HOYLAND, John (Sheffield, 1934 - 2011),MareMagnum
2 054 résultats
Acquaforte acquatinta a colori Firma, data, titolo e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare BAT (Bon à tirer). cm 64x50 (Foglio 90x70). . . Ottimo (Fine). . . .
Acquaforte acquatinta a colori Firma, data, titolo e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare BAT (Bon à tirer). cm 63,5x49,5 (Foglio 90x70). . . Ottimo (Fine). . . .
Acquaforte acquatinta a colori Firma, data, titolo e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare p.d.a.. cm 64x50 (Foglio 90x70). pp.. . Ottimo (Fine). . . .
Litografia a colori Firma e numerazione a matita. Certificato di autenticità sul retro di Bolaffio. Esemplare 55/60. Cm 50x39. . . . Macchia sull'angolo inferiore destro del foglio che non compromette la litografia (Waterstain to the wright angle of the paper not including the lithograph). Tiratura 60. .
13 tavole sciolte che raffigurano le Logge di Raffaello, incise da Carlo Lasinio, dimensioni del foglio cm 46x62, dell’impronta della lastra 37x50,5. Rossetti 6053.
Litografia originale in bianco e nero numerata e firmata a matita dall'Artista. Opera allegata al volume di Fabro ''Art Body'', una lezione tenuta all'Accademia di Belle Arti di Brera il 31 maggio 2000. Edizioni L'obliquo 2006 Litografia stampata a mano su cartoncino Tintoretto Neve Fedrigoni da 250 grammi. Esemplare 50/100. Cm 33,5x48. . . Perfetto (Mint). . Tiratura 100. .
Litografia originale a colori Firma, data e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare p.d.a.. cm 53,5x72. . . Molto buono (Very Good). . . .
Acquaforte acquatinta originale a colori Firma, data e numerazione a matita. Esemplare p.d.s. 5. Cm 22x21 (Foglio 53x40). . . Molto buono (Very Good). . . .
Litografia a 5 colori Firma, data e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare 42/42. cm 76x54,5. . . Molto buono (Very Good). Bruniture leggere ai margini del foglio (Some light browning and spotting). Tiratura 42. .
Litografia originale a colori Esemplare bon à tirer. Firmato, numerato e datato (27-7-1975) a matita dall'Artista. Cm 78x63. pp.. . Molto buono (Very Good). Fioriture diffuse (Yellowing and age spotting). . .
Acquaforte Firma e numerazione a matita. Certificato di garanzia della Galleria Ciranna sul retro. Esemplare 98/150. cm 24,6x34 (Foglio 28x38). . . Ottimo (Fine). . Tiratura 150. .
A Londres, chez l'imprimeur J. Smeeton, dans la rue Saint Martin, 1793. In-4 relié plein veau brun, dos lisse à fleurons allégoriques dorés, plats encadrés d'une guirlande de fines branches dorées, gardes de papier marbrés, roulette dorés intérieure, toutes tranches dorées. 38 pages + superbe estampe aquarellée de Antonio Césare de POGGI, dessinateur, peintre d'histoire et éditeur, dépliante au format de 38 x 51 centimètres (40 pouces x 26, mesure du pied d'Angleterre, datée du 25 may 1792, légendes en marge. L'estampe, dessinée sur place en 1783, est d'une très grande finesse, elle a été gravée par Mr. Pouncey, graveur anglais, travail qui a demandé plus de 7 années. En tête d'ouvrage, on trouve la liste des souscripteurs pour l'estampe (Le Roi et la Reine de Grande Bretagne, les noms des Altesses Royales, etc) sur 8 pages, s'en suit un avertissement à la date du 6 mai 1793 de 4 pages, puis "Lettre de Mr. Le Chevalier Foulis, Major de la Place de Gibraltar, sur la SORTIE faite par la Garnison de cette Place le matin du 27 novembre 1781, adressée à M+++.", 10 pages. Ensuite "Description alphabétique de l'Estampe représentant la sortie faite par la Garnison de Gibraltar dans la matinée du 27 novembre 1781", 11 pages . + Un tableau "Disposition et forces du détachement. Brigadier Général Ross". L'ouvrage se termine sur 2 pages de P.S. (post-sciptum), qui contient les remerciements de Mr. de Poggi à ceux qui lui ont apporté aide pour la résalisation de l'estampe. La reliure est un peu frottée, coins émoussés, petits manques de cuir en tête et en queue, l'exemplaire est à grandes marges, ne présente que quelques rousseurs en page de titre sans gravité, l'estampe présente une déchirure sans manque anciennement restaurée avec du papier collant, un petit trou sans manque à une pliure et une tache brune à une pliure en partie supérieure. Le dessin est d'une remarquable finesse. Malgré les petits défauts signalés, cet ouvrage très rare, est en bon état.
