863 résultats
183426035Italy 1834. Pen-and-ink watercolour and gouache painted black border titled and dated in white gouache in the lower margin within the border. Lovely 19th-century watercolour of Palermo.<br/> <br/>Catering to the foreigners flocking to the region on the Grand Tour this lovely watercolour shows the town of Palermo with its beautiful hills and mountains in the background with a large fort in the harbour with a British and French ship beside it. The sky is awash in pinks and blues displaying the incredible light of the region. unknown books
18306526London 1830. Aquatints coloured by hand. A fine complete series of four anonymous prints of hunting scenes possibly after the Alkens.<br/> <br/>The style and naming of these prints suggests an Alken origin for the series. Siltzer records a number of series by the Alken family in which the first plate is titled "Unkennelling." This title appears to be unique to them and supports the supposition that the present series are after the Alkens. Henry Thomas Alken was born into what became an artistic dynasty. He studied under the miniature painter J. T. Barber and exhibited his first picture a miniature portrait at the Royal Academy when he was sixteen. From about 1816 onwards he "produced an unending stream of paintings drawings and engravings of every type of field and other sporting activity. He is best remembered for his hunting prints many of which he engraved himself until the late 1830s.To many sporting art is "Alken" and to describe his work or ability is quite unnecessary." Charles Lane British Racing Prints pp. 75-76<br/> <br/>Cf. Siltzer pp.57-76. unknown books
185528465Susquehanna Depot 1855. Pencil pen and ink. Signed in ink: "Theodore Krausch. Susquehana sic Depot. N.Y. and Erie Railroad. October 13 1855." A very handsome drawing of a locomotive by a prominent inventor and engineer.<br/> <br/>Theodore Krausch dates unknown was employed by what was then known as the New York and Erie Railroad at Susquehanna Depot where railway cars and locomotives were designed built and repaired. The town in northeastern Pennsylvania just below the New York border and Binghamton came into existence with the coming of the railroad. Krausch who obtained several patents during his life one for innovations in railway chair design also received a Silver Medal from the American Institute of the City of New York for a drawing of a locomotive no doubt similar to this one. During the 1850s when railway lines and companies were spreading out across the country each railroad customized its engines and cars to its specific needs. There was a large degree of standardization and this Krausch drawing is a perfect rendition of the 4-4-0 wheel arrangement and overall design that was used almost universally in 19th century America. unknown books
39899TRADE SAMPLES EIGHTEENTH CENTURY FRENCH TEXTILES. A pair of manuscript broadsides or pattern cards of Londrine Seconds swatches. Languedoc France: mid to late 18th century. 24 mounted textile samples on t cards. Important documentation for the historian of textiles all in excellent condition. These two broadsides come from a French manufacturer of Londrine fulled woolen cloth manufactured specially in Languedoc in imitation of West England broadcloths and used in the Levant trade.the Moors always entertai a favorable opinion of English manufactures and the French to humor them g their cloth the name of Londras wishing to make the Moors believe it was manufactured in London." Montgomery Textiles in America 1984. The first is 19 x 13 3/4 inches and titled "Londrine Seconde" and on which ar mounted 12 large colorful swatches 2 1/2 x 1 1/2 inches each with a stock number written in ink. The second is titled "Fabrique Royale de la Bastide Rouge Peyre Londrine Second" same measurements as above with 12 different swatches and stock numbers. Government regulations for premieres Londres and secondes Londres are given i both Savary des Brusions and Diderot. Finer Spanish wool and a greater numbe of threads per inch in the warp accounted for the superior quality of the premiers. Montgomery states that there are letters in the Metropolitan Museu of Art with swatches of Londrina Seconde in bright colors from Carcassone and pattern card with eleven swatches of Londrine Secondes dating from the mid-eighteenth century at Colonial Williamsburg. Montgomery concludes by quoting Arthur Young traveling in France in the late 1780s observed that th "Londrins of which at all these towns I took patterns are a very bright beautiful well-dyed bright cloth that have had deservedly from quality and price the greatest success in the Levant; I saw the wool they are made of a should not have known it from a good specimen from the South Downs of Sussex. The present examples are particularly appealing as the colors are bright and they both have handsome calligraphic titles. Very rare. unknown books
