Fin de siècle

The Century [Magazine], July, 1920, Volume 100, No. 3 - Satanism and the World Order

Features: Satanism and the World Order - Professor Gilbert Murray explains how "The spirit of hatred, which rejoiced in any wide-spread disaster that was also a disaster to the world's rulers, is perhaps more rife today than it has been for a thousand years"; Santo Domingo - The Land of Bullet-Holes - Photo-illustrated article by Harry A. Franck describes how, crossing between Haiti and Santo Domingo, he found striking differences in the two peoples; Paradise Shares (fiction); The Making of a Book-Collector - William Harris Arnold; From a Door-Step in Leinster (Life in small Irish towns), I. The Door-Step, II. A Girl for the Kitchen; The Strange Paumotu Atolls - Frederick O'Brien describes his visit; Aaron Harwood (fiction); The Tide of Affairs - Comment on the times; Quaint Old Boston - Photo-illustrated article; Georgios Venizelos and Hellas; Her Promised Land (fiction); Mecca's Revolt Against the Turk - An explanation of current difficulties in the Middle East subsequent to Emir Feisal setting himself up as king of all Syria in March, 1920 - article with photos of Mecca, Medina, T.E. Lawrence, and The Emir Feisal; The Success of the Season - Theatre business is growing; Musical Adventures of the Season; Where is America Going? - The third (and final) letter by American reporter Webb Waldron to Bernard Roberval, French historian and philosopher; Investment and Banking; Colour frontispiece illustration "The Painted Desert", by Albert Groll. pp. 289-432, 56 [ads]. Includes a particularly wonderful assortment of nostalgic ads, with full-page color ads for Old Colony Trust Company of Boston (featuring John Hull, the mint master of the Massachusetts Bay Colony), W. & J. Sloane (rugs) of Fifth Ave., NYC, Indestructo Trunks, The Jordan Silhouette motor car, The Templar Motor Company, Mercer Motors Company, The Pantasote Company, Macbeth-Evans Glass Company, Kellogg's Krumbled Bran, G-E (General Electric) Fans, Davey Tree Surgeons, and Beech-Nut Ginger Ale. Somewhat above-average external wear. Contents clean and unmarked. Binding intact. Lacking back cover. A sound copy of this fascinating and informative vintage issue. Book

JULES BRETON. (1586 grams)

IN 4. BR[MOY]. 156 PP. ENV 100 ILL EN NOIR. [BE]

Abbrutimento (Ricordo di Costantinopoli)

