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1960140940127New York: Tiber Press 1960. First Edition. Fine. Complete in four folio volumes each measuring 17½" x14¼". Each volume with three full-page color silkscreen prints and additional prints at title page and upper cover original cloth-backed illustrated boards. First Edition. No. 47 of 200 copies. Each volume signed by the poet and artist on the limitation page. A Fine set bright and sharp in publisher's thick acetate jackets housed in cloth slipcase with light shelf wear.<br /> <br /> <p>A visionary collaboration between the leading lights of the New York School of poetry and four second generation abstract expressionist artists produced at the height of their creative collective powers. A heady encapsulation of the New York literary and visual avant garde at the dawning of the '60s. Tiber Press unknown books
1960140940127New York: Tiber Press 1960. First Edition. Fine. Complete in four folio volumes each measuring 17½" x14¼". Each volume with three full-page color silkscreen prints and additional prints at title page and upper cover original cloth-backed illustrated boards. First Edition. No. 47 of 200 copies. Each volume signed by the poet and artist on the limitation page. A Fine set bright and sharp in publisher's thick acetate jackets housed in cloth slipcase with light shelf wear.<br /> <br /> <p>A visionary collaboration between the leading lights of the New York School of poetry and four second generation abstract expressionist artists produced at the height of their creative collective powers. A heady encapsulation of the New York literary and visual avant garde at the dawning of the '60s. Tiber Press unknown
Acquaforte e bulino. Serie completa di 10 tavole (cm. 62 x 44) incise da Michele Torres, Giovanni Martino De Boni, Domenico Marchetti, Angelo Testa, Luigi Cunego, eseguita e stampata dalla Calcografia Camerale in Roma tra il 1811 ed il 1812. Folio massimo, legatura editoriale in carta azzurrina con titolo al piatto superiore, fogli integri con margini originali, una piega ben restaurata sul fianco superiore, piccoli restauri. Etching and burin. A complete serie of 10 plates carved by Michele Torres, Giovanni Martino De Boni, Domenico Marchetti, Angelo Testa, Luigi Cunego, printed by the Calcografia Camerale in Rome, between 1811 and 1812. Editorial binding on blue paper with title on front cover, original edges, a well restored warp on the center of plates, minor restaurations.
1960140946279New York: Tiber Press 1960. First Edition. Fine. First edition. Complete in four folio volumes each measuring 17½" x14¼". Each volume with three full-page color silkscreen prints and additional prints at title page and upper cover original cloth-backed illustrated boards. First Edition. No. 77 of 200 copies. Each volume signed by the poet and artist on the limitation page. A Fine set bright and sharp in publisher's thick acetate jackets housed in cloth slipcase with trivial shelf wear. <p>A visionary collaboration between the leading lights of the New York School of poetry and four second generation abstract expressionist artists produced at the height of their creative collective powers. A heady encapsulation of the New York literary and visual avant garde at the dawning of the '60s. Tiber Press unknown
In-folio, cartella originale rigida, che contiene in fogli sciolti il frontespizio della serie, le 12 litografie a colori, tutte numerate, con timbro a secco “La margherita” firmate dall’autore e con l’indicazione del soggetto; tiratura limitata. Ottimo esemplare.
In-folio, cartella originale con illustrazione, che contiene le 10 incisioni su linoleum, sciolte, tutte numerate e firmate dall’autore, e il testo di Consagra “E’ trascurabile esprimere se stessi”; tiratura limitata, dopo la stampa le matrici furono distrutte. Ottimo esemplare.