191222619New York: Not Published 1912. Collection includes: A large souvenir program "Julia Marlowe's Benefit in Behalf of The Hopelessly Crippled French Soldiers" held at the Shubert Theatre May 26th 1916 with an inscription on the front cover signed by E.H. Sothern "Dear Harry Kauffman - The great thing is to perceive that most people are asses & that nearly everybody is wrong most of the time - "a soft answer turneth away wrath" But I declare that accidents are inevitable & excite the soul - what we must do is to rehearse everybody & everything all the time & keep our hair on - with love.sincerely E.H. Sothern" approx. 10" x 13" size one large sheet of heavy 'Normandy' watermark paper stock folded to make a cover over the smaller inner program for the event - according to the dedicatory text various artists gave their services - which included Miss Marlowe & E.H. Sothern & Company performing as well as Sir Herbert Tree Mrs. Lillie Langtry and others; the back of the inner program notes a E.H. Sothern appearance in "If I Were King" at the Shubert on the following evening; the cover with printed titles in dark blue simply side-tied with the remains of a red white and blue silk ribbon; with wear and soiling and old paper rub-hole at front margin about good overall; the inner program printed at the Arrow Press Inc. New York and very good; the team of and later husband & wife Edward Hugh Sothern 1859 - 1933 & Julia Marlowe 1866 - 1950 very well-known and popular as the premier Shakespearean interpreters in America at the time making Shakespeare accessible especially for a larger public; with an undated circa 1900 signed photograph of E.H. Sothern taken with two other handsomely dressed unidentified gentlemen strolling down a railroad station platform - Sothern signed in ink below his image; no studio or photographer noted photo approx. 6" x 8 1/4" mounted to an old gray card mount which has been trimmed away at bottom margin; photo with a tiny edge-tear at top otherwise very good as is the bold signature; with A large sepia-toned photograph inscribed and signed by E.H. Sothern taken while costumed in his role as MacBeth inscribed at top right "For Wm Kauffman with the regards of E.H. Sothern"; the photo signed in white ink bottom right 'Notman Boston' and is 10 1/4" x 13 1/4" approx. size; corners chipped closed tears with one through a letter of the inscription with old repairs on back; a few spots showing in the lighter area otherwise a good strong image of the actor in one of his most famous roles; with a very beautifully-taken head-and-shoulders portrait of Julia Marlowe Sothern in elaborate brocaded costume wearing headscarf inscribed below in black ink "To Mrs. Kauffman in remembrance of "Viola" and Julia Marlowe Sothern 1912"; image approx. 9 3/4" x 13" size; with the studio stamp of White N.Y. at right margin; some corner wear the 'Sothern' and a few other letters dimming in the inscription about very good overall and a striking image of the actress; with another White N.Y. large photograph this of both Julia & Edward Sothern in their costumed roles of Romeo & Juliet inscribed at the bottom margin "To Mr. Kauffman in remembrance of both of us! Julia Marlowe Sothern 1912" approx. 10" x 13"; top right corner chipped away little edgewear at bottom otherwise very good and sharply - taken; with a 6" x 9" approx. size photograph a copy of a famous earlier image by Arnold Genthe of Julia Marlowe Sothern as Juliet inscribed at lower margin "To Erwin Carl Kauffman son of our friend & coworker. Julia Marlowe Sothern May 1920." unevenly trimmed some wear and the inscription still very bold good condition; with an inscribed photograph "To my darlingest Mr. Kaufman & Mrs. Kaufman - May we meet again Katherine Alexander" Katherine Alexander 1898 - 1981 part-Cherokee American actress; the photograph pencil signed by the photographer illegible on the margin below dated 1923; approx. 8 3/4" x 13 3/4" including mount - image 6" x 10 1/4" approx. matte photo-paper; closed tears at edges soiling some crinkling into the top of the image about good condition; with an 8" x 10" portrait of Maude Adams Maude Ewing Kiskadden 1872 - 1953 American actress best known for her great success as the character Peter Pan with the studio stamp of Fernand de Gueldre Chicago on back; inscribed at lower margin "To Mr. and Mrs. Kaufman - with all good wishes from Maude Adams 1932" light wear & soil corner crease; in very good condition; with an inscribed portrait photo off Otis Skinner 1858 - 1942 American stage actor inscribed "To Fred Kaufman cordially yours Otis Skinner 1932" approx. 3 1/4" x 4 1/2" with the photographer's stamp on back of Irving - Allen - Fox Studio Denver; light wear and soil very good; with 3 additional 8" x 10" photographs of theatre stars of the past inscribed to the Kaufmanms as well names indecipherable; photographed by Standiford Studio Louisville Bachrach and Florence Vandamm; these all in good condition; an interesting group of signed early 20th century signed theatre material in overall good condition especially so for the personal inscriptions by these stars all to one family for good provenance. Photography. Not Bound. Good. Not Published Paperback books
195318800Boston 1953. Tempera on paper. Initialled "R.S.W." Mounted circular label lower right. Handsome 1950s sports car design.<br/> <br/>All of our present information about this drawing comes from a label on the back of the piece which indicates that it comes from the archives of the A.J. White Motor Vehicle Research Company - designers of exotic cars in the Boston MA area. We have not discovered any further information about the A. J. White Research Company thus far nor about the artist R.S.W. of this particular drawing. There does not appear to be any connection to the great White truck manufacturer. The drawing itself is especially nice its cool red sportscar positioned diagonally between two details in blue in a way that makes it appear anxious to move. unknown books
1795312011Philadelphia: by and for Colerick & Hunter 1795. First American Edition. a2 B-Z6 Aa-Kk6 Ll4. 399pp. 12mo 6 1/2 x 3 3/4 inches. original sheep both boards detached ex libris George Vaux with his signature on pastedown and first leaf of preface. First American Edition. a2 B-Z6 Aa-Kk6 Ll4. 399pp. 12mo 6 1/2 x 3 3/4 inches. by and for Colerick & Hunter unknown books
