Mason, Charlotte M.MareMagnum
2 213 résultats
252 pages including index. "The point of view taken in this volume is, that all beautiful and noble possibilities are present in everyone; but that each person is subject to assault and hindrance in various ways of which he should be aware in order that he may watch and pray." - from preface. Prior owner's name atop front endpaper else unmarked. Binding intact. Minor warp to blue boards. Moderate to average wear. Nice early copy of this classic home-learning work. Book
xxxii, 360 pp. Index. 1931 reprint of the 1925 first edition. "Miss Mason saw and in this volume has explained that the natural and only quite wholesome way of teaching is to let the child's desire for knowledge operate in the schoolboy and guide the teacher. In this volume there is a rare combination of intuitive insight and practical sagacity. [Miss Mason] refused to believe that the collapse of the desire for knowledge between seven and seventeen years of age is inevitable. So must we." - Foreword. Unmarked with average wear and moderate foxing. Some fading to publisher's green cloth, mostly to backstrip. Binding intact. No dust jacket. A sound copy of this marvelous and inspiring treatise. Book
338 pages. Index. Signature of Murray Rothbard in blue ink upon title page appears to have been stamped or written in autopen. "Provides a penetrating and enlightening rationale for his approach, and applies the libertarian idea to every aspect of politics." - from back cover. "... A benchmark of how far leftward the right wing of standard brand American politics now stands." - The Washington Post. Moderate wear. Unmarked. A sound copy. Book
97-192, 126 [ads] pages. Profusely illustrated with detailed drawings and black and white photos. Printed upon glossy stock. Includes dozens of magnificently illustrated ads. Features: The Residence of Charles D. Blaney, Esq., Saratoga, California - Willis Polk & Co, Architects; The Art of the Middle Ages - Part I; The Destruction of Historic Buildings as Revealed by the Official French War Photographs - Part III - Parish Churches; The Memorial Quadrangle of Yale College - James Gamble Rogers, Architect; English Architectural Decoration - Part IV - text and measured drawings; The Small Country School House; Community Courts for Factory Workers; The Architect's Library - War Books of the Cathedrals - Part II - Verdun; Notes and Comments. Above-average wear. Lacking covers. Two small binding holes near spine. Last page of advertising loose but present. Not pretty but a worthy vintage copy. Book
Splendid cover illustration of planes in spotlights by W. Gord. Wallace. 40 pages. Features: Nice Fairchild ad with photos of their Wasp, 21 and 41 models; Great photo ad for Canadian Vickers Limited showing their Vedette; Canadian Pacific Express photo ad shows packages beinng loaded into plane from a truck - super vintage ad for Canada's first air express service; Photo ad for Armstrong-Siddeley's Jaguar 455 H.P. air-cooled static radial engine; Great article with five photos discusses Industrial Photography in aviation - with aerial photos of American Falls at Niagara, Industrial Hamilton, General Motors of Canada's Oshawa Plant, and Ontario Hospital at Hamilton; The National Aeronautic Association of the United States - article by Senator Hiram Bingham; Saskatoon Aero Club - article with two photos including R. Randall, C. Yule, R. Schwinghammer, Dr. L. McConnell, T. Sigsworth, J.F. Bythell, S. McClelland and R. Mayson; News from the flying clubs; Expansion announced by Canadian Vickers, Limited; Photo of the inauguration of Canadian Pacific Express bi-weekly air service; Formation of the Canadian Pratt & Whitney Aircraft Company; New metal Gipsy Moth passes strict government tests - article with photos; Helioplane developed by John E. Hess of New Westminster, B.C. - article; Great full-page photo ad for the Gipsy Moth by De Havilland; Short-wave wireless transmitter devised by R.N. Johnston and Charles Ward, two young engineers of the Ontario Forestry Branch; Ad for Montreal's Continental School of Flying with photo of Capt. J.H. St. Martein; Principles of Aeroplane Construction - article; Super vintage full-page photo ad for the rotary "Snow King" plow by J.S. Innes Limited; Full-page ad for the Wright Whirlwind engine; Nice full-page ad for the Woods Manufacturing Company of Ottawa shows their flying suits; Ad for the Monocoupe inside back cover; Rambler ad on back cover promotes their all-metal lighte aeroplanes. Average wear. Binding intact. One-inch opening to top of coverfold. A sound vintage copy of this excellent early issue. Book
