AnonimoMareMagnum
2 213 résultats
Copia, di un niello già conservato nella collezione Durazzo (n. 2903), di cui una impressione originale è a Parigi, Collection Dutuit, Musée du Petit Palais. L'impronta originale è marcata distintamente a sinistra da una coppia di fori di chiodi o rivetti al centro di ornamenti a rosetta. È un bell'esempio caratteristico di un artigianato fiorentino del terzo quarto del XV secolo, e fa parte del cosiddetto "gruppo Finiguerra" di stampe a niello. Ma è incerto se sia dello stesso Maso Finiguerra o di un altro niellista fiorentino del periodo. 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 formerly kept in the Durazzo collection (n. 2903), now in Paris, Collection Dutuit, Musée du Petit Palais. The original impression is distinctively marked at the left by a pair of nail or rivet holes in the center of rosette-like ornaments. It is a fine, characteristic example of a Fiorentine craftsmanship of the third quarter of the fifteenth century, and part of the so-called “Finiguerra group” of niello prints. But whether it is by Maso Finiguerra himself or another Fiorentine niellist of the period is uncertain. It may actually be based on a more elaborate design from the Finiguerra (or Pollaiuolo?) circle, 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 2401.26; Duchesne, p. 246 n. 283; Zanetti, p. 105 n. 146
bross. edit. ill., piccolo segno di piega in quarta di cop. - prima edizione
grand in-8°, 198 pp., broche, couverture plastifiee à rabats. Bel exemplaire. [DV-10]
Acquaforte, firmata e datata in lastra in alto a sinistra all’interno del soggetto. Oltre l’immagine in alto a destra numero 470, in basso “A. Piccinni pinx. et sc,” titolo e “V.ve A. Cadart Edit. Imp. 56 B.ard Haussmann. Paris”. Questa lastra fu pubblicata su L’Illustration Nouvelle, album edito dalla Maison Cadart nel marzo del 1879. Impressione eccellente con leggero effetto di tono, carta vergata. Ottimo stato di conservazione. Ampi margini oltre la battuta del rame. Il soggetto è riconducibile ad un gruppo di lavori appartenenti alle prime acqueforti di invenzione realizzate dall’artista, tutte hanno per soggetti personaggi e situazioni colti durante il soggiorno romano. In questa stampa vediamo rappresentati dodici spettatori a teatro che si sporgono dalla balconata per osservare meglio la rappresentazione. Grazie a potenti giochi chiaroscurali emergono dallo sfondo scuro e i loro volti indagati minuziosamente sono illuminati dalle luci teatrali della ribalta. Le luci imbiancano anche i due pilastri con capitelli che spezzano l’andamento lineare e prospettico volto a sinistra della superficie della balconata. Proprio l’effetto di luce e il punto di osservazione da sotto in su trasforma i volti in una serie di maschere il che suggerisce un’analisi psicologica dei “tipi da teatro”. 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, signed and dated in plate at upper left in the image. Beyond image in upper right corner number 470, below lettered "A. Piccinni pinx. et sc," the title and "V.ve A. Cadart Edit. Imp. 56 B.ard Haussmann. Paris." This plate was published in L'Illustration Nouvelle, an album edited by Maison Cadart in March 1879. Excellent impression with slight toning effect, printed on laid paper. Very good condition. Wide margins beyond the platemark. The subject can be traced back to a group of works belonging to the first etchings of invention made by the artist, all have for subjects characters and situations captured during his stay in Rome. In this print we see twelve spectators at the theater who lean out from the balcony to better observe the representation. Thanks to powerful chiaroscuro effects they emerge from the dark background and their meticulously studied faces are illuminated by the theatrical lights of the limelight. The lights also whitewash the two pillars with capitals that break the linear and perspective trend facing left of the surface of the balcony. Just the effect of light and the point of observation from below up turns the faces into a series of masks suggesting a psychological analysis of the "theater types". 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; G. Bassi “Antonio Piccinni”, Fasano di Puglia 1978; F. Fiorani G. Scaloni, “Antonio Piccinni incisore”, Roma 2005, 1.13.a, pag.75
Hardcover in-8 oblong, illustrations couleurs, cartonnage illustré. Très bel exemplaire. [PLG-5/6]
New English Paperback. Pbo. Demy 8vo. (21 x 14 cm). In Turkish. 152 p. Ulu Han Ata bitigi: Türkler'in en eski destani.
