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18350442-22o. O. [um 1835]. Lithographie. 25 x 18, 4 cm. (Blattgr.). Wohl etwas beschnitten u. auf Trägerpapier aufkaschiert.
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8575o.J. Hardcover
18350442-22o. O. [um 1835]. Lithographie. 25 x 18, 4 cm. (Blattgr.). Wohl etwas beschnitten u. auf Trägerpapier aufkaschiert.
189012This 6 1/2" x 4 1/4" albumen cabinet card of a male Japanese sitter was produced by Schumacher Portraits in Los Angeles California c. 1890. There are very lite scattered surface abrasions otherwise in fine condition. Embossment on recto 'Schumacher 107 North Spring St. Los Angeles Cal.' Schumacher logo embossed on recto. Schumacher Portraits label with address printed on verso.<br /><br /><b> Price includes discount </b>
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1645. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare” con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
500357890JClattes Sans date. Café-Crime est un roman de Jacques Lanzmann publié en 1987 chez JC Lattès. Il s'agit d'une confession impudique et drôle illuminée par des portraits de femmes avec un ton nouveau profond et tendre. L'histoire suit un mari jusqu'alors fidèle qui ne résiste pas à l'envie de rencontrer ses lectrices et de les séduire
1931001747Paris Zervos 1931 In-4 Broché Ed. originale
1992056533Mcgraw-Hill 1992. 1st Edition 1st Printing. Soft cover. Fine. Xiv 355 Pp. First Printing Indicated Soft Cover. Fine. No Marks Or Wear. <br/> <br/> Mcgraw-Hill paperback
19893112732San Francisco: Chronicle Books. Fine in Near Fine dust jacket. 1989. First Edition; First Printing. Hardcover. 0-87701-601-1 . Fine in a very close to fine unclipped dust jacket. Couple tiny crimps at upper edge of dust jacket. 143pp. 10 1/4" X 12 1/4" Features new work by 41 artists including David Hockney cover Ed Ruscha Ed Moses Wayne Thiebaud Richard Diebenkorn Mark Tansey Alexis Smith and others. Lovely production. ; 10 1/4" x 12 1/4"; 143 pages . Chronicle Books hardcover
8383Épreuve du tirage d'Odieuvre. en feuille Bon Paris XVIIIè
GF16828Numéro 87 du journal "Camées Artistiques" - Paris - 1881 - Journal Hebdomadaire paraissant le samedi - Portraits et Biographies des Célébrités Contemporaines - 4 pages in folio avec portrait en photoglyptie Goupil (format 12 x 8,5 cm) collé dans un encadrement au centre du premier feuillet -
115027aafMona Bismarck Foundation, 1993, in-4to, 99 p., richement ill. n./b. et couleurs d’affiches et portraits dessinés par Cappiello, brochure originale,
GF21302Notice biographique (vers 1860) de quelques pages in8 en feuilles accompagnée d'un PORTRAIT en buste (23 x 14 cm) gravé d'après Dupré -
Ritratto a mezzo busto del cardinale Albrecht di Brandeburgo, di profilo e con lo sguardo rivolto a destra; stemma in alto a destra, con due iscrizioni in latino. Incisione al bulino, firmata e datata nella lastra con il monogramma di Durer. Bella impressione su carta vergata coeva, rifilata alla lastra, in buono stato di conservazione. Copia contemporanea fedele e fuorviante dell'incisione di Durer, classificata da Bartsch come C1. Iscrizione latina di tre righe sopra il ritratto, che si legge in traduzione: "MDXXIII Così erano i suoi occhi, le sue guance, i suoi lineamenti all'età di 34 anni". Iscrizione latina di quattro righe sotto il ritratto, che recita in traduzione: "Alberto, per divina misericordia presbitero titolare della Santissima Romana Chiesa, cardinale di San Crisogono, arcivescovo di Magonza e Magdeburgo, primate elettore dell'Impero, amministratore di Halberstadt, margravio di Brandeburgo". Quando Dürer tornò dai Paesi Bassi, incise un altro ritratto di Alberto di Brandeburgo, che riportò in una lettera al cardinale: "Prima di ammalarmi quest'anno ho inviato a Vostra Grazia Elettorale una lastra di rame incisa con il vostro ritratto e cinquecento impressioni dello stesso. Non trovando riscontro nella lettera di Vostra Grazia, temo che o il ritratto non sia piaciuto a Vostra Grazia - e questo mi rattristerebbe, perché la mia diligenza avrebbe avuto scarsi risultati - oppure