Abundant black and white illustrations and reproductions of photos. Features: 'Twixt Sunset and Sunrise - Mining Engineer William Bartle relates a story from Mexico where, outside the large cities "no foreigner's life is worth a farthing"; The Cannibal Islands - Part II - photo-illustrated article by Clifford Collinson who has lived in the Solomon Islands for several years and, in this instalment, visits the little-known atolls of Ong-Tong-Java, with nice photos; The Disappearance of Annie Mooney - A thirty-year-old mystery is solved in a strange and unlooked-for manner - was she kidnapped by the Chinese all those years ago?; The Most Wonderful School in the World - A remarkable "sun-cure" establishment at Aigle in the Swiss mountains where children - recently hopeless cripples - learn their lessons and romp in deep snow clad only in loin-cloths and boots! - with photos; Obyada, Bad Indian - story related by a member of the Royal North-West Mounted police about a troublesome individual near Red Deer, Alberta; The Rum-Runner - the story of a sea captain's first smuggling voyage, as told in St. Pierre, headquarters of a fleet of ships engaged in the liquor-running business; Soliman the Seer - the mysterious fortune-teller of the Pyraid of Cheops; The Children of the Wilderness (Conclusion) - Juliet Bredon's photo-illustrated travels in little known Mongolia; A Wildfowling Adventure - a nasty little adventure on the Solway Firth; Fishing for Crocodiles - using a special hook and line; On Patrol - a quaint little experience related by a flying officer of the Royal Air Force; The MIssing Links - An Indian magician discovers a thief when the police had failed; Round the World With a Lasso - former Texas Ranger Captain George Ash tours the world giving exhibitions and training troops in the use of the lasso - article with photos; The Strangest Mutiny on Record - The Schooner Pedro Varela; Six Hundred Thousand Francs - One of the most audacious jewel robberies ever perpetrated (in Paris); and more. 88 pages plus 16 pages of nostalgic ads. Clean and unmarked with light wear. A quality copy of this excellent vintage issue. Book
8vo., [First? Edition], text in French, only the most minimal age-staining; handsomely bound in contemporary full roan, boards with elaborate decorative triple frame border in gilt, back with flat bands, second compartment with red leather label ruled and lettered in gilt, all other compartments richly tooled in gilt lattice, marbled edges, marbled endpapers, a remarkably well-preserved, crisp, clean copy in wholly unrestored contemporary binding. A rare arithmetic primer constructed on the mother-son principle, with 'Adolphe' pursuing his learning through structured conversations with 'La Mere'. EXTREMELY SCARCE, THE MORE SO IN THIS CONDITION. Fourcroy 1801.
Xilografia a due legni, 1923, siglata sul legno in basso a sinistra. Firmata a matita in basso a destra. Numerata a matita in basso a sinistra: 132/154. misure: mm 170 x 245. Timbro a secco in basso al centro. Impressione eccellente su carta avorio liscia. Ottimo stato di conservazione. Ampi margini oltre la linea marginale. Pittore, incisore e illustratore italiano. Si forma inizialmente a Bologna all’Accademia di Belle Arti e una volta ottenuto il diploma, nel 1892 si trasferisce a Roma. Qui conosce il poeta Nino Costa fondatore del cenacolo In arte libertas che proponeva un rinnovamento dell’arte attraverso la riscoperta dei grandi del Quattrocento sull’esempio dei Preraffaelliti. De Carolis inizia così a frequentare questo gruppo e ne diventa membro iniziando a realizzare dipinti di impronta preraffaellita. Nel 1900 conosce il poeta Giovanni Pascoli per il quale disegna ed esegue un pomo in argento e la targhetta per il bastone dono degli amici della rivista fiorentina Marzocco, inizia quindi ad occuparsi della decorazione grafica di alcune pubblicazioni del poeta. Tale collaborazione si rivela importante nella produzione artistica tra il 1892 e il 1928, perché le opere di questo periodo trattano paesaggi agresti e marini che risentono