prints & posters

Criteria:
  • Category = prints & posters
  • Portrait of Pope Pius VII by DAVID, Jacques-Louis.
    DAVID, Jacques-Louis.
    Portrait of Pope Pius VII

    Paris: Girodet-Trioson, C1805. A fabulous large engraved portrait of Pie VII (Pius VII) delineated by E. Robert after a portrait of Jacques-Louis David. It was published by the lithographer Anne Louis Girodet-Trioson. Although undated, the original painting in the Louvre was dated 1805, and this was the period that Girodet-Trioson was most active. This is a close up of David's work, focussing on the head and shoulders. Title to base. The engraved picture is 48cm x 42cm. The sheet is 54cm x 45cm. Overall in very good condition, with just a touch of marking / darkening to the edges. There are a couple of tiny closed tears to the edge. Overall an excellent example of a rare print. We…

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    Paris: Girodet-Trioson, C1805. A fabulous large engraved portrait of Pie VII (Pius VII) delineated by E. Robert after a portrait of Jacques-Louis David. It was published by the lithographer Anne Louis Girodet-Trioson. Although undated, the original painting in the Louvre was dated 1805, and this was the period that Girodet-Trioson was most active. This is a close up of David's work, focussing on the head and shoulders. Title to base. The engraved picture is 48cm x 42cm. The sheet is 54cm x 45cm. Overall in very good condition, with just a touch of marking / darkening to the edges. There are a couple of tiny closed tears to the edge. Overall an excellent example of a rare print. We cannot find another example of this engraving.

    . Un fabuleux grand portrait gravé de Pie VII délimité par E. Robert d'après un portrait de Jacques-Louis David. Il a été publié par le lithographe Anne Louis Girodet-Trioson. Bien qu'il ne soit pas daté, le tableau original conservé au Louvre est daté de 1805, période à laquelle Girodet-Trioson était le plus actif. Il s'agit d'un gros plan de l'œuvre de David, qui se concentre sur la tête et les épaules. Titre à la base. L'image gravée mesure 48 cm x 42 cm. La feuille mesure 54 cm x 45 cm. Dans l'ensemble en très bon état, avec juste une touche de marquage / assombrissement sur les bords. Il y a quelques petites déchirures fermées sur le bord. Dans l'ensemble, il s'agit d'un excellent exemple d'une estampe rare. Nous n'avons pas trouvé d'autre exemple de cette gravure.

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    Book ID: 4859
    View basket More details Price: £125.00
  • Copperplate engraving of the life of St Peter
    Languidus exiliit, Petri virtute: by SADELER, Johann / DE VOS, Marten
    SADELER, Johann / DE VOS, Marten
    Languidus exiliit, Petri virtute: Sed illum / Admonuit, quod sit gloria danda Deo.

    NP: SADELER, 1580. First Edition. Peter and John heal a paralysed man at the Temple entrance. Languidus exiliit, Petri virtute: sed illum / Admonuit, quod sit gloria danda Deo. Copperplate engraving by Johann Sadeler from a series of 12 depictions from the life of Peter and Paul after drawings by Marten de Vos. Inscribed in the plate M(arten) de Vos invent(or). engraved area: 19 x 13 cm. Seet is 21cm x 15.5cm. Engraving is a good, clean impression, with a little darkening to the sheet. Two corners of the sheet have been cropped (not affecting plate). Held under a passepartout which is 40cm x 30cm. This is in good condition, but with a little marking to the front board.…

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    NP: SADELER, 1580. First Edition. Peter and John heal a paralysed man at the Temple entrance. Languidus exiliit, Petri virtute: sed illum / Admonuit, quod sit gloria danda Deo. Copperplate engraving by Johann Sadeler from a series of 12 depictions from the life of Peter and Paul after drawings by Marten de Vos. Inscribed in the plate M(arten) de Vos invent(or). engraved area: 19 x 13 cm. Seet is 21cm x 15.5cm. Engraving is a good, clean impression, with a little darkening to the sheet. Two corners of the sheet have been cropped (not affecting plate). Held under a passepartout which is 40cm x 30cm. This is in good condition, but with a little marking to the front board. A nice copy. Johan Sadeler (1550-1600), was an Flemish engraver and illustrator, first of a famous family of engravers. He often collaborated with Marten de Vos.

    . Première édition. Pierre et Jean guérissent un paralysé à l'entrée du Temple. Languidus exiliit, Petri virtute : sed illum / Admonuit, quod sit gloria danda Deo. Gravure sur cuivre de Johann Sadeler d'une série de 12 représentations de la vie de Pierre et Paul d'après des dessins de Marten de Vos. Inscrit dans la planche M(arten) de Vos invent(or). surface gravée : 19 x 13 cm. La planche est de 21 cm x 15,5 cm. La gravure est une bonne impression, propre, avec un léger assombrissement de la feuille. Deux coins de la feuille ont été rognés (sans affecter la plaque). Tenu sous un passepartout de 40cm x 30cm. Celui-ci est en bon état, mais avec une petite marque sur la première planche. Un bel exemplaire. Johan Sadeler (1550-1600) était un graveur et illustrateur flamand, premier d'une célèbre famille de graveurs. Il a souvent collaboré avec Marten de Vos.

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    Book ID: 4858
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  • Three French Caricatures. by [ANON]
    [ANON]
    Three French Caricatures. Trois caricatures françaises

    1950. Three attractive postcard sized original water colours, pasted onto a dark paper background. Held in a simple wooden frame, under glass. Unsigned and anonymous. The first image shows a woman and officer inspecting a parade of Algerian (?) soldiers in uniform with Fez. One of them is smoking! The second shows a woman approaching a statue of St Raphael, seemingly in devotion, but actually reaching for a bottle of wine the statue is holding. The third, shows a line of circus / carnival folk queuing at an optician's reception. All are in good, clean condition and painted by a competent hand. Each image is 8.5cm x 14cm. Frame is 21cm x 48cm.

    . Trois jolies originale aquarelles de…

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    1950. Three attractive postcard sized original water colours, pasted onto a dark paper background. Held in a simple wooden frame, under glass. Unsigned and anonymous. The first image shows a woman and officer inspecting a parade of Algerian (?) soldiers in uniform with Fez. One of them is smoking! The second shows a woman approaching a statue of St Raphael, seemingly in devotion, but actually reaching for a bottle of wine the statue is holding. The third, shows a line of circus / carnival folk queuing at an optician's reception. All are in good, clean condition and painted by a competent hand. Each image is 8.5cm x 14cm. Frame is 21cm x 48cm.

