132 résultats
174042573Amsterdam: No Publisher Listed 1740. Hardback. 2nd edition. Period Vellum binding 12mo 132 leaves; 17 cm. In Hebrew. Mayer Sulzberger's copy with his bookplate. Like the Mishnah Mishnat Hasidim is arranged in "Sedarim" which are divided into "massechtot" and subdivided into "perakim." With an introduction entitled: Olam Katan. Includes index. Title-page has ornamental border. <br> Raphael Immanuel ben Abraham Hai Ricchi 1688-1743 was an "Italian rabbi cabalist and poet.After having studied Talmud under Nathan Pinkerle rabbi of Alessandria della Paglia Ricchi became tutor in the houses of several wealthy Jews. He was thus successively employed at Göritz Fiorenzuola Finale in Modena and Venice; in the last-named place he opened a school. He then went to Triest where he was ordained rabbi in 1717 by Hillel Ashkenazi rabbi of Canea after which he was invited to the rabbinate of Görz.<br> Owing to his great love for cabalistic studies and to his ascetic tendencies Ricchi resolved to settle in Palestine. He arrived at Safed in 1718 and during his stay there of two years he occupied himself with the study of the works of Isaac Luria and Hayyim Vital. He was also reordained rabbi by Hayim Abulafia. In 1720 an epidemic broke out in Palestine and Ricchi was compelled to return to Europe. <br> On the voyage he and all his fellow passengers were captured by pirates and brought to Tripolitza whence through the efforts of Abraham Halfon Ricchi and his family were allowed to return to Italy. He then occupied the rabbinate of Florence till 1723 in which year he removed to Leghorn where for twelve years he engaged in business as a merchant. He spent twenty months in travel visiting Smyrna Salonica Constantinople Amsterdam and London and in 1735 set out for Palestine spending two years at Aleppo and three at Jerusalem. In 1741 he returned to Leghorn and in 1743 while traveling in Italy for the purpose of selling his works he was killed by robbers who buried his body by the shore of the Reno. Six days later some Modena Jews discovered the remains and brought them to Cento for burial.<br> Ricchi's most important work is the above-cited 'Mishnat Hasidim' a cabalistic work begun in 1726 at Leghorn. <br> Like the Mishnah it is arranged in orders 'sedarim' which are divided into treatises 'massektot' and subdivided into chapters 'peraim' the names of the six Mishnah orders being taken in a cabalistic sense. But the chief divisions of the work are three termed 'mafteot' besides the introduction entitled ''Olam Kaon' = 'microcosmos' in which Ricchi endeavors to popularize the Cabala. <br> The first main division is the 'Maftea ha-'Olamot' in which the worlds are treated. It contains: 1 the order of Zera'im treating of the cabalistic cosmology and of metaphysics and divided into seven massektot and eighteen chapters; 2 the order Kodashim treating of the realm of emanation 'olam ha-azilut' which is styled 'the holy of holies' and containing twenty massektot and seventy-eight chapters; 3 the order ohorot treating of the three other realms namely those of creative ideas 'beri'ah' creative formations 'yezirah' and creative matter 'asiyah' and divided into nine massektot and twenty-seven chapters; and 4 the order Nezikin treating of the demons and 'kelifot' and divided into six massektot and seventeen chapters. <br> The second main division entitled 'Maftea ha-Neshamot' contains the order Nashim treating of souls in twelve massektot and forty-eight chapters. The third main division entitled 'Mafteah ha-Kawwanot' contains the order Mo'ed divided into fifty-eight massektot and 371 chapters and treating of the Kawwanah. It will be seen that the number of massektot in this work is 112 corresponding to the numerical value of the sacred name ; and the number of chapters 547 equal to the numerical value of Ricchi's name plus twelve the number of its letters. <br> The sources for this work besides the Zohar are mostly Isaac Luria's and Hayyim Vital's writings of which the 'Sefer ha-Gilgulim' 'Kanfe Yonah' and 'Shulhan 'Aruk' may be particularly mentioned. Ricchi drew also from other cabalists" M. Seligsohn in JE 1905.