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2 Vols., 4to (280 x 215 mm), 141, [3]pp., number 17 of 50 de luxe copies signed by the author, Vivian Ridler and John Simmons, numerous plates and specimens tipped-in, quarter-bound red morocco, marbled paper boards, together with a portfolio of 12 additional specimen sheets, the whole presented in a slip-case, fine copy. Tells the story of the writing and printing of what was perhaps the masterpiece of printing in the 'Fell types' in the twentieth century: Stanley Morison's John Fell, the University Press and the 'Fell' types published by Oxford University Press in 1967. Prospectus inserted.
First edition. Original paper wrappers in protective cardboard binding. 8vo. 49 pages. 24cm. In Yiddish. Title translates to Sixteen: A Collection of End Compositions of Sixteen Graduate of the Shalom Aleichem Elementary School in Chicago. Rare collection of elementary-age writings from secular-Yiddish Chicago but published in Warsaw. Yiddish schools in America were always supplemental schools, meeting several times a week after public schools. This was a major difference between the Yiddish schools in Poland which were, if chosen by the parents, the primary day school of the child, and the Yiddish schools in America which never developed a single Yiddish day school. On the political spectrum of the Yiddish cultural world in the 1920s and 1930s, the Sholem Aleichem Folk Institute and its schools, and the Yiddish camp, Camp Boiberik, were more to the right, with less emphasis on socialism and more stress on the humanistic values that can be learned from traditional Judaism and applied to the modern Jewish experience. Founded in 1918, the Institute lasted until the 1970s, and was a national movement which attained its greatest support in the 1930s (UTexas, 2017) . SUBJECTS: School prose, Yiddish -- Illinois -- Chicago. Jews -- Education -- Illinois -- Chicago. Jews -- Education. School prose, Yiddish. OCLC lists 2 copies worldwide (Harvard, NLI, ) . Pages browning. Some light soiling to front wrapper. Overall Very Good Condition. Rare and important(YID-27-39)
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Timbro di collezione la verso di Luciana Simonetti (Lugt 3616). Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869. Collection marks on verso, by Luciana Simonetti (Lugt 3616).
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Timbro di collezione la verso di Luciana Simonetti (Lugt 3616). Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869. Collection marks on verso, by Luciana Simonetti (Lugt 3616).
64 pages. Features: Great photo ad for International Trucks on page 1; Junior Boxing Champion of Quebec - Laurier DesRochers is featured in full-page Cream of Wheat ad; Judgement (short story); Taming the Seven Sisters - gigantic hydro-electric development in Manitoba - article with photos; Dusty Courage (short story); Maker of Champions - Captain J.R. Cornelius trains the Hamilton Central Collegiate track team to success - article with photos; A Salute for the Constitution - a plea for veneration of the document that makes us what we are; Dancing Partners (short story); How I Do Love Water-Lilies!; The Kincade Mystery - Who Killed Ethel Kincake of Hamilton? - article with photos; The Beggar of Ur (shorted story); The Queen of the "Turks" - Turkey farmer Mrs. W.A. Freeman of Ardenode, Alberta - article with photos; Premier of Nova Scotia - Hon. Gordon Sydney Harrington - article with photo; Mr. Gobbins Falls In (short story); The Silver Scale (part I); Political article by Sir Austen Chamberlain, with his photo; Canada's pioneer steam engine, long lost, returned to Nova Scotia - the 'Samson'; full-page Dodge car ad; full-page ad for the new Reo Flying Cloud car; Nice full-page photo ad for Hoover vacuums features cute chilid on vintage phone; Nice full-page ad for Auburn cars features the 5-passenger 2-door Brougham $1445; De Soto Six ad; The School Lunch - article with photos; crossword; Transforming the Cellar - article and photos with ideas of how to transform waste cellar space for an extra games and play room; Nice full-page Studebaker ad; Nice colour Calay soap ad inside back cover; Colour Old Dutch Cleanser ad on back cover. Average wear. Unmarked. A sound vintage issue. Book
