Fin de siècle

San Giorgio e il drago

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.

Memoriale veneto storico-politico dell'anno 1848 Foglio mensile Anno I (e II)

legatura coeva in mezza pella con piatti marmorizzati, filetti oro al dorso, contiene i fascicoli originali pubblicati da marzo (primo pubblicato) a dicembre del 1848 e da gennaio a giugno 1849, conservata la copertina cartacea illustrata del 1° fascicolo, minime spellature e abrasioni alla carta dei piatti, lievi fioriture più accentuate nei primi e ultimi fogli

Albert legato ad un albero

Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.

Apollo e la Sibilla Cumana

Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.

Glauco e Scilla

Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.

SALON 1847. AU MUSEE ROYAL LE 16/03/1847. (242 grams)

IN 16. CART [BE]. 311 PP. [MOY]

COLLECTION DE MADAME LA MARQUISE LANDOLFO CARCANO. TABLEAUX MODERNES. AQUARELLES. DESSINS. PASTELS. SCULPTURES. TABLEAUX ANCIENS. OBJETS D'ART ET D'AMEUBLEMENT. [BAUDRY. BONNAT. BOUGUEREAU. BOULANGER. BROZIK. COROT. COURBET. ETC..]. 30/05/1912-01/06/1912

Picturesque North Africa: Tripoli, Tunis, Algeria, Morocco

This is a very good hardcover copy bound in mustard cloth with black titles. No dust jacket. Very clean inside and out. Introduction by Ernst Kuhnel. Illustrated with photographs by Lehnert & Landrock reproduced in sepia throughout. 12" high X 9" wide, 240 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.

Fifty-two Artists. Photographs by Hans Namuth

This is a very good copy, the slipcase has some soil. Inside the text and plates are very clean. Four pages of text and 50 black & white photo plates in a box. These photographs were taken during the 50's and 60's. Namuth enjoyed a close relationship with many of the artists of the New York School. Some of the photographs are amongst the most celebrated and striking portraits ever taken of these artists. Most of these pictures show artists in their studios, either at work or posed for close-up portaits. Jackson Pollack in his studio in East Hampton, Franz Kline, Noguchi, Louise Nevelson, Jasper Johns and others. 14" high X 11" wide. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.

An Account of the Conduct and Proceedings of the Pirate Gow (the Original of Sir Walter Scott's Captain Cleveland). Reprinted from the Original Edition, with Preface and Notes [by John R Russell]. 250 COPIES WERE PRINTED

8vo., First Edition thus, on laid paper, with a full-page facsimile in the text, some mild age-soiling (mainly marginal) to text; attractively bound in twentieth century half calf, marbled boards, gilt back, uncut, a most attractive copy of a scarce work. EDITION LIMITED TO 250 NUMBERED COPIES SIGNED BY WILLIAM PEACE & SON, THE ORKNEY CO-PUBLISHER (THIS COPY NO. 75). The first complete reissue of the original edition of 1725 of which only the British Library copy is known. It was published jointly by Sotheran of London and William Peace of Kirkwall in Orkney. John Gow (1697-1725), the 'Orkney Pirate', was the son of a wealthy merchant from Wick in Caithness. He grew up in the Orkney town of Stromness and as soon as he was old enough ran away to sea. In 1725 he led the mutiny on board the ship 'Caroline', personally murdering the captain; so beginning a reign of piracy and terror that made his name famous around Europe. Planning to cross the Atlantic to join the pirates of the Caribbean, he sailed to Orkney for supplies but was recognised, captured and subsequently hanged in London. Gow was the inspiration for Captain Cleveland in Sir Walter Scott's novel 'The Pirate' (1822). A scarce and important work on piracy. CBEL II, p.508; NMMC IV, 135.

English Pottery: Its Development from Early Times to the End of the Eighteenth Century. With an Appendix on the Wrotham Potters by Dr. J. W. L. Gaisher. NEAR FINE COPY

4to., First Edition, with a fine coloured frontispiece (original captioned tissue guard present), 11 fine coloured plates (all original captioned tissue guards present), and 103 plates in monochrome (all original captioned tissue guards present); original grey buckram, backstrip lettered in gilt, grey top, bevelled boards, a near fine copy. A lovely copy of this scarce and important standard reference.