<br> NYU houses their copy in the Mitchell M. Kaplan Collection of Rare Judaica and Hebraica. Aviva Ben-Ur's Ladino catalog list #14. Judge Mayer Sulzberger "was closely associated with Isaac Leeser and assisted that scholar in editing The Occident contributing to it a partial translation of Maimonides' "Moreh Nebukim." After Leeser's death Sulzberger edited vol. xxvi. of The Occident. He was one of the founders of the Young Men's Hebrew Association which he served as president; and he has taken great interest in the Jewish Hospital of Philadelphia of which he has been vice-president since 1880. He was from the beginning in 1888 chairman of the publication committee of the Jewish Publication Society of America; was one of the original trustees of the Baron de Hirsch fund; and interested himself in the establishment of agricultural colonies at Woodbine N. J. and in Connecticut.Sulzberger had one of the best private libraries in America; it contained a very large number of Hebraica and Judaica" WIkipedia. SUBJECTS: Cabala -- Early works to 1800. Siddurim -- Texts. Judaism -- Ari rite -- Liturgy -- Kabbale -- Ouvrages avant 1800. Siddour -- Textes. Cabala. OCLC: 904949349. OCLC lists only 2 copies of this 1740 2nd edition worldwide NYU & Cambridge and only 3 copies of the first edition of 1727.<br> Boards slightly bowed with front hinge starting. Remains of 19th Century paper label on spine. Lacks front blank pastedown. Jewish institutional bookplate in addition to that of Sulzberger. Paper toning but strong. About Very Good- Condition. Attractive copy of early edition of an important cabalistic text. RAB-67-7. Amsterdam: [No Publisher Listed] unknown
1713M8194Italy c.1713. Very Good. Notes: Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 105x140 mm 4.13x5.51 Inches Coloring: Hand Colored Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps World; unknown
1713M11374Italy c.1713. Very Good. Notes: 18th-century detailed map of the Ottoman Empire covering regions from the Balkans to Persia and includes the Arabian Peninsula and Northern Africa. The map is beautifully hand coloured.<br>Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 139x177 mm 5.47x6.97 Inches Coloring: Hand Colored Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps Asia Near East Turkey; Maps Asia Middle East Arabia; Maps Asia Middle East; unknown
1713M8136Italy c.1713. Very Good. Notes: Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 127x170 mm 5.00x6.69 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps Asia Middle East;Maps Asia Middle East Arabia; Maps Mediterranean Sea; unknown
1791889211791 Paris, chez Théophile Barrois le Jeune, 3 volumes, 1791, 470, 494 et 499 pp., in-8, demi-basane d'époque, dos lisses, pages de faux titre tachées par une écriture courant au dos de celle-ci, dos restaurés, pièces de titre modernes, des rousseurs.
177535559BB2 volumes. Paris, Didot le jeune 1775. 8°. XXX, 1 f.n.ch., 592 p., VIII, 790 p., 2 f.n.ch. Reliure pleine veau marbré d'époque, dos a nerfs ornés.
179258891BB4 vol. Paris, Theophile Barrois. 1792. 16x10 cm. XVI, 479 p.; VIII, 491 p.; V, 492 p.; VI, 490 p. et 7 planches gravées. Demi veau vers 1840, titre doré.
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
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
17777514London: Published by John Boydell Cheapside 1777. Mezzotint. State iii/iii with the engraved inscription in thick and thin cursive letters. In good condition apart from some overall light surface soiling and foxing. Occasional rubbed creases throughout image. Laid down onto cream wove backing paper. Image size: 13 1/16 x 10 15/16 inches. This charming portrait of the fashionable Catherine Schindlerin expertly illustrates Smith's superior technique and artistic ingenuity.<br/> <br/>Catherine Schinderlin was a German singer and actress who began her career in London in 1775 the year Reynolds did this portrait for the Duke and Duchess of Dorset. It shows the actress in the role of the "Coquette" from an as yet unidentified play or opera. A highly influential figure in the late eighteenth-century British art world John Raphael Smith was the most robust and prolific printmaker of his time. During his prodigious career Smith produced nearly 400 prints 130 of which were of his own design. The remainder were reproduced paintings by such noted British artists as Joshua Reynolds George Romney and Joseph Wright of Derby. Smith was an incredibly astute businessman and soon became an impresario of the print-publishing trade. At the 1783 exhibition of the Society of Artists Smith exhibited his print of the Prince of Wales. This clever bit of marketing precipitated his appointment as the Prince of Wales' mezzotint engraver immediately making him even more desirable to an art market hungry for quality prints. D'Oench<br/> <br/>D'Oench Copper into Gold Prints by John Raphael Smith 88; Frankau An Eighteenth Century Artist and Engraver John Raphael Smith 306 iii/iii; Chaloner Smith British Mezzotinto Portraits 147 iii/iii; Russell English Mezzotint Portraits and their States 147; O'Donoghue Catalogue of Engraved British Portraits.in the British Museum 1; Lennox-Boyd & Stogdon state iii/iii. Published by John Boydell, Cheapside unknown books