Acquaforte e puntasecca, 1910 circa, firmata in alto a sinistra Fisher f. Dedicata dall'artista a Malcolm Salaman; iscrizione con inchiostro marrone in basso a destra: "To Malcolm Salaman from A. Hugh Fisher". Una bella impressione, stampata su carta avorio, con margini, in buone condizioni. Malcolm Charles Salaman (Londra 6 settembre 1855 - 22 gennaio 1940) è stato un autore, giornalista e critico inglese. Fu educato alla University College School e all'Owens College di Manchester. Anche se aveva studiato ingegneria meccanica per quattro anni, divenne un giornalista e pubblicò due settimanali. I suoi scritti critici erano dedicati principalmente alle stampe e alle opere teatrali. Dal 1883 al 1894 fu critico drammatico e d'arte per il Sunday Times, e dal 1890 al 1899 fu nello staff di The Graphic. Scrisse regolarmente sulle stampe per le riviste d'arte The Studio e Apollo. Salaman scrisse anche le introduzioni ai 33 volumi della serie Modern Masters of Etching pubblicati tra il 1925 e il 1932 da The Studio, ognuno dei quali conteneva riproduzioni di 12 stampe di un grande incisore. Questa serie includeva volumi su Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne e Edmund Blampied. Hugh Fisher si dedicò inizialmente all'incisione paesaggistica e architettonica, ma fu anche un abile incisore e incisore di ritratti, studi di figure e raffigurazioni di animali. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927. Etching and drypoint, circa 1910, signed at upper left Fisher f. Dedicated by the artis to Malcolm Salaman; inscribed woth brown ink at lower right: “To Malcolm Salaman from A. Hugh Fisher”. A fine impression, printed on ivory wove paper, with margins, good condition. Malcolm Charles Salaman (London 6 September 1855 – 22 January 1940) was an English author, journalist and critic. He was educated at University College School and at Owens College, Manchester. Although he had studied mechanical engineering for four years, he became a journalist, and edited two weekly papers. His critical writing was devoted chiefly to prints and to plays. From 1883 to 1894 he was dramatic and art critic for the Sunday Times, and from 1890 to 1899 was on the staff of The Graphic. He wrote regularly on prints for the art magazines The Studio and Apollo. Salaman also wrote the introductions to the 33 volume series Modern Masters of Etching published between 1925 and 1932 by The Studio, each of which contained reproductions of 12 prints by a great etcher. This series included volumes on Frank Brangwyn, Alphonse Legros, Ernest Stephen Lumsden, Malcolm Osborne and Edmund Blampied. Hugh Fisher initially dedicated himself to landscape and architectural engraving, however he was also an accomplished etcher and engraver of portraits, figure studies and animal depictions. Bibliografia H. Fisher, 'Catalogue of Etchings and Drypoint by A. Hugh Fisher', 1927.
Pages 365-438 plus 68 pages of ads. Printed upon glossy stock. Black and white photography throughout. Features: Hotel De Ville at Loches, France (Illustration); Builder and Poet - Frank Lloyd Wright - Review of his Autobiography; Night Views of New York City; The Juilliard School of Music - article and cover photo; Firm Specifications; Portfolio of Current Architecture; An Innovation in Steel Flooring; Theater Designs for Rockefeller Center; Portfolio of Theaters; Dozens of sensational full-page illustrated ads; and much more. Minimal library markings. Average wear. External soiling. Binding intact. A sound copy of this excellent vintage issue. Magazine
Acquaforte e bulino, 1753, nel margine inferior a sinistra: Adr. Manglard fecit Romae La data 1753 che seguiva la firma è abrasa. Bell’esemplare, ricco di toni, rifilato alla linea del rame, in ottimo stato di conservazione. Adrien Manglard (1695-1760) nativo di Lione, visse a lungo a Roma dove si distinse come pittore e incisore di marine. Etching and engraving, 1753, signed at lower left, beneath the image Adr. Manglard fecit Romae The date 1753, at the end on the inscription is abraded. Magnificent example, printed on contemporary paper, trimmed close to platemark, in good condition. Robert-Dumesnil, Le peintre-graveur français, ou catalogue raisonné des estampes gravées par les peintres et les dessinateurs de l'école française : ouvrage faisant suite au peintre-graveur de Bartsch, cat.nr. 27.
Acquaforte, 1880 circa, firmata in lastra in basso. Esemplare nel quinto stato di sei, con l’indirizzo di Cadart. Bellissima prova, impressa su carta vergata coeva, con margini, in buono stato di conservazione. Pittore, incisore e fotografo abruzzese. Si forma presso l’Accademia di Belle Arti di Napoli sotto Domenico Morelli che ne riconobbe immediatamente le doti. L’ambiente napoletano lo spingerà a dedicarsi ad una pittura realista e naturalista grazie anche ai contatti con Filippo Palizzi, Giuseppe De Nittis e Marco De Gregorio, artisti della cosiddetta Scuola di Resina. Abbandonata l’Accademia per la troppa rigidità torna in Abruzzo a Francavilla. Nel 1871 parte per Parigi per partecipare al Salons, apprezzato dal pubblico e dalla critica riesce a farsi conoscere da un pubblico internazionale; a Parigi presso l’editore Cadart vengono pubblicate le quattro lastre che hanno così una tiratura regolare: Cueillette d’olives dans les Abruzzes 1875, L’enfant au panier, Gardeuse de dindons, Jeunes bergers des environs de Chieti. Le altre quattro lastre note di Michetti Tatone, Ragazza alla fontana, Pastorella abruzzese e Ritratto di anziano sono ad oggi note in pochissimi esemplari. L’incontro con il pittore spagnolo Mariano Fortuny nel 1874 a Napoli favorisce