Acquaforte (mm 229x174; foglio: mm 335x292), monogrammata sulla lastra in basso a sinistra. Esemplare del secondo stato su due, stampato da Carlo Lovera e pubblicata su L’Arte in Italia del novembre 1870. Ottima impressione. Grandi margini, ottima conservazione. Alberto Pasini nasce a Busseto (PR) nel 1826. Iscrittosi all’Accademia di Belle Arti di Parma ha come maestro Girolamo Magnani, per la pittura. Nel 1851 si reca a Parigi dove, alla scuola dei pittori di Barbizon, si dedica alla pittura di paesaggio. Nel 1855, per interessamento del pittore Théodore Chassériau è aggregato ad una missione diplomatica diretta in Persia. Da qui la svolta nella sua vita. In questo primo e in successivi viaggi in vari paesi affacciati sul Mediterraneo, rimane conquistato dall’Oriente traendone spunti in disegni che poi svilupperà in numerosi dipinti. A Parigi dove si stabilisce espone ai numerosi Salon ottenendo prestigiosi premi. Lo Scià di Persia e il Sultano di Costantinopoli gli commissioneranno varie opere e i collezionisti si contenderanno i suoi piacevolissimi dipinti. Dal 1871 si ritira a Cavoretto, nelle colline piemontesi, non rinunciando tuttavia a continuare a viaggiare a Parigi e Venezia, città che verrà spesso ritratta nei suoi dipinti. Muore a Cavoretto nel 1899. È da considerarsi uno dei più notevoli orientalisti a livello europeo. Bibliografia G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.1. Etching (mm 229x174; sheet: mm 335x292), monogrammed on the plate at lower left. Exemplar of the second state of two, printed by Carlo Lovera and published in L'Arte in Italia - November 1870. Very good impression. Large margins, excellent conservation. Alberto Pasini was born in Busseto and attended the Academy at Parma. From 1851 to 1853 he studied under Eugène Ciceri (1803-1886) in Paris, where he completed his training in the atelier of M.E. Isabey (1813-1890). He made his Salon debut in 1853. From his first visit to Persia in 1855, as part of the suite of the French delegation to the Persian Gulf and Tehran, Pasini specialized in views of remote corners of Turkey and Persia. He travelled to Constantinople between 1868 and 1869 and to Asia Minor and Syria in 1873. Pasini was also a seasoned traveller within Europe and from 1878 visited Venice on several occasions, and made a journey to Spain with Gérôme from 1879 to 1883. "Principally a landscape and architectural painter, Pasini came under the influence of Théodore Rousseau and Fromentin in the late 1850s, though his later style reveals affinities with the Néo-grec school of painters. Apart from his Orientalist work, he painted some genre scenes and subjects taken from Turkish history and was also known for his lithographic work. "After the Franco-Prussian War (1870-71), Pasini returned to Italy, but continued to exhibit at the Salon until his death in 1899” (MaryAnne Stevens, ed., The Orientalists: Delacroix to Matisse - The Allure of North Africa and the Near East, exhibition catalogue, National Gallery of Art, Washington, DC, 1984, p. 195). References: G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.1.

Figura femminile in piedi che cammina a sinistra tenendo una lampada

Acquaforte, firmata e datata nel margine inferiore: Fran Zuccherelli Pitilianen incid. Flo. 1728. Da un disegno di Giovanni Manozzi. La stampa mostra una figura femminile in piedi che cammina verso sinistra tenendo una lampada, indicando con la mano destra. Bell’esemplare, stampato su carta vergata coeva, rifilato in prossimità della linea marginale, privo del testo contenuto nel margine inferiore. Francesco Zuccarelli studiò a Firenze nella bottega di Paolo Anesi ed in seguito si trasferì a Roma presso i pittori Giovanni Maria Morandi e Pietro Nelli. Fu inizialmente un pittore di soggetti storici ispirato dalla conoscenza della pittura di Claude Lorrain, pittore francese del Seicento vissuto a Roma che fu maestro di questo genere insieme al connazionale, ma più scenografico, Nicolas Poussin. Trasferitosi a Venezia, Zuccarelli, si rivolse alla pittura di soggetto arcadico, che coltivò in concorrenza col bellunese Giuseppe Zais. Come successe ad altri pittori veneti suoi contemporanei, quali Canaletto e Bernardo Bellotto, la sua pittura fu molto apprezzata all'estero dove fu chiamato a dipingere per ricchi mecenati come ad esempio il celebre Console Joseph Smith. Zuccarelli lavorò molto in Inghilterra dove influenzò importanti pittori locali in maniera particolare il suo stile fu ripreso dal grande Joshua Reynolds. Dopo cinque anni di permanenza a Londra, Zuccarelli ritornò a Venezia. Di nuovo a Londra nel 1765, fu uno dei fondatori della Royal Academy of Arts nel 1768. Etching, signed and dated lower margin: Fran Zuccherelli Pitilianen incid. Flo. 1728. After a drawing by Giovanni Manozzi. The print shows a standing female figure walking to the left holding a lamp, pointing with right hand. Good example, printed on contemporary laid paper, trimmed close to the marginal line, in perfect condition. Cut off the inscription in the lower margin. Francesco Zuccarelli studied in Florence in Paolo Anesi's workshop and later moved to Rome with the painters Giovanni Maria Morandi and Pietro Nelli. He was initially a painter of historical subjects inspired by his knowledge of the painting of Claude Lorrain, a 17th-century French painter who lived in Rome and who was a master of this genre together with his compatriot, but more scenic, Nicolas Poussin. After moving to Venice, Zuccarelli turned to painting Arcadian subjects, which he cultivated in competition with Giuseppe Zais from Belluno. As with other Venetian painters of his time, such as Canaletto and Bernardo Bellotto, his painting was much appreciated abroad where he was called to paint for wealthy patrons such as the famous Consul Joseph Smith. Zuccarelli worked extensively in England where he influenced important local painters, and in particular his style was taken up by the great Joshua Reynolds. After five years in London, Zuccarelli returned to Venice. Back in London in 1765, he was one of the founders of the Royal Academy of Arts in 1768. Massar - The prints of Francesco Zuccarelli (3.I) in Print Quarterly (XV) (3) (pp. 247-263).

