710 résultats
177217014Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Sight size: 43 x 17 1/4 inches. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/>A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/>Cf. Brunet IV 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 13;Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown books
177217013Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Three repaired tears to the left blank margin. Sight size: 31 1/8 x 18 1/4 inches. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/>A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/>Cf. Brunet IV 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 17; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown books
177417011Rome 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Shaved within plate mark expert neat repairs to left margin one just affecting the image area. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. The biblical scene depicted shows the infant brothers Cain and Abel vying for their mother's attention. Adam is sowing nearby.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
177020166Rome 1770. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Jacob at Luza having a vision of the angels ascending and descending by a ladder which reached from earth to heaven.<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
177420167Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Joseph telling his brothers of his prophetic dreams "Hear my dream which I dreamed. I thought we were binding sheaves in the field: and my sheaf arose as it were and stood and your sheaves standing about bowed down before my sheaf . I saw in . another dream as it were the sun and the moon and eleven stars worshipping me."<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
177420169Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David having subdued Syria returning to Jersusalem with armour made of gold.<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
177420170Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows the moment during the Last Supper when Jesus announces that one of the twelve disciples will betray him.<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
177715684Rome 1777. Copper engraving by Volpato after a drawing by Camporesi later professional hand-colouring. Good condition. Expert strengthening to verso of right outer blank margin some old light creasing to 3 inches of the sheet. This beautiful perspective view of Raphael's Loggia served as the frontispiece to the celebrated text "Loggie di Rafaele nel Vaticano".<br/> <br/>This arresting print is a general perspective view of Raphael's design for the Loggia at the Vatican with a large profile portrait of Raphael in a medallion over the entrance to the corridor. The plate served as the frontispiece to the first part of the "Logge di Rafaele nel Vaticano" which depicted the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/>Cf. Brunet IV 1110; cf. Berlin Kat. 4068; Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Volpato 1; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104; G. Marini editor Giovanni Volpato 1735-1803 1988 no. 198. unknown books
177420168Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Moses coming down from Mount Sinai holding the tablets bearing the ten words of the Covenant his face "horned from the conversation of the Lord". Aaron and the children of Israel seeing the face of Moses "horned" are afraid to come near.<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
177420165Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. In the main panel the Lord appears to Isaac and tells him not to go down into Egypt but to stay in Gerara.<br/> <br/>A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/>Cf. Brunet IV 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
2723Paris: Librairie Des Editions Modernes. Three-Quarter Leather. Collectible; Very Good. First Thus. Elegant French erotica translated into English "the suppressed English edition" circa 1920. Special issue with 2 original signed-- by the artist Malay-- erotic watercolors bound-in. Octavo 126 pgs. Handsomely rebound in 3/4 calf over green linen. 5 raised bands bright gilt-decorated compartments and bright gilt-letttering along spine. Original pictorial wrapper very saucy bound-in as well. New marbled endpapers top-edge gilt. A solid VG copy with light fraying along spine creases and light scuffing along front panel. Internally very clean. Wonderfully-illustrated early 20th century French erotica. Signed by Illustrator. <br/><br/> Librairie Des Editions Modernes hardcover books
2550A grouping of sixteen holiday cards sent by the famous artist Raphael Soyer. Some of them have inscriptions inside by Raphael or his wife. Most of these appear to have been sent in the Sixties and Seventies. All are in fine condition. unknown books
