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  • Category = Prints & Posters
  • Extremes Meet in a Radical Embrace by H.B. [John Doyle]
    H.B. [John Doyle]
    Extremes Meet in a Radical Embrace (Query) Who's the Dupe?

    London: Thos McLean, 1830. First Edition. Sketch #53 in the political sketches series. The Marquess of Blandford (Duke of Marlborough) embracing Daniel O'Connell, The Duke had expressed his sympathy with O'Connell on the subject of Reform in Parliament, and also in distaste for the Catholic Relief Act. Clear image, with moderate foxing to the image. Pasted onto a mustard card backing. Backing card has been trimmed to 2.5cm around the plate. Print is 32cm x 24cm. Backing card is 37cm x 29cm. Also held under a temporary white passe partout. The National Portrait Gallery Hold the original Ref:1882,1209.377 Irish agitator; Daniel O'Connell (1775-1847), Irish politician; MP for Dublin City and Cork County; George Spencer-Churchill, 5th Duke of Marlborough FSA…

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    London: Thos McLean, 1830. First Edition. Sketch #53 in the political sketches series. The Marquess of Blandford (Duke of Marlborough) embracing Daniel O'Connell, The Duke had expressed his sympathy with O'Connell on the subject of Reform in Parliament, and also in distaste for the Catholic Relief Act. Clear image, with moderate foxing to the image. Pasted onto a mustard card backing. Backing card has been trimmed to 2.5cm around the plate. Print is 32cm x 24cm. Backing card is 37cm x 29cm. Also held under a temporary white passe partout. The National Portrait Gallery Hold the original Ref:1882,1209.377 Irish agitator; Daniel O'Connell (1775-1847), Irish politician; MP for Dublin City and Cork County; George Spencer-Churchill, 5th Duke of Marlborough FSA (1766–1840), styled Marquess of Blandford until 1817, was a British nobleman, politician, peer, and collector of antiquities and books.

    . John Doyle was born in Dublin and moved to London in 1822 where he initially worked as a portrait lithographer. In 1827 Doyle began publishing political prints anonymously. From 1829-1851 Doyle published his well-known Political Sketches series, signing his work with the initials "HB" to hide his identity.

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    Book ID: 5189
    View basket More details Price: £125.00
  • Fabric design with flower segments by Seishū, Sunagawa. 砂川誠秀
    Seishū, Sunagawa. 砂川誠秀
    Fabric design with flower segments

    Japan: Maria Gahō, C1938. First Edition. A fabric design with three segments of flowers. A woodblock stencil print. In beautiful condition. stencil printing with gold. To the verso are paper labels with the artists name. The Seal: Sunagawa Seishu 砂川誠秀. 27.8 x 18.7 cm 砂川誠秀 (Sunagawa Seishū) was a Japanese editor and artist active in the pre-WWII era, known for compiling art books featuring woodblock prints and illustrations. He edited "錦典聚" (Kinshūshū), a three-volume collection published in 1938 by Maria Gahō, showcasing traditional Japanese art with large-format plates (30.3cm × 10cm).

    . Première édition. Motif textile composé de trois segments de fleurs. Impression au pochoir sur bois. En très bon état. Impression au pochoir avec dorure. Au verso, étiquettes…

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    Japan: Maria Gahō, C1938. First Edition. A fabric design with three segments of flowers. A woodblock stencil print. In beautiful condition. stencil printing with gold. To the verso are paper labels with the artists name. The Seal: Sunagawa Seishu 砂川誠秀. 27.8 x 18.7 cm 砂川誠秀 (Sunagawa Seishū) was a Japanese editor and artist active in the pre-WWII era, known for compiling art books featuring woodblock prints and illustrations. He edited "錦典聚" (Kinshūshū), a three-volume collection published in 1938 by Maria Gahō, showcasing traditional Japanese art with large-format plates (30.3cm × 10cm).

    . Première édition. Motif textile composé de trois segments de fleurs. Impression au pochoir sur bois. En très bon état. Impression au pochoir avec dorure. Au verso, étiquettes en papier portant le nom de l'artiste. Cachet : Sunagawa Seishu 砂川誠秀. 27,8 x 18,7 cm 砂川誠秀 (Sunagawa Seishū) était un éditeur et artiste japonais actif avant la Seconde Guerre mondiale, connu pour avoir compilé des livres d'art présentant des estampes sur bois et des illustrations. Il a édité « 錦典聚 » (Kinshūshū), un recueil en trois volumes publié en 1938 par Maria Gahō, présentant l'art traditionnel japonais avec des planches grand format (30.3cm × 10cm).

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    Book ID: 5490
    View basket More details Price: £50.00
  • Femme à la glace, (Woman at the Mirror) by TOULOUSE-LAUTREC, Henri de.
    TOULOUSE-LAUTREC, Henri de.
    Femme à la glace, (Woman at the Mirror)

    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant…

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    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant marking, wear or damage. Slight marking to the blank rear, and an old stock number. Rare to find in such a good state.

