4 839 résultats
Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
Tavola tratta dal celebre The Musical Entertainer, stampato a Londra da Charles Corbett, [1737-1739 o dopo]. Bickham è principalmente conosciuto per quest'opera incisa, pubblicata per la prima volta in parti quindicinali, ciascuna con quattro tavole, tra il gennaio 1737 e il dicembre 1739. Una seconda edizione fu anche pubblicata in parti tra il 1740 e il 1741, e una terza, stampata dalle tavole originali, fu pubblicata da John Ryall nel 1765. Le 200 tavole sono canzoni di Purcell, Handel, Haydn, Corelli, Pepusch e altri, ognuna con una vignetta incisa, e a parte il loro interesse musicale, forniscono una visione affascinante della vita sociale del tempo. Otto dei disegni sono di Gravelot, e secondo l'opinione di Ray molti altri sono stati imitati dall'opera di Watteau, il che lo porta a dire che il canzoniere "può quasi essere considerato francese". George Bickham il Giovane era incisore, editore, tipografo e uno dei primi caricaturisti inglesi. Ha prodotto pubblicazioni didattiche, caricature politiche e stampe pornografiche. Era il figlio dell'incisore George Bickham il Vecchio, che pubblicò la Universal Penman. Acquaforte, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12 Plate taken from The Musical Entertainer. London: Charles Corbett, [1737-1739 or later]. Bickham was principally known for this engraved work, first issued in fortnightly parts, each with four plates, between January 1737 and December 1739. A second edition was also brought out in parts 1740-41, and a third, printed from the original plates, was issued by John Ryall in 1765. The 200 plates are songs by Purcell, Handel, Haydn, Corelli, Pepusch and others, each headed with an engraved vignette, and quite apart from their musical interest they provide fascinating insight into the social life of the time. Eight of the designs are after Gravelot, and in Ray's opinion many others were imitated from Watteau's Oeuvre, leading him to say the song book "may almost be regarded as French." George Bickham the Younger (c. 1706–1771) was an English etcher and engraver, a printseller, and one of the first English caricaturists. He produced didactic publications, political caricatures, and pornographical prints. He was the son of the engraver George Bickham the Elder (1684–1758), who published the Universal Penman (1733–41). Etching, printed on contemporary laid paper, with margins, perfect condition. Bibliografia Stephen, Leslie, ed. (1886). "Bickham, George (d.1758)". Dictionary of National Biography. Vol. 5. London: Smith, Elder & Co; Cohen-de Ricci 145-146; Ray, French Illustrated Book, 12.
Tavola tratta da A l'ombre de la Croix Studies Of Jewish Life In The Carpathians di Frank Brangwyn, stampato da Jérôme & Jean Tharaud a Parigi, Éditions Lapina, 1931). Si tratta di un’edizione con tiratura di 222 esemplari. Impressione fine su carta giapponese, con margini, condizione perfetta. Queste 64 acqueforti e puntasecca raffigurano scene di Israele e di un villaggio nei Carpazi. Secondo 'Frank Brangwyn, a mission to decorate life (Londra: The Fine Art Society, 2006), il libro era in due volumi e descrive la vita degli ebrei nell'Europa contemporanea. Le stampe di Brangwyn illustrano la città di Belz in Polonia che era un centro di pellegrinaggio. Sembra che Brangwyn abbia inciso la maggior parte delle tavole da fotografie. Sir Frank William Brangwyn era un artista gallese, pittore, acquerellista, stampatore, illustratore e designer. Brangwyn nacque a Bruges, in Belgio, dove suo padre, William Curtis Brangwyn, si trasferì dopo aver vinto un concorso organizzato dalla corporazione belga di San Tommaso e San Luca per progettare una chiesa parrocchiale. Brangwyn era un artista di tutti i mestieri. Oltre ai dipinti e ai disegni, produsse progetti per vetri colorati, mobili, ceramiche, vetreria da tavola, edifici e interni, fu litografo e illustratore di libri. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, non descritte. Plate taken from the Frank Brangwyn’s A l’ombre de la Croix, Studies Of Jewish Life In The Carpathians by Jérôme & Jean Tharaud (Paris: Éditions Lapina, 1931) edition of 222. Fine impression on Japan paper, with margins, perfect condition. These 64 etchings and drypoints are from Anglo-Welsh artist, painter, engraver, and illustrator Frank Brangwyn's depict scenes from Israel and a village in Carpathian Mountains. According to 'Frank Brangwyn, a mission to decorate life' (London: The Fine Art Society, 2006), the book was in two volumes and describes the lives of Jewish in contemporary Europe. Brangwyn's prints illustrate the town of Belz in Poland which was a centre of pilgrimage. Brangwyn seems to have etched a majority of the plates from photographs. Sir Frank William Brangwyn was a Welsh artist, painter, watercolourist, printmaker, illustrator, and designer. Frank Brangwyn was born in Bruges, Belgium where his father, William Curtis Brangwyn, moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, non descritte.