1327432Limited edition color lithograph by Raphael Soyer. Signature and date in pencil in lower right corner. Edition number 2/150 also in pencil in the lower left corner. Black and white with muted colors on face hands and sweater. Raphael Soyer 1899-1987 was born in Russia and arrived in the United States at the age of 10. He studied at the National Academy of Design and the Art Students League. His work is in the permanent collections of numerous art museums including the Whitney and the Metropolitan Museum of Art. Condition: Excellent with no apparent issues. Not examined out of frame. Dimensions: 32 x 27 inches. Hanging in Rockville. 1327432. Arts & Antiques. unknown books
35386Chicago: George Engelke The Aries Press 1935. Hardcover. Black and silver patterned cloth with silver cover label. Some bumping to spine ends and corners some rubbing to joints. Some discoloration to endpapers. Ownership inscription on front endpaper some notations on rear endpapers. Pages lightly tanned otherwise unmarked. Very Good. . VeryGood. Hardcover . George Engelke, The Aries Press 1935 hardcover books
1894013927London: W. Foulsham & Co Ltd 1894. Book. Good. Hardcover. ---------------<br />The first 12 pages contain 144 questions relating to all the causalities and events of a human life divided into twelve houses each having a separate and distinct class of twelve questions. The remainder of the work is divided into 12 circles each circle containing the sixteen geomantic oracles of twelve answers each thus forming 2304 answers to the 144 questions. ------------ <br />Publisher's cloth with black titles and decorations. Bindings are tight and square. Text clean light even toning. Shelf handling wear with age-soiling and rubbed corners and spine tips. Early signatures loose with older tape reinforcement.16mo; 5.5 inches tall. 212 pages with 4 pages of publisher's adverts. A reprinted edition. ----------- <br />Robert Cross Smith was an English astrologer writing under the pseudonym of 'Raphael' was a pioneering modern astrologer was the first of a lineage of British astrologers to use the pseudonym Raphael with his writings. -------Subjects: Fortune-Telling; occult; zodiac . W. Foulsham & Co Ltd hardcover books
1936285917New York 1936. Limited Edition. Hard Cover. Very Good binding. Limited Edition of Le Stanze di Raffaello with text on the life and work of Raphael in Italian and English and eighteen loose plates laid in at the rear. This copy numbered 1637 of 2000. Quarter paper vellum over tan paper covered boards with gilt lettering. Binding designed to accommodate the loose plates at the rear. Very Good. 238 pp. Folio. Very Good binding. unknown books
1918176373Paris: H. Laurens 1918. Limited 428 / 550 copies printed. Paperback. Fair only sold as reading copies and reference copies ONLY. Covers chipped or torn with loss text is complete not pretty to look at in original wraps very loose. NOT returnable due to weight. Beige cloth with mounted title from original paper wraps on cover spine and rear panel. xii 519 pages with approximately 500 illustrations. Text is in French. Edited by É. Chavannes after the death of the translator./ Originally published in 4 collections or series 1st ser. in 1679; 2d and 3d in 1701; and 4th in 1818 The plan of the work was developed by Shen Xinyou from an album prepared by Li Liu-fang and the first three series were edited by with the help of Li Yu who also contributed the introduction to the 1st ser. Wang Gai and his brothers Wang Shi and Wang Nie were chiefly responsible for preparing the commentaries and reproducing the plates from famous masters. The 4th ser. was largely the work of Ding Gao./ Contains the first three series. Limited to 550 copies this being number 428. "Translation and commentary by Raphael Petrucci augmented by a preface a biographical dictionary of painters and a vocabulary of technical terms; illustrated with about five hundred engravings." Shipping weight is 17 pounds. H. Laurens paperback books
1918173971Paris: H. Laurens 1918. Limited 428 / 550 copies printed. Hardcover. VG covers are somewhat soiled but sturdy. Contents clean with two old repairs to inner tears on the first three leaves not bad. Beige cloth with mounted title from original paper wraps on cover spine and rear panel. xii 519 pages with approximately 500 illustrations. Text is in French. Edited by É. Chavannes after the death of the translator./ Originally published in 4 collections or series 1st ser. in 1679; 2d and 3d in 1701; and 4th in 1818 The plan of the work was developed by Shen Xinyou from an album prepared by Li Liu-fang and the first three series were edited by with the help of Li Yu who also contributed the introduction to the 1st ser. Wang Gai and his brothers Wang Shi and Wang Nie were chiefly responsible for preparing the commentaries and reproducing the plates from famous masters. The 4th ser. was largely the work of Ding Gao./ Contains the first three series. Limited to 550 copies this being number 428. "Translation and commentary by Raphael Petrucci augmented by a preface a biographical dictionary of painters and a vocabulary of technical terms; illustrated with about five hundred engravings." Shipping weight is 17 pounds. H. Laurens hardcover books