    . Trois jolies originale aquarelles de la taille d'une carte postale, collées sur un fond de papier sombre. Elles sont présentées dans un simple cadre en bois, sous verre. Non signées et anonymes. La première image montre une femme et un officier inspectant un défilé de soldats algériens ( ?) en uniforme avec Fez. L'un d'entre eux fume ! La deuxième image montre une femme s'approchant d'une statue de Saint-Raphaël, apparemment en signe de dévotion, mais cherchant en fait à attraper une bouteille de vin que la statue tient à la main. La troisième montre une file d'attente de gens du cirque ou du carnaval à la réception d'un opticien. Toutes les images sont en bon état, propres et peintes par une main compétente. Chaque image mesure 8,5 cm x 14 cm. Le cadre mesure 21 cm x 48 cm.

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    Book ID: 4857
    View basket More details Price: £75.00
  • A New Illustration of the Old Adage - Between Two Stools &c. by H.B. [John Doyle]
    H.B. [John Doyle]
    A New Illustration of the Old Adage - Between Two Stools &c.

    London: Thos McLean, 1833. A nice copy of this political satire by Doyle. #261 in Doyle's series of political sketches. Sir John Cam Hobhouse had been forced to resign his posts as both MP for Westminster and Secretary of State for Ireland on a minor point of principle. He expected to be re-confirmed in the post but Colonel Evans (Sir de Lacy Evans), as represented in the sketch, stepped in, and snatched away the seat for Westminster; and the re-appointment to the office of Irish Secretary was postponed sine die. Sir F. Burdett, though stretching out his arm as if to save him, sees that assistance is in vain ; and the phlegmatic Lord Althorp, behind, appears to be…

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    London: Thos McLean, 1833. A nice copy of this political satire by Doyle. #261 in Doyle's series of political sketches. Sir John Cam Hobhouse had been forced to resign his posts as both MP for Westminster and Secretary of State for Ireland on a minor point of principle. He expected to be re-confirmed in the post but Colonel Evans (Sir de Lacy Evans), as represented in the sketch, stepped in, and snatched away the seat for Westminster; and the re-appointment to the office of Irish Secretary was postponed sine die. Sir F. Burdett, though stretching out his arm as if to save him, sees that assistance is in vain ; and the phlegmatic Lord Althorp, behind, appears to be saying, " Never mind, let him go." Print is 29cm x 37.5cm. It is pasted onto a mustard backing sheet of 35cm x 50cm. Both are in good, clean condition, with just a touch of light foxing to the satire. Small embossed stamp of authenticity (by Thos. McClean) to the lower left. A very nice copy. 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. See McClean, Thos. An Illustrative Key to the Political Sketches of H.B. #CCLXI. British Museum ref: 1856,0510.397.

    . Un bel exemplaire de cette satire politique de Doyle. #Numéro 261 de la série de sketches politiques de Doyle. Sir John Cam Hobhouse avait été contraint de démissionner de ses postes de député de Westminster et de secrétaire d'État à l'Irlande pour une question de principe mineure. Il s'attendait à être reconduit dans ses fonctions, mais le colonel Evans (Sir de Lacy Evans), représenté dans l'esquisse, s'est interposé et a arraché le siège de Westminster ; la reconduction au poste de secrétaire d'État pour l'Irlande a été reportée sine die. Sir F. Burdett, bien qu'il tende le bras comme pour le sauver, voit que l'aide est vaine ; et le flegmatique Lord Althorp, derrière, semble dire : "Peu importe, laissons-le partir". L'estampe mesure 29 cm x 37,5 cm. Elle est collée sur un support moutarde de 35cm x 50cm. Les deux sont en bon état, propres, avec juste une légère rousseur sur la satire. Petit cachet d'authenticité gaufré (par Thos. McClean) en bas à gauche. Un très bel exemplaire. John Doyle est né à Dublin et s'est installé à Londres en 1822 où il a d'abord travaillé comme lithographe portraitiste. En 1827, Doyle a commencé à publier des gravures politiques de manière anonyme. De 1829 à 1851, Doyle publia sa célèbre série Political Sketches, signant ses œuvres des initiales "HB" pour cacher son identité. Voir McClean, Thos, An Illustrative Key to the Political Sketches of H.B. #CCLXI. British Museum ref : 1856,0510.397.

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    Book ID: 4856
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  • The two journals. Joul 1 by WILLIAMS, Charles
    WILLIAMS, Charles
    The two journals. Joul 1

    London: Thomas Tegg, 1814. First edition. A single sheet with a sequence of eight scenes, arranged in two rows, each with an inscription below it. They represent a day spent by the Tsar while in London. [1] Alexander stands by a combined wash-stand and dressing-table (left) in a simply furnished bedroom. A valet helps him to put on his coat. The rest follow in a similar fashion. Very good, clean condition, with attractive hand colouring. Still bright. Clean but slightly darkened to the verso. By insisting on staying with his sister, he slighted the Prince Regent, who had offered him the use of St James' Palace. The incidents of the day are carefully adapted to contrast with the habits…

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    London: Thomas Tegg, 1814. First edition. A single sheet with a sequence of eight scenes, arranged in two rows, each with an inscription below it. They represent a day spent by the Tsar while in London. [1] Alexander stands by a combined wash-stand and dressing-table (left) in a simply furnished bedroom. A valet helps him to put on his coat. The rest follow in a similar fashion. Very good, clean condition, with attractive hand colouring. Still bright. Clean but slightly darkened to the verso. By insisting on staying with his sister, he slighted the Prince Regent, who had offered him the use of St James' Palace. The incidents of the day are carefully adapted to contrast with the habits of the Regent. The plate is 24.5cm x 34.5cm the sheet is 25cm x 41cm. British museum ref: 1866,0407.279; Wellcome Collection 652537i. Première édition. Une seule feuille avec une séquence de huit scènes, disposées en deux rangées, chacune avec une inscription en dessous. Elles représentent une journée passée par le tsar à Londres. [1] Alexandre se tient près d'un lavabo et d'une coiffeuse (à gauche) dans une chambre à coucher meublée simplement. Un valet l'aide à enfiler son manteau. Les autres suivent de la même manière. Très bon état, propre, avec des couleurs attrayantes à la main. Les couleurs sont encore vives. Le verso est propre mais légèrement assombri. En insistant pour rester avec sa sœur, il a dédaigné le prince régent, qui lui avait offert l'usage du palais de St James. Les incidents de la journée sont soigneusement adaptés pour contraster avec les habitudes du Régent. La plaque mesure 24,5 cm x 34,5 cm et la feuille 25 cm x 41 cm. Réf. du British Museum : 1866,0407.279 ; Wellcome Collection 652537i.