1 vol. in-4 br., Harvard University, Graduate School of Design, Nicolodi Editori, 2006, 347 pp. Text in spanish and english. Bel exemplaire (parfait état). Fine copy. Anglais
4 revues reliés en un vol. in-folio reliure pleine percaline bordeaux, The illustrated Sporting & Dramatic News, Saturday July 9, 1898, pp. 739-776 and 8 pp. - The Sketch. Saturday, July 13, 1898, 478-520 pp. - The Navy & Army Illustrated. Saturday July 16th, 1898, pp. 386-406 - The Graphic. Saturday July 16, 1898, pp. 74-106 Good (binding slightly rubbed). Uncommon. Anglais
Describing the country, it's inhabitants, their manners and customs ; with anecdotes, illustrative of them, 4to, half leather binding, Printed for T. Cadell and W. Davies, Strand, T. Egerton, J. Harding, London, 1803, 1 leaf, 150 pp. Without the plates. Foxing, good copy otherwise. Anglais
Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1789. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
Acquatinta e acquaforte, stampata in seppia, 1786. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1786. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
London, T.Cadell, 1793, volumi 2, in-8, legatura coeva in piena pelle, dorso a cinque nervi con titolo e autore in oro (ossidato) su tassello in pelle rossa. Brutto esemplare: tutti e quattro i piatti risultano staccati. L'interno, compreso il testo, è invece in ottime condizioni.
London, John Lane The Bodley Head Ltd., 1927, in-8 piccolo legatura editoriale in piena tela con titolo sulla copertina anteriore e sul dorso, pp. XI, [1], 144, [4]. Con 61 deliziose illustrazioni in nero di Averil Burleigh, comprese nella paginazione. Prima edizione, con annotazione autografa dell'autrice sulla prima pagina bianca: "Leolyn Louise Everett, Villa Razzolini, Firenze 1949: Peace! and [parola non decifrata] again Peace!". Ex-libris Gwendolen Mary Spranger. "Leolyn Louise Everett was the daugther of Henry A. Everett, a railroad industrialist who introduced the street railway to Cleveland. After returning from Italy in 1914 she met the composer Timothy Mather Spelman (1891-1970) in New York and they married in 1915. They settled in Florence in 1919. In 1921 they bought the Villa Razzolini and their home became a meeting place for intellectuals visiting Florence. From the mid 1930s they lived in Switzerland, New York and Dublin, but in 1947 they returned to their villa in Florence. After her death in 1971 the villa was left to the John Hopkins University". Lievi fioriture esterne.
1 vol. in-8 br., Van Siclen Books, San Antonio, Texas, 1994, 152 pp. et 5 ff. Fair (one leaf unstitched, foxing on cover, otherwise good condition). The Famine Stela is an inscription written in Egyptian hieroglyphs located on Sehel Island in the Nile near Aswan in Egypt, which tells of a seven-year period of drought and famine during the reign of pharaoh Djoser of the Third Dynasty. Anglais
8vo, full editor's cloth, The Engineering Magazine, Copyright 1906, 1234 pages As explained in the preface, "this fourth volume of the Engineering Index represents the continuation of the work originally started by the late Professor J. B. Johnson in the Journal of the Association of Engineering Societies in 1884, and turned over by that Association to the Engineering Magazine, at the close of 1895. The previous volumes, published respectively in 1892, 1896 and 1901, covered with increasing fullness and thoroughness the field of technical engineering periodical literature, and in the present volume every care has been taken to maintain and advance the standard set by its predecessors". Good copy (binding slightly rubbed) Anglais
. 8vo. pp. 940. . Molto buono (Very Good). Piccoli strappi alla sovracoperta. Piccolissime sottolineature a penna su poche pagine (Small underlined passages in pen. mall tears to the dust jacket). Edizione rivista (Revisited Edition). .
