1 478 résultats
16-4474Madrid: Edición de la Calcografía Nacional Real Academia de San Fernando para el Banco de España 1966. Original aquatint and etchingfrom the 1966 edition. 37.5 x 26.5 cm. sheet size. Printed on rag paper with the blind stamp of the Real Academia de San Fernando. Harris no. 70 ; this edition printed after the Harris catalogue was published in 1964. Grabado original. Edición de la Calcografía Nacional Real Academia de San Fernando para el Banco de España 1966. Tamaño del papel: 38x26 cm. Huella impresa: 20x15 cm. Sello en seco de la Real Academia de San Fernando. Se entrega enmarcado. Muy buen estado de conservación. Madrid: Edición de la Calcografía Nacional (Real Academia de San Fernando) para el Banco de España, 1966. unknown
SKU1026556Editions Du Phaidon. Good. Editions Du Phaidon Phaidon Verlag; Vienne 1937. Hardcover. Text in French. Good green cloth binding with gilt lettering on black label on front board and gilt lettering on spine binding sturdy and intact some use/handling marks mild shelf wear small rub mark bottom text block corner some sunning and mild scattered foxing to text block edges book slightly bent upward at spine and fore-edge in a Good some age toning/foxing to panels sunned spine some handling/rub marks edge/corner wear with few small tears to edges 2 inch tear top front panel edge near corner Dust wrapper. Oblong 4toquarto or approx. 9.5 x 12 inches 14pp. introduction 85 b&w illustrations. We pack securely and ship daily with delivery confirmation on every book. Please Note: Depending on site actual book for sale may differ physically from picture listed. Additional Scans are available for any item please inquire. Editions Du Phaidon hardcover
19553935Paris: Skira Peinture - Couleur - Histoire 1955. Rilegato tela sovracoperta cloth dust jacket. Ottimo Fine. Etude critique et historique par Enrique Lafuente Ferrari. Ouvrage publié sous le haut patronage de l'Académie Royale des Beaux-Arts de San Fernando. Con 41 tavole a colori applicate. Testo francese. 4to. pp. 152 tavole. Ottimo Fine. . Skira, Peinture - Couleur - Histoire hardcover
1648766Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1648764Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1648765Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1648763Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
19782822147Barcelona.: Gustavo Gili. 1978. Paperback. Good. 20 cm. 202 p. Encuadernación en tapa blanda de editorial ilustrada. Colección 'Colección Punto y Linea ; Serie Gráfica'. Goya Francisco de 1746-1828. Introducción y catálogo crítico de Enrique Lafuente Ferrari. "Esta edición reproduce las ochenta estampas de la primera edición más cuatro complementarias". Los caprichos. Lafuente Ferrari Enrique. 1898-1985 . ISBN: 8425208971 Artes gráficas. Grabados. Goya y Lucientes Francisco de. Caprichos 76 Goya y Lucientes Francisco de. Caprichos 76 Gustavo Gili. paperback
19491388394Barcelona: Instituto Amatller de Arte Hispanico 1949. Limited edition 817/1025. Hardcover. Quarto 105 pages unnumbered leaves of plates. In Fair plus condition with a Good slipcase. Slipcase in purple cloth. Light shelf wear. Spine is brown with gold print. Boards quarter bound with brown leather to spine and purple cloth to boards. Toning and surface tears to spine. Text block has brown tinted top edge. Bookplate on front pastedown ink notation throughout printed matter. Illustrated: b&w and color. Text in Spanish. <br /> <br /> Oversized books. Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers please inquire for rates. <br /> <br /> <p>NOTE: Shelved in Locked Annex Area Netdesk Column QD ND-QD. 1388394. FP New Rockville Stock. Instituto Amatller de Arte Hispanico hardcover