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    Book ID: 4853
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  • The Adoration of the Shepherds by SCHUT, Cornelius.
    SCHUT, Cornelius.
    The Adoration of the Shepherds

    Anvers / Antwerp: chez J. Haest, 1665. A lovely copy of this engraving by Cornelius Schut, under a large passe partout. Signed in the plate, published by Haest of Antwerp. In near perfect condition, this engraving shows the Adoration of the Shepherds. With the Holy Family on the left and cherubs in the sky. The text engraved states `Cor: Schut in cum priuileg; à Anvers chez J.Haest.´ Very good impression with plate tone on laid paper with generous margins around. 15,7 x 11,0 cm. The passe partout is a generous 40cm x 29.5cm, and is very clean and neat. There are no marks or holes / edge wear to the sheet. This appears to be a third state of…

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    Anvers / Antwerp: chez J. Haest, 1665. A lovely copy of this engraving by Cornelius Schut, under a large passe partout. Signed in the plate, published by Haest of Antwerp. In near perfect condition, this engraving shows the Adoration of the Shepherds. With the Holy Family on the left and cherubs in the sky. The text engraved states `Cor: Schut in cum priuileg; à Anvers chez J.Haest.´ Very good impression with plate tone on laid paper with generous margins around. 15,7 x 11,0 cm. The passe partout is a generous 40cm x 29.5cm, and is very clean and neat. There are no marks or holes / edge wear to the sheet. This appears to be a third state of the engraving, which was re-worked by Haest after Schut's death. A rare item.

    . Bel exemplaire de cette gravure de Cornelius Schut, sous un grand passe partout. Signée dans la planche, publiée par Haest d'Anvers. En parfait état, cette gravure représente l'Adoration des Bergers. Avec la Sainte Famille à gauche et des angelots dans le ciel. Le texte gravé indique "Cor : Schut in cum priuileg ; à Anvers chez J.Haest" Très bonne impression avec tonalité de la plaque sur papier vergé avec de grandes marges tout autour. 15,7 x 11,0 cm. Le passe partout mesure 40 cm x 29,5 cm et est très propre. Il n'y a pas de marques ou de trous ni d'usure des bords de la feuille. Il semble qu'il s'agisse d'un troisième état de la gravure, qui a été retravaillée par Haest après la mort de Schut. Une pièce rare.

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    Book ID: 4852
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  • Beautiful engraving from Collaert's Life of Christ
    Plate 5: The sermon on the mount. Christ sits on a mound and raises His arm and preaches to a crowd by COLLAERT, Adriaen
    COLLAERT, Adriaen
    Plate 5: The sermon on the mount. Christ sits on a mound and raises His arm and preaches to a crowd

    Antwerp: Sadeler / Sadler, C1585. A lovely engraving from the series Vita Christi / The Life of Christ after Maarten de Vos. This is plate 5. Good, clean, strong engraving, would appear to be an early impression from the block. Lettered below left "M. de Vos inven / Adria. Collaert sculp" and at right "Sadler excu". In the margin two lines of Latin "Enthea.... montis" and "Matth. 7.". Numbered upper centre "V." Held in an archival pouch and under a large passepartout (50cm x 40cm), with just a touch of marking to it. From a series of twelve plates engraved by Adriaen Collaert (1560-1618) and Raphael Sadeler (New Hollstein 238-247). After Maarten de Vos (Flemish, 1532–1603). This conforms exactly…

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    Antwerp: Sadeler / Sadler, C1585. A lovely engraving from the series Vita Christi / The Life of Christ after Maarten de Vos. This is plate 5. Good, clean, strong engraving, would appear to be an early impression from the block. Lettered below left "M. de Vos inven / Adria. Collaert sculp" and at right "Sadler excu". In the margin two lines of Latin "Enthea.... montis" and "Matth. 7.". Numbered upper centre "V." Held in an archival pouch and under a large passepartout (50cm x 40cm), with just a touch of marking to it. From a series of twelve plates engraved by Adriaen Collaert (1560-1618) and Raphael Sadeler (New Hollstein 238-247). After Maarten de Vos (Flemish, 1532–1603). This conforms exactly with the British Museum ref: 1910,0208.22 and we have taken the dating from there.

    . Une belle gravure de la série Vita Christi / La vie du Christ d'après Maarten de Vos. Il s'agit de la planche 5. Bonne, propre et forte gravure, qui semble être une impression précoce du bloc. Lettrée en bas à gauche "M. de Vos inven / Adria. Collaert sculp" et à droite "Sadler excu". Dans la marge, deux lignes de latin "Enthea.... montis" et "Matth. 7.". Numéroté en haut au centre "V." Conservé dans une pochette d'archivage et sous un grand passepartout (50cm x 40cm), avec juste une touche de marquage. D'une série de douze planches gravées par Adriaen Collaert (1560-1618) et Raphael Sadeler (New Hollstein 238-247). D'après Maarten de Vos (Flamand, 1532-1603). Ceci correspond exactement à la référence du British Museum : 1910,0208.22 et nous avons pris la datation à partir de là.

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    Book ID: 4837
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  • A lovely copy of this scarce engraving
    Puteus Aquarum Viventium Cant 4. / The Madonna and Child at the Fountain by RUBENS, Peter Paul.
    RUBENS, Peter Paul.
    Puteus Aquarum Viventium Cant 4. / The Madonna and Child at the Fountain La Vierge tenant l'enfant Jésus montée sur un piédestal d'après Rubens

    Amsterdam: Martinus van den Enden, 1700. A very nice copy of this engraving by Schelte Adamsz Bolswert (the sculptor and engraver) after the original by Rubens. Published by van Enden. Held under passe partout. To the verso is the taxation stamp for the department of the Interior for Calvados. Havard art museum states only that this is a Seventeenth Century engraving, and cites catalogues Hollstein 172; LeBlanc 13; Andresen 5. We suspect that this is later engraving as it lacks the engraver and artist details. Also, the image is reversed, so that the Madonna and child are admiring a fountain to the right, rather than the left. A very nice clean copy, with a good impression. Held in an…

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    Amsterdam: Martinus van den Enden, 1700. A very nice copy of this engraving by Schelte Adamsz Bolswert (the sculptor and engraver) after the original by Rubens. Published by van Enden. Held under passe partout. To the verso is the taxation stamp for the department of the Interior for Calvados. Havard art museum states only that this is a Seventeenth Century engraving, and cites catalogues Hollstein 172; LeBlanc 13; Andresen 5. We suspect that this is later engraving as it lacks the engraver and artist details. Also, the image is reversed, so that the Madonna and child are admiring a fountain to the right, rather than the left. A very nice clean copy, with a good impression. Held in an archival film bag under a large passe partout. Engraving is 22cm x 18cm. The Passe Partout is 50cm x 40cm. There is a little marking to the front of the art board, to the reverse / back sheet, there is quite a bit of marking (But this would be hidden on display). A scarce item, we can find no copies outside of institutions, and none at all of this "reversed image".