Friend of a Lifetime. Letters to Sydney Carlyle Cockerell.

London, J. Cape, (1940), in-8, tela editoriale con titolo oro al dorso, sovraccoperta (con lievi difetti), taglio sup. colorato, pp. 384. Con 16 tavole di ritratti fotografici, fra cui quello di Cockerell (segretario di W. Morris e W. Blunt, esperto di miniatura medievale, ma soprattutto per 30 anni direttore del Fitzwilliam Museum) e di alcuni fra i numerosi corrispondenti (J. Ruskin, Morris e famiglia, Burne-Jones, O. Hill, Ouida, W.S. Blunt, T. Hardy, R. Fry, C. Ricketts, T.E. Lawrence...). Prima edizione con invio autografo di Cockerell a Edith Finch, ultima moglie di Bertrand Russell.

Study Heads. Corpus Rubenianum Ludwig Burchard PART XX.2 in 2 volumes / Study Heads Part XX, 2

Hardcover with dusjacket, 2 volumes ., 680 pages ., 340 b/w ill. + 150 colour ill., 180 x 265 mm,. ISBN 9781912554652. This book is devoted to a remarkable aspect of Rubens painted production. It investigates and catalogues not only works that Ludwig Burchard (1886?1960) gathered into the category of Study Heads, but also head studies by artists closely connected to Rubens's workshop which were demonstrably used in his paintings. The existence of a stock of study heads or tronies allowed Rubens and his collaborators to exploit the same figures in many different contexts and create satisfying variety among the numerous characters involved in mythological, biblical or historical scenes. In Rubens?s work, study heads constitute an exceptional type of painting in that they were created not as autonomous works of art, but as a means to an end, an indispensable part of his artistic practice. Yet, even in this marginal category of work, Rubens achieves maximum artistic expression with an economy of means, as for example in the iconic Four Studies of the Head of an African Man in the Brussels Museum. The originals of the study heads remained together until the sale of Rubens?s possessions at his death in 1640. Over the centuries, many of Rubens?s tronies have undergone transformation. Panels featuring several heads were cut up quite early on to be sold as separate pictures on the art market, and some tronies were converted by later artists into specific characters or even genre scenes by adding extra planks of wood and giving the heads distinctive clothes and attributes. This book aims to reconstruct as far as possible the original appearance of Rubens?s tronies, aided by the evidence of copiesand technical research on the works themselves.

AERT VAN DER NEER (1604-1677) Life and Work. With a Catalogue Raisonne of Paintings and Drawings

With a Catalogue Raisonne of Paintings and Drawings Cloth bound with dusjacket, 4to. 520 pp. text and 416 ills. on 309 plts. (63 in color). ISBN 9070288575. The catalogue raisonne comprises all works painted by, or attributed to, the artist and known to the public since 1850. A luxuriously illustrated reference book, this publication forms the basis for all further research on the work of Aert van der Neer. The monograph also contains the results of new investigations into the life and work of such artists as Jochem and Rafael Camphuysen, Anthonie van Borssom, and others. A choice of quotations, taken from art-historical assessments made since 1800, completes the author??™s appraisal of Aert van der Neer??™s reputation. Complete bibliographies for each work, several indexes of former owners and present whereabouts, and a concordance with Hofstede de Groot??™s 1918 numbers facilitate the use of the catalogue by collectors, art dealers and art historians.as new !!

The Dictionary of Seventeenth and Eighteenth Century Dutch Philosophers. COMPLETE SET IN PUBLISHER'S SLIP-CASE

2 vols., 8vo., First Edition, with numerous illustrations; black and red cloth gilt, a fine set in publisher's slip-case.

