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Engraved and illustrated title-page; 65 plates. [And]: Engraved and illustrated title-page; 64 plates. A total of 131 engravings by Josef Zutz, J. W. Zincke et al. after Sigmund v. Perger, Edward Gurk et al., with text in German and French, image ca. 10 x 14 cm each, all lavishly hand-coloured and with ink-washed borders. Bound in later 19th century black half morocco with gilt spine. Marbled endpapers. Oblong 4to (260 x 187 mm). Two of Mollo's most beautiful and most popular series of Viennese views, lavishly hand-coloured within grey wash passe-partout borders in the manner of the de luxe issue, but on normal paper rather than trimmed and mounted on grey cardboard. As typical of the de luxe issue, both works (showing "Vienna's monuments" and "Vienna's environs") here comprise the first 64 numbered plates only of their respective series (instead of 78 in the first and 66 in the second series); however; the final, unnumbered 79th plate of the "monuments" set, showing a view of the city from the "Spinnerin am Kreuz" south of Vienna, is included as a frontispiece. - Exceedingly rare in all states: a single copy of the de luxe issue is recorded at auction since 1975 (the Rudolf von Gutmann copy, sold at Sotheby's in 1993 and again at Christie's in 2006), and only one other copy of both works is listed. - Occasional spotting, browning or foxing to margins as common. Title-pages transposed, with the "environs" series bound following the "monuments" title and frontispiece, and the "monuments" series following the "environs" title. A very charming, well-preserved set of Austrian colour-plate views. Nebehay/Wagner 428/429.
413pp.+ ills., gebroch. (softcover), 30cm., exhibition catalogue: Antwerp Museum Plantin-Moretus & Stedelijk Prentenkabinet 28 sept. - 31 dec. 1991, [Texts in Dutch, French & English], S85702
Aquatint etching on paper (leaf ca. 290 x 380 mm; plate 270 x 350 mm; illustration 245 x 315 mm). A domestic scene of a couple fighting at a table, a shrouded dark figure watching from the background. Captioned "Vexation and Strife" and signed "Calcutta J. M. del. et sculp. 1797". Printed on laid paper with the bend watermark of J. Whatman (Heawood 104). Very rare aquatint and etching by James Moffat, with a rare Calcutta imprint. The subject of the print is a subtle caricature of domestic strife over the intoxication of a (supposedly) British colonial. The only other known copy is described as follows by Yale's Lewis Warpole Library catalogue: "In the center of the image a woman, dressed in a short shift, angrily pulls a bottle from the hand of a drunken man. The man sits at an oval drop-leaf table with his right fist raised and a cigar hanging from his mouth as smoke billows around his head. He holds onto a bottle with his left hand, a glass and pile of cigars at his elbow. The woman standing over the table on the left angrily points with her left hand to a clock on the wall which shows the time as 5:05. In the background on the left, a dark-faced, cloaked figure stands before the curtained doorway on the left; the double doors on the right are shut. Also on the table is a lit candle in a glass globe; an overturned pitcher pours onto the floor in the foreground". - James Moffat (1775-1815) was a Scottish engraver who worked in India. He arrived in Calcutta in 1789, joining the "Calcutta Gazette" in 1797. Moffat is mainly known for his topographical views of India, but he also produced several satirical prints such as the present specimen. He "supplemented his income by producing satires of Anglo-Indians (British colonials who spent time in India) at a time when these were becoming increasingly popular" (Smylitopoulos, p. 12). Most of these satirical scenes were sent by the amateur artist to London to be engraved and published, but the present example with its Calcutta imprint in the signature proves the exception to this rule. - Moffat's topographical views of cities, buildings, rivers and other landscape features are rare, and his satirical domestic scenes are even rarer. The only other copy that can be traced in institutional possession that that in the Lewis Warpole Library at Yale University, and it almost never appears in the trade, with only two records in historical auction results (one in 1933 and one in 2020, possibly the present copy). - Two small tears, one in the top margin and the other in the bottom, neither affecting the illustration. Very slightly stained in the margins. Overall in very good condition. OCLC 701812946 (a single copy, at Yale). For Moffat's career cf. H. de Almeida & George H. Gilpin, Indian Renaissance: British Romantic Art and the Prospect of India (2005) pp. 249f.; C. Smylitopoulos, "Portrait of a Nabob: Graphic Satire, Portraiture, and the Anglo-Indian in the Late Eighteenth Century", in: RACAR 37.1 (2012), pp. 10-25.
