RBL; Revue des Belles-Lettres:Livre Rare Book
10 867 résultats
198821824Genève, La Dogana, 1988. In-8 broché de 320 pages, couverture imprimée en couleurs.
17166490CB3 Teile in 1 Bd. Zürich, Bodmerische Truckerey, 1716-1718. Kl.-4°. (4), 268, (6) S.; (16), 480, (8) S.; (16), 336 S. Mit gest. Frontispiz; Tl. I: Tafeln I, II und V sowie 1 unn. Taf.; Tl. II: Tafeln I-XII plus 2 unn. gef. Tafeln zu Teil I gehörend (Bergsturz von Plurs); Tl. III: 17 unn. Tafeln (mit fortlaufend num. Abbildungen). Pergamentband der Zeit mit hs. Rückentitel, goldgepr. Wappensupralibros.
13240Paris MARCILLY XVIIIème Ensemble de trois Canons, estampes en gravure en taille douce colorée à la main polychrome portant un texte en latin imprimé à l'encre noire avec illustrations se rapportant à l'iconographie et aux instructions liturgiques(collées sur carton enveloppé de papier vieux rose). Le canon central est Pliant et de forme rectangulaire horizontale (format déplié : 38 cm de haut x 61 cm de large - Format plié : 21,6 cm de large x 38 de haut), les deux autres de forme rectangulaire verticale (format : 24,8 cm de large x 33,4 cm de haut), Le canon central est composé de trois espaces scandé par un décor (décoré à la main) aux guirlandes de fleurs et Anges avec aux pieds des personnages bibliques avec leurs attibuts : MOÏSE et sa Table de la Loi, Saint-MARC assis sur un Lion avec un livre ouvert, Un Aigle avec Saint-JEAN l'évangéliste, Saint-LUC assis sur un Boeuf, Saint-PIERRE tenant ses Clefs à la Main, Saint MATTHIEU et son Ange, Saint-PAUL et son Epée, Saint-LAURENT en habit de Thuriféraire avec son brule-encens etc... avec des Anges dans la partie supérieure. Le canon dit du Dernier Evangile : le texte en latin est encadré à gauche et à droite de 2 Colonnes sculptées avec motif floral en couleurs surmontés chacune d'un Ange tenant une guirlande de feuilles verte au dessus du texte avec une Urne dorée au centre. Le canon dit du Lavabo présente le même type de mise en scène, avec au pied du texte en latin un Livre, une Croix d'or et un Brule-Encens représenté au lieu d'un Agneau Pascal blanc; l'ensemble est trés beau et les couleurs trés fraîches peintes à la main sont resplendissantes, le coin droit du canon central est fortement écorné sans que cela ne touche à aucun moment à la gravure, petites traces de coulures de cire, montrant bien que cet Autel Portatif à servi, sans date (XVIIIème) sans lieu ni nom d'Editeur ( peut être Paris Marcilly, rue saint Jacques n° 21, Imprimeur Editeur),
Acquaforte originale Firma e numerazione a matita. Carta Fabriano Rosaspina. Timbro a secco dello stampatore Romero. Esemplare 21/40. cm 8,7x11,8 (Foglio 36x50). . . Molto buono (Very Good). Piccole macchioline di umidità (Mildew spotting overall). Tiratura 40. .
Cartella contenente 6 litografie originali a colori, eseguite da Luigi Bartolini nel laboratorio delle Edizioni d'Arte il Bisonte a Firenze, tra il dicembre 1961 e il marzo 1962, ed un frontespizio litografico inciso dall'Autore. Titoli delle opere: "Villa in Sabina", "Strada di Villa Madama", "Il davanzale in fiore", "Anna nei boschi", "Fonte di campagna", "Le fioraie" (cm 65x46 - 46x65 c.ca). Le litografie sono numerate, titolate e firmate da Bartolini a matita. Con due poesie dell'Autore: "La passeggiata" e "Gli uccelli" Esemplare 6/30. Cm 66x48. pp. 4 + 7. . Molto buono (Very Good). . Prima edizione di 100+XXX es. numerati. .
18065Tours, Alfred Mame et fils, 1867. In-4, 403 pp., maroquin vert foncé de Canape R.D., dos à nerfs orné de filets à froid, important encadrement intérieur de même peau orné de filets et d'arabesques dorées, doublure et garde de soie côtelée vert foncé, tranches dorées sur témoin, étui bordé (insolation du dos, petits frottements).
Acquaforte acquatinta a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata cu carta Goya. Esemplare 7/60. cm 31x53,5 (Foglio 51x71). pp.. . Ottimo (Fine). . Tiratura 60. .
Acquaforte acquatinta a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata su carta Hahnemuhle. Esemplare E/A. cm 36x58 (Foglio 55x86). . . Ottimo (Fine). . Tiratura 99 + 5 prove d'artista. .
Acquaforte acquatinta a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare p.d.a.. cm 29,5x24,5 (Foglio 67x51). . . Ottimo (Fine). . . .
