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Modern brown boards. 64mo (2x3, miniature), [8]+252+[14] pages. In Latin. Divided into 37 chapters, (oratios), each with its own heading in large type with decorated initial letter. Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition. Ferraris first book was a Syriac Lexicon, and he also published a series of Orationstreatises on Rhetoric which emphasized good Latin usage. His last publication was a book on Sienese saints. (illustratedgarden.org) OCLC: 797749225, OCLC-Worldcat lists only 8 copies of any early editions worldwide, none in North America. Title page is illustrated, showing a woman holding a rose. Very slight corner rounding, bit of spotting, period 2-word notation on title page, paper and binding remain very nice, about Very Good Condition Overall. Very Rare (AC-22-3)
FH-463o.J. Farbholzschnitt, 1896, auf hauchdünnem Japan-Bütten, mit Bleistift signiert und links unten von Orlik als ?Probedruck? bezeichnet. Darstellungsgröße 15,8:15,7 cm, Blattgröße 19,9:18,4 cm. Literatur: Führer des Rhein. Landesmuseums in Bonn: K. A. Reiser, Graphik des deutschen Jugendstils. Düsseldorf, 1972, Nr. 112; Kat. Galerie Glöckner, Köln 2007/2008, Nr. 41/31. Blatt 31 aus der Mappe: Kleine Holzschnitte 1896-1899. 34 Bll. Verlag Neue Kunsthandlung, Berlin 1920. Orlik wiederholt mit diesem Holzschnitt das Motiv des gleichnamigen Pastells, für das er 1892 die Silberne Medaille der Münchner Akademie erhielt.
426-Eo.J. Schwarze Kreide, mit Weißhöhungen, auf braunem Papier. 14,6:14 cm. Provenienz: Aus dem künstlerischen Nachlaß. Vermutlich Studie für ein Kinderbildnis.
462-Eo.J. Feder in Schwarz, gelb laviert, auf bräunlichem Zeichenkarton, mit doppelter Umfassungslinie, rechts unten monogrammiert ?C.R?, im Unterrand nummeriert ?No. VI?. 10,7:23,2 cm. Das Blatt ist in einem ausgezeichneten Zustand. Provenienz: Sammlung Carl Meister (1818-1876) (Lugt, 1808). Möglicherweise Entwurf für ein Fresko/Illustration.
FH-272o.J. Farbschablonendruck, 1921, auf cremefarbenem Velin, mit Bleistift signiert, datiert, betitelt und als ?Trialproof? bezeichnet. Darstellungsgröße 19,5:25 cm, Blattgröße 24,8:32 cm. - Mit Gebrauchsspuren im weißen Rand.
2688Cambridge: Printed by John Hayes printer to the University 1701. Hardcover. Good. Octavo. No pagination. All pages ruled in red. Contemporary calf with acorn tool in blind. With plates by William Emmett. Aberdeen University Library records 48 plates. This copy has 50. Some plates repaired affecting blank margin of plate one and a very small area of image. Outer margin of title-page repaired. ESTC T210482. ESTC records three copies: one in Scotland one in Ireland and one in South Africa. Bound with: The Whole Book of Psalms. London: Printed by T.H. for the Company of Stationers 1701. <br/> <br/> Cambridge: Printed by John Hayes, printer to the University, 1701. hardcover
188423391884. A unique quarto 15 x 12 1/2 inches 382 x 318 mm; 30 double-sided sheets containing approximately 80 preserved specimens of seaweed and sea mosses which are individually dried mounted to card stock and tipped-in; each with the genus in Latin and the date and location of collection handwritten in pencil in the lower mount. Approximately 1 to 5 specimens per page. Binding is broken and significantly worn with some pages loose. Specimens are intact and separated by blotting paper and remain in very good to excellent condition with some exhibiting only minor losses. <br /> <br /> While seaweed collecting was a popular Victorian pastime in Britain this rare herbarium is filled with a profusion of north American specimens primarily from Bay Ridge Brooklyn to Nantucket island as well as some from California and Bermuda. In the Victorian era seaweed collecting or algology was far more than a casual beach activity; it was a massive cultural trend that married scientific curiosity artistic expression and social freedom. While the Victorians were obsessed with all things natural history a trend called "natural theology" seaweed held a unique appeal especially for women. While studying animal anatomy was seen as "unladylike" at the time collecting seaweed was considered a genteel and healthy outdoor activity. As a result several women used the opportunity to make significant scientific contributions.