18261354Paris : Senefelder, 1826. UNE ÉPREUVE SIGNÉE PAR L'INVENTEUR DE LA LITHOGRAPHIE
160918688<p>Text in Latin. 2nd enhanced edition. Black straight-grain morocco leather over bevel-edge wood boards; gilt ruled frames on covers; brass clasps at fore edge; gilt title and rolls on spine; French Stormont pattern marbled end papers; two color print throughout; large font throughout; woodcut decorative drop-cap initials throughout. Clean covers and spine; front cover detached; light edge wear somewhat heavier at cover fore corners; brass clasps are intact and VG condition; rear cover spine and text block are tightly bound; lacking Title Page and 3 other prelim leaves ll. 7 8 1 and 4 interior leaves including 4 plates pp 56 250 264 314; ll. D4b Q5b R4b V5b; 53 intact full page copperplate engravings and 35 of 38 1/3 page engraved tailpiece vignettes range from Good but light to Fine though 1 plate has light ink attempt to cover angels privates p. 662; l. Tt1b; few light smudges interior otherwise very clean. Note that leaf 7 is lacking which has dedication or honors the pope; catchword at tail of l. 6b is 'PAV' indicating Pope Paul V 1605-1621 on missing leaf rather than Clement VIII 1592-1605 as in some copies. 23 x 17 cm; 696 pp.</p> Antverpiae (Antwerp): Ex Officina Plantiniana, Apud Ioannem Moreti (Plantin-Moretus Press) hardcover
13 ff. of coloured pencil drawings, numbered 3-5, 8, 15-16, 18-20, 2[1] (?), 22, 31 and 32. About 22 x 16 cm each, matted. Curious collection of obscene watercolours, apparently a product of the Austrian Biedermeier period. Three drawings poke fun at the then-famous vaudevillian athlete, juggler and balance artiste Rappo (the Innsbruck-born Karl von Rapp, 1800-53), giving quite a new meaning to the term "show business". Others employ the setting of a trade fair, depicting the city harlots preparing for work and travelling salesmen in pursuit of lewd entertainment. While nearly all drawings are accompanied by tongue-in-cheek couplets, one has no caption, and another is simply entitled "table-tipping" (not the séance kind). In the circus drawings, Rappo's name was first obscured as "R. Appo" and then - rather crudely - changed to the familiar spelling. - A fine, well-preserved collection, apparently a substantial part of a formerly larger set.
13 original drawings in various techniques: pencil, watercolour, gouache, and ink on paper. Mostly captioned in German (and a few in Italian), mounted on 12 leaves of coloured paper bound in an album. Contemporary red morocco, both covers plated with relief-stamped luxury cream paper, splendidly ornamented with the arms of the British monarchy and the City of London, bordered with gilt floral dentelle; central compartments calligraphed in red and gilt: "Louise" / "30. Mai 1857". White moirée endpapers. All edges gilt. A splendid album of ethnographic portraits, possibly intended as templates for the nine-year-old Princess Louise, Duchess of Argyll (1848-1939), the sixth daughter of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha, and like her mother a highly accomplished artist at an early age. The meticulous and detailed drawings show representatives of various peoples of the world, some in half-length and others in full figure, mostly captioned in a German hand: three Australian Aborigines ("Neuholländer", "Vandiemens-Länder" [from Tasmania], "Aramanga" [from Queensland]), two native Americans from North America ("Nordamerikaner", "Eingeborener vom Oregon"), a Filipina, a Hawaiian, an Indian Brahmin, two orientals (a tea-seller and a scribe), a female African slave, a mongolian ("Sifan"), and another, unidentified Asian. All pictures would appear to be copied from 19th century travel publications; three are obviously based on plates from James Cowles Prichard's "The Natural History of Man" (London 1843). - Album's corners lightly bumped; paper and paints clean and crisp throughout. Other early drawing and scrapbook albums compiled for or by Princess Louise are kept in the Royal Collection.
1917AMO-4501S.d. (1917) [pour l'éditeur J. Chevrel] 12 planches (frontispice et 11 planches) en deux états soit un ensemble de 24 planches. En feuilles. 29 x 20 ou 20,5 cm pour les feuilles 15 x 10 cm pour les cuivres (mesuré à la cuvette) - 12 planches tirées sur Japon avant la lettre avec remarque. Etat définitif. - 12 planches tirées sur Japon avant la lettre avec remarque. Etat non terminé, eau-forte pure. Le frontispice de l'état définitif est signé au crayon par l'artiste Martin Van Maele (en bas à droite). Chaque planche de l'état définitif est légendée au crayon en bas à droite. - 12 planches tirées sur vergé d'Arches avant la lettre (remarques grattées. Chaque planche, à l'exception du frontispice (ce qui est normal), est légendée à l'encre à la plume par l'artiste. Le tirage courant est sur vélin de Rives. Celui-ci, un des rares exemplaires sur Japon (quelques exemplaires seulement) avant la lettre, état définitif et eau-forte pure, avec remarque. Avec le rare tirage avant la lettre légendée sur Vergé d'Arches.