temo che non sia arrivato affatto a Vostra Grazia. Prego Vostra Grazia di darmi una cortese risposta". L'incisione è basata su un disegno a punta d'argento che Dürer potrebbe aver realizzato durante il soggiorno del cardinale a Norimberga, nel 1522-23. Bibliografia Meder 1932, Dürer Katalog (101.d); Bartsch, Le Peintre graveur (VII.111.103); Albrecht Dürer and his Legacy, BM exh cat 2002 - 2003, n. 148. A half portrait of Cardinal Albrecht of Brandenburg, shown in profile looking to the right; with his coat of arms in the top right corner, with two Latin inscriptions. Engraving, signed and dated in the plate with the Durer’s monogram. A fine impression, on contemporary laid paper, trimmed to the platemark, in good condition. Faithful and misleading contemporary copy of Durer's engraving, classified by Bartsch as C1. Three lines Latin inscription above the portrait, reading in translation: "MDXXIII Thus were his eyes, his cheeks, his features at the age of 34". Four lines Latin inscription below the portrait, reading in translation: "Albert, by devine mercy the most Holy Roman Church's titular presbyter cardinal of St Chrysogonus, Archbishop of Mainz and Magdeburg, Primate Elector of the Empire, Administer of Halberstadt, Margrave of Brandenburg". When Dürer had returned from the Netherlands, he engraved a further portrait of Albrecht of Brandenburg, which he records in a letter to the cardinal: 'Before I became ill this year I sent an engraved copper plate to Your Electoral Grace with your portrait together with five hundred impressions thereof. Finding no acknowledgement of this in Your Grace's letter, I fear that either the portrait did not please Your Grace - this would sadden me, as my diligence would have had poor results - or else, I fear that it may not have reached Your Grace at all. I beg Your Grace for a gracious reply.' The engraving is based on a silverpoint drawing which Dürer may have drawn when the cardinal was staying in the city for the Diet of Nuremberg, 1522-23. Bibliografia Meder 1932, Dürer Katalog (101.d); Bartsch, Le Peintre graveur (VII.111.103); Albrecht Dürer and his Legacy, BM exh cat 2002 - 2003, no. 148.
Format Plattenrand: 29 x 24 cm. (Blattgröße: 45,5 x 32,5 cm). Gedruckt auf kräftiges Büttenpapier mit Wasserzeichen "Van Gelder Zonen", unten mittig mit kleinem Blindprägestempel "Photographische Gesellschaft Berlin". *Schönes ausdrucksstarkes Porträt. - Die "Photographische Gesellschaft Berlin" war ein Kunstverlag, gegr. 1862 von Emil und Albert Werckmeister. Zunächst wurden klassische Kupferstiche in Photographie veröffentlicht und Reproduktionen direkt nach Ölgemälden. Gegen Ende des 19. Jahrh. leistete die Firma Hervorragendes in der Technik der Photogravüre. Galeriewerke und zahlreiche Einzelbilder wurden per Kataloge an Kunsthandlungen vertrieben. Die Photogravüre (auch Heliogravüre genannt), war ein fotografisches Edeldruckverfahren im Tiefdruck auf gelatinebeschichtete Kupferplatten (ein Vorläufer des späteren Kupfertiefdrucks). Als eine Weiterentwicklung des alten Aquatinta-Verfahrens schon in der ersten Hälfte des 19. Jahrh. begonnen, wurde es mit der Heliogravüre möglich, Fotos und Illustrationen durch ein aufwendiges fotomechanisches Druckverfahren so zu reproduzieren, dass sich echte und sehr differenzierte Halbtöne darstellen und eine ausdrucksstarke plastische Tiefenwirkung des Bildes erzeugen lassen. Mit den technischen Verbesserungen gegen Ende des 19. Jahrh. wurde die Heliogravüre das beherrschende graphische Verfahren insbesondere für anspruchsvolle und künstlerische Photographie und andere Bildvorlagen. - Vollrandiges Blatt in sehr guter Erhaltung. Graphiken de
18600427-22Berlin, J. Hesse [um 1860]. Lithographie. 30, 8 x 23, 8 cm. (Blattgr.). Gut erhalten, oberer rechte Ecke mit Nummer in Tinte. - (aus: A. H. Payne, Pracht-Album für Theater & Musik, Bd. 2, Leipzig/Dresden 1861)
196515889Paris à la Galerie 1965 1 Une seule affiche de dimensions 45 x 64 cm; impression offset sur vélin fort
Une seule affiche de dimensions 45 x 64 cm; impression offset sur vélin fort Parfait état. Voir photo. Peu fréquente.