un cambiamento nella tavolozza e lo avvicina a soggetti più folkloristici. Intorno al 1879 risale la sua amicizia, fratellanza con il vate Gabriele d’Annunzio che considera l’artista mei dimidium animi. Nel cosiddetto Conventino, abitazione e studio di Michetti a Francavilla, si riunisce il cenacolo michettiano: un’esperienza unica in cui il pittore Michetti, il poeta Gabriele d’Annunzio, lo scultore Costantino Barbella e il musicista Francesco Paolo Tosti – ai quali poi si uniranno altri scrittori ed artisti – lavorarono insieme e sviluppano il tema comune della natura e della gente d’Abruzzo. Una bambina in abiti tradizionali incede frontale verso lo spettatore. La figura è in piena luce, si staglia su uno sfondo costituito da una fitta boscaglia, potente è l’uso del chiaroscuro che conosce la lezione di Rembrandt. La bimba ha le braccia appoggiate sul ventre per reggere un cestino, i capelli mossi incorniciano il volto, sembra che stia canticchiando e il particolare degli orecchini e della collana di perle accentuano la luminosità del suo incarnato. Il soggetto è già affrontato in pittura, in particolare nel dipinto La Petite Fille au panier sul mercato parigino nel 1875 come appartenente alla collezione H. Nel catalogo di venidita il dipinto è illustrato con l’incisone di Michetti che dunque costituisce un termine ante quem di datazione della lastra. La figura è costruita con il tipico segno fine e libero di Michetti, un segno graffiato, elegante; i volumi sono costruiti con un fitto e irregolare intrecciarsi di tratti delicati e punti, morsure successive marcano progressivamente le zone in ombra. Firma nella lastra in basso a destra P Michetti. Nel margine inferiore oltre l’immagine a sinistra “Paolo Michetti del. et sc. “, titolo al centro, a destra “Imp.Cadart, Paris” e a sinistra “Gazzette de Beaux-Arts”. L’esemplare è tratto da La Gazette des Beaux-arts numero del marzo 1880. Etching, circa 1880, signed in plate at bottom. Exemplar in the fifth state of six, with Cadart's address. Beautiful proof, impressed on coeval laid paper, with margins, in good condition. A little girl in traditional clothes walks frontally towards the viewer. The figure is in full light, stands out against a background of dense brushwood, powerful is the use of chiaroscuro that knows the lesson of Rembrandt. The child has her arms resting on her stomach to hold a basket, the wavy hair frames her face, it seems that she is humming and the detail of the earrings and the pearl necklace accentuate the brightness of her complexion. The subject is already addressed in painting, particularly in the painting La Petite Fille au panier on the Paris market in 1875 as belonging to the H collection. In the sale catalog, the painting is illustrated with Michetti's engraving, which therefore constitutes a terminus ante quem for the dating of the plate. The figure is constructed with Michetti's typical fine and free mark, a scratched, elegant mark; the volumes are constructed with a dense and irregular interweaving of delicate strokes and dots, successive morsure progressively marking the areas in shadow. Signature in the lower right corner of the plate P Michetti. In the lower margin beyond the image on the left "Paolo Michetti del. et sc.", title in the center, on the right "Imp.Cadart, Paris" and on the left "Gazzette de Beaux-Arts". The copy is taken from La Gazette des Beaux-arts issue of March 1880. Francesco Paolo Michetti (1851 – 1929) learned painting's rudiments from a local fresco painter. In 1868 he traveled to Naples, supported by a small grant to study at the academy there. Asserting that his temperament would benefit more from real life situations, he was allowed to return to the Abruzzo region in 1869 and continued to receive his grant. Michetti exhibited at the Paris Salons of 1872 and 1875, but he also belonged to Scuola di Resina, a group of Neapolitan painters that aimed to bring Italian art into Europe's mainstream. Abruzzo was his emotional and aesthetic inspiration. He captured its people, animals, and local events in emotionally charged paintings with luminous colors and vibrant light. In 1883 Michetti purchased a convent as his home and studio. For the next twenty years, the convent was a meeting place for Abruzzo's artists and exponents of culture, including writer Gabriele D'Annunzio. Michetti's 1895 Daughter of Iorioinspired D'Annunzio's 1904 tragedy, for which Michetti designed the sets and costumes. From 1872 onward, Michetti also produced small, decorative clay sculptures. After a lukewarm response to his paintings at the 1900 Exposition Universelle in Paris, he abandoned painting, sold his studio, and generally lived as a recluse. Bibliografia: Davoli, 5; Prandi 4 (ill.); V. Bindi, Artisti abruzzesi, Napoli 1883, pp. 172-176; G. D’Annunzio, Nota su F.P. M., in Convito, VIII (1896), pp. 583-592; R. De Logu, Per un profilo di M., in Mostra dei disegni, incisioni e pastelli di F.P. M.