The Eighteenth Century Architecture of Bath. 500 COPIES WERE PRINTED

Roy. 4to., First Edition, with very numerous photographs, sketches and measured drawings throughout, neat signature on front free endpaper; original blue cloth, gilt back, covers very lightly age-marked else a very good, clean copy. EDITION LIMITED TO 500 COPIES

Ricordi politici, militari ed aneddotici concernenti l'Italia dal 1855 al 1859

in 4°, manoscritto di 305 pagine numerate, mezza tela con titoli oro al dorso e piatto marmorizzati, tracce d'uso in cop., bruniture e fioriture - data di stesura presunta

Letters written by Jonathan Swift. Dean of St. Patrick's, Dublin, and several of his Friends from the Year 1703 to 1740. Published from the Originals; with Notes Explanatory and Historical. The Fifth Edition. LORD JOHN TOWNSHEND'S COPY

3 vols., sm. 8vo., Fifth Edition, on laid paper, with marbled endpapers, half-titles in red and black, some light and occasional spotting (primarily in the first volume, with rather heavier spotting on a few scattered leaves); attractively bound in contemporary full calf, sides with gilt frame border, backs with five raised bands, second and third compartments with new leather labels gilt in red and black to style, all other compartments elaborately tooled and ruled in gilt, gilt doublures, covers mildly scuffed and age-marked, joints rubbed and cracked (but bindings entirely sound) else a crisp and elegant original set in largely unrestored period binding. This copy was formerly in the library of Lord John Townshend, with his printed early nineteenth century book-label on front paste-down of all three volumes. His printed press-label in present on all three front paste-downs, superseded by a MS press-mark on front free endpaper versos.Published as vols. 19-21 of Hawkesworth's edition of the 'Works', but the letters are complete in themselves. Whilst made-up sets are not uncommon, it is pleasing to see an original set in this crisp state. The bibliography of the several Hawkesworth editions is complex. Teerink (pp.80-83) distinguishes no fewer than seven separate stages of publication which he summarises in an invaluable table (p.104).The 'fifth edition' present here is the Large Crown Paper issue of the Small Octavo edition.The original owner was probably the politician Lord John Townshend (1757-1833). He was the son of George, 1st Marquess Townshend and Lady Charlotte Compton, and father of Rear-Admiral Townshend, who succeeded to the family title as 4th Marquess..CBEL II, p.583; Jackson, p.184; Teerink 90.

Due busti di soldati entro nicchie

Copia di un niello della collezione Durazzo, di cui una impressione originale è ora nella collezione Cabinet Rothschild al Louvre. Questa composizione raffigura una coppia di guerrieri pseudo-classici, faccia a faccia e con elmi stravagantemente fantasiosi di un tipo visto in un gruppo di stampe niello correlate. Come la maggior parte di questi disegni, la stampa originale è probabilmente fiorentina e databile alla fine del XV secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection, (n. 3009) the original of which is now in the Cabinet Rothschild at the Louvre. This piece depicts a pair of pseudo-classical warriors, face to face and wearing extravagantly fanciful helmets of a tyoe seen in a group of related niello prints. Like most of these design, the original print is probably Florentine and datable to the late fifteenth century. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the termus ante quem for the execution. For the attribution to Maso Finiguerra, disputed by some scholars, see the summary in Zucker in The Illustrated Bartch,1993. TIB 2401.020; Duchesne, pp. 271-272; Zanetti, p. 105, n. 144