Acquaforte originale appartenente all'album Marino Marini Opera Grafica (tavola XII) Firma e numerazione a matita. Stampa di Luigi De Tullio su carta Magnani. Timbro a secco dell'editore. Esemplare 49/60. Cm 43,1x35 (Foglio cm 70x50). pp.. . Ottimo (Fine). . Tiratura 60 + XX + 5 es. A/E. .
Linoleumgrafia a 6 colori Firma a matita. Timbro a secco dello stampatore Giorgio Upiglio, Milano Grafica Uno. Stampata su carta BFK Rives. Esemplare p.d.a.. cm 85x65 (Foglio 89,5x69,5). . . . . Tiratura Waddington Graphics. .
22498Paris, A. Romagnol, 1911. In-4, non paginé, en feuilles, couverture originale imprimée (frottements).
18763CBLeipzig, Eigendruck, 2021. 69 x 100 cm Original Kartondruck. Holzdruck, Exemplar 2/3. Die Versandkosten für Kunstwerke und mehrbändige Werke können von den Standard-Versandkosten abweichen. Unregelmässig beschnitten, leichte Flecken im Randbereich, sonst sehr gut erhalten.
13 grandi litografie originali numerate, titolate e firmate dall'Artista (cm 34x25) Scritte in nero al piatto. Esemplare 27/45. cm 51x41. 13 fogli sciolti in cartella di tela. . Ottimo (Fine). . Edizione originale di 45 es. numerati. .
Volume four (of four) [Le monument du Costume; Suite de Larmessin pour les Contes de la Fontaine; The Illustrations of Moreau le Jeune for the Works of Jean Jacques Rousseau; Illustrations for the tales of La Fontaine. pp. 497- 641, [1]. Beautifully printed on soft unbleached Arnold paper. With many etched, engraved and photogravure plates - some finished in aqua-tint color. Folio. Handsome elaborate full crushed red morocco gilt binding, by Riviere and Son. Top edge gilt. Original slip case. Number 20 of an edition limited to only 120 copies. The plates are wonderful, and the beautifully printed explanatory text is illuminating. The full four volume set retails for about $7000.00 today. This collection, originally formed by Albert Christophle, was preserved by the wealthy American art collector and sportsman Joseph Early Widener (1871-1943). Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Joe was the uncle of the famed brilliant young book collector Harry Elkins Widener, who died (with his father) on the Titanic. He was a founding benefactor of the National Gallery of Art in Washington, D.C., and a major figure in thoroughbred horse racing. **PRICE JUST REDUCED!
Volume two (of four) [Drouais-Krantzinger]. pp. x, 172-331 [1]. Beautifully printed on soft unbleached Arnold paper. With many etched, engraved and photogravure plates - some finished in aqua-tint color. Folio. Handsome elaborate full crushed red morocco gilt binding, by Riviere and Son. Top edge gilt. Original slip case. Number 20 of an edition limited to only 120 copies. The plates are wonderful, and the beautifully printed explanatory text is illuminating. The full four volume set retails for about $6000.00 today. This collection, originally formed by Albert Christophle (1830-1904), was preserved by the wealthy American art collector and sportsman Joseph Early Widener (1871-1943). Born in Philadelphia, he was the second son of Hannah Josephine Dunton (1836-1896) and the extremely wealthy transportation and real estate magnate Peter A. B. Widener (1834-1915). Joe was the uncle of the famed brilliant young book collector Harry Elkins Widener, who died (with his father) on the Titanic. He was a founding benefactor of the National Gallery of Art in Washington, D.C., and a major figure in thoroughbred horse racing. **PRICE JUST REDUCED!
- 1950, 31,5x50cm, une feuille. - «Masque» - Original aquatint signed by Max Ernst 1950, 31.5 x 50 cm, single sheet Original aquatint by Max Ernst signed in pencil on bottom right by the artist. Autograph pencil note to bottom left: "BAT (avec fond)". A handsome proof on vergé d'Arches paper of this original aquatint engraved by Max Ernst in 1950 and only printed 20 years later in the workshop of Georges Visat in 100 numbered copies and signed [Spies/Leppien, 38]. This copy is the contract proof of the engraving. Two small pinholes to top left and bottom right of subject, as on all the plates in the printing. [FRENCH VERSION FOLLOWS] Aquatinte originale de Max Ernst signée en bas à droite au crayon par l'artiste. En bas à gauche, mention autographe au crayon : "BAT (avec fond)". Belle épreuve sur vergé d'Arches de cette aquatinte originale gravée par Max Ernst en 1950 et tirée seulement 20 ans plus tard dans l'atelier de Georges Visat à 100 exemplaires numérotés et signés [Spies/Leppien, 38]. Notre exemplaire est le bon à tirer de la gravure. Deux petits trous d'épingles en haut à gauche et bas à droite du sujet, comme sur toutes les planches du tirage.