    . Bel exemplaire de cette reproduction lithographique de l'œuvre originale de Toulouse-Lautrec. Peint en 1896, il s'agit de l'une des 275 reproductions réalisées par le Musée Toulouse-Lautrec. Elle porte le cachet rouge du musée, le numéro au crayon et le cachet en creux du musée. Nous n'avons pas pu identifier la date de cette série. Le papier est tissé lourd et filigrané Veches. Premier exemplaire. Une femme, saisie de dos, est nue à partir de la taille et se lave le cou sur sa table de nuit. Un miroir placé devant elle révèle une partie de son image. La feuille mesure 75 cm x 54 cm. L'image elle-même mesure 61 cm x 47 cm. Un bon exemplaire, propre, sans marque, usure ou dommage significatif. Légère marque au verso vierge, et un ancien numéro de stock. Rare à trouver dans un si bon état.

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    Book ID: 4735
    View basket More details Price: £200.00
  • Femme au perroquet. by HARDY, Jean
    HARDY, Jean
    Femme au perroquet. Original Art Déco drypoint etching signed by Jean Hardy, with hand colouring

    Scarce. Oval etching. Signed. Aquatint, and small hand-colored detail. Circa 1926, Paris. The etching depicts a woman with an exotic bird looking indignant. The work is signed in pencil by Jean Hardy at the bottom, lower right. Numbered in pencil # 35 of 350. In an oval art deco style wooden frame. The print is believed to be in excellent condition, but has not been removed from its wooden frame. The frame is in very good condition, with some minor scratches. This is a fantastic example of the passion for what was called "the art of the boudoir." Louis Icart and Jean Hardy were two of the most popular. Rare. Eau forte ovale. Signée. Aquatinte, et petit détail colorié à…

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    Scarce. Oval etching. Signed. Aquatint, and small hand-colored detail. Circa 1926, Paris. The etching depicts a woman with an exotic bird looking indignant. The work is signed in pencil by Jean Hardy at the bottom, lower right. Numbered in pencil # 35 of 350. In an oval art deco style wooden frame. The print is believed to be in excellent condition, but has not been removed from its wooden frame. The frame is in very good condition, with some minor scratches. This is a fantastic example of the passion for what was called "the art of the boudoir." Louis Icart and Jean Hardy were two of the most popular. Rare. Eau forte ovale. Signée. Aquatinte, et petit détail colorié à la main. Vers 1926, Paris. La gravure représente une femme avec un oiseau exotique à l'air indigné. L'oeuvre est signée au crayon par Jean Hardy en bas, en bas à droite. Numéroté au crayon # 35 sur 350. Dans un cadre ovale en bois de style art déco. L'impression est supposée en excellent état, mais n'a pas été retirée de son cadre en bois. Le cadre est en très bon état, avec quelques rayures mineures. C'est un exemple fantastique de la passion pour ce qu'on appelait « l'art du boudoir ». Louis Icart et Jean Hardy étaient deux des plus populaires.

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    Book ID: 5194
    View basket More details Price: £250.00
  • Femme aux Fleurs by GOERG, Edourard Joseph.
    GOERG, Edourard Joseph.
    Femme aux Fleurs [Some auctions catalogue as "The Good Life"]

    Paris: L'Estampe, C1950. A lovely signed and limited colour lithograph by Goerg. Numbered 90/100 in pencil and also signed by the artist. Printed on heavy BFK Rives paper and with the "L'Estampe" embossed logo to the bottom right of the sheet. The print is not titled to the sheet, and we have seen a couple of different names used when in auction records when this work has been sold in the past! Not dated but circa 1950. In excellent, clean condition with no significant flaws. Suitable for framing. Édouard Joseph Goerg (1893-1969) was a French expressionist painter, engraver, and illustrator. Image is 33cm x 26cm. The sheet is 56cm x 45.5cm.

    . Une belle lithographie en couleur signée et…

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    Paris: L'Estampe, C1950. A lovely signed and limited colour lithograph by Goerg. Numbered 90/100 in pencil and also signed by the artist. Printed on heavy BFK Rives paper and with the "L'Estampe" embossed logo to the bottom right of the sheet. The print is not titled to the sheet, and we have seen a couple of different names used when in auction records when this work has been sold in the past! Not dated but circa 1950. In excellent, clean condition with no significant flaws. Suitable for framing. Édouard Joseph Goerg (1893-1969) was a French expressionist painter, engraver, and illustrator. Image is 33cm x 26cm. The sheet is 56cm x 45.5cm.

    . Une belle lithographie en couleur signée et limitée de Goerg. Numéro 90/100 au crayon et également signée par l'artiste. Imprimée sur du papier BFK Rives et avec le logo "L'Estampe" en bas à droite de la feuille. L'estampe n'est pas titrée sur la feuille, et nous avons vu plusieurs noms différents dans les archives des ventes aux enchères ! L'épreuve n'est pas datée, mais elle date d'environ 1950. En excellent état, propre et sans défauts significatifs. Convient pour l'encadrement. Édouard Joseph Goerg (1893-1969) était un peintre, graveur et illustrateur expressionniste français. L'image mesure 33 cm x 26 cm. La feuille mesure 56 cm x 45,5 cm.