IN ENGLISH AND RUSSIAN. 30x23 cm. 221 pages. Hardcover. Rear cover slightly stained. Few pages slightly stained - no damage to text and images. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
Contains many color plates. 290x225mm. 327 pages. Hardcover. In good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
CONTAINS TWO LITHOGRAPHS. 32.5x27.5 cm. XXXIII+108 pages. Hardcover in dust jacket. Spine slightly chafed at top and bottom edges. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
IN HEBREW AND ENGLISH. 22X22 cm. 51 pages. Softcover. In good condition.
Ca. 114 x 160 cm (map size; visible size ca. 131.5 x 177.5 cm). Engraved. Framed and glazed in broad burl wood veneer frame with insignificant damage (141 x 187.5 cm). Monumental reconstructive map of ancient Syracuse and its surroundings from Vincenzo Mirabella e Alagona's famous 1613 publication "Dichiarazioni della pianta dell'antiche Siracuse", dedicated to Philip III of Spain, King of Sicily. The map covers a large area, roughly from the island Ortygia, the historical centre of Syracuse, to the Euryalus fortress, and from the source of the river Ciane to the so-called House of Archimedes, and shows often fantastical renderings of such important monuments as the Temple of Apollo, the Greek and Roman theatres, and the ancient quarries called Latomie, including a staffage of fantastical ships. - The ornamental border, featuring reproductions of the obverse and reverse of 39 Greek coins, was specially engraved and described for the publication. Many of the coins of the notorious tyrant Dionysius I of Syracuse and subsequent rulers show the famous triskelion composed of three bent knees, a symbol which today forms part of the flag of Sicily. The dedication of the book to Philip III of Spain is repeated in an inscription with the title of the map and the name of its author. The dedicatee is also represented by the monumental coat of arms in the upper right corner of the map. The nine copperplate engravings are signed by the otherwise unknown Francesco Lomia from Syracuse and are dated 1612, but the plates were published with the book in 1613. - Vincenzo Mirabella e Alagona (1570-1624) was a historian, archaeologist, and architect from Syracuse. He married into one of the leading families of the city, held public offices, and realized several building projects, such as the Theatine Church of San Andrea and the renewal of the cathedral square. In 1608 he accompanied Caravaggio on several visits to the Latomie. The painter subsequently coined the name “Ear of Dionysius” for one of the ancient quarries, which is still in common use. - Generally well preserved, with small chafed areas to some plates, one of which with hand-drawn additions, and some stains.
56 ages. 49 Illustrations rendered for colouring from original designs by 21 native artists. Colour code provided. Light wear. Unmarked. Nice copy. Book
This book has suffered a grisly stain to the inside of the rear cover and top of the last hundred or so pages. A few loose pages at the front. Most of the plates are in good shape. Cover is quite worn. Previous owner's pencil notes on front endpaper. 9 1/2"w x 11 7/8"h. 312 pages. No date shown; circa 1890's.
pp. 77 (text); 48 (Monochrome photographic plates by Dailey-Edwards. Softcover. Slight cover soiling. Light ExLib marks on binding. Spine slightly chipped at head, and decorated with some old ID tapes. Still, very good. ORIENT 1
1 print : Steel engraving by H. Jordan, printed by Coats & Cosins (8.75 x 6.25 in., image size 5.5 x 4) Art Very good condition William Rickarby Miller
Exhibition catalog for a show held at the publisher's gallery in very good condition. Binding is solid and square, covers show light wear text/interior is clean and free of marking of any kind, creaseless covers and spine, lightly bumped corners, mark down the back cover, faded spine with light chipping. 96 pages with full many full and half page b&w prints, some full color, 6-8 pages per artist, of the work of the artists in the show, including Ernest Briggs, James Brooks, Sam Francis, Fritz Glarner, Philip Guston, Raoul Hague, Grace Hartigan, Franz Kline, Ibram Lassaw, Seymour Lipton, Jose De Rivera, Larry Rivers
Exhibition catalog for a show held at the publisher's gallery in excellent condition. Binding is solid and square, covers have fairly sharp corners, text/interior is clean and free of marking of any kind, creaseless covers and spine, price sticker residue at front, a few very small mars to front cover, faded spine with light chipping. 112 pages with full many full and half page b&w prints of the work of the artists in the show, including Richard Anuszkiewicz; Lee Bontecou; Chryssa; Saly Hazelet Drummond, Edward Higgins; Robert Indiana; Gabriel Kohn, Michael Lekakis, Richard Lindner, Marisol, Claes Thure Oldenburg, Ad Reinhardt, James Rosenquist, Jason Seley, David Simpson.