La pietà

Copia di un niello della collezione Durazzo, di cui una impressione originale è nella collezione del Cabinet Rothschild al Louvre. La composizione corrisponde, al contrario, ad un dipinto di Filippino Lippi del 1490-95 circa, probabilmente il pannello centrale di una predella, nella collezione Kress al National of Art, Washington, così come al cartone di Filippino per lo stesso, punzonato per il trasferimento, nel Allen Memoril Art Museum, Oberlin. Anche se Blum ha attribuito questa stampa al nord Italia, deve essere fiorentina e databile alla fine del XV secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, on the same verso, of a niello print formerly kept in the Durazzo collection (n. 2903), now in Paris, Louvre, Cabinet Rothschild collection. The composition corresponds, in reverse, to a painting by Filippino Lippi of ca. 1490-95, probably the middle panel of a predella, in the Kress Collection at the National of Art, Washington, as well as to Filippino’s cartoon for the same, pricked for transfer, in the Allen Memoril Art Museum, Oberlin. Although Blum has attributed this print to northern Italy, it must be Florentine and datable to the end of the fifteenth century. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.005; Duchesne, pp. 172-173; Zanetti, p. 104.

Natività

Copia di un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, from a niello belonged to the Durazzo collection, now lost.. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution.

Pannello ornamentale con una satiressa che allatta due bambini

Firmato su una tavoletta in alto al centro: P. Iscritto su ciascuna delle due tavolette che fiancheggiano la figura in basso al centro: SCOF. Copia di un niello della collezione Durazzo, il cui originale si trova ora nella collezione Cabinet Rothschild al Louvre. L'opera è caratteristica delle stampe a niello di Peregrino da Cesena e paragonabile nello stile ad un certo numero di altri pannelli ornamentali monogrammati. La stampa include il monogramma di Peregrino nella sua forma più semplice e situato all'interno della composizione stessa. Include anche l'enigmatica iscrizione SCOF. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Signed on a tablet at upper center: P. Inscribed on each o two tablet flanking the figure at lower center: SCOF. Copy of a niello print from the Durazzo Collection, the original of which is now in the Cabinet Rothschild at the Louvre. The work is characyeristic of Peregrino da Cesena’s niello – manner prints and comparable in style to a number of other monogrammed ornamental panel. The print includes Peregrino’s monogram in its simplest form and located within the composition itself. It also includes the enigmatic inscription SCOF. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.030 e 2503.009

San Giovanni Battista

Copia, nello stesso verso, da un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, from a niello belonged to the Durazzo collection, now lost. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. The composition seems to have as pendant the niello depicting St. George and the dragon

Minerva

Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione. Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione.

