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Litografia dal libro ''A mezzo della notte'' (composto da 15 litografie ad uno e due colori dell'Artista e poesie di Gianni Malabarba) Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Carta Fabriano. Esemplare p.d.a.. cm 33x47. . . Ottimo (Fine). . Tiratura 50 + XX + 4 H.C. (A-D). .
Litografia Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare p.d.a.. cm 51x40,5. . . Ottimo (Fine). . . .
Litografia originale in rosso, bianco e nero Firma e numerazione a matita. Stampata da Piergiorgio Spallacci su carta Fabriano. Timbro a secco dell'editore. Esemplare 29/100. cm 35x33 (Foglio cm 70x50). . . Ottimo (Fine). . Tiratura 100. .
Litografia originale a colori Firma e numerazione a matita. Esemplare 46/100. Cm 48,5x67. . . Molto buono (Very Good). . Tiratura 100 (Edition of 100 copies). .
pp. xii, 99, 13 [Price List of Tissue and Materials Used in the Production of Permanent Photographs], 19 [Abridgement of the Autotype Company's Fine Art Catalogue], (1) [Press Notices] + Autotype Frontis. Frontis worn with loss at bottom corner margin. Lacks second illustration. Title page soiled. Page xi torn without loss. Old damp staining at top margins. Fly leaves penciled scribbled. Tipped in order and telegraph directions printed in red. Top edge gold gilt. 12mo. 175 mm. Original full cloth binding, lettered and decorated in gold. Extremities rubbed with loss. Binding worn. Revised Edition. Hardbound. Very good. Autotypes were a commercial photographic process for producing excellent prints, in mostly monochrome, using a carbon pigment. W103 RtStack
This is a very good softcover copy with almost no wear. Completely clean inside and just lightly soiled outside. Spine not creased. Signed and inscribed by the author in 1978. Illustrated throughout in black & white. Tall 8vo, 9" high X 6" wide, 76 pages. This book will be securely packed and shipped with tracking.
Acquaforte acquatinta originale a 4 colori Tiratura 100 esemplari. Firma e numerazione a matita dell'Artista. Timbro a secco dello stampatore Il Torcoliere, Roma. cm 36x36 (Foglio 59x45). . . Ottimo (Fine). . Tiratura 100. .
In-8°; front. inciso su rame, pp. (4) con l’avertissement, e 34 tavole numerate incise su rame da Sanier figlio (di cui una ripiegata contenente una serie di simboli) con tutti gli esempi di lettere singole e monogrmmi a due o tre lettere, utilizzati nelle botteghe di vari artigiani, dai gioiellieri ai calligrafi; in fine anche il testamento di Luigi XVI inciso entro un tondo in caratteri minuscoli. legatura in piena pergamena con tassello e titolo in oro al dorso.Cifrario specimen alfabeti monogrammi model book calligraphic monograms writing ecriture alphabet calligraphy incisioni engravings
The catalogue raisonne of all the original prints that appeared in the l'Art, one of the great Parisian art periodicals. Hundreds of items thoroughly described, with cross-references catalogues raisonnes of individual artists. Fully indexed. ONE OF 300 COPIES PRINTED. 4to. Original wraps. FINE AND BRIGHT.
Two volumes, complete. The best catalogue raisonnÈ of the prints of Ker-Xavier Roussel. 119 items described and illustrated. With the folder of 28 reproductions. Edition limited to 500 numbered copies. Folio. Original wraps. As new, in the original board slipcase.
- Lucien Vogel éditeur, Paris Septembre 1913, 19x24,5cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print 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 highlighted 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, no. 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 together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. Gravure originale réalisée pour
COPY No.4752 OF 6000. LIMITED EDITION intended for inner distribution only for members of Büchergilde Gutenberg (Werbegabe für die Mitglieder der Büchergilde, Exemplar Nr.4752). 225x155mm. 64 pages. Hardcover. Gilt lettering on front cover and spine. Cover and spine yellowing and somewhat stained. Cover corners bumped and worn. Cover edges, spine edges and hinges rubbed. Else in good condition.
A clean, unmarked book with a tight binding. 38 pages. 7 1/8"w x 10"h. Includes 75 color reproductions of works by 46 artists.
Monotipo Firma e titolo a matita PREZZO ORIGINALE 300 EURO. cm 63x54 (Foglio 78x70). . . Ottimo (Fine). . . .
Acquatinta e rotella Firma, data e numerazione a matita. Esemplare 1/15. cm 30,5x40,5 (Foglio 53x76). . . Ottimo (Fine). . Tiratura 15. .
