7 428 résultats
76-0494Paris: Herni Louis Basen circa 1810. Etching on laid paper. 24.5 x 19.5 cm sheet. Lettered below the image in the lower right margin with Rembrandt’s facsimile signature and date: “Rembrandt f. 1647’. From the publication published by Henri Louis Basen Basen’s Receuil. Very Good with thread margins.Ex. Collection: Xavier Aflred Henrin de Roche du Teilloy Lugt 214d.Literature: New Hollstein 238a. [Paris: Herni Louis Basen, circa 1810]. unknown
183951427Philadelphia: Henry Perkins; Boston: Perkins & Marvin 1839. First edition 12mo pp. 263 1; original brown cloth gilt-lettered spine light wear and cracks at spine ends and the text with mild foxing and dampstaining; all else very good. This copy inscribed to "D. L. Brainard from the author July 59." OCLC notes "Rembrandt Peale painted over 600 works of art throughout his lifetime. He painted many prominent individuals in American history including George Washington Thomas Jefferson and John C. Calhoun." <br/><br/> Henry Perkins; Boston: Perkins & Marvin hardcover books
AN OUTSTANDING COPY OF BROUET'S MOST IMPORTANT BOOK. Illustrated with 66 original etchings, including 15 full-page and hors-texte. The etchings depict circus life, which Brouet--whose focus was always on marginalized segments of society--proves very adept at handling. From a total edition of 210 copies, this is one of ONLY 30 COPIES PRINTED ON IMPERIAL JAPANESE PAPER, WITH THE 15 HORS-TEXTE ETCHINGS AND THE PORTRAIT OF GONCOURT IN TWO STATES. 4to. Loose as issued in original wraps. A bit of wear and foxing to wraps, else FINE AND BRIGHT. Housed in the (slightly worn) original quarter morocco and decorated board chemise.
The rarest and perhaps the most important catalogue raisonnÈ of Rembrandt's etchings. Middleton describes 329 works he considers authentic and 30 which he rejects, all in great detail, with particular attention to states. He also provides detailed, complex, and scholarly arguments justifying his acceptance or rejection of each questionable piece: he was the first to do so, and thus opened a new era in the study of these prints. lx, 341 pp., 12 plates with illustrations of details distiguishing states and copies, [2] pp. publisher's ads; "directions to binder" slip. A LARGE-PAPER COPY, beautifully printed on fine handmade Dutch laid paper. 4to. Finely bound in contemporary quarter morocco and cloth. Top edge gilt, other edges uncut. Slight, superficial wear to extremities of binding, internally bright and fine. Bourcard, p. 224: "A la fin de cette monographie, il y a 12 planches extremement curieuses....tout...est fort intÈressant surtout ‡ cause des rÈflexions que formule l'auteur pour arriver ‡ demontrer ce qu'il affirme. Ce catalogue--qui est extremement rare (in 1911!)--a provoquÈ une ardente polemique entre l'auteur et Sir Francis Seymour Haden...." Levis, p. 277: "One of the most important of the catalogues of Rembrandt's etchings." An excellent copy of a rare and important book.
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
1920190761not identified: Prof. G. Goebel 1920. Hardcover. Good heavy wear to portfolio case covers are loose but holding top and bottom of porfolio case are detached pages are all clean with very light age toning all plates numbered 728-1001 are present plate number 733 is present but no longer attached. Oversized portfolio blue and gray cloth over boards gilt spine printing contains loose plates hand-numbered 728-1001 and mounted on thick cardboard. Text is in German. This is the fourth volume only of a 4 volume set of plates. At head of front cover: Illustrierter chronologischer Graphik-Katalog. 18x14x3.5" Prof. G. Goebel hardcover
1920191129not identified: Prof. G. Goebel 1920. Hardcover. Good heavy wear to portfolio case covers are loose but holding top and bottom of porfolio case are detached pages are all clean with very light age toning all plates numbered 1-251 are present. Oversized portfolio blue and gray cloth over boards gilt spine printing contains loose plates hand-numbered 1-251 and mounted on thick cardboard. Text is in German. This is the first volume only of a 4 volume set of plates. At head of front cover: Illustrierter chronologischer Graphik-Katalog. 18x14x3.5" Prof. G. Goebel hardcover
1920191130not identified: Prof. G. Goebel 1920. Hardcover. Good heavy wear to portfolio case covers are loose but holding top and bottom of porfolio case are detached pages are all clean with very light age toning plate # 517 is wrinkled there are two pages that appear to be misnumbered #286 appearing twice and no plate hand numbered 343 but the total number of plates is accurate. Oversized portfolio blue and gray cloth over boards gilt spine printing contains loose plates hand-numbered 252-520 and mounted on thick cardboard. Text is in German. This is the second volume only of a 4 volume set of plates. At head of front cover: Illustrierter chronologischer Graphik-Katalog. 18x14x3.5" Prof. G. Goebel hardcover
188862832New York, Dodd, Mead & Company, (1888). Folio 405 x 305 mm). In publisher's original full white cloth with gilt lettering to spine and a gilt portrait of Rembrandt to front board. Upper edge gilt, outer and lower edge uncut. Binding with wear and corner bumped, with some loss of the cloth. Cloth with tears and and cloth on front hinge detached. Front hinges weak. (24) pp. + 50 numbered photogravure plates, each preceded by title leaf and followed by description.