Litografia originale a colori su fondo nero, numerata e firmata a matita Esemplare prova d'artista (p.d.a.). Cm 77x62. . . Ottimo (Fine). . . .
Two volumes, complete. AN OUTSTANDING SET OF THESE EXTREMELY UNCONVENTIONAL LIVRES D'ARTISTE, made for the tourist trade on the CÙte d'Azur in the early 1950s. Both volumes are anthologies of texts about the region, and EACH VOLUME IS ILLUSTRATED WITH STUNNING HAND-COLORED MOUNTED SCULPTED PRINTS ("glyptographies") BY MARCEL PAUTOT (21 in the first volume, 18 in the second), titled in manuscript, depicting charming town scenes and breathtaking landscapes. Pautot was a goldsmith by trade, and has used gold dust to color some of the prints. Each edition limited to 500 copies, but many fewer have survived. Printed on laid paper, with the mounted prints on wove paper. Squarish 8vo. "Images de Provence" in publisher's wraps, housed in a custom decorated slipcase. "Images de Provence: Cannes - Grasse" beautifully bound in quarter citron morocco, wraps preserved, with onlaid mosaic of a sailboat on the front cover. BOTH VOLUMES FINE AND BRIGHT. Complete sets are rare. See William Cole, "Marcel de Pautot and His Images de Provence" (Art in Print, January-February 2015, pp. 32-36), available online. Marcel Pautot
The first volume (of two) of the standard catalogue raisonne of the prints of Georges Rouault. 213 items described and illustrated, many in several states. ONE OF ONLY 220 COPIES OF THE DELUXE EDITION (there was no deluxe edition of volume 2) WITH AN ORIGINAL ETCHING BY ROUAULT ("Acrobate", 1919, R. 3 iii/III, printed on extremely fine wove paper), SIGNED AND AUTHENTICATED IN PENCIL BY ISABELLE ROUAULT. This is one of Rouault's very first prints. Folio. Publisher's cloth, dustjacket, and protective cover. FINE AND BRIGHT, WITH NO DEFECTS.
A gorgeous livre d'artiste, with TEN LARGE COLOR ETCHINGS (with aquatint) BY JAUME RIBAS, each SIGNED and numbered in pencil by the artist. This is copy 7/35, printed on extremely fine Arches wove paper and SIGNED by the artist and the author in the justification / colophon. Square folio. Loose as issued in printed wraps, housed in an elaborate wooden and metal box. FINE AND BRIGHT, exactly as issued. VERY RARE.
