Anonymous [A Victorian Gentlewoman].Biblio.com
253 535 résultats
18805681Great Britain:: Original Watercolor c.1880-1900. Fine. Fine original watercolor on rag paper. 25.4 x 17.7 cm. Matted in Rag. Framed in one inch gilt basket weave moulding. Condition: Fine with minor aged paper remains to verso corners from previous mount watermarked 1902. Pathos notwithstanding and made all the more alluring by want of attribution this vivid watercolor scene Tiger attacking Spotted Deer was envisioned and thus executed not by a professional artist field naturalist or explorer but by an amateur or armchair traveler/naturalist /painter. The drama evident yet depiction gentle this watercolor quite plausibly was painted by a young Victorian gentlewoman who would have learned the art of nature painting as was the custom and who would have sought inspiration from the grand natural history color plate volumes of the eighteenth and nineteenth centuries. This bold and vivid naturalists' display of a tapestry of dappled foliage or the crystalline translucence of disturbed water or the splendid reticulated plumage is clearly stylized by a primitive eye yet executed with an accomplished and refined hand; the technique is learned. The resulting composition is one of dramatic charm. Archivally Framed Original Watercolor, unknown
18805683Great Britain:: Original Watercolor c.1880-1900. Fine. Fine original watercolor on rag paper. 25.4 x 17.7 cm. Matted in Rag. Framed in one inch gilt basket weave moulding. Condition: Fine with minor aged paper remains to verso corners from previous mount watermarked 1902. Pathos notwithstanding and made all the more alluring by want of attribution this vivid watercolor scene Hippopotamus river scene was envisioned and thus executed not by a professional artist field naturalist or explorer but by an amateur or armchair traveler/naturalist /painter. The drama evident yet depiction gentle this watercolor quite plausibly was painted by a young Victorian gentlewoman who would have learned the art of nature painting as was the custom and who would have sought inspiration from the grand natural history color plate volumes of the eighteenth and nineteenth centuries. This bold and vivid naturalists' display of a tapestry of dappled foliage or the crystalline translucence of disturbed water or the splendid reticulated plumage is clearly stylized by a primitive eye yet executed with an accomplished and refined hand; the technique is learned. The resulting composition is one of dramatic charm. Archivally Framed Original Watercolor, unknown
18805684Great Britain:: Original Watercolor c.1880-1900. Fine. Fine original watercolor on rag paper. 25.4 x 17.7 cm. Matted in Rag. Framed in one inch gilt basket weave moulding. Condition: Fine with minor aged paper remains to verso corners from previous mount watermarked 1902. Pathos notwithstanding and made all the more alluring by want of attribution this vivid watercolor scene Lively herd of running Zebras was envisioned and thus executed not by a professional artist field naturalist or explorer but by an amateur or armchair traveler/naturalist /painter. The drama evident yet depiction gentle this watercolor quite plausibly was painted by a young Victorian gentlewoman who would have learned the art of nature painting as was the custom and who would have sought inspiration from the grand natural history color plate volumes of the eighteenth and nineteenth centuries. This bold and vivid naturalists' display of a tapestry of dappled foliage or the crystalline translucence of disturbed water or the splendid reticulated plumage is clearly stylized by a primitive eye yet executed with an accomplished and refined hand; the technique is learned. The resulting composition is one of dramatic charm. Archivally Framed Original Watercolor, unknown
