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1817ABC_48010Southern Italy 1817. Gilded frame ca. 56 x 76 cm. Watercolour on paper ca 51 x 71 cm dated in the lower left corner. Beautiful vibrant watercolour painting of Southern Italian costumes. The work has been attributed to Luigi del Giudice active 1777-1816 as the style and subject matter are identical to his other work. The painting depicts the colourful traditional Italian dress worn at a local festival and shows the various activities the participants engage in including a traditional dance with castanets likely the Tarantella the sale of prints of the Madonna and child and eating local delicacies. The inscription below the painting mentions Sicily but the work probably depicts the Piedigrotta festival in Naples.Del Giudice was an Italian artist who was a student of painter Giacomo Cestaro 1718- ca. 1779 in Naples. He specalised in watercolours of costumes and festivals. The present work is part of a series of 5 paintings with similar scenes which can be found in multiple museums in Naples. Del Giudice's work is a good example of the Romantic movement popular in Europe at the time.The paper has small scratch marks in the top border and small dust particles in all borders without affecting the painted image. A few small parts of the frame have chipped off on the inner and outer edge and tape on the back. Otherwise in very good condition.l Thieme/Becker 14 p. 204. ABE CAT Art History ABE CAT Costumes & Uniforms unknown
18762110502150908265Matsumoto Heikichi-ban 1876. Soft Cover. Fine. Number of books: 1 Matsumoto Heikichi-ban paperback
ABE-4369646188A group of passengers on a cruise ship challenge the world chess champion to a match. At first they crumble until they are helped by whispered advice from a stranger in the crowd - a man who will risk everything to win. Stefan Zweig's acclaimed novella Chess is a disturbing intensely dramatic depiction of obsession and the price of genius. This painting is based upon this wonderful novel. Kettle's work has been exhibited regularly in London's Royal Academy. His paintings are often sought after by writers and book collectors because of the literary nature of most of his work. An original framed painting on canvas. Language: eng Language: eng 0.0 Language: eng 0.0 Language: eng 0.0 Language: eng. Hardcover. New. hardcover
18882111902160200925Hakodate Kitajimasha Choyodo Seikodo Mijosha 1888. Soft Cover. Fine. Volume: 1 Hakodate Kitajimasha Choyodo Seikodo Mijosha paperback
18902092902138300144Okura Magobe version 1890. Soft Cover. Fine. Number of books: 3 Okura Magobe version paperback
1870ST11417Innsbruck ca. 1870. Folder: 240 x 206 mm; 9 1/2 x 8 1/8"; painting: 133 x 102 mm. 5 1/4 x 4". <br/> Matted and housed in a black cloth-backed folder with black paper boards. Front pastedown with a sample of the cobweb material and a large paper label in three languages; lower right corner of mat stamped with the name "F. Unterberger / Innsbruck." Edges and head and tail of spine slightly worn and bumped light foxing to the mat and interior of the folder a hint of toning to the lightly colored sky a tiny hole just grazing the hairline of the subject small closed tear at the bottom of the image but all of these imperfections quite trivial the fragile painting IN ESPECIALLY FINE CONDITION with the colors very bright and an altogether remarkable survival.<br/> <br/> Featuring a comely wistful young peasant woman this highly unusual piece of art redefines our notion of the term "fine" being both skillfully executed and painted on a whisper thin canvas consisting of actual spider webbing. While the earliest such cobweb paintings are purported to have been done by monks and nuns in the 16th century the form later became a kind of peasant art geared toward the tourist trade in the 19th century. It seems to have been a particular specialty in the areas near the Tyrolean Alps where the Agelenidae or "Funnel-Web" spiders produced webs that were gathered then layered wound and stretched producing a fabric that was then strengthened by the brushing on of diluted milk. The result was a very fragile fabric but one sturdy enough to withstand delicate brushstrokes applied by the careful hands of skilled artisans. Our piece almost certainly passed through the hands of one of the most successful purveyors of these paintings Franz Unterberger 1838-1902. Best known as a painter in oils of Italian scenery Unterberger also ran a small workshop located in Innsbruck where he commissioned and sold cobweb paintings done by accomplished locals. Anonymously