Il Re Bianco adora il Manto Sacro di Treviri

Xilografia, 1514 – 1516 circa, fermata col monogramma “H B” sul capitello della Colonna. Della serie Der Weisskunig (Il Re Bianco). Si tratta di una biografia idealizzata di Massimiliano I d’Asburgo (1459 – 1519), con due sezioni iniziali sulla vita dei suoi genitori, e la sua nascita ed educazione, che sono state compilate dal segretario di Massimiliano, Marx Treitzsaurwein, e una terza sezione più lunga che tratta la storia politica del regno di Massimiliano, per la quale l'imperatore stesso era il principale responsabile. A tutti i personaggi vengono dati degli pseudonimi, molti dei quali derivano dalle loro armi araldiche; così, per esempio, Massimiliano è il Giovane Re Bianco, Federico III il Vecchio Re Bianco, e il Re di Francia è il Re Blu. Il testo fu dettato da Massimiliano a Treitzsaurwein ed è sopravvissuto in vari manoscritti nella Österreichische National-bibliothek di Vienna (vedi 'Maximilian I, 1459-1519', exh. cat., Vienna, 1959, pp.26f, con letteratura). Il suo stato confuso si riflette nelle illustrazioni xilografiche che furono eseguite ad Augusta sotto la supervisione di Peutinger. Alcuni soggetti sono stati tagliati due volte, altri sono stati omessi, e alcuni rappresentano soggetti non presenti nel testo, nella misura in cui è stato completato. Su 236 illustrazioni, di cui 223 blocchi sono sopravvissuti (Vienna, Albertina), Burgkmair fu responsabile, secondo Dodgson, del disegno di 121. L'altro disegnatore principale fu Leonhard Beck; Hans Springinklee e Hans Schäufelein contribuirono con alcuni disegni al progetto. I blocchi furono intagliati tra il 1514 e il 1516 da un gruppo di xilografi supervisionati da Jost de Negker, e alcune serie di prove contemporanee sono sopravvissute, le più importanti delle quali sono a Vienna, Stoccarda e precedentemente nella collezione Liechtenstein, ora a Boston (vedi Musper, pp. 102ff). Nel 1526 il nipote di Massimiliano, l'arciduca Ferdinando, commissionò a Treitzsaurwein di completare e pubblicare 'Der Weisskunig', ma questo progetto rimase incompiuto a causa della morte di Treitzsaurwein nel 1527. Fu solo nel 1775, dopo che i blocchi furono trovati a Graz, che fu pubblicato in forma di libro da Hoffstätter a Vienna. Bella prova, in ottimo stato di conservazione. Quando l'imperatore Massimiliano I si recò a Treviri in occasione della riunione del parlamento del regno del 1512, chiese di vedere la Sacra Tunica. L’arcivescovo Richard von Greiffenklau fece aprire l’altare, alla presenza non solo dell’Imperatore, ma anche dei numerosi principi e prelati recatisi alla città per l’assise parlamentare. Fu celebrata una Santa Messa in memoria della defunta consorte di Massimiliano I. Woodcut, 1514-1516 circa, signed with monogram H B on the upper column, From the series Der Weisskunig (the White King); It is an idealised biography of Maximilian, with two early sections on the life of his parents, and his birth and education, which were compiled by Maximilian's secretary, Marx Treitzsaurwein, and a longer third section dealing with the political history of Maximilian's reign, for which the Emperor himself was primarily responsible. All the characters are given pseudonyms, many of which are derived from their heraldic arms; thus for example, Maximilian is the Young White King, Frederick III the Old White King, and the King of France is the Blue King. The text was dictated by Maximilian to Treitzsaurwein and has survived in various manuscripts in the Österreichische National-bibliothek in Vienna (see 'Maximilian I, 1459-1519', exh. cat., Vienna, 1959, pp.26f, with literature). Its confused state is reflected in the woodcut illustrations which were carried out at Augsburg under Peutinger's supervision. Some subjects were cut twice, others were omitted, and some represent subjects not in the text, as far as it was completed. Out of 236 illustrations, of which 223 of the blocks have survived (Vienna, Albertina), Burgkmair was responsible, according to Dodgson, for the design of 121. The other main designer was Leonhard Beck; Hans Springinklee and Hans Schäufelein contributed a few designs each to the project (see 1837,0616.308). The blocks were cut between 1514 and 1516 by a group of cutters supervised by Jost de Negker, and a few contemporary sets of proofs have survived, the most important of which are in Vienna, Stuttgart and formerly in the Liechtenstein collection, now in Boston (see Musper, pp. 102ff). In 1526 Maximilian's grandson, the Archduke Ferdinand, commissioned Treitzsaurwein to complete and publish 'Der Weisskunig', but this plan was frustrated by Treitzsaurwein's death in 1527. It was not until 1775, after the blocks had been found at Graz, that it was published in book form by Hoffstätter in Vienna. There are ninety proof impressions of the series in the British Museum which would have been taken while work on the blocks was in progress during the life of Maximilian. Good example, printed on contemporary laid paper, very good condition. When Emperor Maximilian I came to Treves for the Imperial Diet in 1512, he asked to see Holy Coat which was kept in the Cathedral. Archbishop Richard von Greiffenklau arranged the opening of the altar that had enshrined the tunic since the building of the Dome and exhibited it. The people of Treves heard about that and demanded to see the Holy Coat. Hollstein V.117.448; Bartsch VII.224.80-35; Dodgson II.93.58.