ONLY EDITION OF THIS EXTREMELY IMPORTANT AND RARE MONOGRAPH ON NANTEUIL (the title page says "second edition" because Loriquet's discourse--without the documentation--had previously been published in a periodical). 2 leaves; 154 pp. Aside from Loriquet's comments, this book contains extensive documentation concerning Nanteuil, all published for the first and only time: documents concerning his family, the text of his poetry, his opinions about printmaking, catalogues of all of his works in all media, the inventory of his estate, etc. EDITION LIMITED TO ONLY 100 COPIES, OF WHICH THIS IS ONE OF ONLY TEN COPIES WITH THE ENGRAVED FRONTISPIECE PORTRAIT OF NANTEUIL (by Varin after Nanteuil) IN TWO STATES. Louis Metcalfe, writing about Nanteuil in "Prints and Their Makers" (New York: Century, 1912), states that "In 1854, Charles Loriquet, curator of the library of Rheims, who had just completed a collection of Nanteuil's portraits for the city museum, addressed the Academy at one of its public sittings and eloquently pleaded with the authorities to erect a monument to him who he considered second only to the great Colbert as the most illustrious son of Rheims. His description of the artist and his work created such enthusiasm that he was later induced to publish it, together with some interesting documents concerning Nanteuil. The unique little book found its way into many libraries, private as well as public, and has ever since been unfindable." The copy I offer was in fact Metcalfe's, with his charming engraved bookplate on the front pastedown. Large 8vo. ELEGANTLY BOUND IN 19TH-CENTURY FULL MIDNIGHT MOROCCO BY AFFERNI (signed), with spine, borders, and turn-ins beautifully gilt. (Afferni was a Venetian binder, and his work rivaled that of the best French binders of the day.) All edges gilt. Tiny traces of wear to extremities, else FINE AND BRIGHT. A rare and important book.
A portfolio of eleven stunning cubist / surrealist etchings (with drypoint) by Philippon, each numbered (15/15) and signed by the artist in pencil. Edition limited to 15 sets, all printed on fine wove paper. Philippon, although little known, was a very talented printmaker. The images include three female nudes, four town views, one interior, one portrait, and two depictions of the port of St-Tropez. 4to. Loose as issued in folding sheet. Cover a bit soiled and damaged, but the etchings are fine and bright, and have never been matted or framed. Extremely rare.
Kolorierte Lithographie auf Papier. 605 x 800 mm. Sehr seltene Monumentallithographie von Joseph Lanzedelli dem Jüngeren nach einem Entwurf von Adam Brenner, gedruckt bei B. Greiffenstein für J. Sedlaczek in Wien. Das Plakat zeigt eine Anbetung Jesu Christi als Himmelskönig auf textlicher Basis des "Te Deum Laudamus". Die irdische Sphäre ist zentral durch den schreibenden Heiligen Ambrosius von Mailand repräsentiert, dem der berühmte Hymnus zugeschrieben wird. Mehrere Textzitate mit Strophenangabe der deutschen Nachdichtung des Te Deums von Ignaz Franz sind illustriert, darunter die Anbetung der Cherubim. Erst durch die Bildunterschrift wird der Zusammenhang mit der Hochzeit des Kaiserpaares hergestellt: "Zur Erinnerung an die Oesterreichs Völker beglückende Vermählung und glorreiche Regierung Sr. kais. königl. Apostolischen Majestät unsers allgeliebten und allergnädigsten Kaisers Franz Joseph I., mit Ihrer königl. Hoheit der durchlauchtigsten Prinzessin Elisabeth Amalie Eugenie, Herzogin in Bayern". Die Betonung des Heiligen Ambrosius von Mailand als Schutzpatron des österreichischen Kaisertums hatte in der angespannten Lage vor dem zweiten italienischen Unabhängigkeitskrieg (1859) auch eine politische Dimension. - Der Wiener Kaufmannssohn Adam Brenner (1800-91) studierte unter Leopold Kupelwieser und Ferdinand Georg Waldmüller an der Akademie der bildenden Künste. Er trat sowohl in der Historienmalerei als auch in den niedrigeren Gattungen als begabter akademischer Maler hervor. - Mehrere geklebte Einrisse sowie fachgerechte Ergänzungen im Randbereich. Leicht fleckig und gebräunt.