193360942Leipzig : Koehler & Amelang 1933. 280 S. : 2 Taf. ; 8°, Schrift: Fraktur / Altdeutsche Schrift. gebundene Ausgabe, Leinen, Leinenrücken bräunlich, Einband fleckig, sonst Exemplar in gutem Erhaltungszustand
191528732nantes 1915-16 1 Carnet demi toile, format 25,5 x 16,5 cm, 1ère de couverture orné en partie haute d'une carte de visite de l'UNION ARTISTIQUE DE BRETAGNE NANTES, ainsi qu'un tampon de la meme societé imprimé en partie basse, titré au centre de facon manuiscrite à l'encre noir en lettres epaisses : REFERENCES, CARNET DE REPRESENTANT DE L'UNION ARTTISTIQUE DE BRETAGNE VENDANT AUX DIFFERENTES COMMUNES DE BRETAGNE DES PORTRAITS COMMEMORATIFS DES MORTS DES SOLDATS DE LA GRANDE GUERRE, CONTENANT 13 LETTRES DE REMERCIEMENTS (PROVENANT DE VENDEE, MAYENNE, LOIRE-ATLANTIQUE, DEUX-SEVRES) SERVANT DE REFERENCES : DE PARTICULIERS ET MAIRIES AYANT FAIT APPEL A LEUR SERVICES ET EN ONT ETE TRES CONTENTS + 10 PAGES EXTRAITES ET CERTIFIEES CONFORME ET SIGNEES PAR LE DIRECTEUR MR DANIEL, AU LIVRE D'OR DE L'ETABLISSEMENT DANIEL - PHOTOS ET AGRANDISSEMENTS ARTISTIQUES, 105 BD ST DENIS - PARIS (SOIT 35 REMERCIEMENTS TIRES, VENANT DE TOULON, NICE, ORAN, MAYENNE, MANCHE, VENDEE, LOIRE-ATLANTIQUE, ILLE-ET-VILAINE, ) 1915-1916
GF16766Numéro 24 du journal "Camées Artistiques" - Paris - 1880 - Journal Hebdomadaire paraissant le samedi - Portraits et Biographies des Célébrités Contemporaines - 4 pages in folio avec portrait en photoglyptie Goupil (format 12 x 8,5 cm) collé dans un encadrement au centre du premier feuillet -
Ritratto di Carlo II d'Austria. Bulino, 1568 circa, firmato in lastra in basso al centro. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, piccolo restauro all'angolo superiore destro, per il resto in ottimo stato di conservazione. L'opera appartiene alla rara raccolta Ritratti di alcuni prencipi, et huomini illustri o Imagines quorundam principum et illustrium virorum pubblicata a Venezia da Bolognino Zaltieri nel 1568. Carlo II Francesco d'Austria (Vienna, 3 giugno 1540 – Graz, 10 luglio 1590) è stato arciduca d'Austria, membro della dinastia degli Asburgo e ha governato sull'Austria Interiore dal 1564 alla morte. Timbro di collezione di Friedrich August II de Saxe (Lugt 971) all'angolo inferiore destro. Portrait of Charles, Margrave of Burgau, half-length in profile to the left, wearing armour and sash; in lettered oval within a decorative setting wth scrolls, angels and hybrid figures. Engraving, circa 1568, lettered around the oval with title and with production detail "Dmco. Zenoi f. - Cum privilegio". A fine impression, printed on contemporary laid paper, trimmed to the platemark, a small repair at the upper left corners, otherwise very good. From the Ritratti di alcuni prencipi, et huomini illustri also titled Imagines quorundam principum et illustrium virorum published by Bolognino Zaltieri in Venice in 1568. Collector's mark - at the lower right corner - of Friedrich August II de Saxe (Lugt 971). Rare.
