NICOSIA, Nico (Caltagirone 1930-2004),MareMagnum
2 054 résultats
Acquaforte acquatinta Firma e titolo a matita. Esemplare 87/100. Cm 31x40 (Foglio 71x50). pp.. . . . Tiratura 100. .
Acquaforte e vernice molle Carta Pescia. Firma a matita. Esemplare 4/90. Cm 29x22 (Foglio 50x35). . . Ottimo (Fine). . Tiratura 90 + X. .
Acquaforte su rame. Stampa in edizione coeva Firma su lastra. Riprodotta alla tav. CXXXVII del catalogo "Giovanni Fattori. L'Opera incisa", A cura di Andrea Baboni, Edizioni Over 1983. Cm 20,4x27,5 (Foglio 33,5x44). . . . Qualche abrasione ai margini del foglio. . .
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. .
Acquaforte originale su zinco Firma, titolo e numerazione a matita. Data e firma anche su lastra. Esemplare 20/100. Cm 25x23,4 (Foglio 70x50). . . Ottimo (Fine). . Tiratura 100 (2° stato). . La lastra fu incisa in primo stato nel 1953 e ne furono tirate 12 copie senza testo e 15 prove d'artista.
In4° grande oblungo, legatura solida in mezza pelle rossa con angoli, fregi dorati al dorso, tasselo con titolo in oro al piatto superiore. Seconda edizione la prima completa con tutte le tavole. PP. (6), 170, più 52 tavole. Buon esemplare. I dodici canti del poema eroicomico, in dialetto romanesco, che diede la notorietà a Giuseppe Berneri (1637-1701) pubblicato insieme alle famose incisioni all’acquaforte di Pinelli (1781-1835) che ritraggono vivide scene popolari, con personaggi e costumi contemporanei, iconografia della Roma ottocentesca.
This is a fine hardcover copy in a fine dust jacket. Completely clean inside and out. Text in Italian. This is volume 3 only of the series. Illustrated throughout in black & white with reproductions of prints on every page. Several fold-out illustrations laid in. Bibliography. 13" high X 10" wide, 167 pages.
Acquaforte originale Firma, titolo e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio. Stampata su carta Goya. Esemplare 6/50. cm 23,3x15,5 (Foglio 45x36). pp.. . Ottimo (Fine). . Tiratura 50 + VIII p.d.a.. .
Acquaforte acquatinta appartenente alla serie tirata nel 1981 per la seconda cartella de ''Le memorie di Casanova'' con testi di Italo Calvino / Etching aquatint pulled for the posthumous edition of ''Le memorie di Casanova'', second portfolio with text by Italo Calvino and etchings by Campigli Firma dell'Artista impressa a stampa. Carta Mulino del Gallo. Stampatore Franco Sciardelli, Milano. cm 32x24,5 (Foglio 50x35). . . Perfetto (Mint). . Tiratura 300+CXXV+25 (A-Z) esemplari. . La lastra fu incisa nel 1965: del 1° stato fu tirata una sola prova firmata e datata (con scritto in basso a sinistra ''unico''); del 2° stato (col fondo della lastra parzialmente ripreso all'acquatinta) furono tirate solo alcune prove in parte firmate, dalla Grafica Romero di Roma / The original edition pulled in 1965 by Grafica Romero in Rome consisted of a few copies, mostly unnumbered and unsigned, from first and second state.
Cinque acqueforti originali a colori, numerate e firmate, di Zoran Grmas (cm 10x9,5) Carta Hahnemule. 24mo (cm 12x16). pp. 20. . Perfetto (Mint). . Prima edizione di 99 + X es. numerati. .
Acquaforte Firma, titolo e data a matita. Timbro a secco dello stampatore Giorgio Upiglio. Esemplare p.d.a.. Cm 26,6x24 (Foglio 53x39). pp.. . Molto buono (Very Good). Foglio leggermente sciupato. . .