    . Très bel exemplaire de cette gravure de Schelte Adamsz Bolswert (le sculpteur et graveur) d'après l'original de Rubens. Publié par van Enden. Tenu sous passe partout. Au verso se trouve le timbre fiscal du département de l'Intérieur pour le Calvados. Le musée d'art Havard indique seulement qu'il s'agit d'une gravure du XVIIe siècle et cite les catalogues Hollstein 172 ; LeBlanc 13 ; Andresen 5. Nous soupçonnons qu'il s'agit d'une gravure plus tardive, car il n'y a pas de détails sur le graveur et l'artiste. De plus, l'image est inversée, de sorte que la Madone et l'enfant admirent une fontaine à droite plutôt qu'à gauche. Un très bel exemplaire propre, avec une bonne impression. Conservé dans une pochette de film d'archivage sous un grand passe partout. La gravure mesure 22 cm x 18 cm. Le Passe Partout mesure 50cm x 40cm. Il y a une petite marque au recto du carton d'art, au verso de la feuille, il y a pas mal de marques (mais cela serait caché lors de l'exposition). Il s'agit d'une pièce rare, nous n'avons trouvé aucune copie en dehors des institutions, et aucune de cette "image inversée".

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    Book ID: 4835
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  • Seven lithographed examples from "Recueil de faïences italiennes des XV, XVI et XVIIèmes siècles" by DELANGE, C. and BORNEMAN, C.
    DELANGE, C. and BORNEMAN, C.
    Seven lithographed examples from "Recueil de faïences italiennes des XV, XVI et XVIIèmes siècles"

    Paris: C. Delange, 1869. Seven lithographed examples from Dealange and Borneman's classic work on Italian earthenware. Originally these prints were on large sheets approximately 53cm x 35cm. Our copies have been cropped to a variety of sizes. Five of them are reproductions of earthenware plates, and so are circular. Of these, one has been neatly cut into a circle, the rest are square with darkening and edgewear to the sheets. Image areas are in good condition, and they could all be cropped into uniform circles. The other two sheets are almost full page, and show a vase and a porte lumiere. These items are scarce in any condition, and the seven prints could be attractively framed. Plates are: 1)…

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    Paris: C. Delange, 1869. Seven lithographed examples from Dealange and Borneman's classic work on Italian earthenware. Originally these prints were on large sheets approximately 53cm x 35cm. Our copies have been cropped to a variety of sizes. Five of them are reproductions of earthenware plates, and so are circular. Of these, one has been neatly cut into a circle, the rest are square with darkening and edgewear to the sheets. Image areas are in good condition, and they could all be cropped into uniform circles. The other two sheets are almost full page, and show a vase and a porte lumiere. These items are scarce in any condition, and the seven prints could be attractively framed. Plates are: 1) Actaeon surprising Artemis (Diana) in the bath; 2) plate of a majolica from the collection of Mr. de Basilewski. 3) vase of the collection of Mr. Cherubini; 4) A plate from the collection of Monsignor Cajani in Rome; 5) A plate - picturing Giovanna Bella created in Casteldurante from the collection of Mr. Joseph Fau; 6) a porte lumiere from the collection of mr le Baron Salomon de Rothschild; 7) An unknown plate from the Delange collection. Altogether a nice collection of high quality lithographs of antique earthenware.

    . Sept exemples lithographiés tirés de l'ouvrage classique de Dealange et Borneman sur la faïence italienne. À l'origine, ces gravures étaient présentées sur de grandes feuilles d'environ 53 cm x 35 cm. Nos copies ont été recadrées à différentes tailles. Cinq d'entre elles sont des reproductions de plaques de faïence et sont donc circulaires. L'une d'entre elles a été soigneusement découpée en cercle, les autres sont carrées et présentent un assombrissement et une usure des bords des feuilles. Les zones d'image sont en bon état, et elles pourraient toutes être recadrées en cercles uniformes. Les deux autres feuilles sont presque en pleine page et montrent un vase et une porte lumineuse. Ces éléments sont rares, quel que soit leur état, et les sept estampes pourraient être joliment encadrées. Les planches sont les suivantes 1) Actéon surprenant Artémis (Diane) dans le bain ; 2) plaque d'une majolique de la collection de M. de Basilewski. 3) vase de la collection de M. Cherubini ; 4) assiette de la collection de Monseigneur Cajani à Rome ; 5) assiette - représentant Giovanna Bella créée à Casteldurante de la collection de M. Joseph Fau ; 6) une porte lumineuse de la collection de M. le Baron Salomon de Rothschild ; 7) une assiette inconnue de la collection Delange. Dans l'ensemble, il s'agit d'une belle collection de lithographies de haute qualité de faïences anciennes.

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    Book ID: 4834
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  • Il Consolato del Mare. by GOEREE, J. & SLUYTER, P.
    GOEREE, J. & SLUYTER, P.
    Il Consolato del Mare. Frontispiece of the Consolato.

    Leiden: Giovanni de Vivie & Isace Severino, 1704. A beautiful copy of the frontispiece of "Il consolato del mare." A beautiful engraving, delineated by Goeree and sculpted by Sluyter. It was printed in Leiden in 1704. Good clean impression. The book it came from was a comprehensive examination of medieval maritime laws. The image shows angels holding the title, and a list of important Italian cities. A group of petitioners are kneeling before judges, who brandish a copy of the "Consolato." Sheet is 20.5cm x 16cm. An excellent example. Under a passe partout of 40cm x 30cm. This is mainly clean but for a touch of marking and darkening. A very presentable plate. Jan Goeree (1670-1731) was a Dutch…

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    Leiden: Giovanni de Vivie & Isace Severino, 1704. A beautiful copy of the frontispiece of "Il consolato del mare." A beautiful engraving, delineated by Goeree and sculpted by Sluyter. It was printed in Leiden in 1704. Good clean impression. The book it came from was a comprehensive examination of medieval maritime laws. The image shows angels holding the title, and a list of important Italian cities. A group of petitioners are kneeling before judges, who brandish a copy of the "Consolato." Sheet is 20.5cm x 16cm. An excellent example. Under a passe partout of 40cm x 30cm. This is mainly clean but for a touch of marking and darkening. A very presentable plate. Jan Goeree (1670-1731) was a Dutch engraver. He mainly designed and engraved title pages but also designed ceiling paintings for Amsterdam's city hall. Peter Sluyter (1675-1715) was a painter and engraver. He largely engaged in frontispieces and portraits.