dell’intonazione pascoliana. Nel 1901 De Carolis lascia Roma per Firenze, dove insegna ornato all’Accademia di Belle Arti dedicandosi alla xilografia. Questa tecnica sarà a lui molto cara e primo in Italia riprenderà l’antica tecnica della xilografia policroma a più legni. Numerose saranno i fogli singoli o le illustrazioni per varie riviste e per le opere dell’amico D’Annunzio. Bibliografia Bardazzi/Carli/Djokic, 50. Amadio/Papetti, 78-79. Conti, 29. Woodcut from two block, 1923, signed at lower left. igned in pencil at lower right. Numbered in pencil lower left: 132/154. Sice: 170 x 245 mm. Dry stamp at bottom center. Excellent impression on smooth ivory paper, wide margins. Size: mm 170 x 245. Adolfo de Carolis (1874 - 1926), was born in Montefiore dell’Aso on the 6th of January 1874. He moved to Rome and was accepted as a member of the exclusive society ‘In Arte Libertas’ (Freedom in Art’) which had been founded by his close friend Giovanni (‘Nino’) Costa. This society opposed official styles promoted by the academies and influential art critics of the day and espoused the politics, philosophy and aesthetics of the British Pre-Raphaelite movement. The main figures in the British movement were William Morris, Dante Gabriel Rossetti, Edward Burne-Jones and Walter Crane. These groups were also almost certainly involved with the Freemasons, and much of the symbolism in their work have been identified as Masonic. De Carolis exhibited work at the In Arte Libertas annual exhibition right up to 1901. De Carolis was an artistic polymath, working as a painter (in particular of murals), interior designer, decorator, xylographer (wood engraver), illustrator and photographer, and is probably the best known exponent of Art Nouveau in Italy. He was commissioned to produce murals for the Villa Brancadoro in San Benedetto del Tronto, and the ballroom of the Palazzo della Provincia (both in Ascoli Piceno). He also decorated the great hall of the Palazzo del Podestà in Bologna with murals. He designed the Baptismal Font at the Cathedral of Ajaccio, and contributed decoration and murals in many other illustrious edifices around Italy, as well as supervising restoration work in the Borgia apartments in the Vatican. He is also known for his stained glass and mosaics at the Villa Puccini in Torre del Lago. His talent and originality was quickly recognised by two of the greatest Italian writers and poets of the day, Gabriele D'Annunzio and Giovanni Pascoli, and he became their preferred illustrator. Among his most popular works were many illustrations for Gabriele d'Annunzio's novels (Il Notturno, La figlia di Jorio) and Giovanni Pascoli‘s books of poems. In 1908 his work was described by a panel of judges in Bologna as ‘magnificent, full of evocative fervour, rich in imagination, and secure in the unity of the whole work’. In the backgrounds of many of his paintings it is possible to recognise the typical landscape of le Marche, which he loved so much. As well as his major works, in his later years he also designed bank notes, theatrical sets, posters, calendars, postcards, advertisements and even product labels. He also wrote essays on art and, from 1922, worked as a teacher at the Academy of Fine Arts in Rome. After world war 1 he was employed by the Ministry of War to design medals and certificates for war heroes. He died in Rome on the 7th of February 1928, but, in 1950, his mortal remains were returned to Montefiore by the then mayor, Francesco Egidi, and re-interred in a marble tomb in the church of San Francesco. And ten years later Egidi donated a series De Carolis’ oil sketches for the ‘Salone del Podestà’ in Bologna (the most prestigious public building in the city) which he worked on for over twenty years, between 1908 and 1928. The De Carolis family also donated the complete collection of engravings on wood (xylography) in 1976.
Acquaforte, 1828 circa, firmata in lastra in basso a destra. Da un affresco di Andrea Orcagna nel Campo Santo di Pisa. Magnifica prova, impressa su carta vergata coeva, con margini, consueta piega centrale, in eccellente stato di conservazione. Dimensioni 825x520. Etching, 1828 circa, signed on lower right plate. After a fresco by Andrea Orcagna in the Campo Santo in Pisa. Magnificent work, printed on contemporary laid paper, with margins, usual centrefold, in excellent condition.