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    Book ID: 5008
    View basket More details Price: £100.00
  • Femme qui se lave - la toilette (Woman Washing Herself - Toilet) by TOULOUSE-LAUTREC, Henri de.
    TOULOUSE-LAUTREC, Henri de.
    Femme qui se lave - la toilette (Woman Washing Herself - Toilet)

    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant…

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    Albi: Musée Toulouse Lautrec, ND. A lovely copy of this lithographic reproduction of Toulouse-Lautrec's original work. Painted in 1896, this is one of 275 reproductions produced by the Musée Toulouse-Lautrec. It bears the red stamp of the museum, the number in pencil and the blind embossed stamp from the museum. We have been unable to identify the date of this series. The paper is heavy woven, and watermarked Veches. First Thus. A woman, captured from behind, is naked from the waist up, washing her neck at her night stand. A mirror in front of her reveals more of her image. Sheet is 75cm x 54cm. The image itself is 61cm x 47cm. A good, clean copy, with no significant marking, wear or damage. Slight marking to the blank rear, and an old stock number. Rare to find in such a good state.

    . Bel exemplaire de cette reproduction lithographique de l'œuvre originale de Toulouse-Lautrec. Peint en 1896, il s'agit de l'une des 275 reproductions réalisées par le Musée Toulouse-Lautrec. Elle porte le cachet rouge du musée, le numéro au crayon et le cachet en creux du musée. Nous n'avons pas pu identifier la date de cette série. Le papier est tissé lourd et filigrané Veches. Premier exemplaire. Une femme, saisie de dos, est nue à partir de la taille et se lave le cou sur sa table de nuit. Un miroir placé devant elle révèle une partie de son image. La feuille mesure 75 cm x 54 cm. L'image elle-même mesure 61 cm x 47 cm. Un bon exemplaire, propre, sans marque, usure ou dommage significatif. Légère marque au verso vierge, et un ancien numéro de stock. Rare à trouver dans un si bon état.

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    Book ID: 4734
    View basket More details Price: £200.00
  • A lovely collection of engravings in two states
    Figures des Fables de La Fontaine by [LA FONTAINE, Jean de]. RANSONNETTE, Charles
    [LA FONTAINE, Jean de]. RANSONNETTE, Charles
    Figures des Fables de La Fontaine

    Paris: Nepveu, 1820. First edition. An attractive suite of the 60 engravings of Ransonnette for the 1829 edition of Fontaine's fables. These are in two states. (So a total of 120 engravings). The first, on small sheets (20.5cm x 11.5cm). The majority of these have no text on the sheet (a couple has "ransonnette fils" and a date of 1822/1823 to them). The second set, with an identical picture, but with the title of each engraving beneath. These are on a larger sheets (24cm x 16cm). A lot of the plates have moderate to heavy foxing. Nevertheless still an attractive and scarce set of prints. Please note, we are not providing the six volumes of fables - the plates…

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    Paris: Nepveu, 1820. First edition. An attractive suite of the 60 engravings of Ransonnette for the 1829 edition of Fontaine's fables. These are in two states. (So a total of 120 engravings). The first, on small sheets (20.5cm x 11.5cm). The majority of these have no text on the sheet (a couple has "ransonnette fils" and a date of 1822/1823 to them). The second set, with an identical picture, but with the title of each engraving beneath. These are on a larger sheets (24cm x 16cm). A lot of the plates have moderate to heavy foxing. Nevertheless still an attractive and scarce set of prints. Please note, we are not providing the six volumes of fables - the plates only. Charles Nicolas Ransonnette (1793–1877) was a French draughtsman, engraver, lithographer, and water-colourist. 120 sheets.

    . Première édition. Une jolie suite des 60 gravures de Ransonnette pour l'édition de 1829 des fables de Fontaine. Celles-ci sont en deux états. (Soit un total de 120 gravures). Le premier, sur de petites feuilles (20,5cm x 11,5cm). La plupart d'entre elles n'ont pas de texte sur la feuille (quelques unes portent la mention "ransonnette fils" et une date de 1822/1823). La deuxième série, avec une image identique, mais avec le titre de chaque gravure en dessous. Celles-ci sont sur des feuilles plus grandes (24cm x 16cm). Un grand nombre de planches présentent des rousseurs modérées à importantes. Néanmoins, il s'agit toujours d'un ensemble de gravures attrayantes et rares. Veuillez noter que nous ne fournissons pas les six volumes de fables, mais uniquement les planches. Charles Nicolas Ransonnette (1793-1877) était un dessinateur, graveur, lithographe et aquarelliste français. 120 feuilles.

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    Book ID: 5161
    View basket More details Price: £120.00
  • Great hippy era hand made posters
    Four original water colour Pro-Cuba posters. by SWOMI
    SWOMI
    Four original water colour Pro-Cuba posters. Viva Che / Fidel Castro / Cuban Flag / Viva Fidel.

    France: S.P. Four original art works. 1971 pro Cuba water colours by a French artist, unknown who signs his work Swomi. The four are all expressionist style artworks with a strong pop art influence. The artist was obviously a fan of Castro's Cuba, as these are the theme. The style and size makes these almost posters. 85cm x 50cm. Despite the artist being unknown, these striking and colourful works make a great end of the hippy-era collection. Overall in good condition, with a few marks to them. Slight nicks to the edge of the card. The portrait of Castro has slight water damage. Would look great framed up as a one off set.

    . Quatre œuvres d'art originales.…

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    France: S.P. Four original art works. 1971 pro Cuba water colours by a French artist, unknown who signs his work Swomi. The four are all expressionist style artworks with a strong pop art influence. The artist was obviously a fan of Castro's Cuba, as these are the theme. The style and size makes these almost posters. 85cm x 50cm. Despite the artist being unknown, these striking and colourful works make a great end of the hippy-era collection. Overall in good condition, with a few marks to them. Slight nicks to the edge of the card. The portrait of Castro has slight water damage. Would look great framed up as a one off set.