33 pages. Features: Photo of smiling Eisenhower and an animated Patton, plus smiling Bradley and Hodges; Photo of Japanese Shrine on Saipan plus journal notes from a Japanese soldier; Photos of Juan Trippe, Lewis Douglas, Army nurses drilling at Camp Capson Colorado, Forger Alexander Thiel; Article on Okinawa; Full-page military map entitled "The Floods Come" shows positions centered around Hitler's inner fortress of Berchtesgaden; photo of U.S. armour on one of Germany's fine roads; Photo of very long column of German prisoners; Article and photo on German youth; Photo of "German Looters"; Photo of Chiang Kai Shek with General Hurley; Photo of St. Louis Browns' one-armed baseball player Pete Gray; Photo of a Brooklyn Public School classroom trashed by three young boys; Great photo of a navy bank in a quonset hut on Guam. No ads in this edition. Moderate wear. Unmarked. Binding intact. A quality copy of this excellent Patton collectible. Book
Acquaforte (mm 229x174; foglio: mm 335x292), monogrammata sulla lastra in basso a sinistra. Esemplare del secondo stato su due, stampato da Carlo Lovera e pubblicata su L’Arte in Italia del novembre 1870. Ottima impressione. Grandi margini, ottima conservazione. Alberto Pasini nasce a Busseto (PR) nel 1826. Iscrittosi all’Accademia di Belle Arti di Parma ha come maestro Girolamo Magnani, per la pittura. Nel 1851 si reca a Parigi dove, alla scuola dei pittori di Barbizon, si dedica alla pittura di paesaggio. Nel 1855, per interessamento del pittore Théodore Chassériau è aggregato ad una missione diplomatica diretta in Persia. Da qui la svolta nella sua vita. In questo primo e in successivi viaggi in vari paesi affacciati sul Mediterraneo, rimane conquistato dall’Oriente traendone spunti in disegni che poi svilupperà in numerosi dipinti. A Parigi dove si stabilisce espone ai numerosi Salon ottenendo prestigiosi premi. Lo Scià di Persia e il Sultano di Costantinopoli gli commissioneranno varie opere e i collezionisti si contenderanno i suoi piacevolissimi dipinti. Dal 1871 si ritira a Cavoretto, nelle colline piemontesi, non rinunciando tuttavia a continuare a viaggiare a Parigi e Venezia, città che verrà spesso ritratta nei suoi dipinti. Muore a Cavoretto nel 1899. È da considerarsi uno dei più notevoli orientalisti a livello europeo. Bibliografia G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.1. Etching (mm 229x174; sheet: mm 335x292), monogrammed on the plate at lower left. Exemplar of the second state of two, printed by Carlo Lovera and published in L'Arte in Italia - November 1870. Very good impression. Large margins, excellent conservation. Alberto Pasini was born in Busseto and attended the Academy at Parma. From 1851 to 1853 he studied under Eugène Ciceri (1803-1886) in Paris, where he completed his training in the atelier of M.E. Isabey (1813-1890). He made his Salon debut in 1853. From his first visit to Persia in 1855, as part of the suite of the French delegation to the Persian Gulf and Tehran, Pasini specialized in views of remote corners of Turkey and Persia. He travelled to Constantinople between 1868 and 1869 and to Asia Minor and Syria in 1873. Pasini was also a seasoned traveller within Europe and from 1878 visited Venice on several occasions, and made a journey to Spain with Gérôme from 1879 to 1883. "Principally a landscape and architectural painter, Pasini came under the influence of Théodore Rousseau and Fromentin in the late 1850s, though his later style reveals affinities with the Néo-grec school of painters. Apart from his Orientalist work, he painted some genre scenes and subjects taken from Turkish history and was also known for his lithographic work. "After the Franco-Prussian War (1870-71), Pasini returned to Italy, but continued to exhibit at the Salon until his death in 1899” (MaryAnne Stevens, ed., The Orientalists: Delacroix to Matisse - The Allure of North Africa and the Near East, exhibition catalogue, National Gallery of Art, Washington, DC, 1984, p. 195). References: G. Giubbini, L’acquaforte originale in Piemonte e in Liguria 1860 - 1875, Genova 1976, n.1.
375 pages. Index. Glossary. Footnotes. Black and white photographic plates. "Reveals how the strategy of indiscriminate bombings against the public was the result of secret NATO accords and was sanctioned at the highest levels of the Atlantic Alliance... Shows the crucial role played by the Hyperion Language School in Paris in the manipulation of the Red Brigades, and the role of the CIA in arming the revolutionary group. Casts a spotlight on Licio Gelli, the head of the now outlawed P2 Masonic lodge, who has been convicted of financing fascist terrorists." - dust jacket. Remainder mark to bottom edge. Some red markings to contents in first 70 pages. Bit of clear tape inside back board. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A sound copy. Book
Acquaforte, firmata e datata nel margine inferiore: Fran Zuccherelli Pitilianen incid. Flo. 1728. Da un disegno di Giovanni Manozzi. La stampa mostra una figura femminile in piedi che cammina verso sinistra tenendo una lampada, indicando con la mano destra. Bell’esemplare, stampato su carta vergata coeva, rifilato in prossimità della linea marginale, privo del testo contenuto nel margine inferiore. Francesco Zuccarelli studiò a Firenze nella bottega di Paolo Anesi ed in seguito si trasferì a Roma presso i pittori Giovanni Maria Morandi e Pietro Nelli. Fu inizialmente un pittore di soggetti storici ispirato dalla conoscenza della pittura di Claude Lorrain, pittore francese del Seicento vissuto a Roma che fu maestro di questo genere insieme al connazionale, ma più scenografico, Nicolas Poussin. Trasferitosi a Venezia, Zuccarelli, si rivolse alla pittura di soggetto arcadico, che coltivò in concorrenza col bellunese Giuseppe Zais. Come successe ad altri pittori veneti suoi contemporanei, quali Canaletto e Bernardo Bellotto, la sua pittura fu molto apprezzata all'estero dove fu chiamato a dipingere per ricchi mecenati come ad esempio il celebre Console Joseph Smith. Zuccarelli lavorò molto in Inghilterra dove