    . Bel exemplaire du frontispice de "Il consolato del mare". Une belle gravure, délimitée par Goeree et sculptée par Sluyter. Elle a été imprimée à Leyde en 1704. Bonne impression propre. Le livre dont elle est tirée était un examen complet des lois maritimes médiévales. L'image montre des anges tenant le titre et une liste de villes italiennes importantes. Un groupe de pétitionnaires est agenouillé devant des juges qui brandissent une copie du "Consolato". La feuille mesure 20,5 cm x 16 cm. Excellent exemple. Sous un passe partout de 40cm x 30cm. Celui-ci est en grande partie propre, à l'exception d'une touche de marquage et d'assombrissement. Une plaque très présentable. Jan Goeree (1670-1731) était un graveur néerlandais. Il a principalement dessiné et gravé des pages de titre, mais a également conçu des peintures de plafond pour l'hôtel de ville d'Amsterdam. Peter Sluyter (1675-1715) était peintre et graveur. Il s'est surtout consacré aux frontispices et aux portraits.

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  • Paul Déroulède patriote français. by ARNOUX (Guy).
    ARNOUX (Guy).
    Paul Déroulède patriote français.

    Paris: Devambez, 1915. Coloured pochoir poster by Arnoux, in his primary colour style. Signed in the plate. 490 by 320mm (19¼ by 12½ inches). There is some nicking and edgewear to the sheet, with closed tears, but would still be attractive framed. Paul Déroulède (1846-1914) was a poet and right wing political activist. He founded the "League of Patriots" and attempted a coup in 1899 when the Nationalists were defeated. Many historians see him as a pre-cursor of French Fascism.

    . Affiche de pochoir en couleurs d'Arnoux, dans son style de couleurs primaires. Signée dans la planche. 490 x 320 mm (19¼ x 12½ pouces). Il y a quelques entailles et usures sur les bords de la feuille,…

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    Paris: Devambez, 1915. Coloured pochoir poster by Arnoux, in his primary colour style. Signed in the plate. 490 by 320mm (19¼ by 12½ inches). There is some nicking and edgewear to the sheet, with closed tears, but would still be attractive framed. Paul Déroulède (1846-1914) was a poet and right wing political activist. He founded the "League of Patriots" and attempted a coup in 1899 when the Nationalists were defeated. Many historians see him as a pre-cursor of French Fascism.

    . Affiche de pochoir en couleurs d'Arnoux, dans son style de couleurs primaires. Signée dans la planche. 490 x 320 mm (19¼ x 12½ pouces). Il y a quelques entailles et usures sur les bords de la feuille, avec des déchirures fermées, mais l'affiche serait attrayante encadrée. Paul Déroulède (1846-1914) était un poète et un activiste politique de droite. Il a fondé la "Ligue des patriotes" et a tenté un coup d'État en 1899 après la défaite des nationalistes. De nombreux historiens le considèrent comme un précurseur du fascisme français.

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    Book ID: 4821
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  • V'la cque c'est bourgeois ! by SCHERER
    SCHERER
    V'la cque c'est bourgeois ! From the series La bourgeoisie

    Paris: A Bés et F. Dubreuil. A nice copy of this scarce caricature. Circa 1850-1855, Napoleon III, Crimean war piece. Two men are looking at a collection of pigs heads. The merchant points to a sign saying that 5000 Cossack heads were preserved after the last expedition. Signed in the plate by Scherer. Coloured portion 31cm x 23.5cm. is sheet is 43cm x 30.5cm. The image is in very good condition. The white surround is a little darkened and with some edgewear. Pin holes to the top edge. Ministry of the Interior prefecture of Police stamp to the blank verso. Similar copy held at the Musée Carnavalet. Ref. 320234162.

    . Un bel exemplaire de cette rare caricature. Vers 1850-1855,…

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    Paris: A Bés et F. Dubreuil. A nice copy of this scarce caricature. Circa 1850-1855, Napoleon III, Crimean war piece. Two men are looking at a collection of pigs heads. The merchant points to a sign saying that 5000 Cossack heads were preserved after the last expedition. Signed in the plate by Scherer. Coloured portion 31cm x 23.5cm. is sheet is 43cm x 30.5cm. The image is in very good condition. The white surround is a little darkened and with some edgewear. Pin holes to the top edge. Ministry of the Interior prefecture of Police stamp to the blank verso. Similar copy held at the Musée Carnavalet. Ref. 320234162.

    . Un bel exemplaire de cette rare caricature. Vers 1850-1855, Napoléon III, pièce de la guerre de Crimée. Deux hommes regardent une collection de têtes de cochons. Le marchand montre un panneau indiquant que 5000 têtes de cosaques ont été conservées après la dernière expédition. Signé dans la planche par Scherer. La partie colorée mesure 31 cm x 23,5 cm. La feuille mesure 43 cm x 30,5 cm. L'image est en très bon état. L'entourage blanc est un peu assombri et présente quelques traces d'usure. Trous d'épingle sur le bord supérieur. Cachet du ministère de l'Intérieur et de la préfecture de police au verso vierge. Exemplaire similaire conservé au musée Carnavalet. Réf. 320234162.