51-6153Paris: Jean de Bonnot 1970. Folio. 46 x 32 cm. Sheets loose as issued in black silk portfolio. 80 plates. Publisher states these were pullled from the original metal plates."Chacune des gravures est garantie par Jean de Bonnot comme étant une épreuve directement tirée de la gravure originale de Goya."."L’éditeur d'art Jean de Bonnot perpétue la tradition des beaux livres reliés plein cuir tranches de têtes dorées faits de bon papier vergé et filigrané.Les collections signées Jean de Bonnot font le bonheur des bibliophiles et des amateurs d’ouvrages parfois épuisés ou très anciens réédités dans les règles de l’art. Chaque volume est unique avec des décors aux fers gravés et ciselés à la main des gravures d’époque des signets tranchefiles culs de lampes originaux."81 ff. dont 80 planches desCaprices finement reproduites d'après les originaux sur vélin pur fil de Lana.Exemplaire en bonne condition en feuilles sous étui-boîte recouvert de soiemoirée noire avec titre doré au dos.OCLC Number / Unique Identifier:1131432438.Expertise by Bernard Portheault 8 rue des Pichots 41500 Mer France. Paris: Jean de Bonnot, 1970. unknown
1969Q-0486223841Dover Publications 1969-06-01. Paperback. New. New. In shrink wrap. Looks like an interesting title! Dover Publications paperback
$A20202.- Madrid. 2008. Guillermo Blázquez Editor. 37x26 cms. 1 tomos. 480 pgs. Aguafuertes reproducidos por heliograbado. Encuadernación en rústica conservada en un estuche en terciopelo edición en rama. . . ISBN 13: 9788496539181. Arte / Grabados paperback
190660282Madrid 1906. Folio oblong. Bound in a splendid recent full longgrained burgundy morocco binding in pastiche style with four raised bands to beautifully gilt spine. Boards with gilt ornamental borders and gilt centre-piece. Gilt line to edges of boards and inner gilt dentelles. Marbled end-papers. All leaves re-hinged. Occasional light brownspotting but overall very nice. Title-page the version with the second line beginning "Colección de Ochenta. in lower case 2 pp. of text dated 1863 80 engraved plates on fine laid paper measuring 234x32 cm. Plates 17 and 77 have been misbound the numbers 1 and 7 look almost the same - Harris II:201: "In some sets this plate has been bound out of order where the number hs been read as 77"; II:288: "In some sets this plate has been bound out of order where the number has been read as 17. <br/><br/><em>A beautiful copy of the splendid fourth edition of Goya's magnificent "Disasters of War" - one of the most significant anti-war works of art ever produced - consisting in all 80 plates that were issued. "The Disasters of War" constitutes Goya’s political masterpiece directly inspired by and documenting the horrors he witnessed during the Peninsular War of 1808-14 between Spain and France under Napoleon Bonaparte the terrible famine in Madrid in 1811-12 and the disappointment at the restoration of the Bourbon monarchy. As such it is one of the earliest and most important examples of war documentation and remains to this day one of the boldest anti-war statements ever made. This however is also the reason why these groundbreaking etchings were not published during Goya’s life-time. It was both too dangerous and too gruesome. As Alastair Sooke puts it "even today it is difficult to look at the Disasters because Goya catalogues the brutality and fatal consequences of war in such a stark confrontational and unflinching manner." See his article for BBC Culture 2014. In this seminal series of etchings Goya not only uses art to comment on politics and the atrocities connected with war he also pioneers a number of artistic tools. Breaking from painterly traditions he deviates from the heroics of most previous war art to show us how war can bring out the worst in humanity. He abandons colour in order to show us a more direct truth conveyed by the use of shadow and shade. Also the fact that he presents the 80 works of art as a collection together with the harsh realistic nature of the etchings themselves connect the images more closely to the art of photography that we are now so familiar with causing the work as a whole to be viewed as one of the earliest examples of actual first-hand war reportage. The work has been extremely influential perhaps most famously inspiring Pablo Picasso and Ernest Hemingway For Whom the Bells Toll. "There are many contenders for the most powerful example of war art from the past two centuries: Picasso’s Guernica 1937 painted in response to the bombing of a Basque village during the Spanish Civil War would be an obvious choice. For me though nothing quite matches the originality and truth-telling ferocity of the Disasters of War a series of 80 aquatint etchings complete with caustic captions by the Spanish