Exhibition catalog in excellent condition for the show of the title's name Nov. 6 -- Dec. 26th 1971. Binding is solid and square, covers have sharp corners with just a little shelf wear, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. 6 color plates, 184 b/w illustrations. 131 pp. glossary, bibliography, map of Northwest Edo. appendix on pigments. Contents include: Hishikawa Moronubu, Sugimura Jihei, Torii School, Kaigetsudo School, Okumura School, Nishikawa Sukenobu.
Copia di un niello della collezione Durazzo, di cui una impressione originale è ora nella collezione Cabinet Rothschild al Louvre. Si tratta probabilmente di un niello della fine del Quattrocento o dell'inizio del Cinquecento bolognese, e si avvicina nello stile alle stampe a niello di Peregrino da Cesena. Il soggetto e la composizione sono derivati, o forse direttamente copiati, da una scena di adlocutio su una moneta romana. Anche alcuni rilievi monumentali romani offrono vari punti di paragone, come alcuni dei rilievi antoniniani sull'Arco di Costantino. 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 terminusine ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection, (n. 3009), the original impression of which is now in the Cabinet Rothschild at the Louvre. This is probably late fifteenth- or early sixteenth-century Bolognese, and is close in style to the niello-manner prints of Peregrino da Cesena. The subject and composition are derived, or perhaps directly copied, from an adlocutio scene on a Roman coin. Certain monumental Roman reliefs also offer various points for comparison, such as several of the Antonine reliefs on the Arch of Costantine. 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 2401.24; Duchesne, p. 238 n. 265; Zanetti, p. 105 n. 145
Unpaginated. Approximately 3/8" thick. Lots of black and white photos throughout. Many autographs upon title page with others scattered throughout the book and some writing upon front and back covers. Binding sound. A quality copy of this nostalgic yearbook! Book
Fine English Paperback. Pbo. Cr. 8vo. (20 x 14 cm). In Turkish. [x], 62 p. Türk dostu, Ingiliz Türkolog Charles Wells: Hayati, eserleri ve Osmanli Türkleri ile ilgili düsünceleri. A biography of Charles Wells was an English Turcologist and his thoughts on Ottoman Turks.
Very Good Turkish, Ottoman (1500-1928) Original typescript letter signed by Alex. Hilsmann. 19x22,5 ccm .In French. 1 p. 15 lines. Full. Lettterhead 'Alex. Hilsmann, Mühendis - Ingenieur, Beyoglu, Tarla Basi Caddesi, 144'. "Aero Bank Paper" watermarked paper. Dated Istanbul, le 15 juillet 1936, Galata, P.K. 1533. Text: "Au Reverend Pere Bernardin Menthon, Mon pere, j'ai bien reçu en son temps votre carte du 21.4.36, et me suis adresse aux differentes paroisses de n.ville, ainsi qu'au Consulat General de France. Vous recevez ci-joint l'extrait de naissance de Mr. Ernestre Marechal, en m'indquantaussi les frais. Moi-meme, j'ai vecu a Brousse de 1891 a 1896, ou j'ai frequente l'ecole des Freres, et je me rappelle avoir entendu parler des parents de Monsieur Marechal, ainsi que des temoins mentionnes dans l'extrait de naissance ci-joint. Avec tours mes remerciements anticipes, je vous prie d'agreer, Mon Pere, l'expression de ma consideration tres distinguee.". Translation "To Reverend Pere Bernardin Menthon, Mon pere, I received your card of 21.4.36 in due course, and addressed myself to the various parishes of n.ville, as well as to the Consulate General of France. You will receive enclosed the birth certificate of Mr. Ernestre Marechal, also informing me of the costs. Myself, I lived in Brousse from 1891 to 1896, where I attended the school of the Brothers, and I remember having heard of the parents of Mr. Marechal, as well as witnesses mentioned in the birth certificate attached. With my thanks in advance, please accept, Father, the expression of my most distinguished consideration.".