influenzò importanti pittori locali in maniera particolare il suo stile fu ripreso dal grande Joshua Reynolds. Dopo cinque anni di permanenza a Londra, Zuccarelli ritornò a Venezia. Di nuovo a Londra nel 1765, fu uno dei fondatori della Royal Academy of Arts nel 1768. Etching, signed and dated lower margin: Fran Zuccherelli Pitilianen incid. Flo. 1728. After a drawing by Giovanni Manozzi. The print shows a standing female figure walking to the left holding a lamp, pointing with right hand. Good example, printed on contemporary laid paper, trimmed close to the marginal line, in perfect condition. Cut off the inscription in the lower margin. Francesco Zuccarelli studied in Florence in Paolo Anesi's workshop and later moved to Rome with the painters Giovanni Maria Morandi and Pietro Nelli. He was initially a painter of historical subjects inspired by his knowledge of the painting of Claude Lorrain, a 17th-century French painter who lived in Rome and who was a master of this genre together with his compatriot, but more scenic, Nicolas Poussin. After moving to Venice, Zuccarelli turned to painting Arcadian subjects, which he cultivated in competition with Giuseppe Zais from Belluno. As with other Venetian painters of his time, such as Canaletto and Bernardo Bellotto, his painting was much appreciated abroad where he was called to paint for wealthy patrons such as the famous Consul Joseph Smith. Zuccarelli worked extensively in England where he influenced important local painters, and in particular his style was taken up by the great Joshua Reynolds. After five years in London, Zuccarelli returned to Venice. Back in London in 1765, he was one of the founders of the Royal Academy of Arts in 1768. Massar - The prints of Francesco Zuccarelli (3.I) in Print Quarterly (XV) (3) (pp. 247-263).
635 pages. Index. Archives. Printed upon glossy stock. Covers the following school districts: Flowerdale, Blackfoot, Westminster Park, Lloydminster (rural), Spencer, Devonia Lake, Kinella, Thomasville, West Centre, Cheviot Hills, Madresfield, Golden Valley, Sunnydale, Sefton Park, Uneeda, Paradise Valley (E. Rural), Highbury, Allister, Ridgeclough, Crosslynde, Winona, Oxville, Park Valley, Woodford. Hamlets included: Rivercourse and McLaughlin. Gift greetings inside front board else contents clean and bright. Binding tight. Average external wear. A sound copy of this excellent reference. Krotki 1106. Book
Very Good Greek, Modern (post 1453) Contemporary fine leather bdg. Demy 8vo. (22 x 15 cm). In Greek. 1118 p., richly illustrated (b/w ills.). Period bindery label of E. Watson in London. Ex-library copy on fourth blank page. Otherwise a very good copy. First and extremely rare translation into Greek of Taxil's 'Myste`res de la Franc-Mac?onnerie'. Mysteries of Freemasonry. Marie Joseph Gabriel Antoine Jogand-Pagès, better known by the pen name Léo Taxil was a French writer and journalist who became known for his strong anti-Catholic and anti-clerical views. He is also known for the Taxil hoax, a spurious expose of Freemasonry and the Roman Catholic Church's opposition to it. Marie Joseph Gabriel Antoine Jogand-Pagès was born in Marseille, and at the age of five, he was placed into a Jesuit seminary. After spending his childhood years in the seminary, he became disillusioned with the Catholic faith and began to see the religious ideology as socially harmful. Taxil first became known for writing anti-Clerical or anti-Catholic books, notably "La Bible amusante" (The Amusing Bible) and "La Vie de Jesus" (The Life of Jesus), in which Taxil satirically pointed out inconsistencies, errors, and false beliefs presented in these religious works. In his other books Les Debauches d'un confesseur (with Karl Milo), Les Pornographes sacrés: la confession et les confesseurs, and Les Maîtresses du Pape, Taxil portrays leaders of the Catholic Church as hedonistic creatures exploring their fetishes in the manner of the Marquis de Sade. In 1879, he was tried at the Seine Assizes for writing a pamphlet A Bas la Calotte ("Down with the Cloth"), which was accused of insulting a religion recognized by the state, but he was acquitted. In 1885, he professed conversion to Catholicism, was solemnly received into the church, and renounced his earlier works. In the 1890s, he wrote a series of pamphlets and books denouncing Freemasonry, charging their lodges with worshiping the devil and alleging that Diana Vaughan had written for him her confessions of the Satanic "Palladist" cult. The book had great sales among Catholics, although Diana Vaughan never appeared in public. In 1892, Taxil also began to publish a paper, La France chrétienne anti-maçonnique (Christian Antimasonic France), with his staunch anti-Masonic publishing friend, Abel Clarin de la Rive. In 1887, he had an audience with Pope Leo XIII, who rebuked the bishop of Charleston for denouncing the anti-Masonic confessions as a fraud and, in 1896, sent his blessing to an anti-Masonic Congress of Trent. Doubts about Vaughan's veracity and even her existence began to grow, and finally, Taxil promised to produce her at a lecture to be delivered by him on 19 April 1897. To the amazement of the audience (which included a number of priests), he announced that Diana was one of a series of hoaxes. He had begun, he said, by persuading the commandant of Marseille that the harbor was infested with sharks, and a ship was sent to destroy them. Next, he invented an underwater city in Lake Geneva, drawing tourists and archaeologists to the spot. He thanked the bishops and Catholic newspapers for facilitating his crowning hoax, namely his conversion, which had exposed the anti-Masonic fanaticism of many Catholics. Diana Vaughan was revealed to be a simple typist in his employ, who laughingly allowed her name to be used by him.The audience received these revelations with indignation and contempt. Afterwards, Taxil left the hall, where policemen escorted him to a neighboring café. He then moved away from Paris. He died in Sceaux in 1907. First Greek Edition. Rare. Only one copy in OCLC: 758917323.