Busti, di profilo, di un giovane uomo e di una giovane donna

Copia di un niello già conservato nella collezione Durazzo (n. 2869), di cui sopravvivono due impronte originali (Gabinetto Rothschild al Louvre; British Museum, Londra). L'opera può essere datata alla fine del XV secolo e attribuita con una certa sicurezza alla scuola bolognese. Il giovane uomo e la donna sono probabilmente ritratti di persone reali, una coppia di fidanzati o sposati da poco. La loro disposizione, uno di fronte all'altro di profilo, è conforme alla pratica convenzionale del Quattrocento per i ritratti in pendant di mariti e mogli. 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 formerly kept in the Durazzo collection (n. 2869), of which two original impression survives (Cabinet Rothschild at the Louvre; British Museum, London). The work may be dated to the end of the fifteenth century and attributed with some confidence to the Bolognese school. The young man and woman are probably portraits of actual people, a betrothed or recently married couple. Their arrangement, facing each another in profile, conforms to conventional quattrocento practise for pendant portraits of husbands and wives. 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 2401.019; Duchesne, p. 271 n. 337; Zanetti pp. 99-100 n. 128

Campagna Romana

Acquaforte, circa 1870, dimensioni 160 x 255 mm, impressa su carta coeva, in ottimo stato di conservazione. Firma a matita in basso a desta. Dalla attivissima calcografia Lovera di Torino è stampata l'acquaforte di Vittorio Avondo, artista torinese che studiò a Pisa e Ginevra, per poi approdare al naturalismo morbido e sfumato di Fontanesi. Visse anche a Roma dal 1857 al 1865; forse di quel soggiorno resta un ricordo in questa acquaforte della campagna Romana (della quale esistono anche alcuni dipinti in collezione privata), splendido brano intriso di un'atmosfera elegiaca, malinconica, pervaso di una luce vibrante e sfumature delicate. Le acqueforti dell'artista che si conservano non sono molte, forse una decina. Grande collezionista e conoscitore dell’arte medievale e moderna, oltre che pittore paesaggista, Avondo ebbe un ruolo fondamentale nella storia culturale del Piemonte contribuendo, insieme a Alfredo d’Andrade, allo studio e alla tutela del patrimonio artistico del territorio. Importante la sua figura anche per la GAM, egli fu infatti Direttore del Museo Civico di Torino per un lungo periodo, dal 1890 al 1910, e contribuì in modo significativo alla definizione della raccolta d’arte moderna accogliendo ad esempio la donazione delle opere di Antonio Fontanesi. La nascita in una famiglia dalle ampie possibilità economiche gli permise di coltivare a tempo pieno la passione per la pittura di paesaggio e di compiere viaggi per l’Europa che ne arricchirono la formazione. Tappa obbligata di questa educazione, dopo un primo alunnato presso Alexandre Calame a Ginevra concluso nel 1857, fu un lungo soggiorno a Roma che si protrasse sino al 1860 e che si rinnovò intorno al 1865. Qui egli ebbe modo di conoscere Nino Costa e frequentare un entourage colto e ricco di stimoli in cui spiccavano artisti come Enrico Gamba, Frederic Leighton, George Mason e i tedeschi legati ai Deutsch Römer, come Anselm Feuerbach, Hans von Marées e lo stesso Böcklin. Ma fu sopratutto la sua sensibilità a contatto con il vasto scenario della campagna romana a condurlo a superare lo stile minuzioso e finito appreso in Svizzera, a favore di un nuovo linguaggio scarno ed essenziale, in grado di restituire per sintesi gli ampi orizzonti del paesaggio laziale. In questa svolta pare di cogliere un gusto artistico in rapido cambiamento, in cui si riflette l’interesse per la resa del paesaggio “sul vero” - tema che anima il fronte degli artisti più avanzati di quegli anni - e che pare testimoniata anche dall’acquisto delle prime stampe fotografiche di quei luoghi. Una scelta che la mostra restituisce attraverso alcune preziose carte salate di Giacomo Caneva che fanno parte della generosa eredità dei beni che Vittorio Avondo lasciò alla Città di Torino alla sua morte. Il rapporto tra i suoi schizzi, originariamente raccolti in taccuini, e quelle