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  • La Charge (Supplément No 14). by PETIT, Alfred le. [Zut]
    PETIT, Alfred le. [Zut]
    La Charge (Supplément No 14). La République en danger. Parodie d'une composition de Mr Adans

    Paris: Lemaire et Fils, 1871. A very nice copy of this hand coloured political satire. First edition. Lithograph was published as supplement 14 of La Charge. The sheet is a parody of a composition by Adams. The spirit of La Charge was clearly unfavourable to the Empire and anti-Prussian which led to it being prosecuted on several occasions. sheet is 35.5cm x28.5cm. In good, clean condition with a touch of creasing to the corners. Paris Museés ref: 320154195. Zut (Alfred Le Petit) (1841-1909) Was a French caricaturist. who began his career as a caricaturist in Rouen. He eventually settled in Paris, where he contributed to the magazine L'Eclipse. In 1870 he founded Le Charge, in which he heavily criticized…

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    Paris: Lemaire et Fils, 1871. A very nice copy of this hand coloured political satire. First edition. Lithograph was published as supplement 14 of La Charge. The sheet is a parody of a composition by Adams. The spirit of La Charge was clearly unfavourable to the Empire and anti-Prussian which led to it being prosecuted on several occasions. sheet is 35.5cm x28.5cm. In good, clean condition with a touch of creasing to the corners. Paris Museés ref: 320154195. Zut (Alfred Le Petit) (1841-1909) Was a French caricaturist. who began his career as a caricaturist in Rouen. He eventually settled in Paris, where he contributed to the magazine L'Eclipse. In 1870 he founded Le Charge, in which he heavily criticized Napoleon III. He additionally contributed to Le Grelot and Le Charivari and founded Le Pétard and Le Sans-Culotte. Disappointed by the politics of Jules Ferry in the 1880s, Le Petit defended general Boulanger and sided against Dreyfus in his work. He ended being quite a sad character, and spent his final years making caricatures of tourists on the first floor of the Eiffel tower, and singing and playing the violin in cabarets.

    . Très bel exemplaire de cette satire politique coloriée à la main. Première édition. La lithographie a été publiée comme supplément 14 de La Charge. La feuille est une parodie d'une composition d'Adams. L'esprit de La Charge était clairement défavorable à l'Empire et anti-prussien, ce qui lui valut d'être poursuivie à plusieurs reprises. La feuille mesure 35,5 cm x 28,5 cm. En bon état, propre, avec un peu de froissement dans les coins. Paris Museés ref : 320154195. Zut (Alfred Le Petit) (1841-1909) est un caricaturiste français. Il commence sa carrière de caricaturiste à Rouen. Il s'installe ensuite à Paris, où il collabore à la revue L'Eclipse. En 1870, il fonde Le Charge, dans lequel il critique vivement Napoléon III. Il collabore également au Grelot et au Charivari et fonde Le Pétard et Le Sans-Culotte. Déçu par la politique de Jules Ferry dans les années 1880, Le Petit défend le général Boulanger et prend parti contre Dreyfus dans son œuvre. Il finit par être un personnage assez triste, et passe ses dernières années à faire des caricatures de touristes au premier étage de la tour Eiffel, à chanter et à jouer du violon dans les cabarets.

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  • A homoerotic dreamscape poster by CARRANCE, Raymond
    CARRANCE, Raymond
    A homoerotic dreamscape poster

    NP, C1975. A very nice printing of this slightly homoerotic cartoon / caricature, showing a sombrero wearing man with a whip and a falcon, standing on a black man who is sucking his toes. An unusual an somewhat surreal poster. With Carrance's monogram to the image (half hidden in a feather) and his signature (possibly printed) to the bottom of the sheet. Scarce item, we cannot find any other copies of this online. 58.5cm x 42cm. Fractional edgewear only. Slightly darkened to rear. Evidence of having been stuck on a wall. Stiff glossy art card. Raymond Carrance (1921-1998) was a French cartoonist and photographer, also known as Czanara. He also illustrated a number of books. Carrance created a private…

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    NP, C1975. A very nice printing of this slightly homoerotic cartoon / caricature, showing a sombrero wearing man with a whip and a falcon, standing on a black man who is sucking his toes. An unusual an somewhat surreal poster. With Carrance's monogram to the image (half hidden in a feather) and his signature (possibly printed) to the bottom of the sheet. Scarce item, we cannot find any other copies of this online. 58.5cm x 42cm. Fractional edgewear only. Slightly darkened to rear. Evidence of having been stuck on a wall. Stiff glossy art card. Raymond Carrance (1921-1998) was a French cartoonist and photographer, also known as Czanara. He also illustrated a number of books. Carrance created a private catalogue of homoerotic dreamscapes under the pseudonym "Czanara". Hi photography was also largely of young athletic men.

    . Une très belle impression de cette caricature légèrement homoérotique, montrant un homme portant un sombrero avec un fouet et un faucon, debout sur un homme noir qui lui suce les orteils. Une affiche inhabituelle et quelque peu surréaliste. Avec le monogramme de Carrance sur l'image (à moitié caché dans une plume) et sa signature (peut-être imprimée) au bas de la feuille. Pièce rare, nous ne trouvons pas d'autres copies de cette affiche en ligne. 58,5 cm x 42 cm. Usure marginale seulement. Légèrement assombri au dos. Preuve qu'il a été collé sur un mur. Carte d'art rigide et brillante. Raymond Carrance (1921-1998) était un dessinateur et photographe français, également connu sous le nom de Czanara. Il a également illustré de nombreux livres. Sous le pseudonyme de "Czanara", Carrance a créé un catalogue privé de paysages oniriques homoérotiques. Il a également photographié en grande partie de jeunes hommes athlétiques.

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  • Two Politicians (A Whig and a Tory) each holding a copy of the magna carta by BOBBIN,Tom. [COLLIER, John]
    BOBBIN,Tom. [COLLIER, John]
    Two Politicians (A Whig and a Tory) each holding a copy of the magna carta

    John Hayward. A plate from "Human Passions Delineated" first edition, published in Manchester in 1773. A nice plate, showing two rival politicians claiming to champion the Magna Carta. fairly good clean condition. There is an old closed tear to the bottom edge, and a small foxing spot to the left edge. The print was rather off centre to the page. Overall though a very nice copy of a scarce item. print is 13cm x 20cm. Sheet is 19cm x 24cm. OCLC: 5105702 (whole book). We have a number of different plates from this work, and can offer discounts for multiple purchases.

    . Une planche tirée de la première édition de "Human Passions Delineated", publiée à Manchester en 1773.…

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    John Hayward. A plate from "Human Passions Delineated" first edition, published in Manchester in 1773. A nice plate, showing two rival politicians claiming to champion the Magna Carta. fairly good clean condition. There is an old closed tear to the bottom edge, and a small foxing spot to the left edge. The print was rather off centre to the page. Overall though a very nice copy of a scarce item. print is 13cm x 20cm. Sheet is 19cm x 24cm. OCLC: 5105702 (whole book). We have a number of different plates from this work, and can offer discounts for multiple purchases.