Ensemble de deux volumes de format in 4° de 8 ff.; une eau-forte originale numérotée; 141 planches reproduites en phototypie avec serpentes protectrices explicatives; 4 ff. pour le tome 1. Pour le tome II: 4 ff.; planches 142 à 271 reproduites en photypie; 4ff.. Reliure de l'éditeur en demi maroquin noir à longs grains; dos à quatre nerfs, caissons richement ornés et dorés, titres dorés, dates en pied; décor de filets dorés sur les coins; têtes dorées; non rogné. Couvertures entièrement conservées. Tirage total à 1030 exemplaires; celui-ci N°132 sur vélin, second papier. Rousseurs en marge de la gravure originale sans atteinte à l'oeuvre sinon exemplaire frais en état quasi neuf. Joint une photographie de l'artiste.
Kolor. Titelblatt und 31 kolor. lithogr. Tafeln. Lose in Originalmappe mit montiertem, wdh. Titelblatt. Reste von Bindebändern. Folio (262:338 mm). Mappenwerk des belgischen Zeichners und Karikaturisten Draner (Anagramm für Renard; 1833-1926), der ab 1861 in Paris lebte und neben seiner Arbeit für diverse Zeitschriften auch Theater- und Opernkostüme entwarf und mehrere Alben mit Bildern zum Militärleben veröffentlichte. "Draner interessiert sich stofflich vor allem für das Militär" (Thieme/B.). Die Tafeln zeigen die verschiedenen Soldaten der französischen Armee um 1870 ("Officier de Turcos", "Dragons", "Artillerie", "Chasseur d'Afrique" etc.). - Die Mappe leicht bestoßen; Titel und Ränder gering gebräunt bzw. vereinzelt unbedeutend fleckig. Vgl. Thieme/Becker IX, 540.
- Lucien Vogel éditeur, Paris 1920-1922, 18x24cm, relié. - [FASHION] POIRET Paul & WORTH Charles Frederick & BEER & DOEUILLET Georges & LANVIN Jeanne & SIMON Mario & WOODRUFF André-Edouard. Croquis de mode Lucien Vogel éditeur, Paris 1920-1922, 18 x 24 cm, bound Set of 24 original lithographs in color, on vergé paper: - Croquis de mode d'été par Mario Simon ("Croquis", La Gazette du Bon ton, 1920 n° 3). - Les modes en l'an de grâce Mil neuf cent vingt un ("Croquis", La Gazette du Bon ton, 1921 n° 3) - Pour la Riviera. Robes garnies de fleurs naturelles, dans la mesure où l'on en a et où l'on ne préfère pas d'employer, moins coûteuses, les fleurs artificielles ("Croquis", La Gazette du Bon ton, 1921 n° 10). - Costumes tailleur de fantaisie ornés de colifichets ("Croquis", La Gazette du Bon ton, 1922 n° 4). Original prints used to illustrate the Gazette du Bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, la Gazette du Bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du Bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlightened in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du Bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France." ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, n° 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du Bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought tog
- Louis Broder, Paris 1960, 20x24,1cm, une feuille. - Pointe sèche originale de Valentine imprimée sur japon et réalisée pour l'ouvrage Feuilles éparses en hommage à René Crevel. Envoi autographe signé de l'artiste en marge basse de la planche : "pour Louis Broder - Son amie Valentine Hugo" Très bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
12 litografie originali a 3 colori di Antonio Calderara (cm 23,5x10), firmate e datate a matita dall'Artista sul retro. Testo in tedesco di H. Gappmayr ''Farbe, Mab und Licht" ("Misura, colore, luce") Stampato su carta Filicarta. Cm 24x10,5. pp. 36. . Ottimo (Fine). . Prima edizione di 90 esemplari numerati (First edition of 90 numbered copies). .
Acquaforte e bulino. Tiratura: 60 es. su carta a mano + X es. su carta Giappone + alcune p.d.a. (alcuni es. colorati a mano dall'Artista) Firma e numerazione a matita. Stampata da Giorgio Upiglio, Milano. Esemplare 27/60. cm 24,5x34,7 (Foglio 50x60). pp.. . Ottimo (Fine). . Tiratura: 60 + X + alcune p.d.a. .