24635MISHKIN Herman 1870-1948. - Alda Frances 1883-1952. Bust-length portrait of the New Zealand soprano most likely in the title role of Puccini's Manon Lescaut. Ca. 204 x 152 mm. With the handstamp of Bain News Service in New York to verso. <br/><br/>- Alda. Full-length portrait as Ginevra in Giordano's La Cena delle Beffe. Ca. 203 x 153 mm. <br/><br/>- Alda. Bust-length portrait. Ca. 203 x 152 mm. Ca. 1909<br/><br/>- Bori Lucrezia 1887-1960. Bust-length portrait of the Spanish soprano. Ca. 203 x 151 mm. With handstamps of Miskell & Sutton in Cleveland and the Lakewood Public Library to verso.<br/><br/>- Bori. Full-length portrait as the Duchess of Towers in Deems Taylor's Peter Ibbettson. Ca. 224 x 167 mm. <br/><br/>- Bori. Full-length portrait in the title role of Thomas's Mignon. Ca. 203 x 152 mm. With handstamps of Donald C. Dougherty Management in Cleveland and the Lakewood Public Library to verso. <br/><br/>- Bori. Waist-length portrait as Manon. Ca. 203 x 152 mm. <br/><br/>- Bori. Bust-length portrait as Norina in Donizetti's Don Pasquale. Ca. 202 x 152 mm.<br/><br/>- Branzell Karin 1891-1974. Bust-length portrait of the Swedish contralto as Brangaene in Wagner's Tristan und Isolde. Ca. 198 x 153 mm. <br/><br/>- Case Anna 1889-1984. Bust-length portrait in profile. Ca. 178 x 121. Trimmed. Laid down to black backing paper. With another photograph ca. 141 x 108 being a full-length informal portrait with a dog and four other women one of whom is dressed in a Native American costume to verso.<br/><br/>- Case. Bust-length portrait. Ca. 202 x 152 mm. <br/><br/>- Caruso Enrico 1873-1921. Full-length portrait of the Italian tenor as Canio in Leoncavallo's Pagliacci. Ca. 214 x 126 mm. Trimmed at lower margin.<br/><br/>- Caruso. Full-length portrait as Don José in Bizet's Carmen. Ca. 205 x 125 mm. Trimmed at upper and lower edges.<br/><br/>- Caruso. Waist-length portrait as Samson in Saint-Saëns's Samson et Dalila. Ca. 243 x 133 mm. <br/><br/>- Caruso. Full-length portrait as Samson in Act III blind and with shorn hair next to a young boy. Ca. 248 x 133 mm. <br/><br/>- Claussen Julia 1879-1941. Bust-length portrait of the Swedish mezzo-soprano. Ca. 203 x 152 mm. <br/><br/>- Chamlee Mario 1892-1966. Full-length portrait of the American tenor as the Duke of Mantua in Verdi's Rigoletto. Ca. 202 x 152 mm. <br/><br/>- Danise Giuseppe 1882-1963. Bust-length portrait of the Italian baritone. With handstamp of the Miskell and Sutton in Cleveland to verso. Ca. 203 x 153 mm. <br/><br/>- De Luca Giuseppe 1876-1950. Waist-length portrait of the Italian baritone as Figaro in Rossini's Il Barbiere di Siviglia. Ca. 204 x 153 mm. With handstamps of Roger de Bruyn Exclusive Management in New York and the Metropolitan Musical Bureau<br/><br/>- Destinn Emmy 1878-1930. Three-quarter-length portrait of the Czech soprano as Santuzza in Mascagni's Cavalleria rusticana. Ca. 224 x 160 mm. Laid down to cream cardstock; trimmed. With the photographer's information embossed to lower left portion.<br/><br/>- Easton Florence 1884-1955. Three-quarter-length portrait of the English soprano. With "Florence Easton Prima Donna Soprano Metropolitan Opera Company" typed to verso. Ca. 176 x 126 mm. <br/><br/>- Farrar Geraldine 1882-1967. Three-quarter-length portrait of the American soprano in the title role of Bizet's Carmen. Ca. 200 x 149 mm. Laid down to ivory cardstock. <br/><br/>- Fleischer Edytha born 1898. Full-length portrait kneeling of the German soprano as Hänsel in Humperdinck's Hänsel und Gretel. Ca. 203 x 152 mm. <br/><br/>- Fleischer. Head and shoulders portrait. Ca. 203 x 151 mm. With handstamp of Miskell and Sutton to verso. <br/><br/>- Gatti-Casazza Giulio 1869-1940. Bust-length portrait of the Italian impresario and general manager of the Metropolitan Opera. Ca. 203 x 152 mm. With date "Mar 23 1959" handstamped to verso.<br/><br/>- Gigli Beniamino 1890-1957. Bust-length portrait of the Italian tenor as Faust in Boito's Mefistofele. Ca. 191 x 139 mm.<br/><br/>- Jeritza Maria 1887-1982. Waist-length portrait of the Moravian soprano in the title role of Bizet's Carmen Act III. Ca. 238 x 189 mm. Laid down to mount ca. 246 x 198 mm. <br/><br/>- Jeritza. Three-quarter-length portrait in church as Eva in Wagner's Die Meistersinger. Reproduction by Mishkin of an older photograph by Setzer in Vienna. Ca. 221 x 169 mm. With date "Feb 18 1961" handstamped to verso. <br/><br/>- Johnson Edward 1878-1959. Bust-length portrait of the Canadian tenor impresario and general manager of the Metropolitan Opera. Ca. 202 x 152 mm. <br/><br/>- Manski Dorothee 1891 or 1895-1967. Three-quarter-length portrait of the German-American soprano as the witch in Humperdinck's Hänsel und Gretel. Ca. 203 x 152 mm. <br/><br/>- Martinelli Giovanni 1885-1969. Bust-length portrait of the young Italian tenor. Ca. 202 x 152 mm. <br/><br/>- Martinelli. Waist-length portrait as Eléazar in Halévy's La Juive. Ca. 256 x 203 mm. <br/><br/>- Matzenauer Margaret 1881-1963. Bust-length portrait of the American contralto as Kundry in Wagner's Parsifal. Ca. 190 x 117 mm.