    . Quatre œuvres d'art originales. Aquarelles pro-Cuba de 1971 réalisées par un artiste français inconnu qui signe ses œuvres « Swomi ». Les quatre œuvres sont de style expressionniste et fortement influencées par le pop art. L'artiste était manifestement un admirateur du Cuba de Castro, puisque c'est le thème de ces œuvres. Le style et la taille de ces œuvres les rapprochent presque de des affiches. 85 cm x 50 cm. Bien que l'artiste soit inconnu, ces œuvres saisissantes et colorées constituent une excellente conclusion à la collection de l'ère hippie. Dans l'ensemble, elles sont en bon état, avec quelques marques. Légères entailles sur le bord du carton. Le portrait de Castro présente de légers dégâts causés par l'eau.

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    Book ID: 5365
    View basket More details Price: £250.00
  • Fourrures by ERTE, (Romain de Tirtoff)
    ERTE, (Romain de Tirtoff)
    Fourrures

    Paris: ‎ Editions Langlaude, 2021. ‎First edition thus. A beautiful fine art, limited reproduction of this iconic art deco poster. This edition, on heavy, matte, fine art paper is limited to 50 numbered copies. (this is copy 8). In excellent condition, the vibrant red and golf of this poster is particularly striking. Heavy embossed publisher's stamp. A large piece, the coloured image is 64cm x 50cm whilst the poster itself is 80cm x 60cm. Erté (Romain de Tirtoff) had an extraordinary and defining relationship with Harper's Bazaar magazine. From 1915 to 1936, he contributed over 240 covers and more than 2,500 illustrations, including fashion drawings, accessories, interior designs, and even society columns for the magazine. His work established an…

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    Paris: ‎ Editions Langlaude, 2021. ‎First edition thus. A beautiful fine art, limited reproduction of this iconic art deco poster. This edition, on heavy, matte, fine art paper is limited to 50 numbered copies. (this is copy 8). In excellent condition, the vibrant red and golf of this poster is particularly striking. Heavy embossed publisher's stamp. A large piece, the coloured image is 64cm x 50cm whilst the poster itself is 80cm x 60cm. Erté (Romain de Tirtoff) had an extraordinary and defining relationship with Harper's Bazaar magazine. From 1915 to 1936, he contributed over 240 covers and more than 2,500 illustrations, including fashion drawings, accessories, interior designs, and even society columns for the magazine. His work established an iconic Art Deco aesthetic for Harper's Bazaar, with bold colors, geometric forms, and elaborate couture designs that helped revolutionize fashion illustration and set the magazine apart as a creative leader during the early 20th century.

    . Première édition. Une magnifique reproduction limitée de cette affiche emblématique de l'art déco. Cette édition, sur papier d'art épais et mat, est limitée à 50 exemplaires numérotés. (il s'agit de l'exemplaire 8). En excellente condition, le rouge vibrant et le golf de cette affiche sont particulièrement frappants. Lourd cachet de l'éditeur en relief. Il s'agit d'une grande pièce, l'image en couleur mesure 64 cm x 50 cm, tandis que l'affiche elle-même mesure 80 cm x 60 cm. Erté (Romain de Tirtoff) a eu une relation extraordinaire et déterminante avec le magazine Harper's Bazaar. De 1915 à 1936, il a réalisé plus de 240 couvertures et plus de 2 500 illustrations, y compris des dessins de mode, des accessoires, des décorations d'intérieur et même des chroniques mondaines pour le magazine. Son travail a établi une esthétique Art déco emblématique pour Harper's Bazaar, avec des couleurs vives, des formes géométriques et des dessins de couture élaborés qui ont contribué à révolutionner l'illustration de la mode et à faire du magazine un leader créatif au début du 20e siècle.

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    Book ID: 5289
    View basket More details Price: £275.00
  • Gedenkblatt des Zentralverband der Zimmerer und verwandter Berufsgenossen Deutschland by KARBERG, Bruno.
    KARBERG, Bruno.
    Gedenkblatt des Zentralverband der Zimmerer und verwandter Berufsgenossen Deutschland

    Hamburg: Bruno Karberg, 1928. A 25 year commemorative certificate issued to comrade Friedrich Steinig by the association of Carpenters and associated professions. Blind-embossed lithograph based on a design by Bruno Karberg. An attractive, art-deco design, with gilt and colour detail. A little rubbing to the name and date (printed after the original sheet) and slight darkening / marking to the sheet, but overall in excellent condition. Bruno Karberg was a German graphic artist based in Hamburg. Was a student of O. Czeschka at the arts and crafts school. Printed publisher details to the bottom of the certificate. 455 by 375mm (18 by 14¾ inches). 

    . Certificat commémoratif de 25 ans délivré au camarade Friedrich Steinig par l'association des charpentiers…

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    Hamburg: Bruno Karberg, 1928. A 25 year commemorative certificate issued to comrade Friedrich Steinig by the association of Carpenters and associated professions. Blind-embossed lithograph based on a design by Bruno Karberg. An attractive, art-deco design, with gilt and colour detail. A little rubbing to the name and date (printed after the original sheet) and slight darkening / marking to the sheet, but overall in excellent condition. Bruno Karberg was a German graphic artist based in Hamburg. Was a student of O. Czeschka at the arts and crafts school. Printed publisher details to the bottom of the certificate. 455 by 375mm (18 by 14¾ inches). 