artist Francisco de Goya 1746-1828." Sooke. The execution of the engravings has been dated to a period between 1810 and 1820 but no contemporary edition was made of this spectacular series. "Possibly by the time they were finished the war and famine scenes were not of great appeal and Goya was probably unwilling to risk another financial failure such as he had experienced with the "Caprichos". It was a time of stern repression and the publication of the satirican and violently anti-clerical subjects of some of the "caprichos enfánticos" would certainly have been dangerous. These facts would account for a postponement of publication. Also Goya himself tells us that he fell seriously ill in the winter of 1819. and on his recovery he was planning to leave Spain and settle permanently in France. That Goya did not attempt to make an edition of "Desastres" in Madrid before leaving for France is borne out by the investigations of Catharina Boelcke-Astor who showed that the copperplates were stored away in safes by Goya's son Javier where they remained until the latter's death in 1854. Eventually in November 1862 they were acquired by the Academia de San Fernando from D. Jaimé Machén for 28000 reales." Harris I:141. In 1863 the first edition of Goya's seminal work was issued under the famous title "Los desastres de la guerra". In all 500 copies were issued. A second edition followed in 1892 and a third in 1903. Both of these editions were issued in merely 100 copies. In 1906 the fourth edition appeared in a number of 275 copies. "This edition is excellently printed on very suitable papers" Harris II: 175 and is considered much superior to the third. A further three editions appeared in 1923 1930 and 1937 respectively. "When Goya had engraved all the plates of the "Desastres" he gave his friend Céan Bermúdez an album containing a proof set of eighty-five plates including the eighty plates eventually published as "Los Desastres de la Guerra" two plates numbered 81 and 82 which were prepared for the series but not published with it and the three little engravings of "prisoners" which were never intended by Goya for inclusion in a published edition of the series." Harris I:140. The first plate prepares the spectator for the contents of the series and can be seen as a sort of frontispiece plates 2-47 deal mainly with the horrors of the war plates 48-64 record the terrible famine in Madrid and the final plates 65-80 constitute the "Caprichos enfánticos". " "The impact of the scenes is incredible" says the independent art historian Juliet Wilson-Bareau one of the world’s leading Goya experts. "Each one is a powerful original work of art in its own right yet linked to the others with a common theme including the way their titles - terse comments questions or cries of outrage - connect them and read on from one to another. The grouping of the series into three ‘chapters’ gives the whole a sense of rhythm and purpose." Goya must have hoped that he would live to see the publication of his Disasters but the despotic rule of Ferdinand VII made this impossible. "Under his repressive and reactionary regime" Wilson-Bareau explains "there was no way that Goya could have published his set of prints that so clearly denounced all violence and all abuse of power." Still following their posthumous publication the Disasters proved enormously influential inspiring artists including the German Otto Dix as well as Dalí and Picasso - and more recently the British brothers Jake and Dinos Chapman who bought a complete edition of the prints and ‘defaced’ them by adding grotesque cartoonish faces. Even the war photographer Don McCullin acknowledges a debt: "When I took pictures in war I couldn’t help thinking of Goya" he has said. The genius of the Disasters is that they transcend particularities of the Peninsular War and its aftermath to feel universal - and modern. Perhaps this is because as the British writer Aldous Huxley put it in 1947 "All Goya shows us is war’s disasters and squalors without any of the glory or even picturesqueness." So should we consider the series as the greatest war art ever created Wilson-Bareau certainly thinks so. "For me yes" she tells me. "I have lived with these prints which many people consider too shocking absolutely unbearable and I find in them - besides the heartbreak and outrage at the unspeakable violence and damage - a great well of compassion for all victims of the suffering and abuses they depict which goes to the very heart of our humanity." From Alastair Sooke's BBC-article. Harris II: 175. </em> hardcover