3001S.l. n.d. 20th century. Watercolor on paper. Matted visible 163 x 83 mm and framed 257 x 150 mm. This weird and wonderful watercolor may be something we will forever regret selling at any price. It is unsigned but clearly by an artist of considerable imagination. We find the image compelling and highly curious: in the shadow only one hand is holding the mask and yet the girl is firmly grasping it with two. What is the significance of this demonic mask and why would a girl be presenting it above her head in a manner that could almost be described as ritualistic The child seems to gaze away from the viewer but who - or what - is she looking at We unable to explain our fascination with this watercolor. For those who are similarly ensorcelled: no explanation is required. unknown books
1840054683Kostantiniyye Constantinople - Istanbul: Tab'hâne-i Âmire Bab-i SerAskeriye. AH 1256 1840. 1st Edition . Leather. Very Good. 8vo - over 7¾ - 9¾" tall. Original quarter leather bdg. Slight wear on spine. Otherwise a very good copy. Cr. 8vo. 20 x 15 cm. In Ottoman script Old Turkish with Arabic letters. 143 p. Extremely rare first Turkish edition of the legend of Hatem of Tai tribe or "the tale of Hatemtai or qissa-e Hatem-Tai" which was very popular in the Indian subcontinent as well as the earliest printed separate form from the Arabian nights Alf laila wa laila in the Middle East. In Turkish literature this story was printed nine times separately from the Arabian nights 1840 1856 1867 1871 1874 1879 1885 1891 1925. This is the very first edition of this book. Hatim al-Tai âtim bin Abd Allâh bin Sa'ad a't-Tâ'iyy; Hatim of the Tayy tribe; deceased 578 was the ruling prince and poet of the Tayy tribe of Arabia. Stories about his extreme generosity have made him an icon among Arabs up until today as evident in the proverbial phrase "more generous than Hatim". His son was Adi ibn Hatim who was a companion of the Islamic prophet Muhammad. Al-Tai lived in Ha'il in present-day Saudi Arabia and was mentioned in some Hadiths by Muhammad. He died in 578 AD and was buried in Tuwarin Ha'il. His tomb is described in the Arabian Nights. He lived in the sixth century CE and was also mentioned in the Arabian Nights stories. The celebrated Persian poet Saadi in his work Gulistan 1259 CE wrote: "Hatim Tai no longer exists but his exalted name will remain famous for virtue to eternity. Distribute the tithe of your wealth in alms; for when the husbandman lops off the exuberant branches from the vine it produces an increase of grapes". He is also mentioned in Saadi's Bostan 1257. According to legends in various books and stories he was a famous personality in the region of Ta'i present-day Ha'il and is also a well-known figure in the rest of the Middle East as well as the Indian subcontinent featuring in many books films and TV series in Arabic Persian Urdu Turkish Hindi and various other languages. The books on the story usually consist of a short introduction describing his ancestry and character and tell the seven episodes based on seven riddles asked by a beautiful and rich woman named Husn Banu who will marry only the person who is able to obtain answers to all seven of them. A king who falls in love with her but is unable to find answers tells the generous Hatemtai whom he meets by chance all about it. Hatim undertakes the quest to find the answers and help the king marry her. Özege 3639.; TBTK 8155.; Only one copy in the Library of Congress according to OCLC 951465696. <br/> <br/> Tab'hâne-i Âmire Bab-i [Ser]Askeriye., [AH 1256] hardcover
1141July 1859. Drawing. Pencil Drawing: 6 x 9 . Ink Drawing 14 x 8½. Cambridge MA. unknown books