    . Certificat commémoratif de 25 ans délivré au camarade Friedrich Steinig par l'association des charpentiers et des professions associées. Lithographie estampée à l'aveugle d'après un dessin de Bruno Karberg. Un beau dessin art-déco, avec des détails dorés et en couleur. Un peu de frottement au nom et à la date (imprimés après la feuille originale) et un léger assombrissement / marquage à la feuille, mais dans l'ensemble en excellent état. Bruno Karberg était un artiste graphique allemand basé à Hambourg. Il a été l'élève d'O. Czeschka à l'école des arts et métiers. Détails de l'éditeur imprimés au bas du certificat. 455 x 375 mm

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    Book ID: 4284
    View basket More details Price: £80.00
  • Geteilte Interpretationen Maler sehen die Mauer - poster by MAUERMUSEUM - Museum Haus am Checkpoint Charlie
    MAUERMUSEUM - Museum Haus am Checkpoint Charlie
    Geteilte Interpretationen Maler sehen die Mauer - poster

    Berlin: Verlag Haus am Checkpoint Charlie. Original exhibition poster from the 1980s. This poster is mostly black with white text, and advertises a permanent exhibition 'Geteilte Interpretationen Maler sehen die Mauer' - the translation in English is roughly "Shared interpretations. Painters see the wall". Includes five examples of art pieces from the exhibition. In excellent condition. Under glass and in a black frame. 510 x 410 mm (20 x 16¼ inches). Can be sold with or without frame.

    The Mauermuseum – Museum Haus am Checkpoint Charlie was founded immediately after the wall that divided Berlin was built and the museum opened its doors in October 1962. It's location was chosen "To be as close as possible to injustice,…

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    Berlin: Verlag Haus am Checkpoint Charlie. Original exhibition poster from the 1980s. This poster is mostly black with white text, and advertises a permanent exhibition 'Geteilte Interpretationen Maler sehen die Mauer' - the translation in English is roughly "Shared interpretations. Painters see the wall". Includes five examples of art pieces from the exhibition. In excellent condition. Under glass and in a black frame. 510 x 410 mm (20 x 16¼ inches). Can be sold with or without frame.

    The Mauermuseum – Museum Haus am Checkpoint Charlie was founded immediately after the wall that divided Berlin was built and the museum opened its doors in October 1962. It's location was chosen "To be as close as possible to injustice, that's where human greatness unfolds most." according to the museum's founder, Dr. Rainer Hildebrandt. The museum can still be found in Friedrichstrasse in Berlin.

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    Book ID: 3606
    View basket More details Price: £70.00
  • Gezigt [Gezicht] op de Oude Kerk by BEIJER, Jan de.
    BEIJER, Jan de.
    Gezigt [Gezicht] op de Oude Kerk van buiten aan de Zuidzyde

    Paulus van Liender / Pierre Fouquet, 1760. First Edition. A very nice engraving of the old church in Amsterdam. Engraved by Paulus van Liender after an original by Jan de Beijer, this was originally printed in 1760. This was later re-printed by Pierre Fouquet in his "Atlas." He produced engravings from 1769, and eventually produced over 100 engravings, so that purchasers could select the prints they wanted and create their own personal collection. The attribution to Beijer / Leander is not shown on this engraving, but the image is identical to the Rijksmuseum holding: RP-P-AO-23-5 - Only the titles differ (including spelling of Gezigt / Gezigt/ This is a nice clean print, with just a couple of small marks…

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    Paulus van Liender / Pierre Fouquet, 1760. First Edition. A very nice engraving of the old church in Amsterdam. Engraved by Paulus van Liender after an original by Jan de Beijer, this was originally printed in 1760. This was later re-printed by Pierre Fouquet in his "Atlas." He produced engravings from 1769, and eventually produced over 100 engravings, so that purchasers could select the prints they wanted and create their own personal collection. The attribution to Beijer / Leander is not shown on this engraving, but the image is identical to the Rijksmuseum holding: RP-P-AO-23-5 - Only the titles differ (including spelling of Gezigt / Gezigt/ This is a nice clean print, with just a couple of small marks to the sheet. good impression. The printed area is 28 cm x 38,5 cm. The sheet is 43cm by 51cm (17 by 20 inches). A touch of edgewear and darkening to the corners of the sheet only

    . Première édition. Une très belle gravure de la vieille église d'Amsterdam. Gravée par Paulus van Liender d'après un original de Jan de Beijer, elle a été imprimée à l'origine en 1760. Elle fut ensuite réimprimée par Pierre Fouquet dans son "Atlas". Il produisit des gravures à partir de 1769, et finalement plus de 100 gravures, afin que les acheteurs puissent sélectionner les gravures qu'ils souhaitaient et créer leur propre collection personnelle. L'attribution à Beijer / Leander n'est pas indiquée sur cette gravure, mais l'image est identique à celle du Rijksmuseum : RP-P-AO-23-5 - Seuls les titres diffèrent (y compris l'orthographe de Gezigt / Gezigt/ Il s'agit d'une belle gravure propre, avec seulement quelques petites marques sur la feuille. bonne impression. La surface imprimée est de 28 cm x 38,5 cm. La feuille mesure 43 cm sur 51 cm (17 sur 20 pouces). Un peu d'usure des bords et un assombrissement des coins de la feuille seulement.