Copies after the Antique Corpus Rubenianum Ludwig Burchard (set 3 volumes). Copies after the Antique

3 volumes complet; 878 pages , incl. 550 ills., 180 x 265 mm, Languages: English, fine. ISBN 9780905203621. This publication examines Rubens drawings of classical statues and reliefs, showing the early seventeenth-century condition of a sculpture; sometimes these are the only record of a work of art now lost. Rubens was fascinated by the classical world and the exploits of the ancients celebrated on surviving sculptures, sarcophagus reliefs, engraved gems and coins. His drawings of classical statues and reliefs are still of great value for archaeologists, because they show the early seventeenth-century condition of a sculpture; sometimes these are the only record of a work of art now lost. Ruben's drawings after the Antique are evidence of his determination to master models before proceeding to draw figures from life, and all he learnt from his classical models informs the gestures, costume and decoration in his entire oeuvre. Review 'Marjon van der Meulen's monumental three-volumes study of Ruben's drawings after the antique is published and illustrated according to the lavish standards of the series.' Burlington Magazine 'The real contributio of the volumes is the encyclopedic gathering of all the evidence. It is the assembly of images and sources that renders these three volumes the key reference for a topic that was a fundamental impor tance for the painter.' The Art Newspaper

TABLEAUX MODERNES. 19/06/1900. (188 grams)

Cleomenes. The Spartan Heroe. A Tragedy, as it is acted at the Theatre Royal. Written by Mr. Dryden. To which is prefixt the Life of Cleomenes.

Sm. 4to., First Edition, some mild age-staining and spotting throughout; modern grey boards, paper label lettered in black on upper board, one or two upper margins closely shaved else a crisp, firm copy. Dryden's second-to-last play, and according to MacDonald partially completed by Southerne. Its first performance should have been early in April 1692, but on the 9th it was prohibited; it was acted out on or before 16 April at the Theatre Royal. In his Dedication Dryden attributes the lifting of the ban to Rochester (the dedicatee), who had represented the drama to the Queen as 'wholly innocent of those Crimes which were laid unjustly to its Charge'. The Life of Cleomenes is supplied by Creech (from Plutarch; see MacDonald 131). In this copy, as often, the Prologue and Epilogue appear before the 'Life'. CBEL II, p.267; MacDonald, 92.

Translation of the Letters of a Hindoo Rajah. Written previous to, and during the Period of his Residence in England. To which is prefixed a preliminary Dissertation on the History, Religion and Manners of the Hindoos. IN FULL TREE CALF

2 vols., 8vo., Second Edition, on laid paper, two early nineteenth signatures on titles, later signature on blank preliminary of both volumes; handsomely bound in early nineteenth century full tree calf, sides with decorative floral frame border in gilt, backs gilt extra, second and fourth compartments with red and green leather labels lettered and tooled in gilt, all other compartments ruled with Greek key and floral rolls enclosing a gilt star device, doublures tooled in gilt and blind, a clean, crisp and most attractive copy. Dedicated to Warren Hastings, late Governor General of Bengal, Hamilton's first novel appeared in 1796 to considerable acclaim. It satirises society through the device of Oriental letters on the model of works by Montesquieu and Goldsmith, its theme being that women also can be both strong and able. The Preface, based partly on her brother's experiences in India, is both extensive and erudite. Elizabeth Hamilton (1758-1816), Irish novelist, essayist and poet. Born in Belfast, she moved as a child to Stirling, later to London, and finally to Edinburgh in 1804. She directed all her works to her own sex whose qualities of mind she admired and promoted. She was praised by Maria Edgeworth and, famously, by Jane Austen who was pleased that such 'a respectable writer' had read Sense and Sensibility. Block, p.96; Todd, p.147. See CBEL III, p.398.