17777514London: Published by John Boydell Cheapside 1777. Mezzotint. State iii/iii with the engraved inscription in thick and thin cursive letters. In good condition apart from some overall light surface soiling and foxing. Occasional rubbed creases throughout image. Laid down onto cream wove backing paper. Image size: 13 1/16 x 10 15/16 inches. This charming portrait of the fashionable Catherine Schindlerin expertly illustrates Smith's superior technique and artistic ingenuity.<br/> <br/> Catherine Schinderlin was a German singer and actress who began her career in London in 1775 the year Reynolds did this portrait for the Duke and Duchess of Dorset. It shows the actress in the role of the "Coquette" from an as yet unidentified play or opera. A highly influential figure in the late eighteenth-century British art world John Raphael Smith was the most robust and prolific printmaker of his time. During his prodigious career Smith produced nearly 400 prints 130 of which were of his own design. The remainder reproduced paintings by such noted British artists as Joshua Reynolds George Romney and Joseph Wright of Derby. Smith was an incredibly astute businessman and soon became an impresario of the print-publishing trade. At the 1783 exhibition of the Society of Artists Smith exhibited his print of the Prince of Wales. This clever bit of marketing precipitated his appointment as the Prince of Wales' mezzotint engraver immediately making him even more desirable to an art market hungry for quality prints. D'Oench<br/> <br/> D'Oench Copper into Gold Prints by John Raphael Smith 88; Frankau An Eighteenth Century Artist and Engraver John Raphael Smith 306 iii/iii; Chaloner Smith British Mezzotinto Portraits 147 iii/iii; Russell English Mezzotint Portraits and their States 147; O'Donoghue Catalogue of Engraved British Portraits.in the British Museum 1; Lennox-Boyd & Stogdon state iii/iii. Published by John Boydell, Cheapside unknown
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
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 Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
17868168London: Published by J. R. Smith No. 83 Oxford Street 1786. Coloured mezzotint. In good condition with the exception of some faint soiling in upper margin. Bottom margin outside platemark is coated with white paint. Water stains on verso of sheet not noticeable on front of sheet. Image size: 14 3/4 x 17 inches. Plate size: 17 7/8 x 19 5/8 inches. Sheet size: 19 5/8 x 20 inches. A wonderful mezzotint after Rev. Matthew William Peters by one of the finest eighteenth century engravers.<br/> <br/>This charming print is engraved after a painting by Rev. Matthew William Peters and is a fascinating example of this period in British printmaking. Matthew Peters was trained in London under the portraitist Thomas Hudson. He quickly became a prominent member of the Society of Artists exhibiting portraits in oil and pastel and attracting a number of prominent aristocratic patrons including the Duke of Manchester the Marquess of Granby and Lord Grosvenor for whom he painted some of his most controversial pictures. Urged by his patrons Peters painted a series of quasi-erotic character studies of courtesans which at that time were quite unusual in Britain. These controversial pictures were eagerly reproduced by industrious printmaker/publishers such as Smith and caused a flurry of curious customers to hurry to London print-shops. Following his ordination in 1781 Peters quickly denounced his early erotic pictures as immoral. Upon being appointed Honorary Chaplain to the Royal Academy Peters expressed a profound regret "that he ever devoted his talents to such subjects". With this in mind this picture becomes extremely interesting. In this work Peters continues to observe and appreciate charming subjects in fancy costumes but eliminates the erotic overtones present in his earlier works. Instead he has chosen to depict an age-old moral subject fortune-telling an institution in western art since the Renaissance. This print which is expertly engraved by one of the finest eighteenth century printmakers is a fascinating view into a turbulent period in Peters' life when he struggled to produce images that would appeal to his viewers while remaining true to his moral beliefs.<br/> <br/>D'Oench Copper into Gold: Prints by John Raphael Smith 1751-1812 p. 224 No. 274; Smith Catalogue No. 135 & 136; Ackermann 1802 p. 9 described as companion prints; Chaloner Smith British Mezzotinto Portraits Ward 97 Smith 186; Frankau An 18th Century Artist and Engraver: John Raphael Smith 146. Published by J. R. Smith, No. 83 Oxford Street unknown books
