1986EXTREMELY RARE retrospective on the works of Mexican painter Raul Anguiano. SIGNED by the artist. INCLUDES ORIGINAL LITHOGRAPH, "Three Women from Behind", signed by Anguiano, numbered 187/500. Includes dozens of color reproductions of Anguiano's drawings and paintings. Also includes photographs of Anguiano's process, an essay by Buxo on Anguiano's style (in English), and a short autobiographical piece by Anguiano himself (in English). 285x285mm, 175 pages. Blue leather hardcover with silver dust-jacket. [CONDITION:] Dust-jacket very lightly worn around all edges. Lithograph has a long crease that appears to be a defect caused DURING THE PRINTING PROCESS. Otherwise, this extremely rare book and original lithograph are in VERY GOOD CONDITION.
1855COMPLETE SIX VOLUME SET BOUND IN THREE. RARE elaborate and vast series of detailed lithograph prints of Egypt and the Near East by the eminent Scottish painter David Roberts (1796-1864), which he produced from sketches he had made during long tours of the region (1838-1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter, and he was elected as a Royal Academician in 1841. [ALL VOLUMES]: 300x220mm. Unpaginated. Half-leather gilt Hardcover with gilt ribbed spine. Text block edges gilt. Marbled endpaper. Cover and spine rubbed and slightly scratched. Cover slightly stained. Cover corners bumped and worn. Cover edges slightly bumped. Spine edges and hinges rubbed. Whitepages and few other pages age-stained. Some pages and plates slightly age-stained (otherwise the plates are in very good condition). Pages slightly yellowing. [VOLS.I-II]: Cover corner and spine upper edge peeling. [VOLS.III-IV]: Two bump-marks on spine rear hinge. [VOLS.III-IV & V-VI]: Front cover somewhat lumpy. [SUMMARY]: This extremely rare precious set of classic 19th-century Orientalist lithographs by the foremost artist in this genre is good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
1897- L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H. Piazza, Paris s.d. (Mai 1897), sujet : 22x38cm, planche : 40,8x55cm, une feuille et une serpente. - "L'incantation" (Salammbô) - Original lithograph on Japan paper - L'Estampe Moderne L'Estampe Moderne, Imprimerie Champenois for C H Masson & H Piazza | Paris (june 1897) | subject: 23.5 x 33 cm, plate: 40.8 x 55 cm | one leaf and one guard Rare original color lithograph heightened in gold by Alphonse Mucha for L'Estampe Moderne, 'The free first prize reserved to subscribers to a whole annual run of L'Estampe Moderne'. One of 50 grand luxe proofs printed on Japan paper with wide margins, signed by the artist in the plate, publisher's embossed stamp showing a child in profile to lower margin, numbered stamp of the de luxe printing to verso, upper margin of proof slightly sunned; the print itself preceded by a silk paper guard with the name of the artist, the title of the work and an extract from itlateral tear without loss, not touching text. A lithograph inspired by Gustave Flaubert's Salammbô, an excerpt from which is reproduced on the guard sheet of the print: "[And Salammbô went out onto the balcony of his palace]". A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F. This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs. The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation. Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha "who has only recently become active in France but who has immediately carved out for himself the affection of the public. Like in his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist" (from the notes printed on the guard for Salomé). The two first special numbers of the review were in fact dedicated to him, and were given to "all the subscribers for all twelve annual numbers of L'Estampe moderne" as well as the famous illustration of the covers. A fine signed plate by the master of Art nouveau. [FRENCH VERSION FOLLOWS] Rare lithographie ori