Al-bariqat al- Mahmudiyye fî sharh al-tariqat al-Muhammadiyya wa al-shariat al-Ahmadiyya.

Very Good Arabic Original very aesthetic full leather bdg. with a flap. Traditional decorations and embossing. Large roy. 8vo. (25 x 17 cm). In Ottoman script. 719 p. Only volume 1. Khadimî [Hadimî] was born in 1701 and died in 1762. He began his education life and maintained it in Konya and studied in Istanbul. Then he returned to Khadim. He lectured at the madrasah. He was mufti of Khadim and shayh of Nakshi order. His works number is not known by sources. He is well-known in Ottoman science world via lecturing sultan and talking Fatiha commentary and his work Macami al-hakayik and Sharh Tarikat al- Muhammadiya called Barika. The cause of why Ottoman authors interested in Macami hasn't been investigated until now. According to me it has got a strong logic and it has been written in basic principal. These qualifications attracted Ottoman authors. It is a philosophical principal and the relation of essence (jawhar) and attributes (araz). In that, KHadimî has got strong logical knowledge. He showed it in his mystical works and his written advices for pupils and his letters left as will. (Source: Wisdom Understanding Of Abu Saeed Muhammad Khadimi And His View To Philosophy, IRFAN GÖRKAS.). This work by Al-Khadimi is only first volume. A commentary on Birgivî's (Birgivî Mehmed Efendi, 1522-1573) 'Tarîqa Muh?ammadijja'.

Alev. Edited by Haldun Dostoglu, Alexandra de Cramer. Texts by Garth Clark, Nermin Kura. Prep. by Serra Karapinar Yentürk, Megi Dostoglu, Lesli Jebahar.

New New English Original bdg. Dust wrapper. Folio. (31 x 25 cm). In English and Turkish, 239, [1] p., color ills. Alev. Edited by Haldun Dostoglu, Alexandra de Cramer. Texts by Garth Clark, Nermin Kura. Prep. by Serra Karapinar Yentürk, Megi Dostoglu, Lesli Jebahar.

Il Vetro Di Murano Alle Biennale 1895-1972

This is a very good softcover copy with just light wear. The spine is faintly creased, binding firm. Completely clean. Text in ITALIAN. Superior survey of the best Italian glass exhibited in the Biennales from 1895 to 1972. Essays by Rosa Barovier Mentasti, Attila Dorigato, and Marina Barovier. Illustrated mostly in color + many black & white. Biographical sketches 64 glass artists or designers and 26 Italian Murano glass companies. Exhibition history. Bibliography. 12" high X 9" wide, 259 pages. Rare. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.