Oblong folio (345 x 283 mm.). 109 engraved plates (some folding). Later mottled calf. Extremely rare, complete series of the New Year's engravings issued by the "Society of Constables and Fireworkers of Zurich". A single comparable set is known in libraries and special collections (Berne University Library). "Durch die von 1689 bis 1798 fortgesetzte Herausgabe von Neujahrsblättern, welche eine belehrende Reihe bildlicher Darstellungen über das Artilleriefach, begleitet von zweckmäßigen Erläuterungen, enthalten, beurkundete die Gesellschaft der Constaffler und Feuerwerker in Zürich eine fruchtbringende Theilnahme an der militärisch-wissenschaftlichen Erziehung der Jugend; seit 1806 setzt dieser Verein auf ähnliche Weise seine anerkennenswerthen Bemühungen fort, obschon die äußern Merkmale einer militärischen Genossenschaft nicht mehr vorhanden sind" (Leemann, Abriss der Militär-Statistik der Schweiz [1839], p. 249). Other Zurich military societies issued similar series for the New Year. The splendid engravings show artillery, drill, maneuvers, fortification, guns, ordnance, and powder-making; engravers include Johann Balthasar Bullinger, Johannes Meyer, Johann Melchior Füssli, David Herrliberger, Johannes Lochman, David Scheuchzer, A. G. Schübler, Johann Heinrich Lips, D. Böyel, and Schellenberg. The 1751 plate ("Einleitung zur Artillerie-Wissenschafft") doubles as a half-title. - Traces of old folds to a few plates, occasionally somewhat stained in the margins or remargined altogether; one (for 1788) trimmed to the plate edge and rebacked. A fine, complete set from the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research. Spaulding/Karpinski 198. Lipperheide Qf 1 (only 89 plates: wants 1776-77 and 1780ff.)
1 Blatt. Ca. 190:227 mm. Die Zeichnung zeigt ein einfaches Gebäude, ein Gehöft aus Holz und Stein an einem Bach, und ist auf der Verso-Seite eigenh. bezeichnet und datiert in Tinte mit "Elise / Possenhofen 24. August 1848" und zusätzlich mit einem Doppelrahmen in Bleistift versehen. Das Blatt dokumentiert die künstlerische Ausdrucksweise der neunjährigen Elisabeth, der späteren Kaiserin von Österreich ("Sisi"), die ihre Kindheit in Bayern verbrachte und zur genannten Zeit in Schloss Possenhofen am Starnberger See lebte. - Minimal finger- und braunfleckig und mit kaum sichtbaren Spuren einer alten Quetschfaltung am rechten Rand; papierbedingt leicht gebräunt. Aus Wittelsbacher Besitz.
Oil on canvas, 860 x 405 mm. Signed. After having studied at the Academy of Arts in his native Berlin, Richard Fuchs specialized on oriental scenes. He remained based in Germany, but spent most of the year in Italy and northern Africa (cf. Thieme/Becker), reflected in the splendid colours of many of his works. Margins rubbed (minor loss to image), some insignificant cracks in the paint and slightly dustsoiled. Elaborately framed. Thieme/Becker XII, 551.
Set of four oval designs, all matted, with captions peeled and re-mounted upon mat. Comprising I: "Le Reveil". 268:205 mm. Oval, pencil, ink and watercolour drawing, signed ("Shepard") lower right, mounted, some worming to mount. - II: "La coiffure". 270:205 mm. Oval, pencil, ink and watercolour drawing, unsigned, mounted. - III: "La Jupe Insoumise". 270:205 mm. Oval, pencil and watercolour drawing, mounted, unsigned. - IV: "La Toilette achevée". 265:203 mm. Oval, pencil and watercolour drawing, unsigned, mounted. Fine set of original full-colour illustrations, picturing a young lady's matutinal awakening (by a maid bringing what is presumably a letter from her lover), morning coiffure, dressing (the lady being tucked into a recalcitrant dress by two maids), and, ultimately, the lady's admiration of her reflection in the mirror, her morning toilet achieved, with a maid in the background signalling to a gentleman that madam will receive him anon. A rare example of risqué drawings by Shepard, best known for shaping the definitive image of "Winnie-the-Pooh", but also a prolific staff-member of "Punch" and illustrator of favourites such as "The Wind in the Willows" and "David Copperfield". - Slight worming to mount (not affecting image). All signed in pencil on the reverse: "E. H. Shepard, Shamley Green, Guildford." Although the drawings are clearly marked for reproduction ("In 3 Colours"; "size 10 1/4 high facsimile"; "vet to Mr Shepard", etc.), it is unclear if they were actually published - the book for which they were intended could not be traced, and their subject matter does not fit easily into the artist's known canon, showing Shepard as a highly accomplished, albeit tamer disciple of Aubrey Beardsley with an inclination toward Rococo rather than Art Nouveau.
45326Paris.Chez Le hay,Duchange,en 1714.In-folio en reliure d'époque.Edition complète avec le texte.102 planches + 1 planche de musique. Bel exemplaire.Dos à 9 nerfs avec fleurons estampés à froid.Pièce de titre.Coins légèrement émoussés.Mors droit fragile.