An early standard monograph on Jules Pascin. Limited to 2000 numbered copies, of which this is ONE OF THE FIRST 100 COPIES, WITH THREE LOOSE ETCHINGS (numbered 71/100 in pencil, like the book itself), PRINTED ON EXTREMELY FINE ARCHES WOVE PAPER, IN A SEPARATE FOLDER. The etchings are "La plage" (or "Les jeux"), 1917 (HÈmin 91); "Homage aux dames fortes", 1927 (HÈmin 138); "L'enfant prodigue buvant 1927 (HÈmin 146). Folio. In stiff wraps, as issued. In the original board chemise and slipcase. FINE AND BRIGHT.
Copia di un niello della collezione Durazzo, di cui una impressione originale è ora nella collezione Cabinet Rothschild al Louvre. Questa composizione raffigura una coppia di guerrieri pseudo-classici, faccia a faccia e con elmi stravagantemente fantasiosi di un tipo visto in un gruppo di stampe niello correlate. Come la maggior parte di questi disegni, la stampa originale è probabilmente fiorentina e databile alla fine del XV secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection, (n. 3009) the original of which is now in the Cabinet Rothschild at the Louvre. This piece depicts a pair of pseudo-classical warriors, face to face and wearing extravagantly fanciful helmets of a tyoe seen in a group of related niello prints. Like most of these design, the original print is probably Florentine and datable to the late fifteenth century. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the termus ante quem for the execution. For the attribution to Maso Finiguerra, disputed by some scholars, see the summary in Zucker in The Illustrated Bartch,1993. TIB 2401.020; Duchesne, pp. 271-272; Zanetti, p. 105, n. 144
Copia di un niello della collezione Durazzo, di cui una impressione originale è nella collezione del Cabinet Rothschild al Louvre. La composizione corrisponde, al contrario, ad un dipinto di Filippino Lippi del 1490-95 circa, probabilmente il pannello centrale di una predella, nella collezione Kress al National of Art, Washington, così come al cartone di Filippino per lo stesso, punzonato per il trasferimento, nel Allen Memoril Art Museum, Oberlin. Anche se Blum ha attribuito questa stampa al nord Italia, deve essere fiorentina e databile alla fine del XV secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, on the same verso, of a niello print formerly kept in the Durazzo collection (n. 2903), now in Paris, Louvre, Cabinet Rothschild collection. The composition corresponds, in reverse, to a painting by Filippino Lippi of ca. 1490-95, probably the middle panel of a predella, in the Kress Collection at the National of Art, Washington, as well as to Filippino’s cartoon for the same, pricked for transfer, in the Allen Memoril Art Museum, Oberlin. Although Blum has attributed this print to northern Italy, it must be Florentine and datable to the end of the fifteenth century. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.005; Duchesne, pp. 172-173; Zanetti, p. 104.
Copia di un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, from a niello belonged to the Durazzo collection, now lost.. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution.
Firmato su una tavoletta in alto al centro: P. Iscritto su ciascuna delle due tavolette che fiancheggiano la figura in basso al centro: SCOF. Copia di un niello della collezione Durazzo, il cui originale si trova ora nella collezione Cabinet Rothschild al Louvre. L'opera è caratteristica delle stampe a niello di Peregrino da Cesena e paragonabile nello stile ad un certo numero di altri pannelli ornamentali monogrammati. La stampa include il monogramma di Peregrino nella sua forma più semplice e situato all'interno della composizione stessa. Include anche l'enigmatica iscrizione SCOF. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Signed on a tablet at upper center: P. Inscribed on each o two tablet flanking the figure at lower center: SCOF. Copy of a niello print from the Durazzo Collection, the original of which is now in the Cabinet Rothschild at the Louvre. The work is characyeristic of Peregrino da Cesena’s niello – manner prints and comparable in style to a number of other monogrammed ornamental panel. The print includes Peregrino’s monogram in its simplest form and located within the composition itself. It also includes the enigmatic inscription SCOF. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.030 e 2503.009
Copia, nello stesso verso, da un niello appartenuto alla collezione Durazzo, oggi non reperito. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, from a niello belonged to the Durazzo collection, now lost. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. The composition seems to have as pendant the niello depicting St. George and the dragon
Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione. Bulino, 1610 circa, firmato in lastra, in basso nell'immagine, "A Bloem. Inv. Abolsverd sculp".Da un soggetto di Abraham Bloemart (ca. 1564–1651).Bulino, impresso su carta vergata coeva, rifilato alla liena marginale, in ottimo stato di conservazione.