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    Book ID: 4291
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  • Gezigt Langs Het Rokin, op de Nieuwe - Zyds - Kapel en Beurs by BEIJER, J. de.
    BEIJER, J. de.
    Gezigt Langs Het Rokin, op de Nieuwe - Zyds - Kapel en Beurs

    1765. Engraved by J. Folkema. An attractive view of the Amsterdam Stock Exchange (built in 1611 by Hendrick de Keyser) the Nieuwezijds Kapel can be seen to the left. Engraving is 28cm x 37cm. Sheet is 43cm x 52cm. A nice clean copy, with just a touch of handling. Uncoloured.

    . Gravure de J. Folkema. Une belle vue de la Bourse d'Amsterdam (construite en 1611 par Hendrick de Keyser). On aperçoit la Nieuwezijds Kapel à gauche. La gravure mesure 28 cm x 37 cm. La feuille mesure 43 cm x 52 cm. Un bel exemplaire propre, avec juste un peu de manipulation. Non coloré.

    Book ID: 4301
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  • Gezigt op het Stadhuis by LIENDER, Paulus van
    LIENDER, Paulus van
    Gezigt op het Stadhuis langs de noorzyde en van agteren, en op den onvolbouwden tooren der Nieuwe Kerke

    Amsterdam: Isaak Tirion, 1765. An attractive and uncommon view of the City Hall, by Liender after an anonymous artist. Published by Isaak Tirion as part of Jan de Wanenaar's "Amsterdam in its rise, growth, histories,..," ("Amsterdam in zyne opkomst, aanwas, geschiedenissen,.etc.,"). engraved area is 29cm x 37cm. Page is 43cm x 52cm. First edition. Good strong impression, and nice clean plate. A very good copy. Fractionally darkened to the edges.

    Book ID: 4307
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  • Grand prêtre des Gaures ou Perses devant le feu ayant à la main son rituel. by PICART, Bernard
    PICART, Bernard
    Grand prêtre des Gaures ou Perses devant le feu ayant à la main son rituel. Trois différentes têtes de prêtres gaures avec la mitre et la bouche couverte

    Amsterdam: Jean-Frédéric Bernard, 1723. First edition. Attractive engravings of Persian high priests at the temple. From the title of them referencing they are Persian, and with the pre-eminence of the fire in the ceremony, it is likely that they were Zoroastrian clergy. A good, clean copy of this sheet. 34cm x 23cm under a (slightly foxed) passe partout of 46cm x 32cm. Engraving by Bernard Picart for Jean-Frédéric Bernard and Antoine-Augustin Bruzen de la Martinière's Traité des cérémonies religieuses de toutes les nations (Treatise on the Religious Ceremonies of All Nations), published in Amsterdam between 1723 and 1743. This was published in Amsterdam in nine volumes, illustrated with approximately 600 large plates engraved in etching and burin by Bernard…

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    Amsterdam: Jean-Frédéric Bernard, 1723. First edition. Attractive engravings of Persian high priests at the temple. From the title of them referencing they are Persian, and with the pre-eminence of the fire in the ceremony, it is likely that they were Zoroastrian clergy. A good, clean copy of this sheet. 34cm x 23cm under a (slightly foxed) passe partout of 46cm x 32cm. Engraving by Bernard Picart for Jean-Frédéric Bernard and Antoine-Augustin Bruzen de la Martinière's Traité des cérémonies religieuses de toutes les nations (Treatise on the Religious Ceremonies of All Nations), published in Amsterdam between 1723 and 1743. This was published in Amsterdam in nine volumes, illustrated with approximately 600 large plates engraved in etching and burin by Bernard Picard. These engravings depict the rites of all the world's religions. Catholics, Dutch Reformed Protestants, Lutherans, Anglicans, Anabaptists, Quakers, Orthodox Christians, and Jews are portrayed alongside Hindus, Mexicans, and Muslims. Bernard Picart (1673–1733) was a French Huguenot draughtsman, engraver, and book illustrator who spent much of his career in Amsterdam. He is noted for his detailed and precise engravings, combining artistic skill with cultural and religious themes. Première édition. Gravures attrayantes représentant des grands prêtres perses dans un temple. D'après leur titre, qui fait référence à leur origine perse, et compte tenu de la place prépondérante du feu dans la cérémonie, il est probable qu'il s'agisse de membres du clergé zoroastrien. Exemplaire en bon état, propre. 34 cm x 23 cm sous un passe-partout (légèrement roussi) de 46 cm x 32 cm. Gravure de Bernard Picart pour le Traité des cérémonies religieuses de toutes les nations de Jean-Frédéric Bernard et Antoine-Augustin Bruzen de la Martinière, publié à Amsterdam entre 1723 et 1743. Cet ouvrage a été publié à Amsterdam en neuf volumes, illustrés d'environ 600 grandes planches gravées à l'eau-forte et au burin par Bernard Picard. Ces gravures représentent les rites de toutes les religions du monde. Les catholiques, les protestants réformés néerlandais, les luthériens, les anglicans, les anabaptistes, les quakers, les chrétiens orthodoxes et les juifs y sont représentés aux côtés des hindous, des mexicains et des musulmans. Bernard Picart (1673-1733) était un dessinateur, graveur et illustrateur de livres huguenot français qui a passé une grande partie de sa carrière à Amsterdam. Il est connu pour ses gravures détaillées et précises, alliant talent artistique et thèmes culturels et religieux.