Blue-grisaille watercolour and opaque white on paper (ca. 269 x 170 to 400 x 210 mm). Mounted on backing cardboard with tissue guards. Thirteen charming panoramic views showing the Tyrolean Alps and their environs: Ammergau, Tux, Stubai, Ötztal, Zillertal, and Lechtal Alps, Karwendel, Verwall and Wetterstein Mountains. Executed by the well-known publishers Eugen Felle and Ott & Ruep in Isny/Allgäu; probably the work of the painter Josef Ruep (1886-1940), since one panorama bears his signature "Rp." - Tissue guards mostly wrinkled and with tears; drawings perfectly preserved.
Woodcut on paper. An evocative court scene in an ornamental woodcut border, title and impressum in Bengali within a cartouche situated at bottom centre. The only known copy of a Battala woodcut showing a lively scene at the court of an Indian Raja, with the Raja and eminent courtiers, European colonial officers, musicians, dancers, and even dogs present. This is a very rare example of a Battala woodcut print, which were produced in the early to mid 19th century in the Battala neighbourhood of Calcutta (Kolkota). These prints showed often somewhat crude but evocative religious or secular illustrations, produced for people of the lower economic classes who could not afford the watercolours that inspired these woodcuts. An estimated number of only 100 to 200 prints of these Battala woodcuts have survived, as they were printed on cheap, thin, low quality paper stock. - During the early 19th century, there existed in Kolkata a substantial industry of woodcut printing. The artists, publishers and printers were active in the Battala neighbourhood, in the northern part of the city, after which the surviving woodcut prints are named. Large, single-leaf woodcuts - like the present example - were produced as cheaper versions of the already inexpensive watercolours called patas, which were in turn inspired by illustrated Mughal manuscripts. The patas were sold from stalls in the southern part of Kolkata, near the Kalighat Kali Temple, a renowned Hindu temple that is also regarded as one of the 51 Shakti Peethas of India. It was then, and still remains, an important pilgrimage destination; the patas, and later also the woodcut prints, were sold to the pilgrims as souvenirs. As the Battala woodcuts were inspired by and based on these patas, it is little surprise that one of the most famous Battala woodcuts is that of the Hindu goddess Kali, of ultimate power, time, destruction and change. While most Battala prints feature religious illustrations, other specimens show past and contemporary celebrities, mansions of the rich, fairs and festivals, and other secular themes, including the Raja's court, as in the present example. - The existence of the Battala prints, alongside the pata watercolours, was short-lived: they emerged and became popular in the early 19th century and by the end of the century had almost completely disappeared due to the arrival of lithography, a simpler, less labour-intensive process that was capable of producing cheaper prints, even in colour. - Condition: paper somewhat worn, mainly along the lower margin, slightly affecting the border and lower right corner of the illustration. The top and lower margins have been slightly reinforced on the reverse. Overall in good condition. One of a very small number of surviving Battala woodcuts, the only known example to show the Raja's court. F. Hirsch, "A Rare Kali Woodcut From the Era of the Battala Printers", Art in Print 6.3 (Sept.-Oct. 2016), pp. 24-28.
Large 4to (180 x 255 mm). 26 watercolours on 25 ff. With several additional pencil sketches. Original black half leather with green cloth covers and pen holder. Impressive album of vibrant watercolours documenting an extensive journey from Shanghai to Sri Lanka via Hong Kong made by a female British artist, Frances de la Poer. The volume opens with a full-page depiction of a traditional Chinese lotus shoe captioned "The Brides shoe Shanghai Nov 30th 95", decorated with a sketch of two women in festive dress beneath a tree. The artist apparently had attended a wedding in Shanghai, as she also portrayed "The brides sisters" on the verso of the same leaf underneath a panorama of the Yangtze river crowded with junks. This latter watercolour is stated to have been drawn on deck of the Canadian ocean liner "RMS Empress of Japan", bound for Hong Kong. On 3 December, Frances de la Poer captured in an atmospheric watercolour the Lei Yue Mun channel ("Lymoon pass") that separates Kowloon and Hong Kong Island, followed by another river scene showing clothes drying on the shore of the Pearl River. The album continues with a portrait of two Chinese men in traditional attire and two more landscapes of the Pearl River (here captioned "Canton River") and its mountainous surroundings. On 13 December the artist had already reached Malaysia, as evidenced by an unfinished watercolour depicting a group of people with cattle. The journey continued on the German "Reichspostdampfer Preussen", documented in the caption of a stunning landscape of the Sumatran coastline from 16 December. - After a longer interruption, the Ceylonese section of the album starts with an impressive depiction of a lake near Bandarawela, dated 26 Jan. 1896. The artist explored the south of the island, painting a landscape in Badulla, a "lace seller" in Colombo, a river scene near a British fort, a young boy, a Buddhist stupa, acrobats in Yatawatta, huts in a village and a woman in Kandy province, a Tamil coolie working with tea and other labourers, but also a scorpion and, in pencil, a spider and lizards. Several drawings are also annotated in Sinhalese. A series of larger pencil drawings is followed by two final watercolours: a beautiful depiction of Galle Lighthouse, the oldest lighthouse on the island, and a charming scene on deck of the British ocean liner "RMS Ormuz", dated 22 February. - Frances de la Poer (ca. 1850-1925) was the youngest daughter of the Irish nobleman John William de la Poer (1816-51). In 1881 she married Thomas William Gaston Monsell, 2nd Baron Emly, son of the liberal politician William Monsell. - Spine professionally restored. Two leaves apparently excised, but generally well preserved.