painted the present piece is characterized by particularly fine brushwork a bright color palette and charming subject matter no doubt chosen to appeal to tourists seeking a cheerful memento of their travels. Due to the obvious fragility of the material involved these kinds of paintings are uncommon on the market and when they do appear are often defective. The present painting is significantly larger than the few other examples we have been able to find. There are two paintings in the McCormick Library at Northwestern each measuring 4 x 3" and larger than recent examples at auction which ranged in size from 3 1/4 x 2 1/4" to 4 1/2 x 3 1/4". According to Lauren Hock's article on the McCormick Library website 22 July 2008 there are fewer than 100 known extant cobweb paintings and most of them reside in private collections. unknown
188280265London:: Kegan Paul Trench & Co. 1882. full gilt straight-grain morocco; gilt paneled spine by Sotheran & Co; a.e.g. Very fine. 8vo. With five folding colored maps. With a fine fore-edge painting by Miss Curre of Mucross Abbey Killarney. Bound in is a calligraphic colophon reading "This is No. 101 of the Books with Fore-edge Paintings by Miss Currie. The Painting under the gold is a view of Mucross Abbey Killarney Signed signature C.B. Currie." Kegan Paul, Trench & Co., unknown
1927911101927. PAINTING ALBUM. Nikuhitsu Manga KAIKOKU ROKUJUNENSHI ZU-E. Done by the Chuo Bijutsu Kyokai in Tokyo in 1927 as a 43 x 31 cm portfolio of 52 original watercolor drawings counting the table of contents and cover title label on satiric and comical themes done to commemorate the 60th anniversary of the opening of Japan in the mid-19th century. The title represents quite a liberal interpretation of chronology since the opening of Japan was in 1854 but it is probably refers to the Meiji Restoration as the beginning of "opening" and also refers to Baron Okuma's somber and influential 50 year history of modern Japan with its almost identical title done in 1909. There was more than one set of these drawings assembled. It seems to have been issued as a limited hand-drawn edition. One of several such major painted works in a manga style There is a hand-written table of contents/colophon with the captions of the drawings and their artists listed by Nakamura Fusetsu 1866-1943 the important Haiga artist. Two dozen or so of the most prominent cartoonists satirists and artists are represented. One of the two watercolors by the great cartoonist Okamoto Ippei 1886-1948 is a caricature of his friend Natsume Soseki the famous author of "I Am A Cat" captured with his pet tabby beside him inextricably linked in Ippei's imagination and ours. The "father of modern manga" Kitazawa Rakuten 1876-1955 has two as do the important printmakers Maekawa Sempan 1888-1960 and Mizushima Nihofu 1884-1958. The list of talented and significant contributors goes on as does the subject matter: political satire China vs. Japan East vs. West tradition vs. modernity technology vs. craft from abstract Sumo wrestlers to a surreal embodied eye a congeries of images overwhelms our eyes in turn. A wonderful visual epitome of the free spirit of democracy if not anarchy in the 1920s before the dark days to come. In very good condition the watercolors are skillful and powerful. There is quite a bit of contemporary supplementary material included from the time. unknown
05161London: Printed for John Bumpus Walker and Co. 1822. With Two Very Fine Fore-Edge Paintings by Helen R. Haywood<br /> Depicting Burns Cottage with a Portrait of Robert Burns <br /> and a Fine View of the Bridges on the River Ayr<br /> <br /> FORE-EDGE PAINTING. HAYWOOD Helen artist. BURNS Robert. The Poetical Works of Robert Burns; Including the Pieces Published in his Correspondence and Reliques: With his Songs and Fragments. To which are prefixed a history of the poems by his brother Gilbert Burns and a sketch of his life. In two volumes. London: Printed for John Bumpus Walker and Co. 1822. <br /> <br /> Two small octavo volumes 6 1/8 x 4 inches; 157 x 101 mm.i-xxx 1-268; i-xii 1-262 pp. <br /> <br /> Contemporary full dark blue straight-grain morocco covers elaborately decorated in gilt and blind spines with four shallow raised bands decoratively tooled and lettered in gilt in compartments decorative gilt board-edges and turn-ins pale blue endpapers all edges gilt. Housed in an early blue cloth slipcase. A fine pair of Helen Haywood Fore-Edge Paintings.