Paperback Like New. Ships directly from publishers being a new release book . Pls. allow a minimum of 25 business days delivery time.
Scena di strada affollata di uomini e donne, una bancarella appesa con conigli e altre carcasse che attraversano il primo piano, due uomini che parlano in primo piano a destra e una veduta di edifici cittadini, uno con un timpano a gradini a sinistra, sullo sfondo; secondo stato pubblicato, con l’aggiunta del cielo. Acquaforte con mezzotinto, 1906, firmata a matita in basso. Una bella impressione, stampata su carta giapponese avoriata, con margini, condizioni perfette. Secondo William Gaunt si tratta di una delle quattro acqueforti realizzate il Catalogue of Frank Brangwyn's Etchings, preparato da Frank Newbolt e pubblicato dalla Fine Art Society in un'edizione limitata di 150 esemplari nel 1908. Sir Frank William Brangwyn era un artista gallese, pittore, acquerellista, stampatore, illustratore e designer. Brangwyn nacque a Bruges, in Belgio, dove suo padre, William Curtis Brangwyn, si trasferì dopo aver vinto un concorso organizzato dalla corporazione belga di San Tommaso e San Luca per progettare una chiesa parrocchiale. Brangwyn era un artista di tutti i mestieri. Oltre ai dipinti e ai disegni, produsse progetti per vetri colorati, mobili, ceramiche, vetreria da tavola, edifici e interni, fu litografo e illustratore di libri. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, n. 69 II. Street scene crowded with men and women, a market stall hung with rabbit and other carcases running across the foreground, two men talking in the foreground to right and a view of town buildings, one with a stepped gable to left, in the background; second, published state, sky put in. Etching with mezzotint and surface tone, 1906, signed on pencil at the bottom. A fine impression, printed on contemporay china paper, with margins, perfect condition. One of four etchings made for and included in, the Catalogue of Frank Brangwyn's Etchings, prepared by Frank Newbolt and published by the Fine Art Society in a limited edition of 150 in 1908, according to Gaunt. Sir Frank William Brangwyn was a Welsh artist, painter, watercolourist, printmaker, illustrator, and designer. Frank Brangwyn was born in Bruges, Belgium where his father, William Curtis Brangwyn, moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was a book illustrator. Bibliografia W. Gaunt, The etchings of Frank Brangwyn, n. 69 II.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 48, Delteil 50
Very Good Turkish Original wrappers. Light stains on the covers. Overall a very good copy. Roy. 8vo. (23 x 16 cm). In Turkish. 4 volumes set: (631 p.; 299 p.; 555 p.), with a folded huge map in the end-pocket of the fourth and the last volume. Rare first Turkish Edition of Radloff's 'Aus Sibirien' [i.e. From Siberia], offering the first precise, systematic treatment of Central Asiatic ethnography and significant scientific study of the Turkic peoples. Radlov engaged in Oriental studies at the University of Berlin during the 1850s, and after completing his education he taught in a secondary school at Barnaul in southwestern Siberia. During that period he had close contact with the Turkic people of the Sayan and Altai mountains and began his ethnographic, textual, and linguistic studies. Following his return to St. Petersburg, Radlov published a general ethnography of northern and Central Asia, Aus Sibirien (1884), which advanced a three-stage theory of cultural evolution for the region-hunting to pastoral to agricultural-with shamanism as the main religion. Radloff was a Russian - German scholar and orientalist, he is also known by his Russian name Vasilij Vasilievich Radlov. From 1850-70, Radloff traveled to Siberia, Altai, and Turkestan where he conducted studies in local languages, anthropology, and archaeology. Organizing the Russian Committee for the Study of Central and East Asia, Radoff was very active in raising the level of Central Asian and Turkic studies in Russia. In 1918, he organized a team to travel to Turfan. He became a member of the Russian Academy of Sciences in 1884. Only two complete sets in OCLC: 976749562. Not in the US libraries.