1814BB1524London: Printed by Whittingham and Rowland Goswell Street; For John Carr 56 Paternoster-Row 1814. First Edition. Full Calf. Fine. First Edition of this uncommon satirical depiction of various Regency-era character types and memes in verse. Crown 8vo: viii1582pp with eight delicately hand-colored aquatints including the frontispiece. Complete with half-title and two pages of publisher's advertisements. In every copy we've seen plate no. 5 often described as bound out of sequence is placed between plates nos. 7 and 8 and according to the text that is where it belongs. Later full tan calf covers framed with French fillet and gilt sunburst ornament to corners richly gilt spine in six compartments divided by raised bands red morocco lettering piece gilt gilt turn-ins top edge gilt others untrimmed. From the collection of bibliophile Brent Gration-Maxfield with his characteristic manuscript ex-libris and tidy bibliographic notes "collated perfect" "only blemish is a slight mark on the half title". Gration-Maxfield library was dispersed in a series of sales by Sotheby's in the early 1980s. An excellent wide-margined hand-colored example mild offsetting from plates a few stray spots else contents clean bright and handsomely bound. Very scarce in commerce and uncommon in institutional collections with OCLC listing only 10 holdings worlwide. Not in Hardie Abbey or Tooley and only J. Clark but not this title mentioned in Prideaux. This anonymous volume of humorous poetry collects 22 works satirizing English eccentrics among them the "bounce" a bullying braggart the country physician the slave to fashion the scholar of dead languages and old maids and young lovers. The engraver John Heaviside Clark was a Scottish painter of seascapes and landscapes active in the first third of the nineteenth century. N. B. With few exceptions always identified we only stock books in exceptional condition. All orders are packaged with care and posted promptly. Satisfaction guaranteed. Fine Editions Ltd is a member of the Independent Online Booksellers Association and we subscribe to its codes of ethics. Printed by Whittingham and Rowland, Goswell Street; For John Carr, 56, Paternoster-Row unknown
1806LBW-89181806. En deux feuilles jointes formant un plan de 438 x 508 mm, monté sur papier fort.
LBW-7456[début du XIXe siècle]. 43 x 55 cm chacune.
1783LBW-74621783. 24 x 34 cm.
LBW-7468[fin du XVIIIe siècle]. 41 x 49 cm, plus une partie mobile de 7 x 20 cm repliée en haut de la carte.
LBW-6632[fin du XVIIIe siècle]. 61 x 93 cm, sur une feuille de 63 x 95,5 cm.
1790LBW-7464[vers 1790]. 62 x 62,5 cm.
1870LBW-6585[vers 1870]. 27 x 41 cm, sur deux feuilles jointes de 40 x 55 cm.
LBW-6583[XVIIIe siècle]. 50,5 x 64 cm, sur une feuille de 53 x 66,5 cm.
1812LBW-65891812. 24,5 x 29,5 cm, sur une feuille de 29,5 x 34,5 cm.
71016Les ?uvres d'Alexandrine Zola sont composées de deux lettres autographes signées et deux cartes de visite autographes dont une signée. Contient quatre pages à l'encre violette sur un double feuillet de papier demi-deuil teinte mauve, deux pages à l'encre violette sur une carte demi-deuil teintée, ainsi que deux cartes de visite imprimées à son nom, bordures deuil, à l'encre violette.Contient également un lettre issue d'un auteur différent à l'encre noire sur double-feuillet en-tête du Figaro.
159890412Jean Tholosan Estienne David | Aix-en-Provence s. d. [1598] | 12.5 x 18.5 cm | En feuilles
178790640Imprimerie de Joseph-François Reynier | Perpignan s. d. [1787] | 19 x 23.2 cm | Broché
1860LBW-8554[vers 1860]. 564 x 735 mm ; en quatre sections montées sur carton fort et pouvant être repliées (montage de l'éditeur).
1920719791920 | 11.50 x 18.30 cm | autre
15681102191568 Afin que chacun sache qu'il n'a été rien ajouté, ni oté de l'original, il a été premièrement imprimé à Paris, par Ian Dallier en cette année 1568 - MDLXVIII (1568) - In-12, (9x14cm) - Cartonnage noir muet (probablement postérieur à l'édition (XVIIe)) - non paginé (80 pages)
1751654831 vol. in-4 (31,5 x 26 cm en marges) cartonnage ancien, dos à 3 nerfs, Chez R. Julien, à l'Hôtel de Soubise, Paris, 1751, 1 f. double (titre gravé à double page), 24 planches doubles de cartes, frontières rehaussées en couleurs, 3 ff. doubles (tables)
186067299s. l. [France] s. d. [circa 1860] | 5.50 x 8.60 cm | 4 cartes à jouer