<br /> <br /> With two very fine early twentieth century fore-edge paintings by Helen R. Haywood. The first volume with a fine view of Burns Cottage with a portrait of Robert Burns on the left side; The second volume with a fine view of Ayr River Bridges.<br /> <br /> These fore-edge paintings were done by Helen Haywood sometime between 1927 and 1940. Front flyleaf of volume one with "Burns" and "The Birthplace"; volume two with "Ayr" all in the hand of Helen Haywood. <br /> <br /> Helen R. Haywood 1908-1995 was an English writer and illustrator of children's books. She was born in England in 1908 but was taken as a child to Chile where her father an engineer worked on the trans-Andean railway. She remained in Chile until she was approximately 15 years old. Her experiences were recounted in an unpublished novel"Childhood in Chile." Miss Haywood was a keen student of science and an amateur naturalist and anthropologist. Many of the books she illustrated for the publisher Hutchinson & Co. London were keenly observed and scrupulously accurate depictions of plants birds and animals. When commissioned to do illustrations for a children's book on dinosaurs her research into the skin colors she subsequently chose for her dinosaur illustrations was cited by the Royal Academy of Sciences. Haywood was also a practitioner of the art of fore-edge painting. She became acquainted with the art form through an uncle who was associated with the Bayntun-Riviere Bindery of Bath. She did several fore-edge and double fore-edge paintings on commission every year from the 1930s to the 1970s for Inman's Books an antiquarian book dealer in New York City. She died in Bournemouth England in 1995.<br /> <br /> Provenance: Christie's New York December 8th 1989 lot 202 to Randal Moscovitz. London: Printed for John Bumpus, Walker and Co...., 1822 unknown
18262110502150901855Hanmoto fumei 1826. Soft Cover. Fine. Volume: 1 Hanmoto fumei paperback
105399Safavid Persia circa 1500 AD. . Single leaf from a Safavid album illuminated miniature on paper depicting a young Prince in discource with a female two attendants flanking either side of the image in attendance image mounted onto card framed with gilt drawings of birds and spiralling vines reverse mounted with blank paper miniature 128 x 90 mm total leaf 280 x 175 mm; some light discolouration and fading a little rubbed. <br /> <br /> Safavid Persia, circa 1500 AD. unknown
18402110502150902010Sano Ki version 1840. Soft Cover. Fine. Number of books: 1 Sano Ki version paperback
2091202133204270Not Available N.A. Soft Cover. Fine. Number of books: 3 books in total Not Available paperback
18082110502150902614Published by Shinbei Yoshida 1808. Soft Cover. Fine. Volume: 1 Published by Shinbei Yoshida paperback
18792092902138300323Okura Magobe version 1879. Soft Cover. Fine. Number of books: Triptych Okura Magobe version paperback
18622110502150907683Iseya Kanekichi version 1862. Soft Cover. Fine. Number of books: 10 Iseya Kanekichi version paperback
1844ST18420aFirenze Florence: David Passigli 1844. 85 x 53 mm. 3 3/8 x 2 1/8". 3 p.l. 326 2 section title 327-659 pp. <br/> Contemporary stiff vellum charmingly gilt covers with graceful gilt frame of volutes and flowers central ornament formed by similar tools smooth spine tooled with gilt volutes and flowers forming central panel with gilt lettering a small gilt bird of paradise above and below this marbled endpapers all edges gilt. WITH SPLIT FORE-EDGE PAINTINGS visible when the book is open at the section title for part II the painting on the first half of the leaves A SWEEPING CITY VIEW OF JERUSALEM that on the second part featuring THE DOME OF THE ROCK ON THE TEMPLE MOUNT. With engraved frontispiece portrait of the author and two engravings depicting scenes from the poem all with original tissue guards. Front pastedown with engraved armorial bookplate of William Dunville see below. Doris Varner Welsh A Bibliography of Miniature Books 6611. Corners lightly bumped one spot of light rubbing to gilt on upper cover isolated spots of faint foxing but A VERY FINE SPECIMEN clean and bright inside and out the fore-edge paintings well preserved.<br/> <br/> This delightful miniature edition is adorned with two fore-edge paintings showing different views of the title city both visible when the book is open to the title page of part II of Tasso's Crusader epic "Jerusalem Delivered." Given the restricted area available for a "canvas" our artist has done a remarkable job both in the level of detail and the sense of space and grandeur the scenes evoke so it is not surprising that this volume was in the Irene Winterstein Collection of Important Miniature Books Christie's sale of 10 March 2000 lot 277 fetching $1455 all in. This is a rare miniature edition: Welsh records only one copy in her bibliography. Our copy belonged to Irish bibliophile and philanthropist William Dunville 1812-1874 who was also a whiskey magnate and magistrate. After its first founder John Dunville died William Dunville his only surviving son became the next chairman of Dunville & Co Belfast who are still famous for their whiskey today. He headed the company from 1851 to 1874. David Passigli unknown