Acquaforte, 1700 circa. Da un disegno di Ferdinando Galli Bibiena. Magnifico esemplare, ricco di toni e ben contrastato, impresso su carta vergata coeva filigranata - “cerchio sormontato da trifoglio - rifilato alla linea marginale, nel complesso in ottimo stato di conservazione. Della serie: Varie opere di Prospettiua inventate da Ferdinando Galli d:o il Bibiena Bolognese Pittore, et Architetto dell A: SS.ma del Sig:re Duca di Parma Raccolte da Pietro Abbati, et intagliate da Carlo Antonio Buffagnotti. ‘Le diede in Luce, e Stampò Giacomo Camillo Mercati in Bologna’ 1701. Le Varie opere di Prospettiua sono una raccolta di 72 tavole, per lo più di grande formato, che documentano la prima attività di Ferdinando Galli Bibiena come disegnatore di scenografie teatrali e architetture effimere. Fu assemblata da Pietro Giovanni Abbati (fl. 1683-1745), allievo di Ferdinando Bibiena durante il suo mandato di "Pittore di Corte" dei Farnese Duchi di Parma, in collaborazione con Carlo Antonio Buffagnotti, un operoso stampatore bolognese. Un oscuro stampatore, Giacomo Pelegrino Longhi, fu responsabile della ristampa, che incorpora undici stampe di scenografie disegnate da Bibiena ed eseguite da Abbati per spettacoli rappresentati a Torino nel 1699. Bibliografia M. Pigozzi, F. G.B.: varie opere di prospettiva. Traduzione e diffusione di modelli e tipologie in centri e periferie, in “Il barocco romano e l'Europa”, Atti del Corso internazionale di alta cultura (1987), a cura di M. Fagiolo - M.L. Madonna, Roma 1992, pp. 637-642. Etching, 1700 circa, unlettered. After a drawing by Ferdinando Galli Bibiena. Magnificent example, rich in shades and well contrasted, printed on contemporary watermarked laid paper (circle surmounted by trefoil), trimmed at the marginal line, overall in excellent condition. From the series: Varie opere di Prospettiua inventate da Ferdinando Galli d:o il Bibiena Bolognese Pittore, et Architetto dell A: SS.ma del Sig:re Duca di Parma Raccolte da Pietro Abbati, et intagliate da Carlo Antonio Buffagnotti. ‘Le diede in Luce, e Stampò Giacomo Camillo Mercati in Bologna’ 1701. The Varie opere di Prospettiua is a collection of 72 mostly large-format plates documenting Ferdinando Galli Bibiena’s early activity as a designer of theatrical scenery and ephemeral architecture. It was assembled by Pietro Giovanni Abbati (fl. 1683-1745), a pupil of Ferdinando Bibiena during his tenure as “Pittore di Corte” to the Farnese Dukes of Parma, in collaboration with Carlo Antonio Buffagnotti, an industrious printmaker from Bologna. An obscure printseller, Giacomo Pelegrino Longhi, was responsible for the reissue, which incorporates eleven prints of scenery designed by Bibiena and executed by Abbati for spectacles performed in Turin in 1699. Bibliografia M. Pigozzi, F. G.B.: varie opere di prospettiva. Traduzione e diffusione di modelli e tipologie in centri e periferie, in “Il barocco romano e l'Europa”, Atti del Corso internazionale di alta cultura (1987), a cura di M. Fagiolo - M.L. Madonna, Roma 1992, pp. 637-642.