188862832New York Dodd Mead & Company 1888. Folio 405 x 305 mm. In publisher's original full white cloth with gilt lettering to spine and a gilt portrait of Rembrandt to front board. Upper edge gilt outer and lower edge uncut. Binding with wear and corner bumped with some loss of the cloth. Cloth with tears and and cloth on front hinge detached. Front hinges weak. 24 pp. 50 numbered photogravure plates each preceded by title leaf and followed by description. <br/><br/><em>A rare first edition of Curtis’s important study of Rembrandt’s most notable etchings illustrated with fifty photogravure plates. Issued after the author’s 1883 descriptive catalogue of Velasquez and Murillo this work opens with a biographical introduction asserting that an appreciation of Rembrandt’s etched oeuvre is essential to true artistic cultivation: “No test of one's taste and higher cultivation is more sure than the love for and capacity of appreciating these marvelous works. … If we may judge from the past there is nothing whose value is more sure than the etchings of Rembrandt.†From the introduction to the present work. Each of the fifty plates is accompanied by a title leaf and followed by detailed historical and descriptive commentary. </em> hardcover
2073London: John Murray 1878. The rarest and perhaps the most important catalogue raisonné of Rembrandt's etchings. Middleton describes 329 works he considers authentic and 30 which he rejects all in great detail with particular attention to states. He also provides detailed complex and scholarly arguments justifying his acceptance or rejection of each questionable piece: he was the first to do so and thus opened a new era in the study of these prints. lx 341 pp. 12 plates with illustrations of details distiguishing states and copies 2 pp. publisher's ads; "directions to binder" slip. A LARGE-PAPER COPY beautifully printed on fine handmade Dutch laid paper. 4to. Finely bound in contemporary quarter morocco and cloth. Top edge gilt other edges uncut. Slight superficial wear to extremities of binding internally bright and fine. Bourcard p. 224: "A la fin de cette monographie il y a 12 planches extremement curieuses.tout.est fort intéressant surtout à cause des réflexions que formule l'auteur pour arriver à demontrer ce qu'il affirme. Ce catalogue--qui est extremement rare in 1911!--a provoqué une ardente polemique entre l'auteur et Sir Francis Seymour Haden." Levis p. 277: "One of the most important of the catalogues of Rembrandt's etchings." An excellent copy of a rare and important book. <br/><br/> London: John Murray, 1878 hardcover
827171769. 24 5 x 19 5 cm 23 x 18 5 cm Etwas stockfleckig u. gebräunt Nach dem Gemälde von Rembrandt gestochen.- Georg Friedrich SCHMIDT 1712-1775 deutscher Kupferstecher Radierer und Pastellmaler der als Hofkupferstecher unter Friedrich II. wirkte. Er gilt auf seinem Gebiet als ein Meister des friderizianischen Rokokos. 010 1769 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
In-4 (mm. 326x234), 2 volumi, mz. pelle mod., fregi e tit. oro al dorso, pp. XXIV,320; IX,294. L'opera del grande pittore e incisore (1606-1669) viene presentata, in questa importante ediz., in 67 tavv. f.t. (protette da velina con didascalia) e 250 ill. nel t., in b.n. e in tinta. In appendice Catalogo delle opere dell'artista: quadri, disegni, schizzi. Pregevole monografia in tiratura di soli 200 esempl. numer., su carta Giappone. Nel ns. esempl. solo prime 10 cc. di un vol. con lieviss. traccia di umidità al marg. sup. bianco, altrim. in ottimo stato.
