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PARIS, F. Nathan - 1935 - In-8 - Cartonnage éditeur illustré - Illustrations en texte en noir et blanc dans le texte - 159 pages - bon exemplaire
in-8°, 414 pages, illustrations hors-texte en couleurs, in-t. N&B, -, annexes, index, broche, couverture illustree pelliculee. Exemplaire a l'etat de neuf. [DV-7]
This is a fine hardcover copy with a fine dust jacket with no wear at all. Completely clean. Text in GERMAN. Essays by Maria Muller and Bernd Finkeldey. Bernd and Hilla Becher, Andreas Gursky, Candida Hofer, Axel Hutte, Thomas Ruff, Thomas Struth, Petra Wunderlich are the main photographers in the Dusseldorf School. Illustrated in color and black & white. Biographical and bibliographical information on each artist. 12" high X 10" wide, 115 pages. Heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Very Good Turkish, Ottoman (1500-1928) Original manuscript autograph document sealed by Bosnevî Darülhadis Basmüderrisi [i.e. Bosnevî Darülhadis School in Sehzâde, Istanbul]. Oblong: 12x14,5 cm. In Ottoman script. 1 p. 4 lines. "Huve. Bâdi-i sehâdetnâme oldur ki; Müderrisi bulundugum Sehzâde civarinda Darülhadis Bosnevî Medresesi'nde mukayyid talebe ilm-i sarf... Mehmed bin Mehmed Efendi'nin... [1]326 [1910 AD].".
Very Good Turkish, Ottoman (1500-1928) Original autograph document signed by Yusuf Râzî Giridî Bel. 23,5x15,5 cm. In Ottoman script. 1 p. Six lines. Script: "Yalniz elli aded lira-yi Osmanîdir. Defter-i Hakânî Nezâreti muavini Refik Beyefendi'nin nakden elli lira-yi Osmanî ... ahz ettigimi ve meblag-i mezbûru tarih-i senedden itibâren alti ay zarfinda iâde edecegimi mübeyyin isbû sened müsarileyhe ita kilindi. 17 Subay [1]329, Sûrâ-yi Devlet âzâsindan Yusuf Râzî Giridî.". Yusuf Razi, who was born in 1870, is the son of Sirri Pasha, known as Giritli, and Leyla Hanim, one of the well-known poets and composers of the time. After graduating from Galatasaray High School, Yusuf Razi, who studied engineering in Paris, was appointed as a member of the Ottoman Council of State after teaching at the Engineering School for a while. Yusuf Razi, who left all his duties in 1920, wrote articles in various magazines and newspapers and worked in (Resimli Kitap) and (Sehbal) magazines published after the Second Constitutional Monarchy in 1908. Meanwhile, Yusuf Razi was the Turkish correspondent for magazines published in Berlin and Paris titled 'Illustration' and 'Illustriert Berlin'. Later he translated and published his mother Leyla Hanim's memoirs under the title "Le Harem Impérial" in Paris. During his life, Yusuf Razi, who also worked as the General Directorate of Postal Telegraph and Istanbul City Hall, translated many books.
Very Good Turkish, Ottoman (1500-1928) Original manuscript autograph letter / document signed by Köprülüzâde Mehmed Fuad, (1890-1966), sent to the director of library of Darülfünûn [i.e. Istanbul University] Fehmi Edhem Karatay, (1888-1968). 25x16 cm. In Ottoman scrript. 1 p. 7 lines. Letterhead 'Türkiye Cumhuriyeti Istanbul Darülfünûnu'. Dated 8 Tesrinisani [1]927. Signed as 'Darülfünûn Edebiyat Fakültesii Reisi' [i.e. President of the Istanbul University Faculty of Literature]. "Darülfünûn Kütübhâne Müdürü Fehmi Bey'e, Vazifenizdeki gayret ve faaliyetden dolayi taltifiniz lüzûmu hakkinda...". Köprülü was a highly influential Turkish sociologist, turkologist, scholar, Minister of Foreign Affairs and Deputy Prime Minister of the Republic of Turkey. A descendant of the illustrious noble Albanian Köprülü family, whose influence in shaping Ottoman history between 1656 and 1711 surpassed even that of the House of Osman, Fuat Köprülü was a key figure in the intersection of scholarship and politics in early 20th century Turkey. Following the coup d'état in 1960 he was tried at the Yassiada trials but found not guilty. Fehmi Edhem Karatay, (1888-1968), was a Turkish / Ottoman who had important services in the establishment of modern Turkish librarianship. He was known with his very important catalogue on the printed books in Turkish with Arabic letters before Seyfettin Özege.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quinta edizione di dodici, stampata dalla calcografia di Madrid, circa 1883. 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 nel 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 Plate 1: portrait of the artist wearing hat, bust-length to left; Fifth Edition c.1883 impression. 1799 Etching, aquatint, drypoint and burinFrom the fifth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1883].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 36, Delteil 38.