110097Probably North India Kashmir second half of the nineteenth century. . Single folio illuminated miniature on paper in gouache and opaque colours heightened in gilt depicting a battle scene with men on horseback likely a scene from the Qur'an total leaf miniature painting 70 x 140 mm; image framed within polychrome border formed of multiple cartouches of floral designs mounted to card and set within marbled paper frame some light finger soiling and a little cockled and closed tears/creases repaired. 180 x 255mm 7 x 10 inches.<br /> An attractive album leaf that demonstrates the Indo-Persian artistic style of the 19th century in India. The colour palette and style of border illumination are typical of North Indian manuscript production however the painting itself is almost certainly by a Persian artist.<br /> Probably North India, Kashmir, second half of the nineteenth century. unknown
18132110502150903175Hanmoto fumei 1813. Soft Cover. Fine. Volume: 1 Hanmoto fumei paperback
18042110502150908549Nishimura-ya-ban 1804. Soft Cover. Fine. Number of books: 3 Nishimura-ya-ban paperback
1735911581735. ZUE TOKAI åœ–æœƒå®—å½ SOU-I 7 vols in one. Edo Suharaya Shimbei Kyouho 20 1735. Oohon 27.0 x 17.5 cm. Originally published as a series of artists's guides in a set in China in 1607 it was redone in Japan in 1702 then reprinted as here in 1735. Like the HASSHU GAFU å…«ç¨®ç”»èœ it had a large influence in Japan particularly on Nanga style artists. Everything human animal and vegetable is rendered in beautiful sumi-e woodblock prints. There are extracts from classic Chinese texts on painting technique going back centuries. A vade mecum for the Edo artist interested in the techniques and theory of Chinese painting. The seven volumes of the original are here rebound into a single volume with the original worn cover and title label. This gappon volume is complete and has been cleaned internally to neutralize staining. There are some pages that remain stained but the book is still a remarkable work which is quite scarce. Most copies referenced online are incomplete or microfilmed. See Mitchell 566 for his information on the original Chinese edition. It should be noted that the copy he saw of the Genroku 1702 edition was incomplete. Not a common set. Mitchell misreads ZUE as ZUKAI in the title. unknown
2092902138300559Not Available N.A. Soft Cover. Fine. The book is in fine condition. Not Available paperback
189555013Lawrence MA: n.p. American Lithographic Co. The Home Club ca. 1895. Oblong folio. 21.5 x 14 in. 12 leaves unnumbered. w/12 chromolithograph images mounted on thick boards w/ brown linen hinges at gutter margin 13 hand-painted advertising signs with 2 tipped-in albumen photographs sized 3 x 4.5 in. 1 lozenge-shaped silver gelatin 3.25 x 4.5 in. 9 tipped-in lithographs and printed images of products for sale minor edgewear & lifting to chromoliths on rectos faint tidemark to fore-edges of a few leaves. Original half-calf over pebbled black cloth post-binder hand-lettered label mounted on front cover nickel-plated screw posts at gutter margin rear pastedown w/ easel leaf allowing the album to be displayed with leaves splayed open half-leather renewed on front & back covers wear to corners rubbing & minor chipping to corners of thick board leaves still a VG- exemplar. This intriguing advertising album filled with a sign painter’s samples appears to have been sponsored by the business owners who were members in The Home Club -- a private Lawrence Massachusetts social club located at 306 Essex St. which was active from the 1880s through the opening decades of the 20th century. This album was designed with bracing leaf in the back allowing it to be displayed open originally encouraging members to sponsor their businesses as they leafed through the very popular and eye-catching chromolithograph colour plates from Truth magazine. These cartoon illustrations surrounded the rituals and pitfalls of courtship matrimonial discord social hypocrisy and a decidedly misogynistic attitude towards women during the Gilded Age in regards to the changing roles