- Erker Press 1973, 55,5x76cm, une feuille. - Xylographie originale imprimée sur vélin BFK de Rives filigrané. Signature de l'artiste et numérotation (1/10) au crayon en bas de la planche. Tampon à sec de l'éditeur Erker Press. [ENGLISH DESCRIPTION ON DEMAND]
348579-VC44Newcastle/London : Beilby Bewick and G.G. & J. Robinson 1797. Hardcover. Good. Bound in 2 uniform later marbled and gilt calf 1797-1804 marbled endpapers illustrated with with 208240 wood engravings XXX23351XX400 pages 8vo circa 22x13cm. 2 volumes: I The History and Description of Land Birds; II The History and Description of Water Birds. First edition first issue without the words ""Wycliffe 1791"" in the block of the figure of the Sea Eagle in volume I page11; no misprint in volume I page 145 Schæniclus not Sahæniclus and with the vignette in volume I page 285 uncensored.; Both volumes recased; book plate on upper pastedown both volumes. Newcastle/London : Beilby Bewick and G.G. & J. Robinson hardcover
HD-158o.J. Komplette Folge von 10 Blatt Lithographien, erschienen Januar ? Juli 1851 in ?LE CHARIVARI?. ? Sur blanc. Literatur: Daumier-Register 2175-2184 II, (vonII); Delteil 2175-2184 II (vonII); Sämtliche Blätter mit geringfügigen Randbeschädigungen, aufgezogen. Blatt 1 mit größerer ergänzter Eckfehlstelle links unten. [6 Warenabbildungen]
176629450Naples 1766-1776. A single aquatint plate drawn and engraved after the original pieces in the Hamilton collection. An aquatint printed as a black background over terracotta with highlighting in light gray/white. The image shows three figures one a warrior draped in animal skins carries a club stands before another figure with a thin staff who stands next to a flaming brazier. A third figure with a shorter staff walks way from the scene. Printed on a single folio sheet measuring larger than 18" x 12" the image approximately 12" X 7.75" now very handsomely presented in cream mounting approximately 24 by 18 inches with ornate gilt framework design around the leaf glazed and now under archival glass in a very attractive frame of gilded red wood and black enamel. In all a very impressive display. Very fine and in an excellent state of preservation. A BEAUTIFUL AND IMPRESSIVE PLATE FROM A MASTERPIECE OF CLASSIC ART RENDERINGS AND PUBLICATION. Hamilton served as British envoy to the court of Naples where he began collecting Greek vases and other antiquities immediately upon arriving at his post. In 1766–67 he published a volume of engravings of his collection entitled A Collection of Etruscan Greek and Roman antiquities from the cabinet of the Honble. Wm. Hamilton. A further three volumes were produced in 1769–76. Josiah Wedgwood the potter and porcelain maker drew great inspiration from the reproductions presented in Hamilton's volumes.<br> While widely recognized for their beauty the reproductions from Hamilton's vases have become evidence of the irreconcilable problem of neoclassicism in the Romantic period. Significant changes in the way the vases were engraved over a span of thirty or forty years demonstrate how an immutable collection of objects is subject to radical shifts in representation in response to the social and artistic styles of the time. unknown
176629242Naples 1766-1776. A single aquatint plate drawn and engraved after the original pieces in the Hamilton collection. An aquatint printed as a black background over terracotta with highlighting in light gray. The image shows a woman bending to pick up a child who squats before her. Objects hover above one is a shield another is a rope or cord. The image is numbered T6 in the top left corner and P6 in the top right it is numbered in Roman VIII at the bottom. Printed on a single folio sheet measuring larger than 18" x 12" the image approximately 9" X 7.25". Now very handsomely presented in cream mounting approximately 24 x 18 inches with ornate gilt framework design glazed under archival glass within a very attractive frame of gilded red wood and black enamel. In all a very impressive display. A very beautiful presentation and in an excellent state of preservation. A BEAUTIFUL AND IMPRESSIVE PLATE FROM A MASTERPIECE OF CLASSIC ART RENDERINGS AND PUBLICATION. Hamilton served as British envoy to the court of Naples where he began collecting Greek vases and other antiquities immediately upon arriving at his post. In 1766–67 he published a volume of engravings of his collection entitled A Collection of Etruscan Greek and Roman antiquities from the cabinet of the Honble. Wm. Hamilton. A further three volumes were produced in 1769–76. Josiah Wedgwood the potter and porcelain maker drew great inspiration from the reproductions presented in Hamilton's volumes.<br> While widely recognized for their beauty the reproductions from Hamilton's vases have become evidence of the irreconcilable problem of neoclassicism in the Romantic period. Significant changes in the way the vases were engraved over a span of thirty or forty years demonstrate how an immutable collection of objects is subject to radical shifts in representation in response to the social and artistic styles of the time. unknown
198121827Saint-Prex, Atelier de St.Prex, 1981. In-4 de [68] pages, relié en skivertex bordeaux.
1991013811[Paris] Mila Gagarine - Pierre Lecuire 1991 In-16 En feuilles, couverture de parchemin rempliée titrée, étui.
8 litografie originali in nero, numerate e firmate di Garelli (cm 35x25). Un testo dell'A. riprodotto litograficamente al risvolto della copertina Copertina originale dell'A. Stampa curata dall'A. eseguita con torchio a mano dal maestro Corsino. Pietre distrutte dopo la tiratura. Cm 25x35. pp. 8. . Molto buono (Very Good). Fioriture leggere alla copertina (Some light yellowing at the covers). Edizione originale di 75 es. numerati. .