prime immagini fotografiche offre un ulteriore spunto di riflessione su come si modifichi il modo di guardare al paesaggio in quegli anni: uno sguardo che coglie la natura in presa diretta ma che può anche tornarvi in tempi successivi attraverso gli appunti grafici e le prime immagini fotografiche. Una riflessione che porta a interrogarsi sulla stessa funzione del disegno e su scelte e soluzioni che si discostano radicalmente dalla tradizione accademica. Si apprende da Giubbini che l'opera è stata pubblicata su "L'Arte in Italia" (agosto 1870, tav. 22) con commento di Camerana a p. 128. Riguardo allo stile Giubbini ha commentato molto favorevolmente questa acquaforte, mettendola in relazione con "il gruppo delle incisioni più 'finite' di Appian"; sul piano della tecnica ha osservato: "Da notare che il processo di semplificazione, probabilmente già forte nel passaggio dal disegno preparatorio al disegno tracciato con la punta sulla vernice, continua nelle fasi successive della lavorazione della lastra attraverso la mancata o parziale morsura di molti dei segni ... Etching, circa 1870, size 160 x 255 mm, impressed on coeval paper, in excellent condition. Signature in pencil in the lower right corner. Printed by chalcography Lovera in Turin. Light, and brilliant landscape with the poetical expression of trees, that recalls the traditional Italian painting of the XIX century. The work is characterized by a well-balanced lightening which created a strong feeling of the scene, with the movement of trees in the wind through intense black made shadows and light in far behind of landscapae. Vittorio Avondo, an artist from Turin who studied in Pisa and Geneva, and then came to the soft and nuanced naturalism of Fontanesi. He also lived in Rome from 1857 to 1865; perhaps a memory of that stay remains in this etching of the Roman Campagna (of which there are also some paintings in a private collection), a splendid piece imbued with an elegiac, melancholic atmosphere, pervaded by a vibrant light and delicate nuances. The etchings of the artist that are preserved are not many, perhaps a dozen. We learn from Giubbini that the work was published in "L'Arte in Italia" (August 1870, table 22) with a comment by Camerana on p. 128. Regarding the style, Giubbini commented very favorably on this etching, relating it to "the group of Appian's most 'finished' etchings"; as far as technique is concerned, he observed: "It should be noted that the process of simplification, probably already strong in the passage from the preparatory drawing to the drawing traced with the tip on the varnish, continues in the successive phases of the working of the plate through the lack or partial biting of many of the marks corresponding to the branches of the trees". A great collector and connoisseur of medieval and modern art, as well as a landscape painter, Avondo (1836 – 1910) played a fundamental role in the cultural history of Piedmont, contributing, together with Alfredo d'Andrade, to the study and protection of the artistic heritage of the territory. He devoted himself to painting from an early age, training in Italy, Switzerland and France. After his return to Piedmont, he became a consultant to the City of Turin and since 1863 is part of the commission responsible for selecting the works for the collections of the Civic Museum. His activities are varied: painter, antiquarian, city councilor and member of numerous cultural institutions. In 1872 he bought the castle of Issogne (Aosta) which he restored and redecorated with the help of Alfredo d'Andrade and Giuseppe Giacosa: starting from this experience he collaborated, from 1882, to the construction of the medieval village of Turin and with Emanuele Tapparelli d'Azeglio to the restoration of Casa Cavassa in Saluzzo. In 1890, he succeeded Tapparelli d'Azeglio as director of the Civic Museum: upon his death in 1910, his personal collection was transferred to the Museum. G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.3; A. Dragone, J. Conti, I paesisti piemontesi dell'Ottocento, Milano, 1947; R. Maggio Serra e B. Signorelli, a cura di, Tra verismo e storicismo. Vittorio Avondo (18