Litografia, 1896, disegnata su carta transfer bianca con una trama di pietra granulosa; unico stato; stampata con inchiostro nero sulla carta vergata color crema usata per l'edizione The Art Journal. Nella pietra a sinistra il monogramma a forma di farfalla. La bambina che posò per questo accattivante ritratto era la figlia di tre o quattro anni dell'amico di lunga data di Whistler, David Croal Thomson. Thomson si era interessato al lavoro dell'artista per molti anni e aveva organizzato la retrospettiva di grande successo dei suoi dipinti alla Galleria Goupil nella primavera del 1892. Era stato redattore di The Art Journal dal novembre 1892 e aveva già pubblicato una delle litografie di Whistler, Les Bonnes du Luxembourg" nel numero di dicembre 1894 del periodico. Whistler probabilmente fece il disegno di trasferimento di Evelyn quando visitò la famiglia Thomson nel gennaio 1896 nella loro casa fuori Londra. Qualche ossidazione, altrimenti in buone condizioni. Bibliografia Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow , 2012, cat. no. 146. Transfer lithograph, 1896, drawn on white transfer paper with a grained-stone texture; only state; printed in black ink on the cream laid paper used for The Art Journal edition. In the stone at left: butterfly monogram. The child who posed for this engaging portrait was the three - or four-year - old daughter of Whistler’s longtime friend, David Croal Thomson. Thomson had taken an interest in the artist’s work for many years and had organized the very successful retrospective of his paintings at the Goupil Gallery in the spring of 1892. He had served as editor of The Art Journal since November 1892 and had already published one of Whistler’s lithographs, Nursemaids: “Les Bonnes du Luxembourg” in the December 1894 issue of the periodical. Whistler probably made the transfer drawing of Evelyn when he visited the Thomson family in January 1896 at their home outside London. Some foxing, otherwise good condition. Bibliografia Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow , 2012, cat. no. 146.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 68, Delteil 70
Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 68, Delteil 70.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 102, Delteil 104.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 111
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 109, Delteil 111.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 65
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 53, Delteil 55.
Veduta della riva di un fiume a Chelsea; in primo piano a sinistra, persone con cani, due che portano lunghi bastoni; chiatte ormeggiate vicino alla riva; la casa di Whistler vista a sinistra. Iscrizione in lastra, in alto a sinistra: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863". Acquaforte e puntasecca; secondo stato di due (Harrington); settimo stato di sette (Schneiderman). "All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28] "There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143] Seymour Haden era l'improbabile combinazione di un chirurgo e un incisore. Sebbene abbia perseguito una carriera medica di grande successo, è ricordato soprattutto per i suoi lavori all'acquaforte e per i suoi scritti sull'acquaforte. Fece parte di un gruppo di artisti, tra cui James McNeill Whistler (1834-1903) e Alphonse Legros (1837-1911), il cui appassionato interesse per questo mezzo portò al cosiddetto revival dell'acquaforte, un periodo che durò fino al XX secolo. L'esaltazione dell'acquaforte per le sue intrinseche qualità spontanee raggiunse il suo apice durante questo periodo. Mentre la linea dell'ago da acquaforte, scrisse Haden, era "libera, espressiva, piena di vivacità", quella del bulino era "fredda, costretta, poco interessante" e "senza identità". Stampata su carta vergata coeva, con margini, condizioni perfette. Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill. View of a river bank in Chelsea; in the foreground at left, people with dogs, two carrying long sticks; barges moored near the bank; the house of Whistler seen to the left. Lettered in plate, lower left: "Whistler's House at Old Chelsea Seymour Haden ft. an[no] 1863". Etching and drypoint; second state of two (Harrington); seventh state of seven (Schneiderman). "All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate 'wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865." [cf. Harrington, p. 28] "There are several preliminary drawings for this print […] similar in composition though the view point is from farther into the river. State VII. Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible." [cf. Schneiderman, p. 143] Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity." Printed on contemporary laid paper, with margins, perfect condition. Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. 54 ii, p. 28, ill; Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. 50 vii, p. 143, ill.