1977293287New York London: Holmes and Meier Publishers 1977. First Edition. Hard Cover. Near Fine binding/Near Fine dust jacket. Large 8vo.; in publisher's brown cloth binding with dusjtacket; a fresh and to all appearances unopened copy with no ownership or other marks of any kind. Near Fine binding / Near Fine dust jacket. Holmes and Meier Publishers unknown books
2016156602Riehen / Basel Switzerland: Fondation Beyeler 2016. Softcover. As New. Color pictorial wraps. 227 pages : 144 illustrations chiefly color. Published on the occasion of an exhibition held at the Fondation Beyeler Riehen/Basel January 31-May 8 2016. Contents as follows: Foreword and acknowledgments / Sam Keller and Raphaël Bouvier -- Introduction : Dubuffet's metamorphoses of landscape / Raphael Bouviër -- Figure landscape and city -- Faces into landscape -- Body landscapes and landscaped bodies -- On the road with Dubuffet / Michel Draguet -- Landscape as object and still lie -- Landscape as material -- Landscape undone : Jean Dubuffet and the prehistory of the picture / Sophie Berrebi -- De-and reconstructing the landscape -- A celebration of the soil -- Paris Circus : turning point and starting point / Andreas Franzke -- The urban landscape -- The creation of a different lanscape -- Place and non-place in the late work -- List of exhibited works -- Biography and principal exhibitions -- Afterword : homage to Jean Dubuffet and Ernst Beyeler / Jean-Francois Jaeger. Fondation Beyeler paperback books
18497267London: David Bogue 1849. 1st. Decorative Cloth. Collectible; Very Good. 1849 1st edition of this very attractive study of the open timber roof of the Middle Ages. "Illustrated by Perspective and Working Drawings of Some of the Best Varieties of Church Roofs; with Descriptive Letter-Press". VG in its decorative blindstamped panels. Bright gilt-design and lettering to the front panel and spine as well. Light fraying along the spine crown otherwise very clean. Beautiful steel-engravings thruout and with their original tissue-guards. Tall quarto striking hand-colored frontispiece. Careful meticulous former owner margin notes in pencil to the text and tasteful bookplate Charles Grant Ellis at the front pastedown. <br/><br/> David Bogue hardcover books
1782287287London: Boydell 1782. Second. hardcover. very good. Raphael. Illustrated with 106 engraved plates 45 in outline some foxing throughout. Tall folio recently rebound in 1/2 crimson morocco marbled boards. London: Printed for John Boydell 1782. Second edition. A very good copy in a fine binding.<br/><br/> An elaborate artist's manual first published in 1759. It celebrates Raphael's cartoons purchased by William and Mary and then housed in their own gallery within Hampton Court. Ralph's book begins with 12 plates "of the Study of Geometrical Figures." These are followed by 4 plates of human bodies engraved as academic designs by B. Picart. The bulk of the book shows heads of figures from Raphael's cartoons. The plates each depict two heads which are shown in simple line drawings followed with a finished engraving of the same heads. This second edition contains one hundred and six plates as opposed to 75 plates in the first edition of 1759.<br/><br/> Boydell unknown books
1991122563Santa Monica CA: Santa Monica College Photography Gallery 1991. First edition. Softcover. 20 pages. Exhibition catalog for a show that ran October 19 through November 16 1991. Essay by David Pagel. Includes numerous color images. A near fine copy in stapled wrappers with a rubber stamp from the SF Camerawork Reference Library they sold their books to the verso of the title page. Uncommon. Santa Monica College Photography Gallery unknown books
1937WRCLIT34468Paris: Hyperion Press 1937. Cloth. Tipped-in plates with color gravures. First edition. Top edge dusty cloth a bit foxed but a good or better copy in tanned chipped dust jacket. The color reproductions are quite beautiful. Hyperion Press hardcover books
198928610Upperville VA: Oak Spring Garden Library 1989 1990 1997 2009. First Edition. Hardcover. Fine/Very Good. Important volumes chronicling the vast horticultural library Rachel Lambert "Bunny" Mellon and the high points within the collection. First Printings. Sylva: xxvii 147 pp. Pomona: xxxii 276 pp. Flora: lxxiii 427; Herbaria: lviii 394 pp. 4to. Dust jackets in mylar covers. Small tasteful library bookplate on upper left corner of front pastedown of the Herbaria volume. Interiors clean and crisp. Rare as a set. Oak Spring Garden Library hardcover books