<br/><br/>- Melchior Lauritz 1890-1973. Full-length portrait of the Danish tenor with a lyre in the title role of Wagner's Tannhäuser. Ca. 253 x 203 mm. <br/><br/>- Merli Francesco 1887-1976. Bust-length portrait of the Italian tenor. Ca. 203 x 150 mm. With handstamp of the Metropolitan Opera Press Bureau to verso. <br/><br/>- Pinza Ezio 1892-1957. Bust-length portrait of the Italian bass as Oroveso in Bellini's Norma. Ca. 203 x 152 mm. <br/><br/>- Renaud Maurice 1860-1933. Bust-length portrait of the French baritone as Mephistopheles in Berlioz's Le damnation de Faust. Ca. 197 x 124 mm. <br/><br/>- Rothier Léon 1874-1951. Bust-length portrait of the French bass as Count des Grieux in Massenet's Manon. Ca. 203 x 151 mm. <br/><br/>- Rothier. Full-length portrait as Dr. Miracle in Les Contes d'Hoffmann. Ca. 203 x 152 mm. <br/><br/>- Ruffo Titta 1877-1953. Bust-length portrait of the Italian baritone. Ca. 203 x 151 mm. With handstamp of the Bain News Service in New York to verso.<br/><br/>- Scotti Antonio 1866-1936. Full-length portrait of the Italian baritone as Chim-Fang in Franco Leoni's L'Oracolo. Ca. 203 x 132 mm.<br/><br/>- Scotti. Bust-length portrait as Barnaba in Ponchielli's La Gioconda. Ca. 192 x 148 mm. <br/><br/>- Sundelius Marie 1884-1958. Bust-length portrait of the Swedish-American soprano. Ca. 203 x 152 mm.<br/><br/>- Taucher Kurt 1885-1954. Bust-length portrait of the German tenor in profile. Ca. 203 x 152 mm. <br/><br/>- Tibbett Lawrence 1896-1960. Bust-length portrait of the American baritone as Ford in Verdi's Falstaff. Ca. 255 x 202 mm. With handstamp of the Evans and Salter Management in New York to verso. <br/><br/>Later reprints ca. 8 x 11":<br/><br/>Singer's name and role in pencil and ink to verso; otherwise in fine condition overall.<br/><br/>- Bori Lucrezia. Full-length portrait as Juliette in Gounod's Roméo et Juliette.<br/><br/>- Bori and Beniamino Gigli. Full-length portrait as Madga and Ruggero in Puccini's La rondine.<br/><br/>- Muzio Claudia 1889-1936. Full-length portrait of the Italian soprano as Violetta in the second act of Verdi's La Traviata. <br/><br/>- Ponselle Rosa 1897-1981. Full-length portrait of the American soprano in the tile role of Bellini's Norma. <br/><br/>- Ponselle. Full-length portrait in the title role of Ponchielli's La Gioconda. <br/><br/>- Ponselle. Full-length portrait as Maddalena in Giordano's Andrea Chénier.<br/><br/>Later reprint ca. 7 x 9":<br/><br/>- Amato Pasquale 1878-1942. Waist-length portrait of the Italian baritone as Scarpia in Puccini's Tosca.<br/><br/>In very good condition overall. Common minor defects include occasional signs of wear such as creasing cracking rippling foxing staining bumping pinholes trimming and remnants of former mounts. Some also carry annotations most often directly related to the singers and/or roles portrayed. Some laid down to mount. Born in Minsk Russia Mishkin emigrated to the United States in 1885. As the official portraitist of the Metropolitan Opera from 1908 until 1932 he became the foremost portrayer of Golden Age opera singers. While photographing opera stars for the Metropolitan he maintained a portrait studio frequented by many of the most significant performing artists of the day.<br/><br/>"In certain respects he had the most difficult task of any theatrical photographer of the early 20th century for he was constantly having to temper the hyperbolically dramatic poses that opera singers employed on the vast stages of Europe and America so that they didn't appear ludicrous shot from a twelve-foot distance. His subjects were among the least tractable persons to instruction in the performing arts and were generally infected with decorative sensibilities. That Mishkin was able to satisfy his sitters and adjust to the increasingly less ornamental aesthetic of modern photography was a testament to his tact and flexibility." Broadway Photographs online. unknown books
1676D6961Lyons: Sumptibus Joannis Antonii Huguetan 1676. Hardcover. Very Good. 6 vols. in 3 folio 350 x 220mm. Vol. 1: 38 306pp. 6 309-808pp. 32; Vol. 2: 16 363pp. 5 363-786pp. 18; Vol. 3: 12 696pp. 12. Titles in red and black. Woodcut printers device of Huguetan showing Ptolemy left and Euclid right either side of an astronomical device known as an armillary sphere. The text is in Latin with the central motto translating as the universality of things is like dust in the hand of God. The IAH monogram at bottom is for the 17th century French printer Jean-Antoine Huguetan. Complete with the portrait and half-title Vol. 1 and numerous woodcut initials head- and tail- pieces. Contemporary vellum rebacked some browning throughout marginal worming lightly worn. Contemporary ownership inscription by doctor above pictorial wood-engraved ex-libris by Leo Wyatt for Lord Norwich on front endpaper in all volumes. Two contemporary Latin manuscripts laid in after p. 408 one two pages signed by joannes cont on hypochondriacs the other concerning a cure. <br/><br/>Sennerts complete works three volumes in six parts printed by Huguetan. Sennert was an influential German professor notable for his contributions to medicine and atomic theory. Daniel Sennert born in Breslau was a student and the professor of medicine at the University of Wittenberg the intellectual center of Lutheranism. He was a renowned physician and an extremely prolific and influential writer whose popularity in his time is clear from the many editions of his works many of which were translated into English. These are Sennerts complete works in six parts each with a separate dated title page printed in red and black. His Opera was first published in Paris in 1641 and this edition expanded . with the omission of Tabulae institutionum and the addition of Vita Danielis Sennerti Judicia virorum clarissimorum Methodus discendi medicinam De curatione infantium De arthritide Tragopodagra Luciani in Greek and Latin Exoterica Epitome librorum de febribus Epistolarum medicinalium una cum responsorii D. Michaelis Doringei centuriae duae. The Epitome is reprinted from the Epitome edited by Claude Bonnet-- Krivatsy. This edition is regarded as the best. Among Sennerts many achievements he was the first to introduce chemistry as a subject of the medical curriculum and to make a serious effort to harmonize the Galenic doctrines of medicine with those of Paracelsus. Besides giving early accounts of scarlatina and rubella Sennert added to the knowledge of scurvy dysentery and alcoholism. He was an able clinician but a believer in witchcraft.