Brughiera

Suggestiva veduta pastorale, intitolata "Brughiera", forse raffigurazione della campagna romagnola o toscana o piemontese, località dove visse l'autore, il noto artista bolognese. Incisione originale all'acquaforte, impressa dallo stampatore torinese Carlo Lovera. Il Bignami coniugò l’attività di pittore a quella, prevalente, di acquafortista, legato al gruppo degli incisori piemontesi della seconda metà dell’Ottocento dominato dalla personalità di A. Fontanesi. Tra il 1869 e il 1870 visse a Firenze, che raffigurò spesso nei suoi paesaggi. A Torino partecipò, dal 1863, alle mostre della Società Promotrice, affermandosi nel 1871 con tre dipinti: Il pasto ai pulcini, L'ultima ora del lavoro e Le nebbie del mattino in riva all'Arno. Nello stesso anno si segnalò alla Promotrice di Bologna con due paesaggi giudicati «d’impronta vera e di fattura coscienziosa». Le notizie sulla sua attività espositiva si fermano al 1877, poiché l’artista dovette rinunciare precocemente alla pittura per una malattia agli occhi e per vicissitudini familiari. In ottimo stato di conservazione. Etching, lettered along bottom 'Adolfo Bignami inc Lovera imp.' followed by title “Brughiera”. Printed by Carlo Lovera The plate shows a shepherd herding sheep in the Brughiera. Very good condition. Bignami combined the activity of painter to that, prevalent, etching, linked to the group of Piedmontese engravers of the second half of the nineteenth century dominated by the personality of A. Fontanesi. Between 1869 and 1870 he lived in Florence, which often depicted in his landscapes. In Turin participated, since 1863, the exhibitions of the Society Promotrice, establishing himself in 1871 with three paintings: The meal of chicks, The last hour of work and The morning mists on the banks of the Arno. In the same year he was noticed at the Promotrice of Bologna with two landscapes judged "of true imprint and conscientious workmanship". The news about his exhibition activity stop in 1877, since the artist had to give up painting early because of an eye disease and family vicissitudes.

Dietro la masseria

Acquaforte originale (cm. 21,8x11,2 più ampi margini) da un dipinto dello stesso Bignami. L'opera fu impressa nella celebre Calcografia torinese di C. Lovera nel marzo 1872. Il Bignami coniugò l’attività di pittore a quella, prevalente, di acquafortista, legato al gruppo degli incisori piemontesi della seconda metà dell’Ottocento dominato dalla personalità di A. Fontanesi. Tra il 1869 e il 1870 visse a Firenze, che raffigurò spesso nei suoi paesaggi. A Torino partecipò, dal 1863, alle mostre della Società Promotrice, affermandosi nel 1871 con tre dipinti: Il pasto ai pulcini, L'ultima ora del lavoro e Le nebbie del mattino in riva all'Arno. Nello stesso anno si segnalò alla Promotrice di Bologna con due paesaggi giudicati «d’impronta vera e di fattura coscienziosa». Le notizie sulla sua attività espositiva si fermano al 1877, poiché l’artista dovette rinunciare precocemente alla pittura per una malattia agli occhi e per vicissitudini familiari. In ottimo stato di conservazione. Etching, lettered along bottom 'Adolfo Bignami dip e inc C. Lovera imp.' followed by title 'Dietro la masseria '(Behind the farmhouse). After a Bignami’ painting. A girl seated behind a building surrounded by poultry The plate was printed by Carlo Lovera in 1872. Excellent condition. Bignami combined the activity of painter to that, prevalent, etching, linked to the group of Piedmontese engravers of the second half of the nineteenth century dominated by the personality of A. Fontanesi. Between 1869 and 1870 he lived in Florence, which often depicted in his landscapes. In Turin participated, since 1863, the exhibitions of the Society Promotrice, establishing himself in 1871 with three paintings: The meal of chicks, The last hour of work and The morning mists on the banks of the Arno. In the same year he was noticed at the Promotrice of Bologna with two landscapes judged "of true imprint and conscientious workmanship". The news about his exhibition activity stop in 1877, since the artist had to give up painting early because of an eye disease and family vicissitudes.