Acquatinta acquaforte originale con applicazioni di carta argentata Firma, data e numerazione a matita. Timbro a secco dell'Editore Giorgio Upiglio. Stampata su carta Hahnemuhle. Esemplare 3/10. Cm 36x24 (Foglio 50x35). . . . . Tiratura 10. .
Two volumes in one. pp. xxxvi, 224; 203, [2](Errata). Five wonderful engraved plates by a remarkable group of graphic artists; with title vignette; head-pieces, etc. Plates: Frontis by Jean-Baptiste Le Prince (1734-1781), engraved by Augustin de Saint-Aubin (1736-1807); "Spring" by Le Prince, without name of engraver; "Autumn" by Benoit Louis Prevost (1747-1804), engraved by Jean Francois Rousseau; "Winter" by Gravelot [Hubert Francois Bourguignon danville](1699-1773), engraved by Nicolas de Launay (1739-1792). Vignettes and headpieces by Pierre Philippe Choffard (1731-1809). The plates are dated mainly 1767-1769. 8vo. 210 mm. Plates slightly foxed. Text very clean. Marbled edges and endpapers. Original French full leather binding with marbled decoration. Spine tooled in gold gilt. Binding somewhat worn at extremities, but still attractive. Large printed French bookplate with the text: De la Douce Lumiere / De L'Ombre / De La Flamme / Et des Livres Amis [Soft light / the shadow / flame / and friends books] . Saint-Lambert (1716-1803) began writing poetry in his adolescence and belonged to the circle around Francoise de Graffigny in Luneville. In 1733 he had already begun work on The Seasons, his major poetical work, but it did not appear completed in print until 1769. Cohen 926; Reynaud 481. **PRICE JUST REDUCED! SAFE ADD 1
270x220mm. 90 pages. Hardcover. Cover slightly yellowing, stained and scratched. Cover corners slightly worn. Spine yellowing and worn. Pages slightly yellowing and age-stained. Else in good condition.
Ca. 167:128 mm. Kupferstich. Paginiert und mit gest. Numerierung "32". Montiert auf Trägerpapier (323:476 mm). Bukolische Szene mit einer kleinen Ziegenherde, im Hintergrund ein lagernder Hirte, im Vordergrund eine von einem Gebüsch zupfende Ziege, signiert "C. Saft Leven". - Mit Stempel der "Graphischen Sammlung" von Georg Denzel (1873-1959), unter Sammlungsnr. "3195 Nr. G" aufgenommen. Die Graphik zudem verso mit Sammlungsstempel des Prof. Wilhelm Denzel "G + W D". - Leicht braunfleckig.
Acquaforte. Opera facente parte delle pubblicazioni edite in occasione del 50° anniversario della fondazione del PCI Firma a matita in basso a destra. Esemplare 70/100. Cm 29x24 (Foglio 70x50). pp.. . . Fioriture diffuse ai bordi che non interessano l'incisione (Heavy yellowing and age spotting). Tiratura 100. .
Acquaforte Carta Pescia. Firma a matita. Esemplare 4/90. cm 24,5x22,6 (Foglio cm 50x35). . . Ottimo (Fine). . Tiratura 90 + X. .
Litografia originale a col Firma e numerazione a matita. Esemplare 29/200. Cm 36x53 (Foglio 48x67). . . Ottimo (Fine). . Tiratura 200 (Edition of 200 copies). .
Litografia originale a colori Firma e numerazione a matita. Esemplare 116/120. Cm 52x67. . . Ottimo (Fine). . Tiratura 120 (Edition of 120 copies). .
Litografia originale, numerata e firmata a matita dall'Artista Opera allegata al n. 13 (maggio 1949) della rivista L'Immagine, diretta da Cesare Brandi, pubblicata a Roma dal maggio 1947 al dicembre 1950. L'edizione speciale di ogni numero della rivista conteneva sciolta una o più incisioni originali in tiratura di 50 esemplari di cui 30 in numerazione araba dedicate ad personam e XX in numerazione romana. La presente incisione reca il numero 15/30 ed era allegata alla copia della rivista dedicata a Riccardo Gualino. Cm 24x17. . . . . Edizione originale di 50 es. numerati e firmati . .
Black cloth spine and decorative paper covered boards show slight fading and edge wear. In card slipcase with woodblock print design. 4 5/8"w x 7 1/2"h. 203 pages. A collection of Japanese folk song lyrics (translated by Eric Sackheim) decorated with colored woodblock prints. Chapters are preceded by quotations from American blues songs.