pp. vi + 80 plates. All edges gold gilt. Folio. 320 mm. Loose in original full blue cloth binding; decorated in gilt, black, and blind. Black endpapers chipped. Binding quite worn, but still attractive. Plates and text in excellent condition. Sir John Everett Millais (1829-1896) was a greatly celebrated English painter and illustrator, and one of the founders of the Pre-Raphaelite Brotherhood. ART4
First edition, 4to, x, 488pp., ex-library, coloured frontis., 50 illustrs., orig. cloth, d.w. The work records for the first time all known British military costume prints. Over 15,000 plates are described, in sets, collections, and books, and as single prints.
First edition, 4to, x, 488pp., coloured frontis., 50 illustrs., orig. cloth, d.w. The work records for the first time all known British military costume prints. Over 15,000 plates are described, in sets, collections, and books, and as single prints.
Book is in excellent condition with brown heavy weave cloth HB covers, gilt print at spine. Binding is solid and square, covers have sharp corners, exterior shows no blemishes, text/interior is clean and free of marking of any kind. Dust jacket shows the slightest signs of shelf wear only, no tears., crease at back fold, now wrapped in protective clear cover. 147 pages, full color prints and photos throughout, with art by Etel Adnan, Wijan Ali, Sawsan Amer, Evelyn Ahmalla, Saud alAttar, Meriem Bourderbala, Huguette Caland, Wasma's K. Chorbachi, Balqees Fakhro, Rima Farah, Maysaloon Faraj, Fatima Hassan el-Farouj, et al.
pp. 188 + Plus Thirty tipped in color reproductions and 40 high quality Photogravures with descriptions. Decorated half title. First few signatures foxed. Text very faintly beginning to brown at edges. Small folio. Original full cloth binding with paper label. Binding is in poor condition and should be rebound. ART 2
This is a near fine softcover copy of this limited numbered edition of the exhibition catalog. (Hand numbered in ink: 377 of 700 copies). Remarks by Barbara Rose. Introduction by Achille Bonito Oliva and an interview conducted by Danny Berger. Illustrated in color and with a black & white fold-out. Biography. Selected bibliography. A small crease to the lower corner of the front cover (not affecting contents:text or plates), otherwise a beautiful copy. 11" high X 8 1/2" wide, 49 pages.
A catalogue raisonne. 244 items reproduced--often in color--and fully described. 4to. Publisher's cloth and dustjacket. Fine and bright.
pp. (vii), 146 (1), Including (10) full page etched plates and small illustrations. 12 mo. 200 mm. Original paper boards binding; needs rebacking. William Henry Merle (1791-1878) was a journalist and writer in the Regency era. Around 1814 he befriended George Cruikshank (1792-1878) who was a great and famous humorist and illustrator with an extraordinary output. Merle and Cruikshank shared ideas - back and forth - over sixty years. First Edition. **PRICE JUST REDUCED! ENGLAND 6
- Lucien Vogel éditeur, Paris [circa 1920], 19,5x25cm, 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 dans la planche. Gravure originale réalisée pour l'illustra
- Lucien Vogel éditeur, Paris Mai 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 dans la planche. Gravure originale réalisée pour l'i
Acquaforte Firma, data e titolo a matita. Esemplare 21/30. cm 20x15 (Foglio 50 x 40). pp.. . Ottimo (Fine). . Tiratura 30. .