17868168London: Published by J. R. Smith No. 83 Oxford Street 1786. Coloured mezzotint. In good condition with the exception of some faint soiling in upper margin. Bottom margin outside platemark is coated with white paint. Water stains on verso of sheet not noticeable on front of sheet. Image size: 14 3/4 x 17 inches. Plate size: 17 7/8 x 19 5/8 inches. Sheet size: 19 5/8 x 20 inches. A wonderful mezzotint after Rev. Matthew William Peters by one of the finest eighteenth century engravers.<br/> <br/> This charming print is engraved after a painting by Rev. Matthew William Peters and is a fascinating example of this period in British printmaking. Matthew Peters was trained in London under the portraitist Thomas Hudson. He quickly became a prominent member of the Society of Artists exhibiting portraits in oil and pastel and attracting a number of prominent aristocratic patrons including the Duke of Manchester the Marquess of Granby and Lord Grosvenor for whom he painted some of his most controversial pictures. Urged by his patrons Peters painted a series of quasi-erotic character studies of courtesans which at that time were quite unusual in Britain. These controversial pictures were eagerly reproduced by industrious printmaker/publishers such as Smith and caused a flurry of curious customers to hurry to London print-shops. Following his ordination in 1781 Peters quickly denounced his early erotic pictures as immoral. Upon being appointed Honorary Chaplain to the Royal Academy Peters expressed a profound regret "that he ever devoted his talents to such subjects". With this in mind this picture becomes extremely interesting. In this work Peters continues to observe and appreciate charming subjects in fancy costumes but eliminates the erotic overtones present in his earlier works. Instead he has chosen to depict an age-old moral subject fortune-telling an institution in western art since the Renaissance. This print which is expertly engraved by one of the finest eighteenth century printmakers is a fascinating view into a turbulent period in Peters' life when he struggled to produce images that would appeal to his viewers while remaining true to his moral beliefs.<br/> <br/> D'Oench Copper into Gold: Prints by John Raphael Smith 1751-1812 p. 224 No. 274; Smith Catalogue No. 135 & 136; Ackermann 1802 p. 9 described as companion prints; Chaloner Smith British Mezzotinto Portraits Ward 97 Smith 186; Frankau An 18th Century Artist and Engraver: John Raphael Smith 146. Published by J. R. Smith, No. 83 Oxford Street unknown
1713M8166Italy c.1713. Very Good. Notes: Haiti & Dominican Republic.<br>Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 105x141 mm 4.13x5.55 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps West Indies Dominican Republic / Haiti & Puerto Rico; unknown
177627836Rome 1776. Large folio. 29 1/4 x 26 3/4 inches. 12 of 13 hand-coloured engraved plates each printed on two joined sheets by Ottaviani after Gaetano Savorelli and Pietro Camporesi. Interleaved with blanks. Bound without the engraved title soft vertical center crease light abrasions in the images some marginal chips and edge tears to a few plates. A very fine set with particularly fine contemporary hand-colouring of the second part of this great work which concentrates on the quadrants above the windows and doors in the Vatican Logge.<br/> <br/>The work was completed in three parts and depicts the decorative work executed by Raphael and his assistants between 1518-1519 in the Logge on the main storey of the Vatican apartments. The remarkable prints the first to be carried out of the decoration of the Logge were probably planned as early as 1760 but were not executed until 1774 to 1776. The project 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 plates 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 taste in the neo-classical period.<br/> <br/>Raphael Invenit: Stame da Rafaello 1985 Ottaviani 18 21-33; cf. Brunet IV 1110; cf. Berlin Kat. 4068; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg 1984 p.104. unknown books
1713M8156Italy c.1713. Very Good. Notes: Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 86x132 mm 3.39x5.20 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps Europe Benelux; unknown
1713M8170Italy c.1713. Very Good. Notes: Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 78x119 mm 3.07x4.69 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps Europe France; unknown