<br /> <br /> Often called "Ocean Flowers" or "Sea Mosses" these specimens became the focus of elaborate scrapbooks and pioneered some of the world's first photographic techniques Anna Adkins's Produced Photographs of British Algae: Cyanotype Impressions 1843 was the first book ever illustrated with photographs. Today these Victorian albums are more than just relics of a cultural fad; they are vital biological records. Scientists utilize the DNA from these 150-year-old pressed samples to track how ocean temperatures and species distributions have changed since the Industrial Revolution.<br /> <br /> Creating a seaweed album was a meticulous process. Collectors didn't just dry the weeds; they "resurrected" them to look alive on the page. This album demonstrates the incredible skill of the maker. unknown
1841DEMO016689ILondon: Published by the Author 1841. First edition. Hardcover. Very Good. George Catlin engravings. Octavos 264 266pp. 19th C red half morocco edgeworn extra gilt spines 1 board tender. <br/><br/>Howes C241; Wagner-Camp-Becker 84:1; Pillling 681 q.v.'; Sabin 11536; not in Field's Indian bibliography . Uncited variant: This edition was printed by "W. and A.K. Johnston printers Edinburgh and London." I have not found another copy so described nor are the maps identified as being engraved by Tosswill & Myers; also this does not have the mistake of "Frederick" for "Zedekiah" on p.104. Note: the collation appears to match the Siebert copy Siebert Catalogue of 1999 vol.2 no. 838 altho I count 75102= 177 leaves of plates not 176 plus the 3 maps one folding in v.1. William Clark the famed co-explorer and later the Indian Agent headquartered in St. Louis testified that "I have seen Mr. Catlin's Collection of Portraits of Indians east of the Rocky Mountains many of which were familiar to me and painted in my presence: and as far as they have included Indians of my acquaintance the likenesses are easily recognized baring the most striking resemblances to the originals as well as faithful representations of their costumes." Illustrated with George Catlin's engravings. Published by the Author hardcover
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
514Pen and sepia ink wash on cream laid paper 4 1/8 x 6 3/16 inches 103 x 152 mm. In good condition with scattered areas of light brown discoloration and uniform age tone. Condition consistent with age. unknown
15156404Leipzig: Valentin Schumann "in officina Valentini Dammandri" 1515. Fine. Octavo 21 cm; 32 leaves. Title and postscript set in large gothic type; text in roman. Woodcut title page within four-sided border includes human figures with stylized plants a putto birds etc. About 66 woodcut initials. In recent quarter leather over marbled boards. References: Durling 4189; BM/STC German 815; This edition not in Adams Wellcome Osler etc. Title page reproduced in J. Luther "Die Titeleinfassungen der Reformationszeit" pl. 89. <br /><br />From what modern scholarship can discern Serenus was a poet who had a keen interest in medical science and pharmaceuticals. He is famous for using the formula "abracadabra" in the treatment of illness and for amassing a personal library of 60000 scrolls. The 1107 hexameter lines that make up this essay were inspired by the "Medicina Plinii" a book of pharmacy by a pseudo-Pliny of the mid-4th-century as well as the real Pliny's Natural History and the Greek guide to materia medica by Dioscorides. The text consists of prescriptions and remedies for about 65 different diseases. The poem was extremely influential in the practice of Late-Antique and Medieval medicine. It was reprinted 21 times between the first edition of 1484 and 1731 apart from inclusion in many compilations of medical texts. As late as 1866 it was translated into German Prescriptions cover a range of ailments from headache itching elephantiasis bad breath gall stones pimples treatment of wounds and even money bites. The text is followed by Remmius Flavianus "Carmen de ponderibus et mensuris" a versified explanation of weights and measurees specifically for use by physicians. Valentin Schumann ("in officina Valentini Dammandri") hardcover
1828120935Edinburgh: Printed for Alexander Mackay and Longman & Co. London. 1828. 32 pages. Softcover with title. (Used). 22x14 cm
020-Ho.J. Aquarell über Feder in Schwarz und Grau mit einzelnen Deckweißhöhungen auf Zeichenkarton, rechts unten signiert und datiert ?E. Harrison Compton. 1915.? 30,4 x 28,5 cm. Verso: Küstenlandschaft mit Felse am rechten Rand. Aquarell.