and social power of women. The sponsoring manuscript signs encompass those from Orville Stowell’s 1863-1946 Hack Livery & Boarding Stable on Jackson St.; H.J. Tree’s Dye House and cleaners in locations on Lawrence and Essex E.H. Everett a trunk hand bag and sales goods dealer on Essex and the very popular German-American tailoring shop of Julius Schaake 1856-1906 Frederick Schaake 1826-1914 and Albert Augustus Schaake 1869-1923 operated for decades in Lawrence MA. The wonderful sign for the Lord & Co. Pianos in the Central Building of downtown Lawrence promoted the business founded by Daniel W. Lord 1840-1893 whose son George Lord 1874-1936 took over and expanded the company and set up a large showroom on Boylston in Boston featuring colour lithographs of a baby grand and upright piano models sold by the firm. The splendid ad for the Kress Bros. Carriage Wagon & Sleighs manufacturing business founded and operated by German-Americans Herman b. 1854 and Erhardt b. 1859 features tipped-in original albumen photos of Kress sleighs as well as a lithograph of 4-seated carriage produced by the company. Some of the advertisements are more personal such as that for Frank Russell fl. 1871-1895 a very popular photographer whose studios graced different locations on Essex St. during the Victorian era and was well known for his CDV’s and cabinet photos with a nicely rendered photo of Frank as well as stylistic rendering of his signature. Other popular businesses which appear include the French Puffer & Co. Crockery China & Glassware Solid Silver & Plated Ware featuring an image of an ornate double-handled silver tureen; John H. Kelly Locksmith & Gunsmith who also sold Bicycles & Bicycle Sundries along with shotguns rifles and ammunition with images of bicycles & double-barreled shotgun featured on the sign. Most of the contemporary notices listing Home Club members refer to members as members of the Merrimack Valley Country Club the local Masonic Hall and other fraternal organizations in 19th century Lawrence. n.p., American Lithographic Co., The Home Club, hardcover
108953Qajar Persia nineteenth century. . Single card board composite panel comprising two sections of nasta'liq calligraphy and an illuminated miniartue total 330 x 200 mm; opaque pigments on paper heightened with gilt bordered with calligraphic panels in nastaliq the Fatiha to the left attributed on reverse to Mir Imad and a couplet by Ahmad al-Husayni to the right laid on gold sprinkled ground bright and attractive condition.<br /> <br /> Qajar Persia, nineteenth century. unknown
1806175659London: printed for Longman Hurst Rees and Orme and A. Constable and Co. Edinburgh by James Ballantyne & co. Edinburgh 1806. Royal associations and vanishing paintings Early edition prettily bound by Queen Charlotte's bookbinder and with a modern double fore-edge painting by Martin Frost MBE who was listed in the 2019 New Years Honours for maintaining the "critically endangered" art. The fore-edge paintings depict two scenes of the work's setting of St Mary's Abbey Melrose and further scenes showing Scott's home of Abbortsford and Portinscale Bridge in the Lake District. The binder Charles Meyer d. 1809 was the appointed bookbinder of Queen Charlotte and the princesses. He moved from Germany to England in 1797 and established himself at St Martin's Lane London. Meyer bound this copy for the royal apothecary Everard Augustus Brande 1776-1868. Like his father Brande was the appointed "Apothecary to the Person" in George III's royal household tasked with dispensing medicines for George III and Queen Charlotte and tending to their health. Brande left the position on the king's death but was later reappointed by William IV. Brande's bookplate is on the front pastedown. This fourth edition follows the phenomenally successful first by one year. Octavo 213 x 128 mm. Contemporary green straight-grain morocco by Charles Meyer spine lettered in gilt and with central device in compartments covers bordered in gilt with fillets and wide roll board edges and turn-ins ruled in gilt brown coated endpapers binder's ticket on rear free endpaper verso. Gilt edges with gauffered border and double-sided colour fore-edge painting depicting four views by Martin Frost signed and dated 1977 on his authentication ticket on rear free endpaper recto. Housed in a green morocco folding box by Frost. Spine darkened gilt remaining bright tiny chip to headcap inner hinges split but firm 4 cm closed tear to head of rear free endpaper occasional browning but clean overall. A very good copy. Ramsden p. 106. unknown