La casa degli armenti

Acquaforte di Adolfo Bignami da un dipinto di Ernesr Allason. Acquaforte, 202x166 mm. foglio 360x 260. Esemplare stampato a Torino da Carlo Lovera per Arte in Italia del 1870. Il Bignami coniugò l’attività di pittore a quella, prevalente, di acquafortista, legato al gruppo degli incisori piemontesi della seconda metà dell’Ottocento dominato dalla personalità di A. Fontanesi. Tra il 1869 e il 1870 visse a Firenze, che raffigurò spesso nei suoi paesaggi. A Torino partecipò, dal 1863, alle mostre della Società Promotrice, affermandosi nel 1871 con tre dipinti: Il pasto ai pulcini, L'ultima ora del lavoro e Le nebbie del mattino in riva all'Arno. Nello stesso anno si segnalò alla Promotrice di Bologna con due paesaggi giudicati «d’impronta vera e di fattura coscienziosa». Le notizie sulla sua attività espositiva si fermano al 1877, poiché l’artista dovette rinunciare precocemente alla pittura per una malattia agli occhi e per vicissitudini familiari. In ottimo stato di conservazione. Etching, lettered along bottom 'Ernesto Allason dip Adolfo Bignami inc' followed by title and 'C. Lovera imp.'. Example (platemark mm 202x166; sheet mm 360c260) printed by Carlo Lovera for the monthly magazine L’Arte in Italia, 1870. A cottage set beneath a huge mountain, figures and sheep in the foreground. Bignami combined the activity of painter to that, prevalent, etching, linked to the group of Piedmontese engravers of the second half of the nineteenth century dominated by the personality of A. Fontanesi. Between 1869 and 1870 he lived in Florence, which often depicted in his landscapes. In Turin participated, since 1863, the exhibitions of the Society Promotrice, establishing himself in 1871 with three paintings: The meal of chicks, The last hour of work and The morning mists on the banks of the Arno. In the same year he was noticed at the Promotrice of Bologna with two landscapes judged "of true imprint and conscientious workmanship". The news about his exhibition activity stop in 1877, since the artist had to give up painting early because of an eye disease and family vicissitudes.

Processione sul ponte di barche

Acquaforte, 1932, firmata e datata a matita in basso a destra “E. Brugnoli inc e imp 1932”. Bellissima prova, su carta coeva, con margini, in ottimo stato di conservazione. Emanule Brugnoli ha studiato all'Accademia della sua città, allievo dello scenografo Valentino Solmi. Suicidatosi il maestro, si recò a Venezia per trascorrervi qualche settimana, ma la città della Laguna lo conquistò e dal 1880 restò a Venezia dedicandosi a ritrarre quelle vedute caratteristiche all’acquarello e all’acquaforte. Nel 1912 fu nominato professore di acquarello e d’incisione nell’Accademia, ove sorse appunto la scuola acquafortista che guadagnò tanta rinomanza. In una confessione resa a Luigi Servolini, il Brugnoli indica in James Whistler come suo vero maestro nell’arte dell’acquaforte. Fu un assiduo espositore alle Internazionali Veneziane. Tutti i suoi lavori all’acquarello e all’acquaforte raffigurano canali, lagune, sagre, scene popolari veneziane. Bibliografia: Luigi Servolini, Dizionario Illustrato degli incisori italiani moderni e contemporanei, Milano, Gorlich, p. 126; Zeno Davoli, La Raccolta di Stampe “Angelo Davoli”. Etching, 1932, signed and dated in pencil at lower right "E. Brugnoli inc e imp 1932". Beautiful proof, on contemporary paper, with margins, in excellent condition. Emanule Brugnoli studied at the Academy of his city, student of the set designer Valentino Solmi. Suicide of the master, he went to Venice to spend a few weeks, but the city of the Lagoon conquered him and since 1880 he remained in Venice, devoting himself to portray those views characteristic of watercolor and etching. In 1912 he was appointed professor of watercolor and engraving in the Academy, where he was born precisely the school etching that earned so much fame. In a confession made to Luigi Servolini, Brugnoli indicated James Whistler as his true master in the art of etching. He was an assiduous exhibitor at the Internazionali Veneziane. All his works in watercolor and etching depict canals, lagoons, festivals, popular Venetian scenes.

The New York Times Magazine, May 10, 1970 - The Hip Baroness Wootton of Abinger / The Silent Black Majority

120 pages. Features: Many gorgeous fashion ads; The Hip Baroness Wooton of Abinger - photo-illustrated article - she calls for reduced marijuana penalties; Laird Apple Jack ad features photo of company President Jack Laird; One-page photo ad for the ILGWU features photo of historic labor organizer Mother Jones; Fantastic two-page color-photo ad for Talon zippers entitled "The 10 Worst Dressed Women of the Year"; The Silent Black Majority;; The Viokent Black Minority; The American Psychodrama called 'Everyone Hates Us'; Space Odyssey of Tomorrow - a Trip to Mars; How to pay for 15,000,000 auto accidents a year - automobile insurance is big business; Fantastic two-page color-photo ad for La Mancha cigars; Tasteful two-page ad for Jules Jurgensen luxury watches; Great one-page color-photo ad for Cadillac features a gold Coupe deVille; Long-Legged Summer Fashions; Great Chemold tennis raquet ad features large color photo of Rod Laver in action, with smaller photos of Tony Roche, Margaret Court, Roy Emerson and Owen Davidson; Interior photos of a finely finished 18th century North Carolina home; Nice one-page color-photo ad for radio station WPAT; Fantastic back cover color-photo ad for McGregor features three men in funky swimwear; and more. This copy is undated by a hand-written date of May 10, 1970 appears on front cover and we assume this is correct. Average wear. A worthy vintage copy. Book