    . Une planche tirée de la première édition de "Human Passions Delineated", publiée à Manchester en 1773. Une belle planche, montrant deux politiciens rivaux prétendant défendre la Magna Carta. Assez bon état de propreté. Il y a une ancienne déchirure fermée sur le bord inférieur et une petite tache de rousseur sur le bord gauche. L'impression était plutôt décentrée par rapport à la page. Dans l'ensemble, il s'agit d'un très bel exemplaire d'un document rare. L'impression mesure 13 cm x 20 cm. La feuille mesure 19 cm x 24 cm. OCLC : 5105702 (livre entier). Nous disposons d'un certain nombre de planches différentes de cet ouvrage, et nous pouvons offrir des réductions pour des achats multiples.

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  • Paternal Affection by TREGEAR, G.S.
    TREGEAR, G.S.
    Paternal Affection Get alang wid ye Mike or by the powers i'll knock yer brains out as i've done wid yer brothers affore ye....

    London: G.S. Tregear, 1835. First Edition. An attractive copy of this print. One of the Flights of Humour series. We are unsure which, as the small cartouche which would number it has been cut away from the corner. Nevertheless, this is typical of the style of this series and was printed at the correct time. (From the address 96 Cheapside we can identify the printing as between 1834 and 1840). As is typical, no artist is credited. Hand coloured illustration mocking an Irish father for his heavy handed care of his son. The sheet is clean and tidy (with just a small foxing spot) and only spoiled by the corner having been clipped. This could be easily hidden by…

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    London: G.S. Tregear, 1835. First Edition. An attractive copy of this print. One of the Flights of Humour series. We are unsure which, as the small cartouche which would number it has been cut away from the corner. Nevertheless, this is typical of the style of this series and was printed at the correct time. (From the address 96 Cheapside we can identify the printing as between 1834 and 1840). As is typical, no artist is credited. Hand coloured illustration mocking an Irish father for his heavy handed care of his son. The sheet is clean and tidy (with just a small foxing spot) and only spoiled by the corner having been clipped. This could be easily hidden by passe partout or framing. 31cm x 23.5cm.

    . Première édition. Un bel exemplaire de ce tirage. L'un des ouvrages de la série "Flights of Humour". Nous ne savons pas lequel, car le petit cartouche qui devait le numéroter a été coupé dans l'angle. Néanmoins, cet exemplaire est typique du style de cette série et a été imprimé à la bonne époque. (L'adresse 96 Cheapside nous permet d'identifier l'impression entre 1834 et 1840). Comme c'est souvent le cas, aucun artiste n'est mentionné. Illustration coloriée à la main se moquant d'un père irlandais qui s'occupe beaucoup de son fils. La feuille est propre et soignée (avec juste une petite tache de rousseur) et n'est gâchée que par le coin qui a été coupé. Ceci peut être facilement caché par un passe partout ou un encadrement. 31 cm x 23,5 cm.

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  • Signed by the engraver to the printer Charles Wittman
    PIUS X Pontifex Maximus by BURNEY Eugène after GAILLARD Ferdinand.
    BURNEY Eugène after GAILLARD Ferdinand.
    PIUS X Pontifex Maximus

    Paris: Charles Wittman. A large and attractive engraving of Pope Pius X (Giuseppe Melchiorre Sarto) Circa 1903. It is signed to the engraving "a monsieur Ch Wittmann, cordialement E Burney." To the base of the sheet, and in the same (or very similar) hand is written "gravée par Burnay, aprés C Gaillard." This is problematic. We can find no copies of this engraving online, but Burney and Gaillard often worked together, and Gaillard was Burney's teacher. BUT Gaillard died in 1887, years before the Elevation of Sarto to the Papacy. This work uses an identical frame / surround to Gaillard's portrait of Pius IX, which made his name. (obviouisly the name panel has been updated). We suspect that Burney…

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    Paris: Charles Wittman. A large and attractive engraving of Pope Pius X (Giuseppe Melchiorre Sarto) Circa 1903. It is signed to the engraving "a monsieur Ch Wittmann, cordialement E Burney." To the base of the sheet, and in the same (or very similar) hand is written "gravée par Burnay, aprés C Gaillard." This is problematic. We can find no copies of this engraving online, but Burney and Gaillard often worked together, and Gaillard was Burney's teacher. BUT Gaillard died in 1887, years before the Elevation of Sarto to the Papacy. This work uses an identical frame / surround to Gaillard's portrait of Pius IX, which made his name. (obviouisly the name panel has been updated). We suspect that Burney is paying homage to his tutor, in the use and credit of the frame and style. The engraving is in very good condition, with a good, deep impression. There is a little foxing to the edges of the sheet, and a couple of very small tears to the page edge. Francois Eugéne Burney (1845-1907) was a French engraver and illustrator. Ferdinand Gaillard (1834-1887). Chrales Wittmann was a Parisian Intaglio printer. He often worked with Burney, and presumably was also the printer of this sheet, which Burney has signed for him. Engraved panel is 49cm x 34cm. The sheet is 62cm x 46cm. First Edition.

    . Une grande et belle gravure du pape Pie X (Giuseppe Melchiorre Sarto) datant de 1903. Elle est signée sur la gravure "a monsieur Ch Wittmann, cordialement E Burney". Au bas de la feuille, et de la même main (ou d'une main très similaire), est écrit "gravée par Burnay, aprés C Gaillard". Cette mention est problématique. Nous n'avons trouvé aucune copie de cette gravure en ligne, mais Burney et Gaillard ont souvent travaillé ensemble, et Gaillard était le professeur de Burney. MAIS Gaillard est mort en 1887, des années avant l'élévation de Sarto à la papauté. Cette œuvre utilise un cadre identique au portrait de Pie IX de Gaillard, qui a fait sa renommée. (évidemment, le panneau du nom a été mis à jour). Nous soupçonnons que Burney rend hommage à son tuteur, dans l'utilisation et la reconnaissance du cadre et du style. La gravure est en très bon état, avec une bonne impression profonde. Il y a un peu de rousseur sur les bords de la feuille, et quelques très petites déchirures sur le bord de la page. François Eugène Burney (1845-1907) était un graveur et illustrateur français. Ferdinand Gaillard (1834-1887). Chrales Wittmann était un imprimeur en taille-douce parisien. Il a souvent travaillé avec Burney, et a probablement été l'imprimeur de cette feuille, que Burney a signée pour lui. Le panneau gravé mesure 49 cm x 34 cm. La feuille mesure 62 cm x 46 cm. Première édition.