Very Good Turkish, Ottoman (1500-1928) Original typescript letter signed by Cahit Külebi. 15x21 cm. In Turkish. 1 p. Dated Bern, November 3, 1961. Typescript document. Signed by Külebi as 'cultural attache'. Külebi was a leading Turkish poet and author. He has an important place in contemporary Turkish poetry due to his adherence to folk poetry traditions. His poetry is enriched with simple yet ironic language, embellished with original descriptions.
8vo., with frontispiece and 3 plates, contemporary inscription on front free endpaper; orange cloth, upper board and backstrip lettered in black, orange top, a very good, bright, clean copy in price-clipped dustwrapper, the latter lightly chafed at extremities.
62pp.met enige ills., originele omslag, mooie staat
Ex reference library book with usual (minimal) marks and stamps - library plate inside front cover, stamp to rear of title page and a very small circular stamp to a few other pages. No other inscriptions or marks. A very clean very tight copy with bright unmarked tape-free grey cloth boards and a bump to upper corner of rear cover. Dust jacket not price clipped with small piece missing from top of spine and rubbing to edges. 184pp. Cosima Tura was the leading master of the Ferrarese school in the fifteenth century and works by him are to be found in key galleries around the world. His artistic style is closely related to that of the Expressionists, his colours seem to burn and flicker and a passionate restlessness warps the outlines of his figures. Illustrated with 85 coloured and black & white full-page plates.
Book is in excellent condition with very light shelf wear only. Creaseless covers and spine, Binding is solid and square, covers have sharp corners, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. 131 pages with comics and drawings. Publishers page shows N.A.P. Poet, editor, and translator Ron Padgett was born in 1942 in Tulsa, Oklahoma. As a high-school student he founded the avant-garde literary journal The White Dove Review with his friends and fellow students Joe Brainard and Dick Gallup. Soliciting and publishing work from poets such as Allen Ginsberg and Robert Creeley, the magazine ran for five issues. Padgett moved to New York City in 1960 to attend Columbia College. Awarded a Fulbright in 1965, Padgett spent a year in Paris studying and translating French poetry. He eventually made his home in New York City?s East Village and became a vital part of the Second Generation New York School Poets, a group that included Ted Berrigan, Brainard, and others. Padgett is the author of over 20 collections of poetry, including Great Balls of Fire (1969, reissued 1990); You Never Know (2001); How to Be Perfect (2007); How Long (2011), a finalist for the Pulitzer Prize; and Collected Poems (2013), winner of the L.A. Times Book Prize. He has collaborated with the poet Ted Berrigan and the artists Jim Dine and George Schneeman. Of Padgett?s work, poet David Lehman wrote in Poetry: "The great legacy of French Surrealist and Dadaist writing makes itself felt in his poems."Voice Literary Supplement contributor Karen Volkman, reviewing Padgett?s 1995 New and Selected Poems, commented: This is a fine sampling of a restless, hilarious, and haunting lyric intelligence, a ?phony? whose variable voices form a rare and raucous orchestration: the real thing.