-- Garrison-Morton 61. Scarcely found on the market these volumes are a complete set of Sennerts studies and 17th century medicine. Sennert was known to apply astrology to medicine and the supernatural origins of disease. NLM/Krivatsy 109 Sumptibus Joannis Antonii Huguetan hardcover books
1932848541932. EPHEMERA - 20TH CENTURY FOUR ORIGINAL LINDBERGH BABY ABDUCTION REWARD POSTERS. US Government Printing Office 1932/New Jersey State Police Trenton NJ 1932. Various sizes printed on one side only. 1. "$25000 REWARD! For information resulting in the apprehension and conviction of the kidnapers of Charles A. Lindbergh Jr. The following is a list of currency paid as ransom. The list is arranged according to the LAST FOUR DIGITS of the serial number." Folded newsprint toned and brittle several closed tears to joints and creases with no loss except for a few small chips to edges. 27 x 17 inches unfolded. Fair to good condition. 2. "$25000 REWARD for information resulting in the apprehension and conviction of the kidnapers of CHARLES A. LINDBERGH JR." Handwriting samples from the ransom notes reproduced in facsimile. 11 x 8 1/2 inches b/w on white paper. Very good condition no creasing. 3. "To All Law Enforcement Officials Wardens of Penal Institutions Etc." Handwriting samples from the ransom notes reproduced in facsimile. B/w on white paper. 9 1/2 x 12 inches. Very good condition no creasing. 4. "WANTED INFORMATION AS TO THE WHEREABOUTS OF CHAS. A. LINDBERGH JR. OF HOPEWELL N.J."With two b/w photo reproductions of pictures of the child with a written physical description. New Jersey State POlice Trenton. B/w on white paper. Good one three inch closed tear to "WANTED" repaired on reverse with acetate tape. unknown books
1870690701870. 30" x 24. 30" x 24" A Philadelphia Lawyer Who Served as Pennsylvania's Deputy Attorney General American School 19th Century. Smith Lewis Waln 1846-1881. Portrait of Lewis Waln Smith. Philadelphia c.1870. 24" x 30" image size. Oil on canvas in ornate nineteenth-century gilded wood frame. Some minor nicks and chips to frame gilding slightly dulled otherwise fine. $1800. Lewis Waln Smith was a lawyer who served as Deputy Attorney General for the State of Pennsylvania. This portrait belonged to the Philadelphia Bar Association. Founded in 1802 it is the oldest association of lawyers in the United States. Its library where this portrait was last displayed was renamed the Theodore F. Jenkins Memorial Law Library in 1967. unknown books
179138981791. 13 x 9 inches. Dark brown body colour on prepared paper. Inscribed "N.2.Stück" and "am 9ten Aprill 1791--nach der Natur gezeichnet von JEW" ink collector's stamp "Linel-Smlg. No." followed by pencilled number "1046" all on verso. Provenance: Linel ink collector's stamp on verso.<br/> <br/>A high quality image that clearly is drawn from life as the inscription claims. The artist's use of a dark prepared ground recalls the work of Barbara Regina Dietsch and her family. A search of Nissen's index of artists reveals one possible name: the Swiss artist Johann Emmanuel Wyss 1782-1837. However the maturity and assurance shown in the present drawing would seem to rule him out: he could have been no older than nine in April 1791. unknown books
192226368France: Artist Published 1922. Signed by the artist in pencil below the image at bottom right; at left is the artist's tear-drop shaped red 'seal' and the pencil '40.' Our research indicates this piece was accomplished circa 1922 the catalog raisonne giving it the title 'Dreaming'. There is a pencil title written at bottom left "The Evening" as well. Reverse with a small "Made in France" oval sticker. The art approx 210 x 155 mm approx. 8 1/4" x 6 1/4" size; the overall sheet size is approx. 390 x 270 mm 10 1/2" x 15 1/4" bottom edge deckle. Some darkening to the paper; faint old crease line top right corner; in very good condition; a lovely moody image evocative of the 'dream' state of the title. Art. Not Bound. Very Good. Artist Published paperback books
1885WRCLIT66997New York & London: G.P. Putnam's Sons 1885. Quarto. Publisher's mauve cloth heavily decorated in gilt and blind untrimmed. Plates and illustrations. Minor speckling to the cloth sizing at the extreme foretips some foxing early and late and occasionally to a few margins of plates institutional bookplate on pastedown otherwise about fine and bright in faintly hand-smudged printed dust jacket with some offsetting to the lower panel from the rather battered publisher's box. The "Zuyder-Zee Edition" limited to 600 numbered copies of which this is one of 250 copies on untrimmed Linen paper. However this copy is at variance with the colophon in that it is accompanied by the extra suite of ten mounted etchings specially printed on satin that was to accompany the first 25 copies rather than the two sets of ordinary impressions associated with this middle issue. The corners of the mats are a bit bumped and worn and one of the etchings is a bit foxed otherwise the suite is in very good order in the chipped remnants of the original printed paper wrapper also bearing a bookplate. This deluxe edition features original etchings some in Japon proof state by and photogravures after the likes of Pennell Gifford Vanderhoof Colman et al. The jacket is not among those selected examples of 19th century jackets cited by Tanselle. G.P. Putnam's Sons hardcover books