429-Eo.J. Schwarze Kreide, doppelt umrandet. Darstellungsgröße 16,5 x 20,7 cm, Blattgröße 22,5 x 27 cm.- Alte Zuschreibung an F. Overbeck.
245-Eo.J. Aquarell, mit schwarzer Tuschlinie umrandet, auf Velin. 10,8:17,6 cm.
374-Eo.J. Feder und Pinsel in Grau, grau laviert, über Bleistift, auf Bütten mit undeutlichem Wasserzeichen (Buchstabenfolge). 20,7:27,8 cm. Vertikale Falte geglättet, leicht fleckig. Wohl Entwurf für ein Bühnenbild.
265-Eo.J. Gouache und Pinsel in Grau mit Deckweißhöhungen, auf braunem festem Papier. 16,2:22,5 cm. Linke untere Ecke angesetzt. Auf dem bildmäßig ausgeführten Aquarell verweisen die Bekleidung der Dargestellten, die der Empire-Mode nahestehenden ländlichen Frauentrachten, sowohl Kniebundhosen als auch die der neuesten Mode entsprechenden Sansculottes der Männer auf eine Datierung in die ersten Jahre des 19. Jahrhunderts. Die blonde Frau mit dem Kind zeigt physiognomische Ähnlichkeiten zu einer Marktfrau auf einem Gemälde aus der Stiftung Oskar Reinhart Winterthur, dazu vgl. Stiftung Oskar Reinhart Winterthur, Band 2, Zürich 1977, S. 354, Nr. 167.
FH-489o.J. Farbholzschnitt, auf Japan-Bütten, mit Bleistift rechts unterhalb der Darstellung signiert, in der rechten unteren Ecke im Stock monogrammiert. Darstellungsgröße 24:24,2 cm, Blattgröße 29:29,5 cm. Vergleichsliteratur: Ausst. Katalog: Wege zu Gabriele Münter und Käthe Kollwitz. Holzschnitte von Künstlerinnen des Jugendstils und des Expressionismus. Reutlingen, 2013, Farbabb. Ss. 38 u. 58.
0939-Co.J. Lithogaphie, 1920, auf chamoisfarbenem Japan, mit Bleistift signiert. Darstellungsgröße 37:29 cm, Blattgröße 46,5:37 cm. ? Zwei Einrisse im rechten Rand sorgfältig restauriert, Papier im äußeren linken Rand teil wellig. Literatur: Rosenbach 3.? Sehr guter Abdruck, vollrandig.
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
2015111548Batsford. New. 2015. Hardcover. 1849941939 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - -- with a bonus offer-- . Batsford hardcover
2017129641Batsford. New. 2017. Hardcover. 1849943427 . - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - BRAND NEW FLAWLESS COPY NEVER OPENED - with a bonus offer--; 10.0 X 10.0 X 0.9 inches; 240 pages . Batsford hardcover
188151851New York: The Century Co. As New. 1881. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Tight to spine - More than 50 black and white plates with engravings of works byThomas Cole Whistler Millet Thomas Moran William M. Chase Mary H. Foote and others. Gold-embossed coverboards with leather binding and trim; decorated endpapers. -- with a bonus offer-- . The Century Co. hardcover
174911118La Haye, Neaulme, 1749 ; 2 tomes reliés en un volume in-12 ; plein veau fauve marbré, dos à faux-nerfs dorés, décoré et doré, pièce de titre grenat, roulette dorée sur les coupes, tranches rouges (reliure de l'époque) ; (8), 228, (4), pp. [229]-449, (1) pp. faute à corriger.
178-Do.J. Gouache auf Pergament, mit schwarzer Tuschlinie umrandet, unten signiert ?C.S. v. Bemel?. 17,4:22,5 cm. - Verso entlang der Ränder alte Verklebung, winzige Bereibung der Tuschlinie im Unterrand, kleine Farbabplatzung. [2 Warenabbildungen]