285x225 mm. 110 pages. Gilt hardcover with dust jacket. Cover corners slightly bumped. Else in good condition.
pp. 34, (4) [Publisher's catalogue] + Twelve charming full page engravings and a folding engraved map. Map soiled at folds with insect damage on bottom margin. Offsetting from plates. Light age stain. Wide margins. 250 mm. Full plain cloth binding, worn. Front board detached and faded. Corners rubbed with loss. Edward Francis Finden (1791-1857) was considered one of the greatest engravers of his era. This original edition of illustrations drawn in the (French) Canton of Vaud, Switzerland is quite scarce. **PRICE JUST REDUCED! VERIA 3
No marks or inscriptions. A lovely clean very tight copy with bright unmarked boards and no bumping to corners. Dust jacket not price clipped or marked or torn or creased with slight sunning to spine. Unpaginated pp. With 633 illustrations chosen for the Society of Illustrators' 1980/81 Exhibition. A heavy book. Scarce in the UK.
Portraitkupferstich (248:172 mm). Brustbild des obderennsischen Landeshauptmanns Wolfgang Wilhelm von und zu Volckensdorf, Weißenburg, Stein und Reichersdorf im Alter von 49 Jahren. Das ovale Portrait gefaßt von 16 Wappen; darunter ein 8zlg. Widmungsgedicht. Der Augsburger Zeichner und Kupferstecher Lucas Kilian (1579-1637) war vor allem als Portraitist geschätzt: "Seine Porträtgalerie enthält Gelehrte und Künstler, Herrführer und Monarchen - eine Geschichte in Bildern jener ereignisreichen Jahre des 30jährigen Krieges [...] Unter den Stechern der Familie Kilian steht Lucas an erster Stelle" (Thieme/B. XX, 295f.) - Innerhalb des Plattenrands beschnitten und auf Kartonträger montiert. Thieme/Becker XX, 298.
- Lucien Vogel éditeur, Paris 1921, 18x24cm, 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. La Gazette du bon ton, l'une des plus belles et des pl
- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Pierre BRISSAUD (Jeanne LANVIN) Ils ne m'ont pas reconnue. Travesti, de Jeanne Lanvin, Original color print from La Gazette du Bon ton Lucien Vogel éditeur | Paris 1921 | 18 x 24 cm | one leaf Original print in color, printed on laid paper, signed lower right of the board. Original print used to illustrate the Gazette du Bon ton, one of the most attrac- tive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. La Gazette du bon ton, l'une des plus belles et des plus influentes revues de mode du XXème siècle, célébrant le talent des créateurs et des artistes français en plein essor de l'art déco. Célèbre revue de mode fondée en 1912 par Lucien Vogel, La Gazette du bon ton a paru jusqu'en 1925 avec une interruption durant la Guerre de 1915 à 1920, pour cause de mobilisation de son rédacteur en chef. Elle se constitue de 69 livraisons tirées à seulement 2000 exemplaires et est illustrée notamment de 573 planches en couleurs et de 148 croquis représentant des modèles de grands couturiers. Dès leur parution, ces luxueuses publications « s'adressent aux bibliophiles et aux mondains esthètes » (Françoise Tétart-Vittu « La Gazette du bon ton » in Dictionnaire de la mode, 2016). Imprimées sur beau papier vergé, elles utilisent une police typographique spécialement créée pour la revue par Georges Peignot, le caractère Cochin, repris en 1946 par Christian Dior. Les estampes sont réalisées grâce à la technique du pochoir métallique, rehaussées en couleurs et pour certaines soulignées à l'or ou au palladium. L'aventure commence en 1912 lorsque Lucien Vogel, homme du monde et de la mode - il a déjà participé à la revue Femina - décide de fonder avec sa femme Cosette de Brunhoff (sur de Jean, le père de Babar) la Gazette du bon ton dont le sous-titre est alors « Art, modes et frivolités ». Georges Charensol rapporte les propos du rédacteur en chef : « En 1910, observe-t-il, il n'existait aucun journal de mode véritablement artistique et représentatif de l'esprit de son époque. Je songeais donc à faire un magazine de luxe avec des artistes véritablement modernes [...] J'étais certain du succès car pour la mode aucun pays ne peut rivaliser avec la France. » (« Un grand éditeur d'art. Lucien Vogel » in Les Nouvelles littéraires, n°133, mai 1925). Le succès de la revue est immédiat, non seulement en