195447162Madrid: Museo del Prado 1954. Very good plus. First edition thus featuring the drawings of Goya beautifully reproduced in a two-volume set with introduction and notes by Prado Director Francisco Javier Sánchez Cantón. Two volumes 13.75'' x 9.5'' each. Text in Spanish. Original quarter beige cloth with red boards; plates mounted to front covers of both volumes. Vol. I: plates 1-215; vol. II: plates 216-466. Ink owner name. Light wear and scuffing to boards. Museo del Prado unknown
19813086793Madrid.: Ediciones Velazquez. 1981. Hardcover. Good. 28x40 cm. 48 p. 1 h. 22 h. con lám. Encuadernación en tapa dura de editorial ilustrada. Goya Francisco de 1746-1828. Los disparates. Estudio preliminar por Rafael Casariego. Catalogación preliminar . ISBN: 8485142314 Artes gráficas. Grabados. Goya y Lucientes Francisco de. Disparates 76 Goya y Lucientes Francisco de. Disparates 76 Ediciones Velazquez. hardcover
$A20109.- Madrid. 2007. Guillermo Blázquez Editor. 50x35 cms. 1 tomos. 156 pgs. Aguafuertes reproducidos por heliograbado. Encuadernación en rústica conservada en un estuche en terciopelo edición en rama. . . ISBN 13: 9788496539174. Arte / Grabados paperback
19813293830Madrid.: Edc. de Arte y Bibliofilia. 1981. Hardcover. Good. 28 x 29 cm. 48 p. 1 h. 22 h. con lám. Encuadernación en tapa dura de editorial. Goya Francisco de 1746-1828. Estudio preliminar por Rafael Casariego. Bibliografía: p. 45-48 . ISBN: 8485005554 Artes gráficas 76 Goya y Lucientes Francisco de. Disparates Edc. de Arte y Bibliofilia. hardcover
19511390507Barcelona: Instituto Amatller de Arte Hispanico 1951. Limited edition 558/1025. Hardcover. Quarto oblong 92 pages 22 plates on unnumbered leaves. In Good condition with a Good slipcase. Slipcase in brown cloth. Mild blemishes/shelfwear. Spine is brown with gold print. Boards quarter bound with brown leather to spine and brown cloth to boards. Light wear to spine caps. Text block has bookplate on front pastedown. Illustrated: b&w and color. Text in Spanish. <br /> <br /> Oversized books. Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers please inquire for rates. <br /> <br /> <p>NOTE: Shelved in the Back Area Oversized Folios. 1390507. FP New Rockville Stock. Instituto Amatller de Arte Hispanico hardcover
1951190522Barcelona 1951. Hardcover. VG- scuffing to boards heavy wear to leather pages are clean and clear. Oblong half leather and red cloth boards marble end pages 92 pp with bw illustrations; 13 leaves; 22 plates most with bw and sepia. Text in Spanish. Preliminary study and notes by Jose Camón Aznar. At head of title: Instituto Amatller de Arte Hispánico. Includes bibliographical references pages 91-92. 16x11x1" hardcover
19823594838Barcelona. 1982. Paperback. Good. 28 cm. 1 v. con lám. Encuadernación en tapa blanda de editorial. Goya Francisco de 1746-1828. Los disparates. Introducción por Xavier de Salas. Reproducción facsímil de las ed. de Madrid: R. Academia de Nobles Artes de San Fernando 1864 y París: "L' Art" 1877. Salas Xavier de. 1907-1982 . Artes gráficas 76 Goya y Lucientes Francisco de. Proverbios paperback
19663076919Madrid.: Edic. de Arte y Bibliogrilia. 1966. Hardcover. Cubierta deslucida. Good. 48 cm. 26 h. lám. Encuadernación en tapa dura de editorial ilustrada. Goya Francisco de 1746-1828. Introducción y notas de Rafael Casariego. Texto español francés e inglés. Corridas de toros. Obras ilustradas . Cubierta deslucida. Depósito legal: M 17488-1965 Colecciones de grabados. Goya 769Goya 769 Corridas de toros. Tauromaquia.791.862 791.862 Edic. de Arte y Bibliogrilia. hardcover
1648374Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Photo Matt Fibre in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1648373Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1648375Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 18th century 1797. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