3 vol. in-4 br., The Australian Centre for Egyptology, Reports 4, 6, 7, 1993 - 1995, 68 pp. et 45 planches ; 90 pp. et 51 planches ; 51 pp. et 50 planches Bon exemplaire. very good copy Anglais
xii + 473pp., 24cm., publisher's hardcover in red cloth with gilt lettering, very good/fine condition, [Contains 3097 bibliographical references], T94426
1 vol. in-8 cartonnage pleine toile éditeur, Published by the author at Primavesi Chambers, Cardiff, 1924, 132 pp. Bon état. Rare. Français
1 vol. in-8 carré cartonnage éditeur sous jaquette illustrée, Sofia-Press, Dimiter Mihailov, Balkantourism, 1968 Good copy Anglais
Reprinted Verbatim from the Edition of 1768, 1 vol. in-12 reliure de l'époque plein maroqun à grain long bleu, double filet doré d'encadrement en plats, toutes tranches marbrées, Printed for T. and J. Allman, T. Boone, Baldwin, Cradock and Joy, London, 1817, 308 pp. Nice binding. Good (spine a bit rubbed) Anglais
1 pièce de 4 pages format 34 x21 cm. (une page manuscrite), avec le sceau du Notaire Public Bon état. Anglais
Acquaforte stampata in marrone, da Parmigianino. La deposizione, particolare da uno schizzo del Parmigianino (Popham 1971, n. 373); il corpo di Cristo sostenuto da una figura che siede a sinistra e che lo guarda addolorata; in una cornice rettangolare a imitazione di una montatura per lavabo. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Parmigianino. The Deposition, a detail after a sketch by Parmigianino (Popham 1971, no. 373); Christ's body supported by a figure who sits to left, looking down at Him sorrowfully; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
Acquaforte stampata in marrone, da Salvator Rosa. Un giovane in piedi di profilo a destra. Da un disegno di Salvator Rosa; in cornice rettangolare a imitazione di un supporto del disegno. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Salvator Rosa. A man standing in profile to the right; after a drawing by Salvator Rosa; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778.The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
Acquaforte stampata in marrone, da Salvator Rosa. Un giovane in piedi di profilo a sinistra, con cappello piumato, la mano destra sul petto, la sinistra sull'elsa della spada, un'altra figura sullo sfondo a sinistra. Da un disegno di Salvator Rosa; in cornice rettangolare a imitazione di un supporto del disegno. Magnifica prova, impressa su carta vergata coeva, rifilata al rame, in perfetto stato di conservazione. L'opera è parte della raccolta di Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors, edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono, a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Etching printed in brown, after Salvator Rosa. A youth standing in profile to the left, wearing feathered hat, his right hand on his chest, the left hand on the hilt of his sword, another figure in the background to the left; after a drawing by Salvator Rosa; in rectangular frame in imitation of a wash mount. The work is part of Charles Rogers, A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors. printed by J. Nichols in London, and sold by John Boydell, Benjamin White, and Peter Molini, 1778. The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: “That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours”. A fine impression, printed on contemporary laid paper, trimmed to the borderline, perfect condition.
1 vol. 4to, printed hardcover, Stanford Law Association, 208 pp. Fair to good (binding rubbed, some foxings). Anglais
The unabridged Edition . 4to. pp. XXXII - 2060. . Ottimo (Fine). . Prima edizione (First Edition). .
Santa Cecilia, da Domenichino; la santa raffigurata a mezzo busto a sinistra, mentre strimpella un liuto e legge da uno spartito tenuto aperto per lei da un cherubino sdraiato su un tavolo, a destra, con globi e un altro schizzo della santa che suona un violino appesi al bordo, appuntati sotto i libri. Acquaforte e bulino, 1843 circa, con titolo e titolo 'Painted by Domenichino - Engraved by L.Stocks. The Picture in the collection of John Noble Esq. F.S.A. / London Published for the Proprietors by Geo. Virtue, 26, Ivy Lane, 1844'. Buona impressione, stampata su carta vergata coeva, con margini, in ottime condizioni. Bibliografia Stocks 1993, A Catalogue of Line Engravings by Lumb Stocks R A collected by J P Stocks (undescribed). St Cecilia, after Domenichino; the saint shown half-length on the left, strumming a lute and reading from a score held open for her by a cherub lying on a table, on the right, with globes and another sketch of the saint playing a viol hanging over the edge, pinned below books; lettered state. Etching and engraving, 1843 circa, lettered with title and 'Painted by Domenichino - Engraved by L.Stocks. The Picture in the collection of John Noble Esq. F.S.A. / London Published for the Proprietors by Geo. Virtue, 26, Ivy Lane, 1844'. After Domenichino. A good impression, printed on contemporary wove paper, with margins, very good condition. Bibliografia Stocks 1993, A Catalogue of Line Engravings by Lumb Stocks R A collected by J P Stocks (undescribed).