39081HORSE HARNESS-SIXTEENTH CENTURY Three Sixteenth Century Drawings of Leathe Straps and Metalwork for the Harnessing of Horses. N.P.: circa early 1500s. Three sheets 16 1/2 x 12 1/2 inches. Reddish-br crayon on very fine paper with unicorn watermarks. Rare original fifteenth century drawings of horse harnessing straps and metalwork possibly from Germany. The drawings are utilitarian in function a not artistic in intent for they include important details necessary for the harness maker or blacksmith to make the pieces. One of the drawings bears th number 64 in the same crayon and the others numbered 63 and 66. The first i bold full-page drawing; the second a smaller sketch on a trimmed sheet of a curious metal stirrups-and-spurs device. The watermark on the paper is of a unicorn. These drawings have a great provenance being one of only three ite which Paul Breman offered in his Catalogue One. Small wormholes on the right hand side of the sheets affect only one drawing; apart from that the sheets remarkably clean and well preserved. unknown books
1861605660<p>"W.A. Buckingham" in black ink on bifold pictorial leaf State of Connecticut Executive Department Norwich letterhead February 5 1861. 5 1/4" x 8" 2 pages. Very good. To Gideon Welles: In part: ". . .I have been solicited to appoint commissioners to the convention which is to be held in Washington on the 4th inst but have not done so. . .I have received no intimation from Virginia that a representation from Conn. is desired except what I have seen in the newspapers. I telegraphed you this noon inquiring your views but as I have received no reply. . ." Welles 1802-1878 born July 1 1802; died February 11 1878; was the United States Secretary of the Navy from 1861 to 1869 under Lincoln and Johnson. A proposed convention of all states to try and adjust differences between the north and the south. Seven states had declared their secession from the Union and established the Confederated States of America on February 4 1861 the day before this letter was written.</p> unknown books
1915List1003Chicago: National Half Century Anniversary Exposition and Lincoln Jubilee 1915. Felt pennant measuring 38 x 15 inches. Lettering slightly faded very good condition overall. In celebration of the fiftieth anniversary of Lincoln's death the city of Chicago hosted the National Half Century Anniversary Exposition and Lincoln Jubilee to celebrate emancipation and the cultural achievements of African-Americans. The event was held at the Coliseum on August 23 - September 22 1915. The Illinois legislature appropriated $75000 for the month-long celebration. Seventeen states appointed African American delegates to attend the event as representatives. Delegates from other countries participated as well. Bishop Samuel Fallows the English-born clergyman and Union Army Colonel spent a decade promoting and organizing the event urging states such as New York to appoint representatives and encouraging Chicago's religious leaders to attend. Several hundred pastors from African-American churches did attend along with members of their congregations and most contemporary accounts of the jubilee advertise speeches by African-American religious leaders. Charles F. Gunther a local candy manufacturer and collector of Lincoln memorabilia lent his collection to the event it was later purchased by the Chicago Historical Society. The event's organizers anticipated close to half a million attendees. Though we find no record of actual attendance contemporary reports show crowds of tens of thousands attending at a time. <br /> The Colored Women's Civic League closed the exposition with a ceremony involving children. <br /> <br /> Despite the large undertaking and historical significance of the event few relics of the exhibition have survived. OCLC lists two copies of the official program for the event. The official report of the event History and Report of the Exhibition and Celebration to Commemorate the Fiftieth Anniversary of the Emancipation of the Negro has around 20 holdings. We find no other record of this commemorative pennant an unusual survival. Condition is very good with some light wear. National Half Century Anniversary Exposition and Lincoln Jubilee unknown books
WALTER-FILM004261No binding. Very Good. Fine Art Print Stockholm: 20th Century Fox 1954. Vintage original 39 x 27"" 99 x 69 cm. one sheet poster Sweden. Conserved on archival linen with routine touch-ups to address minor tears and chipping NEAR FINE. Dorothy Dandridge Harry Belafonte dir: Otto Preminger; 20th Century Fox. Dorothy Dandridge's greatest and most iconic role. This Swedish poster with a design entirely different from its U.S. equivalent has a large image of her hands on hips and broadly smiling alongside designer Saul Bass' image of the flaming red rose which occurs in the film's credits. unknown books