Features: The MIG-Hunting School (part II); Invincible launced; Bourget '77 - pictures from a show; The USSR and the Warsaw Pact - the Soviet Union's post-war strategies, from defense of the national territory to world expansion; Survey of the air forces of the Warsaw Pact Countries - the ever-increasing power of these forces; The Navies of Warsaw Pact Countries - their strength and strategy, upperly subservient to Soviet strategy; Sabres in Korea; Kaiten Guided Torpedoes (Part III); Many additional illustrated stories. Clean and unmarked with light wear. Quality copy. Book
Robert Laffont, Réponses, 1994, 243 pp., broché, pli sur le dos, tranches jaunies, état très correct.
PARIS, sd fin XIXe- Bibliothèque d'éducation et de récréation, J. Hetzel et Cie - Col. "La vie de Collège dans tous les Pays" - Reliure pleine percaline rouge de l'éditeur (dos insolé) - 1 er Plat mention "République Française, Liberté-Egalité- fraternité - Ville de Paris, Mairie du VIè Arrondissement, Caisse des Ecoles" avec Armoiries de la ville de Paris - Toutes tranches rouges - Frontispice & illustrations NB PP de Georges Roux - 356 pages - Bon exemplaire - envoi rapide et soigné
Acquaforte e bulino, 1650 circa, numerata 11 nell’angolo superiore sinistro. Questa tavola appartiene alla suite di Baccanalia descritte da Robert- Dusmenil (IV, 12-17) il cui frontespizio, inciso da Nicolas Cochin il Vecchio recita “Recueil de diverses Baccanales de Poussin, Chapperon, D’origny et autres”. Tutte le stampe della serie contengono gli indirizzi dei rispettivi editori ma non i nomi dei disegnatori e degli incisori, il che rende difficile attribuire definitivamente le opere ad artisti specifici. Le stampe furono probabilmente pubblicate per la prima volta dagli editori François Langlois, noto come 'il Ciartres' (1589 Chartres - 1647 Parigi), e Philippe Huart (attivo intorno al 1639-1648) e furono seguite da una seconda edizione pubblicata da Pierre Mariette. I disegni per le incisioni potrebbero provenire da Nicolas Chaperon o dallo stesso Dorigny. Sei tavole della suite, benchè prive della firma dell’autore, per ragioni stilistiche, sono riconducibili a Dorigny, autore di un’altra suite di Baccanalia, composta anch’essa da sei lastre, tutte recanti la sua firma (Robert-Dusmenil, IV, 6-11). Incentrate sulle attività di Bacco, Sileno e la loro allegra compagnia, queste due serie di affascinanti composizioni all'acquaforte dimostrano la ricchezza e la destrezza dei poteri di invenzione di Dorigny. In contrasto con la maggior parte delle sue prime interpretazioni delle opere di Vouet e altri, dove spesso usava il bulino per aumentare leggermente la sua vigorosa acquaforte (vedi cat. 102), alcune delle stampe successive di Dorigny, in particolare queste due suite di baccanali, si affidano ancora di più al bulino. Questa tendenza è parallela a un graduale cambiamento nel suo disegno, che rivela una crescente tendenza verso contorni pronunciati e figure più scultoree. Dopo essersi formato per cinque anni sotto Georges Lallemand a Parigi, Michel Dorigny si unisce presto alla cerchia del pittore Simon Vouet, con il quale stringe un'amicizia stretta e duratura. Dorigny divenne in seguito uno dei principali interpreti in campo tipografico dell'opera pittorica di Vouet e fu anche coinvolto come pittore in diversi progetti artistici del maestro. Le sue stampe comprendono opere su temi religiosi e mitologici così come stampe singole e serie su temi dionisiaci. Le suite probabilmente risalgono agli anni ’50 del XVII secolo quando, dopo la morte di Vouet. Bellissima prova, ricca di toni, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233. Etching and engraving, 1650 circa, numbered 11 at lower left. After training for five years under Georges Lallemand in Paris, Michel Dorigny soon joined the circle around the painter, Simon Vouet, with whom he struck up a close and lasting friendship. Dorigny subsequently became one of the main printmaking interpreters of Vouet’s painted oeuvre and was also involved as a painter in several of the master’s artistic projects. His prints include works on religious and mythological themes as well as individual prints and series on Dionysian topics. It is to this latter category that six etchings belong which Dorigny produced together with Nicolas Chaperon and other artists for the series entitled Recueil de diverses Bacchanales (Robert-Dumesnil, vol. IV, p. 254, nos. 12–17). All the prints in the series contain the addresses of the respective publishers but not the names of the designers and engravers, which makes it difficult to definitively ascribe the works to specific artists. The prints