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  • Plato with botanists Charles Daniel Solander and Joseph Banks by BOBBIN,Tom. [COLLIER, John]
    BOBBIN,Tom. [COLLIER, John]
    Plato with botanists Charles Daniel Solander and Joseph Banks

    John Hayward. A plate from "Human Passions Delineated" first edition, published in Manchester in 1773. A nice plate, showing Banks and Solander staring at each other. Plato is busy reading a copy of his Dialogues. Plate is in fairly good clean condition. There is an old closed tear to the bottom edge (intruding into the image) and a small foxing spot to the left edge. Overall though a very nice copy of a scarce item. print is 13cm x 20cm. Sheet is 19cm x 24cm. OCLC: 5105702 (whole book). We have a number of different plates from this work, and can offer discounts for multiple purchases.

    . Une planche tirée de la première édition de "Human Passions Delineated",…

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    John Hayward. A plate from "Human Passions Delineated" first edition, published in Manchester in 1773. A nice plate, showing Banks and Solander staring at each other. Plato is busy reading a copy of his Dialogues. Plate is in fairly good clean condition. There is an old closed tear to the bottom edge (intruding into the image) and a small foxing spot to the left edge. Overall though a very nice copy of a scarce item. print is 13cm x 20cm. Sheet is 19cm x 24cm. OCLC: 5105702 (whole book). We have a number of different plates from this work, and can offer discounts for multiple purchases.

    . Une planche tirée de la première édition de "Human Passions Delineated", publiée à Manchester en 1773. Une belle planche, montrant Banks et Solander se regardant l'un l'autre. Platon est occupé à lire un exemplaire de ses Dialogues. La plaque est en assez bon état de propreté. Il y a une ancienne déchirure fermée sur le bord inférieur (qui empiète sur l'image) et une petite tache de rousseur sur le bord gauche. Dans l'ensemble, il s'agit d'un très bel exemplaire d'une pièce rare. L'impression mesure 13 cm x 20 cm. La feuille mesure 19 cm x 24 cm. OCLC : 5105702 (livre entier). Nous avons un certain nombre de planches différentes de cet ouvrage, et nous pouvons offrir des réductions pour des achats multiples.

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  • Industrial Engineers from Liège by OCHS, Jacques.
    OCHS, Jacques.
    Industrial Engineers from Liège

    Bruxelles: N/P, 1920. An interesting collection. First edition. A title/ index page and 19 (of 25) printed (hand ?) coloured portraits of eminent Belgian Industrialists. There is no cover or binding (This this was one of Ochs portfolio works and should have had a plain green card folder). There is no printed or limitation details. There was also originally a dedication page which is lacking. Nevertheless, 19 rare colour portraits by Ochs. Trasensters, the Habets, Louis Canon-Legrand, Édouard de Roubaix, Edgar Forgeur, Léon Noirfalise, Hector Pouleur, Constant Piret.... The plates are mostly written in pencil with the subject on the blank rear. There is a touch of foxing to the sheets. The title sheet is quite darkened. 320 by…

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    Bruxelles: N/P, 1920. An interesting collection. First edition. A title/ index page and 19 (of 25) printed (hand ?) coloured portraits of eminent Belgian Industrialists. There is no cover or binding (This this was one of Ochs portfolio works and should have had a plain green card folder). There is no printed or limitation details. There was also originally a dedication page which is lacking. Nevertheless, 19 rare colour portraits by Ochs. Trasensters, the Habets, Louis Canon-Legrand, Édouard de Roubaix, Edgar Forgeur, Léon Noirfalise, Hector Pouleur, Constant Piret.... The plates are mostly written in pencil with the subject on the blank rear. There is a touch of foxing to the sheets. The title sheet is quite darkened. 320 by 230mm (12½ by 9 inches).

    . Une collection intéressante. Première édition. Une page de titre/ index et 19 (sur 25) portraits imprimés (à la main ?) en couleur d'éminents industriels belges. Il n'y a pas de couverture ni de reliure (il s'agit d'un des ouvrages du portfolio d'Ochs et il aurait dû avoir une simple chemise en carton vert). Il n'y a pas de détails imprimés ou de limitation. Il y avait aussi à l'origine une page de dédicace qui n'existe pas. Néanmoins, 19 rares portraits en couleur d'Ochs. Trasensters, les Habets, Louis Canon-Legrand, Édouard de Roubaix, Edgar Forgeur, Léon Noirfalise, Hector Pouleur, Constant Piret.... Les planches sont pour la plupart écrites au crayon avec le sujet sur le verso vierge. Il y a quelques rousseurs sur les feuilles. Le feuillet de titre est assez assombri. 320 by 230mm.

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  • Le Statue de Cire Salon 1879 by RINGEL
    RINGEL
    Le Statue de Cire Salon 1879

    Paris: Cadart. A very nice engraving by Ringel showing his statue which was presented during the 1879 salon. This would appear to be a large paper copy, without any printer or engraver details. (There was a smaller issue, which had publication details to it. Very good condition. There is a single tiny worm hole a few centimetres below the engraved area. Slight creasing to the edges. Laid paper sheet size 48cm x 32cm, engraved area 26.5cm x 19.5cm. It seems that Ringel presented the statue at the salon, and that it was destroyed at the end of the exhibition. Jean-Désiré Ringel, known as Ringel d'Illzach (1849–1916) was a French-Alsatian sculptor and engraver.

    . Une très belle gravure de Ringel…

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    Paris: Cadart. A very nice engraving by Ringel showing his statue which was presented during the 1879 salon. This would appear to be a large paper copy, without any printer or engraver details. (There was a smaller issue, which had publication details to it. Very good condition. There is a single tiny worm hole a few centimetres below the engraved area. Slight creasing to the edges. Laid paper sheet size 48cm x 32cm, engraved area 26.5cm x 19.5cm. It seems that Ringel presented the statue at the salon, and that it was destroyed at the end of the exhibition. Jean-Désiré Ringel, known as Ringel d'Illzach (1849–1916) was a French-Alsatian sculptor and engraver.

    . Une très belle gravure de Ringel représentant sa statue présentée lors du salon de 1879. Il semble qu'il s'agisse d'une grande copie papier, sans aucun détail sur l'imprimeur ou le graveur. (Il y a eu une édition plus petite, qui avait des détails de publication. Très bon état. Il y a un seul petit trou de ver à quelques centimètres en dessous de la zone gravée. Légers plis sur les bords. La feuille de papier encollé mesure 48 cm x 32 cm, la zone gravée 26,5 cm x 19,5 cm. Il semble que Ringel ait présenté la statue au salon et qu'elle ait été détruite à la fin de l'exposition. Jean-Désiré Ringel, dit Ringel d'Illzach (1849-1916) était un sculpteur et graveur franco-alsacien.

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    Book ID: 4775
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