1870List1032Jefferson City: S. Winans Photographer 1870. Carte-de-visite photographs measuring 3 ¾ x 2 ¼ on slightly larger mounts versos with the decorative stamp of S. Winans photographer 126 High St. Jefferson City. Some fading to images else about fine quite well preserved near fine overall. Near Fine. The Lincoln Institute of Jefferson City Missouri had its roots in the educational programs set up for soldiers of the 62nd Colored Regiment during the Civil War most of whom were from Missouri. After the war with $6000 raised from donations a group led by the white abolitionist officer Richard Foster set up the Lincoln Institute in Jefferson City. The student body was entirely African-american with the faculty a mix of African-American and white. The state of Missouri provided additional funding. <br /> <br /> Collected here are four portraits of students of the institute likely taken in the founding decade before the carte-de-visite format was replaced by the cabinet card. The photographer S. Winans took the photographs likely in his Jefferson City gallery as they are all staged in a formal portrait gallery. Winans also took a well known portrait of David W. Wallace the father of Bess Wallace Truman. Quite uncommon - we find no other record of these images elsewhere. S. Winans, Photographer unknown books
87802ADVERTISING - 20TH CENTURY MATCHBOX COVERS. A COLLECTION OF APPROXIMATELY 1300 MATCHBOX COVERS LABELS AND ADVERTISING CARDS DEPICTING A VARIETY OF PRODUCTS BUSINESSES AND PASTIMES. A collection of carefully preserved matchbox covers labels and advertising cards tipped-in to 2 commercially manufactured scrapbook albums. The albums are bound in heavy card stock. They are roughly 30 x 22 cm. each but are not uniform in appearance. The labels vary in size from 3.5 x 5.5cm to 7.5 x 11cm. Most are of the smaller size. The images on them include advertisements for restaurants and cafes as well as brands of clothing alcohol cars bicycles and motorcycles. unknown books
1598D6965Venice: apud haeredes Melchioris Sessae 1598. First Venice Edition. Hardcover. Very Good. Folio 310 x 210mm. 2175pp. 1 301pp. 2 12pp. 175pp. 1. Contemporary dark brown goatskin title and preliminaries lacking and supplied in early manuscript with illustrated printers device some browning and staining least severe after page 9. 17th-century inscriptions on rear endpaper for Index Capitum a medical students description of the various parts. Pictorial wood-engraved ex-libris by Leo Wyatt for Lord Norwich on front endpaper. <br/><br/>First Venice Edition of Capivaccios philosophical practica in Galenic teachings a pillar for medical students of the Renaissance. First edition printed in Frankfurt in 1594 under the title Practica Medicina. Capivaccios lectures were posthumously edited by Johann Hartmann Beyer. This is the first Venice edition of these lectures on the healing sciences by one of the leading Italian medical practitioners of his time is edited by Giovanni Bernardo Sessa. Capivaccio died at Padua in 1589 where he had taught at the university for 27 years. He was a specialist in venereal diseases for which he had developed certain successful cures guarding his secrets jealously from colleagues. Capivaccio applied a philosophical approach to his practica so much so that it is doubtful if it was ever much used as a vade mecum. By writing at such great lengths it is clear Capivaccio wished to educate students rather than give them a handbook. Apart from the wish to restore Galenic teachings and to educate students one motive for Capivaccios practica may have been to bolster the claims of university doctors over the central providers of medical expertise in the Renaissance namely priests wise-women magicians herbalists and travelling empirics. This work important to the reform of the practice of medicine and to the wider concept of dogmatism or rationalism in medicine the Renaissance physician could use Capivaccios work to locate the causes of diseases as well as its signs. NLM/Durling 816. apud haeredes Melchioris Sessae hardcover books
1695D6964Venice: apud Ioannem Hertz 1695. Hardcover. Very Good. Folio 330 x 220mm. 4 616pp. 30; 1 92pp. i. e. 90. Copper-plate engraved printers device of Hertz to tiltle. Title printed in red and black. Double column. Contemporary vellum. Ex Libris Prosperi Selli Medicinae et Chirurgiae above pictorial wood-engraved ex-libris by Leo Wyatt for Lord Norwich on pastedown. <br/><br/>Dolaeus surgical encyclopedia his opus magnus which was widely popular. Reissued several times as in this copy of 1695 the scarce first edition was printed in 1605. Dolaeus belonged to the iatrochemical school of Paracelsus and van Helmont a branch of both chemistry and medicine. His opus magnus was this surgical encyclopedia and as indicated on the title is based on the principles of Galen Paracelsus van Helmont Willis Sylvius and Descartes. The encyclopedic entries deal with all manner of surgical diseases including hernia cancer abscesses ulcers gangrene and afflictions of the sense organs teeth and genitalia. A physician to the German nobility Dolaeus became rich and famous through his secret liquor antivariolosus presumably a remedy for smallpox; he also anticipated Cheyne in his dietary treatment of gout. Part 2 has special title page: Johannis Dolaei . Tractatus varii. Page 31 part 2 has half title: Joh. Jacobi Waldschmidt . et Johannis Dolaei . Dissertationes epistolicae de rebus medicis et philosophicis. NLM/Krivatsy 3315 apud Ioannem Hertz hardcover books