Overall size 232 x 182 mm. Watercolour and gouache on rice-paper. Framed and glazed. The drawings by an unidentified Chinese artist depict four variously seated female musicians playing the long lute (san-hsein), dulcimer (yang ch'in), transverse flute (ti-tzi) and, apparently, a form of straight trumpet. - Light discolouration to paper; a few small marks; very slight damp-staining to lower margin and tiny tear to leading edge of one drawing. An attractive set.
Large 4to (225 x 268 mm). 224 unnumbered ff. with more than 250 page-sized plant illustrations, mostly in a mixed techique of nature printing and coloured drawings. Also includes 3 coloured engraved plates and 1 tipped-in coloured lithograph. Later half calf over marbled boards with stamped title to spine. An uncommon collection of talented botanical illustrations, many based on nature prints amplified and coloured in various techniques. The plates show mainly medicinal and culinary plants (belladonna, calendula, tobacco, eggplant "from Arabia" etc.), frequently with blossoms and fruits. All plates are identified in Latin, many have additional notes in German stating the plants' flowering season and place of origin. Some plates are signed "G.F.", a fact which has suggested attribution to the Austrian naturalist Georg von Frauenfeld (1807-73), one of the leading scientists on the Novara expedition (cf. Reiss 77 [2001], lot 77). Frauenfeld himself published a book on the algae of the Dalmatian coast, illustrated by nature printing (cf. Fischer, Naturselbstdruck, no. 72). Includes three engravings and one lithograph from other botanical works. - Occasional light browning and fingerstaining; a few slight edge defects, but well preserved altogether.
Collage on paper, signed and dated. 425 x 330 mm. Framed and glazed. Erró (born Guðmundur Guðmundsson), the "Roy Lichtenstein of Iceland", is a visual artist and painter best known for his painted pop-art collages of images from comic books and advertisements.
168 x 107 mm. Pen and brown ink, brown and black wash on paper. Some foxing. Charming caricature by the Venetian master depicting a liveried gentleman with a tricorne, épée and a walking stick in profile, accentuating the figure's grotesque pointed nose and chin. The drawing can be attributed to Giovanni Domenico Tiepolo, the oldest son and student of Giovanni Battista Tiepolo. - The drawing is very similar to the caricature of a gentleman with walking stick holding and tricorne that is held at the MET (Inv.: 37.165.68).
1912123064ére Meiji 1912 In-4 30 x 487 cm. 12 estampes montées en 1 rouleau. Chaque estampe aquarellée 30 x 48 cm. Ensemble en bon état.
158215603Paris, Imprimé Par Jean Le Blanc pour Julien Duval, 1582. Petit in-8 gothique de (108) ff. [aaaa8-oooo8]. 2 grand bois portent les initiales JLB (pour Julien Le Blanc) et 30 petites vignettes sur bois la plupart signées JLB. Imprimé en rouge et noir. Nombreuses initiales ornées. Les Quinze Effusions du tres precieux sang de nostre sauveur et redempteur Jésus-Christ. S.l.n.d. [Paris, Jean Leblanc, 1585]. Petit in-8 gothique de (8) ff. [A8]. 9 grands bois in texte portant les initiales JLB. Initiales ornées. La Vie de Madame Sainte Marguerite, vierge et martyre avec son oraison. Imprimé à Paris par Jean Leblanc, 1585. Petit in-8 gothique de (8) ff. [A8]. Vignette sur bois au titre. Les 3 pièces reliées en 1 vol. petit in-8 (11 x 7 cm), maroquin rouge, triple filet doré en encadrement sur les plats, dos lisse orné, pièces de titre en maroquin vert, dentelle dorée sur les tranches et filet doré sur les coupes, signet de soie bleue, tranches dorées (reliure du XVIIIe siècle).