1897- L'Estampe Moderne, Imprimerie Champenois pour CH. Masson & H. Piazza, Paris s.d. (Juin 1897), sujet : 23,5x33cm, planche : 40,8x55cm, une feuille et une serpente. - "Salomé" - Original lithograph on Japan paper - L'Estampe Moderne L'Estampe Moderne | Imprimerie Champenois for C. H. Masson & H. Piazza | Paris [june 1897] | subject: 23.5 x 33 cm | plate: 40.8 x 55 cm | one leaf and one guard Rare color lithograph heightened in gold by Alphonse Mucha for L'Estampe Moderne, series number 2, published in June 1897. One of 50 grand luxe proofs printed on Japan paper with wide margins, signed by the artist in the stone, publisher's embossed stamp showing a child in profile to lower margin, numbered stamp of the de luxe printing to verso, upper margin of proof slightly sunned; the print itself preceded by a silk paper guard with the name of the artist, the title of the work and an introduction to the work as well as a blank guard leaf. A magnificent monthly French publication that appeared between May 1897 and April 1899, L'Estampe moderne comprised unpublished chromolithographs that, unlike those in other magazines like Les Maîtres de l'Affiche and as is stipulated on the guard sheets, were specially made by each artist for the magazine. There are thus 100 prints that appeared in total, covering the major artistic currents of the late 19th Century: Symbolism, Art Nouveau, the Pre-Raphaelites, Orientalists and the Belle époque. Each fascicule of four prints was printed in 2,000 copies and sold for 3.50F, with 100 on Japan paper sold at 10F. Henri Piazza also planned a very luxurious secret printing of 50 copies on Japan paper with wide margins and 50 in black and white on China paper at the considerable price of 30F. This well-sized print is superbly printed in colors on the most prestigious of papers: Japan. Thick, creamy, satin and with a nice sheen, it contributes to making each page a work of art in itself. Its absorptive qualities for ink and its affinity for colors make it the ideal support for these lovely lithographs. The interest of French collectors for artistic posters grew from the beginning of the 1890s. Octave Uzanne invented a term for this growing interest: affichomanie, or poster mania. The poster, originally not rare and posted up in the streets of the capital, thus became a work of art and its ephemeral background became precious and essential for conservation. Piazza decided to extract the poster from its advertising role and to elevate it to a form of art, similarly to luxury illustrated artists' books. He thus put together a prestigious collection of entirely original works by the most fashionable European artists of the age: Georges de Feure, Eugène Grasset, Henri Detouche, Emile Berchmans, Louis Rhead, Gaston de Latenay, Lucien Lévy-Dhurmer, Gustave-Max Stevens, Charles Doudelet, Hans Christiansen, Henri Fantin-Latour, Steinlen, Ibels, Engels, Willette, Henri Meunier, Evenepoël, Bellery-Desfontaines, Charles Léandre, etc. He also included in this project a Czech artist freshly arrived in Paris, Alfonse Mucha "who has only recently become active in France but who has immediately carved out for himself the affection of the public. Like in his posters, which everyone knows and covets, he shows us here the varied resources of his multifaceted talents as accomplished draughstman, decorator and colorist" (from the notes printed on the guard for Salomé). The two first special numbers of the review were in fact dedicated to him, and were given to "all the subscribers for all twelve annual numbers of L'Estampe moderne" as well as the famous illustration of the covers. A fine signed plate by the master of Art nouveau. [FRENCH VERSION FOLLOWS] Rare lithographie originale en couleurs réhaussée à l'or, exécutée par Alphons Mucha pour L'Estampe Moderne, série numéro 2 publiée en juin 1897. Une des 50 épreuves de grand luxe tirées sur Japon à grandes marges, signature de l'artiste dans la planche, timbre à sec de l'é
1946Cartella originale, in folio, contenente 12 fogli sciolti: il frontespizio, 10 litografie numerate e firmate a matita dall’autore, un testo in fac-simile con le note sulla stampa e sulla tiratura; la cartella fa parte della collana di cartelle litografiche diretta da Libero de Libero per lo studio di Villa Giulia; il litografo è Igino Alessandrini; esemplare 12 di 80. La copertina è di Mino Maccari. Le tavole del “Romanzo nero” riportano alla memoria l’episodio di cronaca della prostituta assassinata e fatta a pezzi nella pineta del Tombolo.
1947In-folio, cartella originale rigida, che contiene in fogli sciolti il frontespizio della serie, le 10 litografie, tutte numerate, firmate dall’autore e con l’indicazione del soggetto, e un ultimo foglio con indicazioni sulla stampa e la tiratura; tiratura limitata, dopo la stampa le matrici furono distrutte. Litografo Igino Alessandrini. Ottimo esemplare.