Xilografia, 1514 – 1516 circa, fermata col monogramma “H B” sul capitello della Colonna. Della serie Der Weisskunig (Il Re Bianco). Si tratta di una biografia idealizzata di Massimiliano I d’Asburgo (1459 – 1519), con due sezioni iniziali sulla vita dei suoi genitori, e la sua nascita ed educazione, che sono state compilate dal segretario di Massimiliano, Marx Treitzsaurwein, e una terza sezione più lunga che tratta la storia politica del regno di Massimiliano, per la quale l'imperatore stesso era il principale responsabile. A tutti i personaggi vengono dati degli pseudonimi, molti dei quali derivano dalle loro armi araldiche; così, per esempio, Massimiliano è il Giovane Re Bianco, Federico III il Vecchio Re Bianco, e il Re di Francia è il Re Blu. Il testo fu dettato da Massimiliano a Treitzsaurwein ed è sopravvissuto in vari manoscritti nella Österreichische National-bibliothek di Vienna (vedi 'Maximilian I, 1459-1519', exh. cat., Vienna, 1959, pp.26f, con letteratura). Il suo stato confuso si riflette nelle illustrazioni xilografiche che furono eseguite ad Augusta sotto la supervisione di Peutinger. Alcuni soggetti sono stati tagliati due volte, altri sono stati omessi, e alcuni rappresentano soggetti non presenti nel testo, nella misura in cui è stato completato. Su 236 illustrazioni, di cui 223 blocchi sono sopravvissuti (Vienna, Albertina), Burgkmair fu responsabile, secondo Dodgson, del disegno di 121. L'altro disegnatore principale fu Leonhard Beck; Hans Springinklee e Hans Schäufelein contribuirono con alcuni disegni al progetto. I blocchi furono intagliati tra il 1514 e il 1516 da un gruppo di xilografi supervisionati da Jost de Negker, e alcune serie di prove contemporanee sono sopravvissute, le più importanti delle quali sono a Vienna, Stoccarda e precedentemente nella collezione Liechtenstein, ora a Boston (vedi Musper, pp. 102ff). Nel 1526 il nipote di Massimiliano, l'arciduca Ferdinando, commissionò a Treitzsaurwein di completare e pubblicare 'Der Weisskunig', ma questo progetto rimase incompiuto a causa della morte di Treitzsaurwein nel 1527. Fu solo nel 1775, dopo che i blocchi furono trovati a Graz, che fu pubblicato in forma di libro da Hoffstätter a Vienna. Bella prova, in ottimo stato di conservazione. Quando l'imperatore Massimiliano I si recò a Treviri in occasione della riunione del parlamento del regno del 1512, chiese di vedere la Sacra Tunica. L’arcivescovo Richard von Greiffenklau fece aprire l’altare, alla presenza non solo dell’Imperatore, ma anche dei numerosi principi e prelati recatisi alla città per l’assise parlamentare. Fu celebrata una Santa Messa in memoria della defunta consorte di Massimiliano I. Woodcut, 1514-1516 circa, signed with monogram H B on the upper column, From the series Der Weisskunig (the White King); It is an idealised biography of Maximilian, with two early sections on the life of his parents, and his birth and education, which were compiled by Maximilian's secretary, Marx Treitzsaurwein, and a longer third section dealing with the political history of Maximilian's reign, for which the Emperor himself was primarily responsible. All the characters are given pseudonyms, many of which are derived from their heraldic arms; thus for example, Maximilian is the Young White King, Frederick III the Old White King, and the King of France is the Blue King. The text was dictated by Maximilian to Treitzsaurwein and has survived in various manuscripts in the Österreichische National-bibliothek in Vienna (see 'Maximilian I, 1459-1519', exh. cat., Vienna, 1959, pp.26f, with literature). Its confused state is reflected in the woodcut illustrations which were carried out at Augsburg under Peutinger's supervision. Some subjects were cut twice, others were omitted, and some represent subjects not in the text, as far as it was completed. Out of 236 illustrations, of which 223 of the blocks have survived (Vienna, Albertina), Burgkmair was responsible, according to Dodgson, for the design of 121. The other main designer was Leonhard Beck; Hans Springinklee and Hans Schäufelein contributed a few designs each to the project (see 1837,0616.308). The blocks were cut between 1514 and 1516 by a group of cutters supervised by Jost de Negker, and a few contemporary sets of proofs have survived, the most important of which are in Vienna, Stuttgart and formerly in the Liechtenstein collection, now in Boston (see Musper, pp. 102ff). In 1526 Maximilian's grandson, the Archduke Ferdinand, commissioned Treitzsaurwein to complete and publish 'Der Weisskunig', but this plan was frustrated by Treitzsaurwein's death in 1527. It was not until 1775, after the blocks had been found at Graz, that it was published in book form by Hoffstätter in Vienna. There are ninety proof impressions of the series in the British Museum which would have been taken while work on the blocks was in progress during the life of Maximilian. Good example, printed on contemporary laid paper, very good condition. When Emperor Maximilian I came to Treves for the Imperial Diet in 1512, he asked to see Holy Coat which was kept in the Cathedral. Archbishop Richard von Greiffenklau arranged the opening of the altar that had enshrined the tunic since the building of the Dome and exhibited it. The people of Treves heard about that and demanded to see the Holy Coat. Hollstein V.117.448; Bartsch VII.224.80-35; Dodgson II.93.58.