France, mais aussi aux Etats-Unis et en Amérique du Sud. À l'origine, Vogel réunit donc un groupe de sept artistes : André-Édouard Marty et Pierre Brissaud, suivis de Georges Lepape et Dammicourt ; et enfin ses amis de l'École des beaux-arts que sont George Barbier, Bernard Boutet de Monvel, ou Charles Martin. D'autres talents viennent rapidement rejoindre l'équipée : 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, Charles Martin, Maggie Salcedo. Ces artistes, inconnus pour la plupart lorsque Lucien Vogel fait appel à eux, deviendront par la suite des figures artistiques emblématiques et recherchées. Ce sont ces mêmes illustrateurs qui réalisent les dessins des publicités de la Gazette. Les planches mettent en lumière et subliment les robes de sept créateurs de l'époque : Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet et Doucet. Les couturiers fournissent pour chaque numéro des modèles exclusifs. Néanmoins, certaines des illustrations ne figurent aucun modèle réel, mais seulement l'idée que l'illustrateur se fait de la mode du jour. La Gazette du bon ton est une étape décisive dans l'histoire de la mode. Alliant l'exigence esthétique et l'unité plastique, elle réunit pour la première fois les grands talents du monde des arts, de
Numbered copy #1926. Includes numerous etchings by C. Samson. 170x245 mm. Unpaginated. Hardcover in sheets. Cardboard box. Box edges slightly worn. Spine slightly worn. Else in good condition.
Numbered copy #1360. Includes Numerous etchings by C. Samson. 170x245 mm. Unpaginated. Hardcover in sheets. Cardboard box. Box edges slightly worn. Spine slightly worn. Else in good condition
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
Book is as-new black fine cloth covers, sliver lettering at spine. Excellent condition in every respect with no blemishes of any kind. Previous owner's name and phone number on front endpaper. Dust jacket has very light shelf wear only, no tears or chipping. An encyclopedic reference to the subject, at 364 pages, book is divided between two roughly equal sections with different paper used in each. The first is in four sections: Early genre painting and the rise of Ukiyo-e, The primitives and the first centry of Ukiyo-e 1660 - 1765 The golden age of the color print 1765 - 1810, & Hokusai, Hiroshige and the Japanese landscape 1810 - 1880. 2nd section comprises the Illustrated dictionary of Ukiyo-e, in which illustrations go to b&w. In business for 20 years, we provide excellent customer service and ship in packing material appropriate to assure your package arrives undamaged.
This is a very good hardcover copy in a very good dust jacket. Very clean inside and out, but some foxing to endpapers. Illustrated with 24 color plates and 99 black & white plates. A section on each of 25 important Impressionist painter printmakers. 15" high X 12" wide, 222 pages. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
190X220 mm. No pagination. Softcover. Cover slightly wrinkled. Pages corners slightly wrinkled. Else in good condition.
52,8 x 37 cm. Woodcut on paper (two conjoined sheets). Rare pirated copy of the famous south-west view of the Strasbourg Cathedral by Daniel Specklin (1536-1589). A "Matthias Huebner" from Schneeberg in Saxony, who is presented as the author of the print in the modified text in the strapwork frame to the right ("Matthias Huebner Schnebergensis faciebat Argent. Cal. Ian M. D. LXVI"), has not been identified. The monumental view of the Cathedral, including the staffage figures and the strapwork cartouche with the date, correspond with the original published by Bernhard Jobin in Strasbourg (as depicted in Hollstein). - Trimmed, insignificant marginal damage, two restored tears on the left. Smoothed, slightly soiled, somewhat toned. Hollstein LXXIII, 67, 1 (with illustration on p. 66). Strauss, German single-leaf woodcut, III, S. 975, I (of II; with fig. II). Cf. Passavant III, p. 350f. Drugulin I, 290f. Bartsch IX, 303, 1.
Acquaforte originale in nero, numerata e firmata dall'Artista, realizzata per i 10 anni della Galleria Schwarz Incisione stampata da Giorgio Upiglio (Milano). Lastra cm 11,3 x 14,8 (Foglio cm 26,5 x 19,2). . . Ottimo (Fine). . Tiratura 60 esemplari. .