were probably first issued by the publishers François Langlois, known as ‘il Ciartres’ (1589 Chartres – 1647 Paris), and Philippe Huart (active around 1639–1648) and were followed by a second edition published by Pierre Mariette. The designs for the etchings may well stem from Nicolas Chaperon or from Dorigny himself. Another suite of six bacchanals (Robert – Dusmenil 6-11) bears on each plate the name of D’Origny as engraver. Both suites probably date to the 1650 when, after Vouet’s death, Dorigny became one of the most important decorative painters in Paris. Focused on the activities of Bacchus, Silenus, and their merry band of associates, these two etched sets of charming compositions demonstrate the wealth and dexterity of Dorigny's powers of invention. In contrast to most of his earlier interpretations of the works of Vouet and others, where he often used engraving to lightly augment his vigorous etching (see cat. 102), some of Dorigny's later prints, espe- cially these two suites of bacchanals, rely even more on engraving. This trend parallels a gradual shift in his draftsmanship, which reveals an increasing tendency towards pronounced contours and more sculptural figures. A fine impression, printed with tone on contemporary laid paper, with margins, very good condition. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233.
8vo, 216 pages, not illustrated. eng
8vo., handsomely bound in contemporary calf, sides diced within a double gilt fillet border stopped at corners with a gilt rosette and enclosing in corners the Harrow 'crossed arrows' tool in gilt, back gilt extra with five raised bands, compartments tooled alternately to a geometric 'key' design and the 'crossed arrows' tool within a filigree frame, edges of boards gauffred in gilt, doublures tooled in blind, gilt edges, marbled endpapers, A FINE EXAMPLE OF AN EXTENDED HARROW PRIZE BINDING with the School's engraved prize armorial bookplate of the period, inscribed to Bertram Hunt in the name of Henry Butler and dated 1875.
Very Good English Paperback. Pbo. 4to. (34 x 24 cm). In Turkish. B/w and color ills. 652 p. A very heavy volume. Minor split at back cover. History of Kabatas High School in Constantinople / Istanbul throughout century. Bahçesinde deniz olan okul: 100 yillik egitim çinari Kabatas Erkek Lisesi 1908 / 2008. Prep. by Mehmet Altun.
Includes many colour photos. Minimal markings. Very light wear. Some lean to spine. Excellent condition. Book
VG (no dj, blue cloth with gilt titles on spine, worn at top and base of spine and light patchy fading to front board,light browning endpapers and prelims, contents clean and bright) large octavo 198pp. The history of Bancrofts School, founded by the Worshipful Company of Drapers in 1737. 13 b/w plates and 5 maps and illustrations in the text.
Mm 215x315 Volume rilegato in tela con immagine applicata al piatto, titolo in argento al piatto e al dorso, 165 pagine con figure in nero e a colori lungo l'intero testo redatto in lingua francese - french text. Libro in perfette condzioni di nuovo con ancora il suo cellophane editoriale protettivo. Spedizione in 24 ore dalla conferma dell'ordine.
150 pages. One of a series of music texts intended for elementary aged children. Sections include: French Folk Songs; Folk Songs from Many Countries; Halloween; Songs from Sunny Countries; Christmas; Fun Things; Sea Songs; and more. Average wear. Innocuous light staining to front cover. School stamps and some writing. Book
80 pages loaded with black and white photos of students and staff, and hand-drawn ads for local businesses. Many of the boys are wearing ties! Includes photo looking over the school toward Gabriola Island - lots of vacant land in Harewood in 1953! Unmarked with somewhat above-average wear. Binding intact. Small photo of C. Norsed and G. Duggan has been clipped, otherwise a sound vintage copy of this nice memento of the school which has since been renamed Nanaimo District Secondary School / NDSS. Book
80 pages loaded with black and white photos of students and staff, plus nostalgic ads for local businesses, some with photos. (Who knew Nanaimo used to have an Egg Pool?) Many dozens of autographs of both staff and students including Valedectorian Doreen Dobinson. Somewhat above-average wear. Binding intact. A sound and pleasing vintage copy of this memento of the school which has since been renamed Nanaimo District Secondary School / NDSS. Book
159 pages. In excellent condition. Glossy colourful boards. Unmarked but for back flyleaf. Very light wear. Book
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 stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.