10 résultats
17710379821771. 1st Edition 1st Printing. No Binding. Fine. Original Engraving. 24.8 X 15.5 Including Very Large Margins. Pl. No. 22 De L'oeuvre" In Tiny Letters At Top Of Image. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. <br/> <br/> unknown
176040442Wien, Jo. Christoph Winkler, 1760. Ca. 43 x 54,5 cm.
18001321Amsterdam 1800. Etching with engraving on cream laid paper which is watermarked with a fancy "M" 9 1/2 x 12 3/16 inches 240 x 308 mm narrow margins. In good condition with some scattered light areas of discoloration lower margin trimmed to exclude text. An impression of this work may be viewed in the permanent collection of the Philadelphia Museum of Art accession number: 1985-52-7522. unknown
17586781758. Engraving on cream laid paper 8 x 5 7/8 inches 202 x 149 mm trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the top-center sheet edge extending approximately 1/2-inch into the platemark 1-inch in length. Inking is dark and clear and the sheet is otherwise in good condition. A reverse image copy of the work by Rembrandt printed mid 18th century. The image shows the so-called Little Stink Mill an actual windmill that once stood along the bulwark that extended down the west side of Amsterdam during the 17th century. The mill was owned and operated by the Leathermakers Guild and its nickname stemmed from the odorous practice of softening tanned leather with cod liver oil. <br /> <br /> An impression of this work may be viewed in the permanent collection of Harvard University's Fogg Art Museum; Division of European Art object number G3958. unknown
1738P4772Venice 1738. Very Good. Image Size : Platemark Size : Paper Size : 502x363 mm 19.76x14.29 Inches Coloring: Printed in Color Medium: Woodcut Chiaroscuro style Categories: Religious Christianity; Old Masters; unknown
17756741775. Etching and drypoint on heavy cream laid paper 3 3/4 x 3 1/4 inches 96 x 83 mm narrow margins. In very good condition with some minor surface soiling.<br /> <br /> Björklund's second state of 2 copy. unknown
1775675London 1775. Etching on light cream laid paper 4 3/4 x 4 1/8 inches 120 x 105 mm thin margins. In superb condition with all of the fine lines printing clearly.<br /> <br /> Bartsch 71 copy; New Hollstein 127 copy e. unknown
178116541A Paris, chez Basan et Poignant, 1781. In-folio de [6]-22 pages et 116 feuillets, plein maroquin à grain long bleu nuit, dos à nerfs ornés de filets dorés, triple filets dorés sur les plats, simplet sur les coupes, chasses ornées d'une grecque dorées. Etui moderne.
1780180325101780. No binding. Near fine. van Rijn Rembrandt. Single etching printed to recto only plate margins: about 4.5" by 3.5" A late 18th-century restrike likely by Claude-Henri Watelet 1718-1786 of Dutch master Rembrandt van Rijn's 1606-1669 etching "Abraham Caressing Isaac Benjamin". While producing a body of work that continues to be treasured 400 years after his lifetime Rembrandt experienced a great deal of loss in his personal life losing three children in infancy and his beloved wife Saskia after the birth of their fourth child - the only one to survive to adulthood. The look of quiet sadness in this etching on the face of Abraham perhaps echoes some of that loss experienced by Rembrandt while the face of the child shows only joy at being so closely held by his father.<br /> <br /> Rembrandt's work varies greatly an aspect that sets him apart from many of his contemporaries. His work included biblical scenes such as that seen in this work but was not limited in that respect. He worked in portraits including what were considered remarkably sincere self-portraits landscapes nudes animals still-life and mythological scenes in a variety of mediums. He was producing during an important period in the Netherlands a wealthy cultural high-point known as the Dutch Golden Age. The innovations of this period with a strong contribution from Rembrandt himself paved the way for many of the important movements that followed. <br /> <br /> Rembrandt produced etchings for almost his entire career until he was forced for economic reasons to sell his press. His etchings more so than his paintings were responsible for much of his success during his lifetime. During his lifetime Rembrandt made hundreds of impressions from nearly 300 plates and about 80 plates still exist today. As a result the plates were used to make impressions for centuries after Rembrandt's death; what is remarkable about this particular example is that the margins are relatively complete whereas most Rembrandt etchings are found with margins trimmed often right up to the plate mark. Dating and authenticating plates is often a complicated process; this impression has been appraised and dated by a professional with a copy of the appraisal summary available upon request. <br /> <br /> __CONDITION: This is a near fine example bright and clean slight age-toning/soiling to outer margins which can be professionally cleaned small contemporaneous pencil annotation to lower margin the impression is rich and clear; near fine overall. <br /> <br /> ___POSTAGE: International customers please note that additional postage may apply as the standard shipping charge does not always cover costs; please inquire for details.<br /> <br /> ___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind every book we sell. Please contact us with any questions you may have we are here to help. unknown
1729K53AKICPY8C5Amsterdam 1729. Oblong 4to 18.5 x 24 cm. Bernard Picart title-print also: Paris François Chereau Late 19th-century pimpled red cloth with the spine at the head of the pages sewn on 3 recessed cords each board with a blind frame of thick-thin rules the spine with gold fillets and lettering. Rebacked in red cloth with a small piece of the original backstrip laid down. With a letterpress title-page in red and black with Picarts engraved Inter omnes device with stars and attributes of bookselling and art 1 title-print and 42 lion prints in 6 series on 37 leaves the title labelled A0 and the lion prints A1-6 B1-6 C1-6 D1-6 E1-6 & F1-12 plate size A-E 12 x 17.5 cm; F 7 x 11.5 cm the F series with 2 prints per page all engraved by Bernard Picart after drawings made by himself 8 all from life Rembrandt 18 Charles le Brun 6 Albrecht Dürer 1 Paulus Potter 1 and unattributed 8. Further with 1 woodcut decorated initial. Set in roman types with incidental italic. 1 1 blank 6 pp. plus 37 engraved plates with title-print & 42 lion prints. First edition of a complete set of six series of lion prints 30 full-page 12 half-page on 36 inserted leaves engraved by Bernard Picart 1673-1733 including at least 8 from his own drawings from life and others after drawings by various masters including 18 after Rembrandt. Series A begins with a print showing 12 detail figures of paws and claws and continues with prints showing 2 lions each except 1 showing 1 lion. Series B shows lion heads 1 to 3 per print all after Le Brun. The rest show one lion each except 1 showing 2 lions. They depict male and female lions standing reclining and eating.Picart a celebrated French artist-engraver studied with his father and worked in Paris together with François Chéreau who sold the present print series there. He came to Holland in 1710 living and working in Amsterdam from 1711 to his death in 1733.One print B3 is sophisticated coming from another early edition. With small stains in the corners at the head of the leaves and with an occasional minor marginal defect but still in good condition. The binding is rebacked as noted but is otherwise good.l Cat. Rijksmuseum I p. 160 title-page: www.rijksmuseum.nl/nl/zoekenq=%22recueil%20de%20lions%22&v=&s=&ii=0&p=1; STCN 7 copies incl. 1 lacking title-page plus 1 set of the engravings alone; for Picart: Thieme & Becker XXVI pp. 572-573. ABE CAT Art History hardcover