Puntasecca a inchiostro nero su carta vergata color crema, 1926, firmata in basso a sinistra: G. Firmato, a matita, in basso a destra: Frank Gillet. Bellissima prova, in ottimo stato di conservazione. Edward Frank Gillet, spesso accreditato come Frank Gillett, è stato un artista e illustratore britannico. Gillett lavorò a penna e inchiostro, pastello, acquerello e olio e fu notato come un abile caricaturista. Era ispirato dalla vita rurale di Norfolk e il suo lavoro spesso coinvolgeva lo sport, in particolare la caccia alla volpe e la caccia alla lepre. Il suo lavoro è stato esposto dalla Royal Academy of Arts e dalla Walker Art Gallery ed è detenuto dal British Museum e dal Victoria and Albert Museum. Drypoint in black ink on cream laid paper, 1926, signed, lower left: G. Signed, in pencil, lower right: Frank Gillet. A fine impression, very good condition. Edward Frank Gillett often credited as Frank Gillett, was a British artist and illustrator. He worked in pen and ink, pastel, watercolour, and oil. Gillett worked in pen and ink, pastel, watercolour, and oil and was noted as a skillful caricaturist. He was inspired by Norfolk's rural life and his work often involved sport, particularly fox-hunting and hare-coursing. His work has been exhibited by the Royal Academy of Arts and the Walker Art Gallery and is held by the British Museum and the Victoria and Albert Museum.
Maniera nera, 1680-1700 circa, nella cornice ovale: “ADRIANI VAN OSTADE PICTORIS”, firmato in basso a sinistra “A. van Ostade del: Effigies”, e a destra “J. Gole exc: cum Privil: ord: Holland:”. Stato unico. Da un autoritratto di Adrian van Ostade. Jacob Gole (1660-1737) fu un incisore, editore e produttore di carte da gioco franco-olandese. Nato in Francia, figlio dell’ebanista francese Pierre Gole, come ugonotto fu costretto ad emigrare in Olanda, intorno al 1684. Sua sorella sposò un altro ugonotto emigrato, Daniel Marot. Legato a Cornelis Dusart, pubblicò stampe di Dirk Maas. Poco si sa della sua vita. È noto per i suoi ritratti alla maniera nera delle personalità più importanti del suo tempo, come Guglielmo III d'Orange-Nassau, Papa Innocenzo XI, Filippo d’Orleans, Luigi XIV, Giovanni III Sobieski, Augusto II, Federico Guglielmo I di Brandeburgo, Kara Mustafa. Fece anche un ritratto di Rembrandt, dal quale interpretò diverse incisioni. La sua stamperia ad Amsterdam aveva due indirizzi: Vijselstraat, bij de Prinse graft, Amsterdam e Leydse Straat, by de Prince graft, tot Amsterdam. Bella prova, impressa su carta vergata coeva, margini bianchi, in ottimo stato di conservazione. Mezzotint, 1680-1700 circa, circularly in the image “ADRIANI VAN OSTADE PICTORIS”, signed at bottom left “A. van Ostade del: Effigies”, at bottom right "J. Gole exc: cum Privil: ord: Holland:" Only state. After A. van Ostade. Jacob Gole (1660-1737) was a Dutch mezzotinter, engraver, publisher, and playing-card maker. Born in France, son of the French cabinet-maker Pierre Gole, emigrated as a Huguenot to Holland circa 1684. His sister married another Huguenot émigré, Daniel Marot. Linked with Cornelis Dusart, and published prints by Dirk Maas. Little is known about his life. He is known for his portraits in the black manner of the most important personalities of his time, such as William III of Orange-Nassau, Pope Innocent XI, Philip of Orleans, Louis XIV1, John III Sobieski, Augustus II, Frederick William I of Brandenburg, Kara Mustafa. He also made a portrait of Rembrandt, from whom he interpreted several engravings. His print shop in Amsterdam had two addresses: Vijselstraat, bij de Prinse graft, Amsterdam and Leydse Straat, by de Prince graft, tot Amsterdam. Good example, printed on contemporary laid paper, with margins, in good condition. Hollstein VII p. 214 (Gole); Wessely 103 (Gole)