Adrian van Ostade Pictoris

Maniera nera, 1680-1700 circa, nella cornice ovale: “ADRIANI VAN OSTADE PICTORIS”, firmato in basso a sinistra “A. van Ostade del: Effigies”, e a destra “J. Gole exc: cum Privil: ord: Holland:”. Stato unico. Da un autoritratto di Adrian van Ostade. Jacob Gole (1660-1737) fu un incisore, editore e produttore di carte da gioco franco-olandese. Nato in Francia, figlio dell’ebanista francese Pierre Gole, come ugonotto fu costretto ad emigrare in Olanda, intorno al 1684. Sua sorella sposò un altro ugonotto emigrato, Daniel Marot. Legato a Cornelis Dusart, pubblicò stampe di Dirk Maas. Poco si sa della sua vita. È noto per i suoi ritratti alla maniera nera delle personalità più importanti del suo tempo, come Guglielmo III d'Orange-Nassau, Papa Innocenzo XI, Filippo d’Orleans, Luigi XIV, Giovanni III Sobieski, Augusto II, Federico Guglielmo I di Brandeburgo, Kara Mustafa. Fece anche un ritratto di Rembrandt, dal quale interpretò diverse incisioni. La sua stamperia ad Amsterdam aveva due indirizzi: Vijselstraat, bij de Prinse graft, Amsterdam e Leydse Straat, by de Prince graft, tot Amsterdam. Bella prova, impressa su carta vergata coeva, margini bianchi, in ottimo stato di conservazione. Mezzotint, 1680-1700 circa, circularly in the image “ADRIANI VAN OSTADE PICTORIS”, signed at bottom left “A. van Ostade del: Effigies”, at bottom right "J. Gole exc: cum Privil: ord: Holland:" Only state. After A. van Ostade. Jacob Gole (1660-1737) was a Dutch mezzotinter, engraver, publisher, and playing-card maker. Born in France, son of the French cabinet-maker Pierre Gole, emigrated as a Huguenot to Holland circa 1684. His sister married another Huguenot émigré, Daniel Marot. Linked with Cornelis Dusart, and published prints by Dirk Maas. Little is known about his life. He is known for his portraits in the black manner of the most important personalities of his time, such as William III of Orange-Nassau, Pope Innocent XI, Philip of Orleans, Louis XIV1, John III Sobieski, Augustus II, Frederick William I of Brandenburg, Kara Mustafa. He also made a portrait of Rembrandt, from whom he interpreted several engravings. His print shop in Amsterdam had two addresses: Vijselstraat, bij de Prinse graft, Amsterdam and Leydse Straat, by de Prince graft, tot Amsterdam. Good example, printed on contemporary laid paper, with margins, in good condition. Hollstein VII p. 214 (Gole); Wessely 103 (Gole)

Gruppo di gatti

Fotoincisione, circa 1891, firmata in lastra in basso al centro.Da un dipinto di Henriette Ronner (Amsterdam 1821-1909), la più grande pittrice di gatti.Prova di stampa, prima del titolo, impressa su carta cina applicata, con margini, in perfetto sttao di conservazione.Questo lavoro è parte del catalogo della mostra che esponeva i dipinti di Henriette Ronner, curato dalla stessa galleria Goupil, nle maggio del 1891.Questo l'astratto originale che annunciava il catalogo: 'Cats and kittens by Madame Henriette Ronner, May 189 ... Goupil Gallery' Catalogue includes advertisement for 'Henriette Ronner, The Painter of Cat-Life and Cat-Character' with text by M.H. Spielmann, containing a portrait and twelve full-page illustrations in photogravure by Boussod, Valadon & Co. Photogravure, circa 1891, signed at the center.After a painting by Henriette Ronner (Amsterdam 1821-1909).Proof before title on china wove paper, with full margins, perfect condition.This work is part of the exhibition catalogue of Henriette Ronner, published by Goupil Gallery.Exhibition catalogue extract: 'Cats and kittens by Madame Henriette Ronner, May 189 ... Goupil Gallery' Catalogue includes advertisement for 'Henriette Ronner, The Painter of Cat-Life and Cat-Character' with text by M.H. Spielmann, containing a portrait and twelve full-page illustrations in photogravure by Boussod, Valadon & Co.

COLLECTION DE M. LE BARON E. DE BEURNONVILLE. TABLEAUX MODERNES. [COROT. DECAMPS. DELACROIX. DIAZ. DUPRE. MEISSONIER. THEODORE ROUSSEAU. TROYON. ETC..]. 29/04/1880. (334 grams)

IN 8 BR [BAD]. 52 PP. 18 GRAVURES SUR ACIER ET 1 PHOTOGRAVURE EN NOIR. [MOY]