Hieronymus Cock, La gravure a la Renaissance.

Hardback, 305x240mm, 416p, 320 colour illustrations, French edition FR edition. ISBN 9789061536659. Peintre et graveur, Hieronymus Cock (Anvers 1518-1570) fut un des premiers artistes du nord de l'Europe a creer, avec son epouse Volcxken Diericx, une maison d'edition d'estampes. Des 1548, 'Aux Quatre Vents' publia des centaines d'eaux-fortes et de gravures. Inspirees des fresques et des tableaux de Raphael et de Bronzino, des ruines classiques et des sculptures antiques, mais aussi des dessins d'artistes septentrionaux comme Maarten van Heemskerck et Frans Floris, elles furent diffusees dans toute l'Europe, ou elles contribucrent a repandre les ideaux de beaute de la Renaissance. Ayant discerne le talent de Pieter Bruegel, Cock lui commanda une soixantaine de planches. De sa propre initiative, il realisa egalement des gravures a partir des compositions monumentales et debordantes d'imagination de Jerome Bosch. Dans ce livre, qui va de pair avec une exposition organisee a Louvain et Paris, les activites de Cock et de son epouse ont ete minutieusement reconstituees et analysees. Les auteurs veulent rendre justice a l'esprit d'entreprise des protagonistes, tout en sensibilisant le lecteur au role capital joue par l'editeur d'estampes dans l'histoire de l'art.

ABRAHAM BLOEMAERT AND HIS SONS. Paintings and Prints.

Cloth bound with dusjacket, as new !! 1993. 2 vols. in 4to. VIII, 710 pp. text and over 1250 ills. on 439 plts. (35 in color).Biography by Marten Jan Bok. ISBN 9070288834. This is the first monograph on the leading Utrecht painter Abraham Bloemaert (1566-1651) and his four sons who were painters and engravers. Bloemaert emerges as the foremost master of Utrecht, his stature comparable to that of his contemporaries Hendrick Goltzius and Cornelis van Haarlem.The output of Abraham Bloemaert is considerable: over 200 extant paintings and 625 prints designed by him and engraved by such masters as Matham, Saenredam, Bolswert and Cornelis and Frederick Bloemaert. His stylistic development during an activity of sixty years leads from mannerist works in the style of Spranger and the school of Haarlem to a realist approach, a Caravaggesque interlude, a stint at court art, and a final classicizing style. He treated a multitude of themes from the Old and New Testament, altarpieces, mythological works, landscapes, and genre pieces, with important contributions in each field. A fervent Catholic with Jesuit ties, he is the chief representative of Dutch Catholic art. Connected with his lifelong teaching activity are the 166 prints of the Tekenboek. The book opens with an introductory text which sums up the art of Abraham and places it into the context of his time. The bulk of the book is the catalogue which includes in chronological sequence all the extant and the firmly documented lost paintings by Abraham, with copies and imitations, and all the original engravings designed by him. They comprise the 380 engravings by Frederick and the 60 engravings by Cornelis Bloemaert designed by their father. Separately catalogued are 30 dated drawings which provide support for undated works, and 35 comparative works by other masters. This is followed by a complete study of the fine oeuvre of Hendrick Bloemaert, the closest continuator of Abraham, hitherto largely neglected: 120 extant paintings of genre scenes, religious themes, portraits, and mythologies. Finally a study of Adriaen Bloemaert. A large proportion of the works of Abraham and his sons are here studied and reproduced for the first time. The book closes with a fully documented biography of Abraham Bloemaert and his sons and a list of pupils; this portion is the work of the Utrecht historian Marten Jan Bok.