Acquaforte, bulino misure: mm 225 x 174 Incisore, pittore e disegnatore. Si hanno poche notizie a riguardo della primissima formazione, è stato allievo di Rembrandt. Forse più che apprendista del maestro è stato un suo collaboratore sia a Leida che ad Anversa nel 1631. Ha inciso traducendo le opere di Rembrandt, scegliendo soggetti di popolani e contadini e in piccole serie sulla Passione, le Arti e Mestieri o I Sensi. Il soggetto rappresentato in questo foglio fa parte della serie di sei lastre dedicata alla Passione. La composizione si divide in due parti. Nella zona superiore immersa in una luce sfolgorante troviamo Cristo a figura intera che risorge dal sepolcro ormai aperto, nella mano sinistra lo stendardo della Resurrezione. In basso, in uno spazio ristretto al buio, diversi soldati colti in un grido di terrore cercano di scappare mentre con le braccia si coprono il volto per la troppa luce. Il segno è delicato, vibrante, si infittisce nella parte inferiore fino a creare dei profondi neri ed enfatizza la scena, sottolinea il pathos. Al centro sopra un lato del sepolcro firma incisa JG.vliet fe. Esemplare nel II/II stato. Impressione splendida con effetto di velatura grigia di fondo, dalla forte inchiostrazione. Ottimo stato di conservazione eccetto due minime integrazioni agli angoli superiori. Minimi margine oltre il soggetto. Filigrana: frammento di scudo con un cuore al centro, sormontato da foglie di palma. Simile a Briquet 4314 che registra una filigrana simile ma più semplificata nella struttura e più antica, infatti datata al 1538. Bibliografia: Hollstein XLI. 152. 10; Bartsch-Claussin 1797-1828, Catalogue raisonné de toutes les estampes de Rembrandt (plus Supplement), II.87.10; Johannes (de) Visscher to Robert van Voerst, p. 104-105, cat.nr. 10
Two volumes bound in one, complete. This work might be considered the last and best edition of the first catalogue raisonne of Rembrandt's etchings and drypoints, originally compiled by Gersaint and published posthumously in 1751. xx, 217, xv, 245 pp. WITH THE RARE ERRATA LEAF. Thoroughly describes 382 prints by Rembrandt, and hundreds more after his works and by his followers. Beautifully printed on fine laid paper. 8vo. Contemporary cloth, decorated in blind and gilt. Light wear to extremities of binding, else FINE AND BRIGHT. Rare and important.
9542, Paris, Firmin Didot, 1824.**, Relie de l' epoque, demi - veau vert,dos orne de piece de titre dore, plats de papier marbre, 13,5x21,5cm, 244pp
5974, Paris, Firmin Didot, 1824., Relie l' epoque, demi veau, 13,5x21,5cm, 244pp, deux volumes dans un tome.
19771338446London/New York: Phaidon 1977. Enlarged Edition. Hardcover. 6 Quartos; VG; Red cloth boards and spines with gilt lettering; Some edge wear to all volumes bumping at the corners; Bindings strong; Text block free of marking. Shelved above European history. NOTE: Set is heavy please contact us for international or priority shipping. 1338446. Shelved Dupont Bookstore. Phaidon hardcover books
1891927CG1891. München u. a. Franz Hanstaengl 1891. Selbstportrait. Plattengrösse: 63 x 49 cm. Rahmengrösse: 91 x 76 cm. In Holzrahmen. Das Glas bildseitig etwas angestaubt. unknown
1901190396Paris: Charles Sedelmeyer 1901. Softcover. Good- heavy shelfwear and tears to front cover missing spine and rear cover light smudging to text pages light age toning to pages all plates are present and otherwise clean. Brown wraps with gilt printing bw portrait mounted on front cover with gilt frame; 29 text pages plates numbered 401-485 each with descriptive text page and tissue guard sheet. Printed in edition of 75 numbered copies on Japan paper this being number 68. Text by Wilhelm Bode from the German by Florence Simmonds. 18x14x2.5" Charles Sedelmeyer paperback
71-5720Amsterdam: Rembrandt van Rijn 1639. Original etching. 24.5 x 20.5 cm sheet. Good a very late impression sheet trimmed to the image print affixed to a support board tears and stains along sheet edges. [Amsterdam: Rembrandt van Rijn, 1639]. unknown
76-0454Amsterdam: Rembrandt circa 1631. Etching on thin laid paper. 15.2 x 12 cm sheet. Though accepted by Bartsch and others this print is rejected by Boon and White suggesting it could be by an early pupil like Karel van der Pluym. Very Good.Literature: B. Hollstein 344; Hind 91. [Amsterdam: Rembrandt, circa 1631]. unknown
76-0453London: McMillan 1868. Etching on laid paper. 25 x 17 cm sheet. Very Good light toning along sheet edges.Literature: B. Hollstein 118; Hind 183. London: McMillan, 1868. unknown
1952008519London: Phaidon Press 1952. Two volumes bound in publisher's black cloth with gilt lettering top edges gilt. Near Fine slight toning at end pages Vol. I in Near Fine jackets a few small edge tears and small chips. In Very Good slipcase the case sun toned and lacking the title plate from front cover. Each volume with its own errata slip laid in. The complete set in dust jackets and slipcase uncommon thus. A heavy set priority and international mail will require added shipping charges - please inquire before ordering. . First Edition. Cloth. Near Fine/Near Fine. Folio - over 12" - 15" tall. Phaidon Press Hardcover books