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    Book ID: 5346
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  • 'Graphic Light' silkscreen print in frame by VAN DER VET, Wout
    VAN DER VET, Wout
    'Graphic Light' silkscreen print in frame

    Zoetemeer: Wout van der Vet, 1991. Signed and numbered silkscreen print, printed in 16 passes. This is # 50 / 50. In a black mount and black metallic frame, with glass front. Measurement in frame: 715 x 515 mm (28¼ x 20¼ inches).

    Book ID: 2538
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  • Hand-coloured Copper Engraving of Sheep from 'Historia Naturalis' by John Johnston [Johannes Johnstone]
    John Johnston [Johannes Johnstone]
    Hand-coloured Copper Engraving of Sheep from 'Historia Naturalis'

    Amsterdam: Johann Jacob Schipper. Single sheet from 'Historia Naturalis' published 1657 and engraved by Matthaus [Matthew] Merian. Beautifully hand-coloured, in excellent condition, under cream passe partout. This would look great framed. 295 x 180 mm (11½ x 7 inches).

    Book ID: 2932
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  • HEBE - The Goddess of Youth by CARDON, d'après VILLIERS, François Huet.
    CARDON, d'après VILLIERS, François Huet.
    HEBE - The Goddess of Youth

    London: H Cardon, 1813. A high quality print from the early nineteenth century. The print has been trimmed to the image itself, so the printer details have been cropped. It is likely to have been engraved by H. Cardon. He was a stipple engraver active in London and Paris from 1817 to 1835 after Francois Huet Villiers (1772-1813) was the son of Jean-Baptiste Huet (1745-1811). Based in London, he produced this work C1800. It is a portrait of the Goddess Hebe. The original watercolour is held in the British Museum. Ref. 1953,0918.1 A high quality engraving, which still holds its colour nicely. There is a scratch to the top left edge, but overall in good condition. Held under passepartout.…

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    London: H Cardon, 1813. A high quality print from the early nineteenth century. The print has been trimmed to the image itself, so the printer details have been cropped. It is likely to have been engraved by H. Cardon. He was a stipple engraver active in London and Paris from 1817 to 1835 after Francois Huet Villiers (1772-1813) was the son of Jean-Baptiste Huet (1745-1811). Based in London, he produced this work C1800. It is a portrait of the Goddess Hebe. The original watercolour is held in the British Museum. Ref. 1953,0918.1 A high quality engraving, which still holds its colour nicely. There is a scratch to the top left edge, but overall in good condition. Held under passepartout. Image is 37.5cm x 29cm Passepartout is 48cm x 38cm. In Greek mythology, Hebe was the goddess of youth, daughter of Zeus and Hera. She served nectar and ambrosia to the Olympians and later married Heracles, with who had 2 children, Alexia and Anicetus. Hebe was believed to have the ability to restore youth, Hebe lost her position as cupbearer to the gods when she stumbled and her dress was unbuttoned, exposing her breasts as shown here. she was replaced by Ganymede, Zeus's lover and protégé. Une impression de haute qualité datant du début du dix-neuvième siècle. L'impression a été réduite à l'image elle-même, de sorte que les détails de l'imprimante ont été recadrés. Il est probable qu'elle ait été gravée par H. Cardon. Il s'agit d'un graveur au poinçon actif à Londres et à Paris de 1817 à 1835. François Huet Villiers (1772-1813) était le fils de Jean-Baptiste Huet (1745-1811). Installé à Londres, il a réalisé cette œuvre vers 1800. Il s'agit d'un portrait de la déesse Hébé. L'aquarelle originale est conservée au British Museum. Ref. 1953,0918.1 Une gravure de haute qualité, qui conserve bien sa couleur. Il y a une éraflure sur le bord supérieur gauche, mais dans l'ensemble en bon état. Détenue sous passepartout. L'image mesure 37,5 cm x 29 cm. Le passepartout mesure 48 cm x 38 cm. Dans la mythologie grecque, Hébé était la déesse de la jeunesse, fille de Zeus et d'Héra. Elle servait du nectar et de l'ambroisie aux Olympiens et épousa plus tard Héraclès, avec qui elle eut deux enfants, Alexia et Anicetus. On croyait qu'Hébé avait la capacité de restaurer la jeunesse. Hébé a perdu son poste d'échanson des dieux lorsqu'elle a trébuché et que sa robe a été déboutonnée, exposant ses seins comme on le voit ici. elle a été remplacée par Ganymède, l'amant et le protégé de Zeus.

