. Volumes II III and IV are all bw plates with various paginations. This is a complete four volume set. Text is in French. At head of title: Ecole nationale des beaux-arts. Cinquantenaire. The Grands Prix de Rome for architecture from 1850 to 1900: Reproduction in collotype of the 1st 2nd and 2nd second Grand Prix with the competition programs subjects given by the Academy of Fine Arts. 18x13x5" Armand Guerinet hardcover books
2024réf. 1103New York 2024. A group of 9 items from the hit play. Included are three handbill flyers 5 ½” x 8 ½” from the original off Broadway shows at Lucille Lortel Theatre two of which are signed by Escola and multiple other cast members; three signed Playbill programs 48pp. from the Broadway shows at the Lyceum Theatre one of which a Pride Month version is singed by Escola only and another from the opening night is signed by the full cast; one production still photo 8” x 10” of Escola signed by Escola; there are also two poster/window cards 14” x 22” one from the off Broadway shows signed by the 5 on-stage cast members and one from the Broadway shows signed by the full cast understudies and including a quote in Escola’s hand. A smudge on one signature some light soiling on a couple pieces else generally fine condition. The darkly silly irreverent and sardonic comedy uses a spin on Americana; telling of Mary Todd Lincoln and the days leading up to the assassination of her husband. “Oh Mary!” premiered off-Broadway at the Lucille Lortel Theatre in February 2024. The play immediately received critical acclaim and it’s close was extended multiple times before transferring to Broadway with previews beginning June 2024. unknown
2024réf. 1103New York 2024. A group of 9 items from the hit play. Included are three handbill flyers 5 ½” x 8 ½” from the original off Broadway shows at Lucille Lortel Theatre two of which are signed by Escola and multiple other cast members; three signed Playbill programs 48pp. from the Broadway shows at the Lyceum Theatre one of which a Pride Month version is singed by Escola only and another from the opening night is signed by the full cast; one production still photo 8” x 10” of Escola signed by Escola; there are also two poster/window cards 14” x 22” one from the off Broadway shows signed by the 5 on-stage cast members and one from the Broadway shows signed by the full cast understudies and including a quote in Escola’s hand. A smudge on one signature some light soiling on a couple pieces else generally fine condition. The darkly silly irreverent and sardonic comedy uses a spin on Americana; telling of Mary Todd Lincoln and the days leading up to the assassination of her husband. “Oh Mary!” premiered off-Broadway at the Lucille Lortel Theatre in February 2024. The play immediately received critical acclaim and it’s close was extended multiple times before transferring to Broadway with previews beginning June 2024. unknown books
réf. OTF-S-9780547662411Harvest. New. BRAND NEW GIFT QUALITY! NOT OVERSTOCKS OR MARKED UP REMAINDERS! DIRECT FROM THE PUBLISHER! Harvest unknown
1933réf. 019238Zupancic Brothers' Csslon Press. Includes first publication of Irving Wallace Just A Writer on page 24. Scarce. . Near Fine. Soft cover. 1st Edition. 1933. Zupancic Brothers' Csslon Press paperback
réf. 9211690. Good. Gouache and ink with gold heightening on lightweight cream laid paper 10 3/4 x 5 3/8 inches 274 x 137 mm the full sheet. Some scattered light surface soiling along with age related toning and some handling creases minor edge tears and losses and scattered inscriptions. Extensive inscriptions in red and black ink on the verso and in the margins on the recto. The color is exceptionally fresh rich and saturated. Mirza Nur-ud-Din Muhammad Salim 30 August 1569 - 28 October 1627 known by his imperial name Jahangir "Conqueror of the World' was the fourth Mughal Emperor who ruled from 1605 until his death in 1627. He was the third and only surviving son of Akbar and his chief empress Mariam-uz-Zamani born to them in the year 1569. He was named after the Indian Sufi saint Salim Chishti. -Singh Pashaura; Fenech Louis E. eds. 2014. The Oxford handbook of Sikh studies. Oxford University Press. p. 647. ISBN 978-0-19-969930-8. unknown
réf. 41481275Like New. Expedited orders RECEIVED in 1-5 business days within the United States. Orders ship SAME or NEXT business day. We proudly ship to APO/FPO addresses. 100% Satisfaction Guaranteed! unknown