1870822261870. 19TH CENTURY. TUDOR WHARVES ICE: THE SHIPS ANAHUAC LUCY S. WILLS AND ANNA DECATUR. Photographer unknown. ca. 1870. Matted framed original photograph matted to 11 x 17 inches. Diagonal vista: The ships Anahuac Lucy S. Wills and Anna Decatur load ice at the Tudor Wharves Charlestown Massachusetts. The first two ships were East Boston-built and Boston-registered; the latter was built and registered in Portsmouth New Hampshire. Charlestown Bridge is in the foreground with one lone spectator observing the shipyard docks. Frederick Tudor known as "The Ice King" combined two trades without much apparent connection ice and sawdust and by using the sawdust for insulation was able to create a shipping industry in New England that reached the far East and South America. Some vertical bands of toning faintly apparent from original wood backing. 338-9 Bunting "Portrait of a Port: Boston 1852-1914." a. unknown books
184729827Paris: Aubert & Cie 1847. 267 x 225 mm. good margins sheet size 324 x 250 mm. Printed on wove paper. Signed by the artist in the stone. A very good impression. <br/><br/>This humourous print depicts a young lady playing a piano duet with a somewhat Liszt-like gentleman. <br/><br/>Remants of mounting tape to right edge and upper corners of verso. Bibliothèque Nationale Inventaire du Fonds Français après 1800 no. 70. No. 4 in the series Les Bonnes Têtes Musicales. Aubert & Cie unknown books
1780SAV109Paris: Imprimerie de Didot l'aîné collection d'auteurs français pour Monseigneur le Comte d'Artois 1780. Hardcover. Good. 1780-1781. Sixteen volumes pocket 18mo 133 x 74mm. Printed on fine laid paper. Uniformly bound in contemporary mottled French calf ruled in gilt with olive morocco lettering labels marbled endpapers gilt edges. This beautiful miniature set was executed at the solitary expense of the Count d'Artois 1757-1830 later Charles X of France and numbered in full 64 volumes; the aim of which collected various sets of French works in verse and prose. Influential Enlightenment writers were thus compiled here many of them French female authors and limited to an overall printing of 100 copies by the famed printer Didot of Paris. Consisting: 1 DE LA FAYETTE Madame 1634-1693. "Zayde." 1780. 3 vols. 156 135 and 166pp. A classic novel with stories on the political social and cultural communities of early modern Spain. 2 DAUCORT Claude Godard d'Aucour 1768-1826. "Le Berceau de la France." 1780. 2 vols. 175 and 152pp. Rare first published in 1744 as a history of French civilization. 3 RICCOBONI Marie-Jeanne 1714-1792. "l'Histoire d'Aloïse de Livarot." 1780. 77pp. 4RICCOBONI Marie-Jeanne 1714-1792. "Les Amours de Roger et de Gertrude." 1780. 79pp. 5 DUCLOS Charles Pinot 1704-1772. “Ismene and Ismenias. Roman Grec." 1780. 115pp. 6 TRESSAN Comte de 1705-1783. "Le Prince Gerard Comte de Nevers et la Belle Euriant sa mie." 1780. 171pp. 7 TRESSAN Comte de 1705-1783. "Histoire du petit Jehan de Saint." 1780. 182pp. 8TRESSAN Comte de 1705-1783. "Histoire de Tristan de Léonois." 1781. 212pp.9 DUCLOS Charles Pinot 1704-1772. "Confessions du comte de ." 1781. 2 vols. 129 and 128pp. First published in 1742 a popular "portrait gallery" of the illustrious French. 10 TENCIN Claudine Guérin de 1682-1749. "Le Siege de Calais.” 1781. 2 vols. 122 and 126pp. First published anonymously in 1739. 11ARNAUD François-Thomas-Marie de Baculard d' 1718-1805. “Sargines.” 1781. 130pp. Good. Only light edgewear and some bumped corners slightest spots otherwise crisp and clean interior. The Count d'Artois friend to Marie Antoinette and lover of the arts sought to stimulate a renewal in fiction with the printing of this collection of novels in 35 titles. The overall collection of 64 volumes was printed from 1781 to 1784 and edited by the order of Louis XVI. Just two years later the French monarchy would be in crisis; bankrupt and facing various political upheavals in the years leading up to the Revolution. This surviving set dates from the time of relative peace before upheaval and before the Count later reigned as Charles X in the post-Revolution era in 1824. These survive as early relics of the French monarch's cultural interests and endeavors. François-Ambroise Didot printed no more than 100 copies as a whole impression; 60 with the arms of the prince and at least 40 were on common paper without the Count’s heraldry as in these while others were produced on vellum See Ebert 4938. These works are extremely neatly printed on laid paper and stand as a precursor to Didot’s prolific typographic and printing career. Complete copies of the Count d’Artois’s collection are of utmost rarity; these portative sixteen make up an excellent union. Brunet 19413. <br/><br/>The Count d'Artois friend to Marie Antoinette and lover of the arts sought to stimulate a renewal in fiction with the printing of this collection of novels in 35 titles. The overall collection of 64 volumes was printed from 1781 to 1784 and edited by the order of Louis XVI. Just two years later the French monarchy would be in crisis; bankrupt and facing various political upheavals in the years leading up to the Revolution. This surviving set dates from the time of relative peace before upheaval and before the Count later reigned as Charles X in the post-Revolution era in 1824. These survive as early relics of the French monarch's cultural interests and endeavors. François-Ambroise Didot printed no more than 100 copies as a whole impression; 60 with the arms of the prince and at least 40 were on common paper without the Count’s heraldry as in these while others were produced on vellum See Ebert 4938. These works are extremely neatly printed on laid paper and stand as a precursor to Didot’s prolific typographic and printing career. Complete copies of the Count d’Artois’s collection are of utmost rarity; these portative sixteen make up an excellent union. Brunet 19413. Imprimerie de Didot l'aîné (collection d'auteurs français pour Monseigneur le Comte d'Artois) hardcover books