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    Book ID: 4921
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  • Henry VIII reproving Bishop Gardiner who was come to seize Catherine Parr while conversing with him in the garden. by BARRETT / ASHBURTON, Charles Alfred
    BARRETT / ASHBURTON, Charles Alfred
    Henry VIII reproving Bishop Gardiner who was come to seize Catherine Parr while conversing with him in the garden. A hand coloured engraving from Ashburton's History of England

    London: W. & J. Stratford, 1793. First edition. A lovely copy of this engraving, which has been skillfully hand coloured. Originally for Ashburton's History of England, it is now held beneath passe partout. The plate is in good, clean fractionally darkened condition. Slightly rough edge where originally bound into the book. Engraving is 23cm x 39cm. Mount is 33cm x 45cm. Catherine Parr was the sixth and final wife of King Henry VIII, known for her intelligence, Protestant sympathies, and influence at court. Bishop Stephen Gardiner was a leading conservative Catholic and a powerful figure in Henry's court, often at odds with the reformist faction that Catherine Parr supported. During the later years of Henry's reign, religious tensions ran…

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    London: W. & J. Stratford, 1793. First edition. A lovely copy of this engraving, which has been skillfully hand coloured. Originally for Ashburton's History of England, it is now held beneath passe partout. The plate is in good, clean fractionally darkened condition. Slightly rough edge where originally bound into the book. Engraving is 23cm x 39cm. Mount is 33cm x 45cm. Catherine Parr was the sixth and final wife of King Henry VIII, known for her intelligence, Protestant sympathies, and influence at court. Bishop Stephen Gardiner was a leading conservative Catholic and a powerful figure in Henry's court, often at odds with the reformist faction that Catherine Parr supported. During the later years of Henry's reign, religious tensions ran high, with conservative and reformist factions vying for influence over the king and the future of the English church. The scene in question dramatises an episode where Bishop Gardiner, intent on arresting Catherine Parr for her reformist views (which some considered heretical), approaches Henry VIII while he is conversing with Catherine in the garden. Gardiner's aim was to seize the queen, likely on charges of heresy, as part of a broader campaign against Protestant sympathizers at court. Henry VIII, however, rebukes Gardiner, protecting Catherine Parr from arrest and making it clear that he would not tolerate such actions against his wife.
    . Première édition. Un bel exemplaire de cette gravure, qui a été habilement colorée à la main. A l'origine pour l'Histoire de l'Angleterre d'Ashburton, elle est maintenant conservée sous passe partout. La plaque est en bon état, propre et légèrement assombrie. Le bord est légèrement rugueux à l'endroit où elle était reliée à l'origine dans le livre. La gravure mesure 23 cm x 39 cm. La monture mesure 33 cm x 45 cm. Catherine Parr était la sixième et dernière épouse du roi Henri VIII, connue pour son intelligence, ses sympathies protestantes et son influence à la cour. L'évêque Stephen Gardiner était un catholique conservateur de premier plan et une figure puissante de la cour d'Henri, souvent en désaccord avec la faction réformiste que Catherine Parr soutenait. Au cours des dernières années du règne d'Henri, les tensions religieuses étaient vives, les factions conservatrices et réformistes se disputant l'influence sur le roi et l'avenir de l'Église anglaise. La scène en question met en scène un épisode où l'évêque Gardiner, désireux d'arrêter Catherine Parr pour ses opinions réformistes (que certains considéraient comme hérétiques), s'approche d'Henri VIII alors qu'il s'entretient avec Catherine dans le jardin. L'objectif de Gardiner est d'arrêter la reine, probablement pour hérésie, dans le cadre d'une campagne plus large contre les sympathisants protestants à la cour. Henri VIII, cependant, réprimande Gardiner, protège Catherine Parr de l'arrestation et fait comprendre qu'il ne tolérerait pas de telles actions contre son épouse.

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    Book ID: 5131
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  • Lovely engraving of children playing outside an orphanage.
    Het luthersche Weeshuis, te zien van de Binnenplaats by GOEREE, J
    GOEREE, J
    Het luthersche Weeshuis, te zien van de Binnenplaats

    Amsterdam: Andries Van Damme Damme, 1726. A view of the Lutheran orphanage, taken from Kaspar Commelin's work "Beschryvinge van Amsterdam." (from the 1726 edition). Attractive, clean engraving, with a crease / fold to the middle of the plate, otherwise in excellent condition. Nice clean engraving. No significant damage. Engraved area is 25cm x 34cm. Sheet is 43cm x 51cm. This is also a lovely example of children's games in the early 18th Century, with at least six different games being pictured. A lovely print. This is an original engraving from 1726, not a reproduction

    . Vue de l'orphelinat luthérien, tirée de l'ouvrage de Kaspar Commelin "Beschryvinge van Amsterdam". Gravure attrayante et propre, avec un pli au milieu de la…

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    Amsterdam: Andries Van Damme Damme, 1726. A view of the Lutheran orphanage, taken from Kaspar Commelin's work "Beschryvinge van Amsterdam." (from the 1726 edition). Attractive, clean engraving, with a crease / fold to the middle of the plate, otherwise in excellent condition. Nice clean engraving. No significant damage. Engraved area is 25cm x 34cm. Sheet is 43cm x 51cm. This is also a lovely example of children's games in the early 18th Century, with at least six different games being pictured. A lovely print. This is an original engraving from 1726, not a reproduction

    . Vue de l'orphelinat luthérien, tirée de l'ouvrage de Kaspar Commelin "Beschryvinge van Amsterdam". Gravure attrayante et propre, avec un pli au milieu de la plaque, autrement en excellente condition. Belle gravure propre. Pas de dommages significatifs. La surface gravée est de 25cm x 34cm. La feuille mesure 43 cm x 51 cm. Il s'agit également d'un bel exemple de jeux d'enfants au début du XVIIIe siècle, avec au moins six jeux différents représentés. Une belle gravure. Il s'agit d'une gravure originale de 1726, et non d'une reproduction.

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    Book ID: 4289
    View basket More details Price: £100.00