Features: Arizona in the '50's (conclusion) - a paradise of devils; Bear River Loot - Lafe Roberts and train robbery money; Scoreboard of the Raiders - how fast horses could change ownership in 1870 Texas; Lightning Stealers - manipulating a telegraph line to 'peddle calamity' could give men an easy fortune!; Pleasant Valley and Cowboy Flat - a last glimpse of the Doolin-Dalton outlaws before they turned to banks; A brush with death - the Arnett Hotel, Boulder, Colorado; Last Victim of the Vigilantes - Con Murphy; Mysterious Lady of Yankee Fork - Agnes Elizabeth King Hawthorne and one wedding too many, Bonanza, Idaho; King of the Windmillers - Ray D. Knox, installer of 7 in 10 windmills in the range country near Roswell, New Mexico; Miner's Finishing School - Tuscarora; Wild Old Days. Light wear. Clean and unmarked. Nice copy. Book
A clean, unmarked book with a tight binding. This book has the scent of nag champa incense. Includes laid in typewritten letter written and signed by Kenward Elmslie to a potential reviewer.
92 pages. An alumni directory for Trinity College School of Port Hope, Ontario. "Adds 1,800 'new' Old Boys to the list, last published in 1965." - from page v. Clean and unmarked with light wear. A nice copy. Book
Silografia stampata in bruno, 1763, firmata e datata in tavola in basso a destra.Da un disegno di Luca Cambiaso, prima nella collezione Fawkener (come indicato nell'opera in basso al centro), ora al British Museum.Magnifica prova, impressa su due grandi fogli di carta vergata coeva, con margini, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors', edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Woodcut printed in brown, 1763, signed at lower right.After a drawing by Luca Cambiaso, at that time in the Fawkener's collection and now at the British Museum.A fine impression, printed on two large sheet of contemporary laid paper, with margins, perfect condition.The work is part of Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors'. London: printed by J. Nichols, and sold by John Boydell, Benjamin White, and Peter Molini, 1778.The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: 'That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours'
In-8° pp. 176; legatura in mezza pelle. L’autore fu membro del Collegio reale dei medici di Londra. In-8° pp. 176, half calf binding. The author was a member of the Royal Medical College of London.
A clean, unmarked book with a tight binding. Slight wear to cover. 46 pages. First edtion, one of 1100 copies.
Acquaforte e puntasecca, 1882, da un soggetto di Théodore Rousseau. Impressione con firma autografa di Bracquemond; in basso a destra, timbro a secco della Printseller Association. Magnifica prova, del sesto stato su sei descritto da Beraldi, impressa su carta Cina, in eccellente stato di conservazione. Il dipinto di Rousseau da cui proviene l'acquaforte è Coucher de soleil : ou, Un abreuvoir ( ca. 1850-55 ), che è apparso all'asta da Sotheby's . New York, 17 febbraio 1993, lotto n. 12, intitolato Coucher de soleil dans les landes prés de Begaar e che oggi si trova in una collezione privata. Il quadro di Rousseau fu il primo dipinto dell'importante maestro acquistato dalla neonata galleria Arnold & Tripp, che aveva aperto nel gennaio 1881: fu acquistato da Georges Petit, esperto di Vente Hartmanna, per 20.000 franchi il 16 maggio 1881, e venduto il giorno seguente per 26.000 franchi al collezionista portoghese Pedro Eugenio Daupias. Arnold & Tripp, dopo aver acquistato e subito venduto il quadro Coucher de soleil, decisero di chiedere a Bracquemond di realizzare una lastra da cui ricavare delle copie da vendere. Questo indica che la galleria aveva mantenuto i diritti di riproduzione del dipinto, o almeno aveva un accordo con il proprietario in tal senso. L'identificazione del quadro da cui proviene l'acquaforte è quindi particolarmente interessante perché Bracquemond non fu incaricato di produrre un'incisione per promuovere la vendita del quadro, che la galleria aveva già venduto a Daupias nel maggio 1881. Piuttosto, come era comune con le incisioni, si rivolgeva al suo particolare mercato di collezionisti, sicuramente interessati ad avere un'incisione da un dipinto che era diventato parte di una famosa collezione di