1780374868Roma: Volpato et Morghen Sculp. et Vend 1780. Unbound. Good. Copperplate engraving. Measures approximately 12.5" x 11.25" to the plate mark. Engraved by the famous Italian printmakers Raphael Morghen and Giovanni Volpato after a painting by Pier Francesco Mola. This scene of an infant satyr raising a glass of wine filled to the brim illustrates a passage in the 6th elegy of Tibullus Book 3. Morghen a child prodigy and student of Volpato established himself as one of Europe's most famous engravers by the age of twenty. Old dampstain on the upper left corner that pervades only about an inch into the image a few small tears to the edges else good or better. Halsey 19. Volpato et Morghen Sculp. et Vend unknown
1795147391795. Engraving. Printed on laid paper. Collector mark bearing the initials E.O printed in blue ink on verso of sheet. Some rippling in the middle of image. Image size: 22 x 15 1/16 inches. An exceedingly rare self/family portrait by Raphael Morghen after a painting by Angelica Kauffman.<br/> <br/>Though the whereabouts of the original painting is not known this is clearly a self-portrait of Angelica Kauffman seated with what appear to be two grown children and a son-in-law. She holds what is perhaps a portrait of her second husband Francesco Zucchi who died in 1795. Her children would have to have been from her unhappy first marriage. There is no title but rather a text in French about how virtue is instilled in children. This impressive portrait was painted by the celebrated artist Angelica Kauffman and engraved by the renowned Italian printmaker Raphael Morghen. Kauffman was a child prodigy who executed her first commissioned work before the age of thirteen. As a child she traveled through Austria and Italy with her father the painter Joseph Kauffman. She assisted him by painting the backgrounds of his works but she quickly received her own commissions and established a reputation for herself as an accomplished painter. In 1766 she traveled to London where she painted portraits and decorative paintings. She was a close friend of Reynolds and was one of the first female members of the British Royal Academy. Goethe called her "the most accomplished woman in Europe". Raphael Morghen received his first artistic training from his father the accomplished engraver Filippo Morghen. Like Kauffman Morghen was also a child prodigy publishing his first engraving at the age of twelve. By the age of twenty he had established himself as one of the premiere engravers in Europe allowing him to garner countless commissions. He worked in Naples Rome and Florence and produced over two hundred and fifty prints during his prolific career.<br/> <br/>Benezit Dictionnaire des Peintres Sculpteurs Dessinateurs et Graveurs. unknown books
1768P4456Rome c.1768. Very Good. Notes: A fine engraving of the Raphael fresco of the various great minds that made up the "School of Athens" during the mid 18th century. The interior scene shows Greek philosophers Plato left and Aristotle right in the center surrounded by groups of other philosophers and mathematicians. In the lower left foreground Pythagoras writes in a book; at right Euclid demonstrates a compass to four young men. The scene is framed by an arch with the inscription: "Raphael in aedibus santius vatica pinx nis". <br>Other figures that are believed to be represented are: <br>Zeno of Citium Epicurus Heraclitus the "weeping" philosopher Democritus the "laughing" philosopher Boethius Averroes Alcibiades Antisthenes Raphael Aeschines Socrates Michelangelo Diogenes of Sinope Plotinus Zoroaster Ptolemy and Protogenes. Image Size : 515x733 mm 20.28x28.86 Inches Platemark Size : 565x741 mm 22.24x29.17 Inches Paper Size : 618x860 mm 24.33x33.86 Inches Coloring: Hand Colored Medium: Copper Engraving Categories: Views Europe Italy; Architectural General; unknown
1713M8145Italy c.1713. Very Good. Notes: Northern Italy<br><br>Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 117x175 mm 4.61x6.89 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps Europe Italy; unknown
1713M8135Italy c.1713. Very Good. Notes: Northern Italy.<br><br>Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 120x170 mm 4.72x6.69 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276<br> Category: Maps Europe Italy; unknown
1713M8174Italy c.1713. Very Good. Notes: Savonarola used the pseudonym Alphonsus Lasor a Varea. Monk of Theatine order who worked in the monastery library in Padua. He was also Professor of Holy Scripture. Universes Terrarum Orbis Scriptorum. Size : 85x131 mm 3.35x5.16 Inches Coloring: Black & White Reference: Mickwitz A.M. Miekkavaara L. and Rantenen T. The A.E. Nordenskiold Collection in the Helsinki University Library Volume 2 1981 pp. 269- 276 Category: Maps Europe Germany; unknown