LANDAU'S RAREST AND MOST IMPORTANT GRAPHIC SERIES. This is a suite of 10 haunting and enigmatic original lithographs by Jacob Landau, each one justified and signed in pencil by the artist. From an edition of 20 sets printed on fine BFK Rives wove paper, this is set 20/20. Additionally signed by Landau in the colophon. Furthermore, this is an outstanding association copy, with Landau's signed presentation inscription to Sylvan and Lilyan Cole. Sylvan Cole (1918-2005) was the most important dealer in American prints of his (or any) generation, and as director of Associated American Artists he published and sold many of Landau's prints. Lilyan was his second wife. *** "I did a suite of lithographs called CharadesÖ I associated the name Charades with what Goya had called Caprichos, Öriddles, puzzles. He also did a series called Proverbs, where he picked up on sayings that were common in the land, but dealt with them in mysterious, puzzling ways. And, I dealt with what came out of my obsessions, things that I did not fully understand. Fear of death, for instance, and a sort of frustrated feeling of love. These are obsessions that manifest themselves in various ways and images. The reason they seem to appeal to others is because apparently other people share some of the same obsessions. Thatís where the archetypal aspect comes in." --Jacob Landau. *** Folio. FINE AND BRIGHT WITH NO DEFECTS. Housed in the original cloth folding case, by Schuberth Bookbindery of San Francisco. An outstanding item. Since all of the lithographs are signed, most sets have been broken up. This set, however, was in Sylvan Cole's private collection from the day it was presented to him by the artist until his death in June, 2005. IMPORTANT NOTE: During March, 2006, hundreds of prints represented as being from "the Sylvan Cole collection" were sold at public auction. In fact, ALL of these items were from his leftover gallery inventory, not his private collection. As far as I know, the few items I offer from Sylvan's collection are the ONLY items anywhere on the market which are actually from his private collection (which he kept in his apartment, not his gallery). I acquired them all directly from Sylvan (my uncle), mainly in spring, 2005.
1840- Aubert et Cie, Paris s.d. (1840), 27x34cm, 52 lithographies reliées en un volume. - Fourberies de femmes Aubert et Cie | Paris [1840] | 27 x 34 cm 52 lithographs bound together in half shagreen Full sets of 52 original lithographs enhanced by hand with colour and varnish, first printing. These engravings were initially published in La Caricature. Contemporary binding in half brown shagreen, spine lightly faded and decorated with gilt fillets and fleurons, black morocco library label at the foot, glued paper endpapers, the first with a title label framed with a double gilt fillet, caillouté marbled endpapers. Upper corners lightly damaged, margins and spine ends a little rubbed. Some discreet foxing mainly on the first board. A worm hole filled with a piece of paper on the lower margin of the twenty-first print. Plate 38 is little shorter than the others on the external margin. [FRENCH VERSION FOLLOWS] Série complète de 52 lithographies originales rehaussées en couleurs et gommées, toutes en premier tirage. Ces gravures sont primitivement parues dans La Caricature. Reliure de l'époque en demi chagrin marron, dos lisse légèrement éclairci orné de filets et fleurons dorés, étiquette de bibliothèque de maroquin noir en queue, plats de papier à la colle, le premier comportant une étiquette de titre encadrée d'un double filet doré, gardes et contreplats de papier caillouté. Coins supérieurs légèrement accidentés, coupes et coiffes un peu frottées. Quelques discrètes rousseurs essentiellement sur la première planche. Une galerie de ver comblée à l'aide d'une pièce de papier en marge basse de la vingt-et-unième estampe. La planche 38 est un peu plus courte que les autres en marge extérieure.
1944In-folio, cartella originale rigida, che contiene in fogli sciolti il frontespizio della serie, le 12 litografie a colori, tutte numerate, con timbro a secco “La margherita” firmate dall’autore e con l’indicazione del soggetto; tiratura limitata. Ottimo esemplare.