Lisbona, e che non avrebbero più potuto ammirare a Parigi. La scoperta del contratto stipulato tra la galleria parigina Arnold & Tripp e il pittore e incisore Felix Bracquemond è un fatto recente. Il contratto fa parte di un gruppo di sette lettere, contenute nel carteggio Arnold & Tripp, che illustrano tutti gli aspetti dell'affare, dal contratto formale del luglio 1881, alle varie fasi delle prove, fino alla lastra finale da presentare al Salone parigino del 1882. Per un’approfondimento sul tema, si rimanda al saggio di Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in “Getty Research Journal”, n. 10 (2018), pp. 207-224). Già nel contratto Bracquemond fa riferimento a sei stati della lastra, poi descritti da Henri Beraldi (cfr. Les Graveurs du XIXe siècle s…, t. 3, pp. 109-110). Etching and drypoint, 1882, inscribed beneath the image lower left B lower Publie par Arnold et Tripp. & Rue St Georges a Paris. In the image, lower right TH. R After a painting by Théodore Rousseau. Example in the sixth finale state, with the signature and the publisher’s address lower centre. Etched by Félix Bracquemond (1833–1914). Impression signed by Bracquemond, in pencil. Printsellers' Association's blind stamp at lower left. The painting from which the etching comes is Coucher de soleil : ou, Un abreuvoir ( ca. 1850-55 ), which appeared at auction at Sotheby's . New York , 17 February 1993 , lot no . 12 , titled Coucher de soleil dans les landes prés de Begaar and which today is held in a private collection. The Rousseau painting was the first painting by the important master purchased by the newborn gallery Arnold & Tripp gallery, which had opened in January 1881. The painting was bought from Georges Petit for 20,000 francs od 16 May 1881, and sold the following day for 26,000 francs to the Portuguese collector Pedro Eugenio Daupias. Arnold & Tripp, after having purchased and immediately sold the painting Coucher de soleil , decided to ask Bracquemond to produce a plate from which to derive copies to sell . This indicates that Arnold & Tripp had retained the reproduction rights for the painting , or at least had an agreement with the owner to that effect. The identification of the painting from which the etching comes is therefore particularly interesting because Bracquemond was not contracted to produce an engraving in order to promote the sale of the painting, which the gallery had already sold to Daupias in May 1881. Rather, as was common with artists' etchings, it was aimed at its own particular market of collector, surely interesting in having an engraving of a painting that had become part of a famous collection in Lisbon, and which they would no longer be able to admire in Paris. Recently, in the archives of the Getty Research Institute was discovered a contract between the Parisian gallery Arnold & Tripp and the painter and etcher Felix Bracquemond (1833-1914) in order to realize a plate after a painting by Théodore Rousseau. The contract is part of a group of seven letters, contained in the Arnold & Tripp correspondance, that illustrate all the aspects of the deal, from the formal contract in July 1881 , to the various phases of the proofs, toward the final plate to be presented at the Parisian Salon of 1882. (cfr. Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in Getty Research Journal, n. 10 (2018), pp. 207-224). H. Beraldi, tome 3, pp. 109 - 110; Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in “Getty Research Journal”, n. 10 (2018)
in-8°, 403 pp., 182 figures en noir, broche, couv. Bel exemplaire, tres frais. [109B-8]
66 pages. Features: News Photos; Tribute to Philadelphia's Railroad Station; Canadian National's Lynn Lake Line - Rails toward the Arctic, by Peter C. Newman; Smoke Over the Prairies 4 - the first Burlington Steam Power; 3 and a half days from coast to coast - reprint of a1923 article from Mutual magazine; Photo Section; A Steam School in 1955? - at Fort Eustis, Va. the Army teaches men to railroad under any conditions; Cleveland's "Rapid" - electric passenger railway; When Steam Ruled the Saluda - Southern Railway; The Preservation of Illinois Terminal; and more. Small date stamp atop back cover, otherwise unmarked with moderate wear. Binding sound. A quality copy. Magazine