Acquaforte e puntasecca su carta vergata, 1878, firmata a matita in basso a destra Hubert Herkomer. Una bella impressione, con margini, buone condizioni. Il berretto arruffato e il grande cappello nero indossati da questa donna sono tradizionalmente gallesi. Herkomer era attratto dai soggetti umili, concentrandosi all'inizio della sua carriera sui residenti della sua nativa Baviera – suo padre era un artigiano che emigrò prima in America, poi in Inghilterra nel 1863. Alla fine degli anni 1870 Herkomer iniziò ad esplorare temi britannici e probabilmente si interessò al Galles attraverso la sua amicizia con il pittore e proprietario terriero gallese Charles William Mansel Lewis. Il nucleo familiare dell'artista comprendeva, dal 1874, Lulu Griffiths, un'infermiera gallese che divenne sua moglie nel 1884. Un'impressione di questa stampa fu esposta da M. Knoedler & Co, New York nel 1882 (n. 2) con la seguente didascalia dell'artista: "Un altro tentativo giovane e audace di fare qualcosa di insolito. Le linee sono troppo mordaci e non si fondono con il lavoro a puntasecca". Sir Hubert von Herkomer era un artista britannico di origine tedesca, e anche un regista e compositore pioniere del cinema. Sebbene fosse un ritrattista di grande successo, soprattutto di uomini, è ricordato soprattutto per le sue prime opere che avevano un approccio realistico alle condizioni di vita dei poveri Bibliografia Algernon Graves The Royal academy of arts; a complete dictionary of contributors and their works from its foundation in 1769 to 1904. London, 1905, vol. IV, p. 83, 1878, no. 1176: A Welsh woman, etching. Etching and drypoint on laid paper, 1878, signed on pencil at the bottom right Hubert Herkomer. A fine impression, with margins, good condition. The ruffled cap and large black hat worn by this woman are traditionally Welsh. Herkomer was attracted to humble subjects, focussing early in his career on residents of his native Bavaria–his family were craftspeople who emigrated first to America, then to England in 1863. In the late 1870s Herkomer began to explore British themes and likely became interested in Wales through his friendship with the painter and Welsh landowner Charles William Mansel Lewis. The artist's household included, from 1874, Lulu Griffiths, a Welsh nurse who became his wife in 1884. An impression of this print was exhibited at M. Knoedler & Co., New York in 1882 (no. 2) with the following caption by the artist: "Another young and bold attempt to do something unusual. The lines are too heavily bitten and do not blend with the drypoint work." Sir Hubert von Herkomer was a German-born British artist, and also a pioneering film-director and composer. Though a very successful portraitist, especially of men, he is mainly remembered for his earlier works that took a realistic approach to the conditions of life of the poor. Bibliografia Algernon Graves The Royal academy of arts; a complete dictionary of contributors and their works from its foundation in 1769 to 1904. London, 1905, vol. IV, p. 83, 1878, no. 1176: A Welsh woman, etching.
Acquaforte, 1878, firmata e datata in lastra in basso a destra. "A. Piccinni / Roma 1878" seguita dal titolo sotto "L'Avaro". Magnifica prova, impressa su carta cina applicata, con margini, in perfetto stato di conservazione. Un vecchio avaro che indossa un lungo cappotto appoggiato su uno scrittoio aperto, con la mano appoggiata su un mucchio di monete. Pittore e incisore italiano soprannominato “il re dei disegnatori”. La più grande vocazione dell’artista è, infatti, la grafica. Dal 1860 studia a Napoli all’Istituto di Belle Arti sotto la guida di maestri come Domenico Morelli (Napoli 1826 – 1901), Filippo Palizzi (Vasto 1818 – Napoli 1889), Tommaso Aloysio Juvara (Messina 1809 – Roma 1875) e Francesco Pisante (Napoli 1830 – 1889). Qui egli studia la tecnica dell’acquaforte d’invenzione e aderisce al verismo di matrice palizziana. Agli inizi del 1873 si trasferisce a Roma e frequenta i corsi di incisione alla Calcografia Nazionale. Tra il 1878 e il 1880 è a Parigi presso l’editore Cadart e proprio questa parentesi parigina colloca il Piccinni tra gli artisti europei fautori della rinascita dell’acquaforte originale. Sperimentatore delle nuove possibilità legate al mezzo fotografico è tra i primi in Italia a impiegare la fotoincisione tra il 1874 ed il 1886. I temi affrontati da Piccinni dimostrano l’attenzione costante verso i gesti più semplici della quotidianità della vita, gli individui vengono rappresentati come modelli di categorie sociali. Etching, 1878, signed and dated in plate at lower right "A. Piccinni / Rome 1878" followed by title below "The Miser". Magnificent proof, impressed on applied China paper, with margins, in perfect condition. An old miser wearing a long coat leaning on an open desk, his hand resting on a pile of coins. Piccinni was one of the European artists who were responsible for the rebirth of the original etching. Experimenter of the new possibilities related to the photographic medium, he is among the first in Italy to use the photoengraving between 1874 and 1886. The themes addressed by Piccinni show the constant attention to the simplest gestures of everyday life, individuals are represented as models of social categories. A. Petrucci, “A. Piccinni incisore”, 1931, p, 220, f. 126
