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Edité par No place, [ca. 1832-1833]., 1833
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien Signé
Oblong 4to (287 x 228 mm). 1 page, meticulously notated in 38 bars on five systems of two staves. Annotated in a 19th-century hand "copié par Chopin", loosely matted. Stored in a custom-made red morocco portfolio with cut signatures of Arthur Rubinstein (1931) and Vladimir Horowitz (1978), famed as interpreters of Chopin's music. Two short piano works inspired by Polish folk music. Kobylanska considers that whilst both works are signed by Chopin, they are too unsophisticated to be his own compositions, and are perhaps transcriptions of Polish folk tunes: "Beide Stücke sind zwar mit Ch signiert, in ihrer ganzen Art jedoch zu primitiv, als daß man sie für eigene Kompositionen Chopins halten könnte. Wir ordnen sie in dieses Kapitel ein, da es sich vielleicht um Übertragungen von polnischen Volksweisen handeln mag." If so, it is fascinating not only to see Chopin in the posture of an ethnomusicologist some sixty or more years before the pioneering research of Bartók and Kodály, but also that the resulting works, notated with his characteristic exquisite neatness, should be granted the imprimatur of his discreet, repeated signature. - Provenance: 1) collection of the actor, director and playwright Sacha Guitry (1885-1957); his sale, Drouot, Paris, 21 November 1974 (lot 15); 2) collection of the Canadian chemist and physician Frederick Lewis Maitland Pattison (1923-2010), with his bookplate on the portfolio's inside front cover. - Krystyna Kobylanska, Frédéric Chopin: Thematisch-bibliographisches Werkverzeichnis (1979), VII b (Transkriptionen von Volksweisen), nos. 7 and 8. First published in Jean-Jacques Eigeldinger, "Un autographe musical inédit de Chopin", Schweizerische Musikzeitung / Revue musicale suisse, CXV/1 (Jan.-Feb. 1975), pp. 18-23. F. L. M. Pattison, "A Folk Tune Associated with Chopin and Liszt", Journal of the American Liszt Society 20 (1986), pp. 38-41. J. M. Chominski & T. D. Turlo, Katalog dziel Fryderyka Chopina (1990), p. 240 (Sketches, fragments, exercises): "Folk melodies meticulously recorded on a single sheet".
Date d'édition : 1850
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure Signé
Hardcover. Etat : Fine. This historically significant manuscript is the 'First Zoological Inventory of Polynesia.' The work based on the research of Charles-Gaëtan Noury is entitled Frà gate la Sirene, commendà e par Mr. Noury Capitaine de Frà gate. Histoire naturelle. Voyage dans l'Oceanie, annà es 1847, 1848 & 1849. Iles de la Socià tà , Tahiti & Marquises, Nouka hiva and was unknown until 2017. The work was completed in France after 1850.The manuscript is in 6 volumes, one volume of text and five volumes with 458 illustrations (including 444 watercolors, 10 pen drawings, and 4 pencil drawings). Each illustration is mounted on card and often has French handwritten descriptors with local names. The five volumes with illustrations are bound in green half morocco with gold details and monogram of C.N. to the front boards. The text volume is bound in half-cloth. Also included in the lot is the manuscript published on behalf of the Belgian Academy of Sciences by Michel Jangou after the discovery of this one of a kind work of Noury's. Jangou's publication is entitled Voyage en Polynà sie (1847-1850): Le bestiaire oublià du capitaine Noury and was published in Brüssel in 2017 (available on Amazon as well).All of the illustrations and text were based on the scientific findings of Charles-Gaëtan Noury. It encompassed the entire animal kingdom of Polynesia creating the 'First Zoological Inventory of Polynesia.' Michel Jangou commented in his publication of the manuscript that "Noury produced a pioneering work, the first zoological inventory of Polynesia! He compiled it discreetly, with the invaluable help of a talented painter who remains anonymous. Since then, Noury 's manuscript and the watercolors which illustrate it have remained ignored by everything: it took more than a century and a half for the captain's work, still intact, to find the light and finally be revealed to us." (p. 39)Noury divided the animals into individual classes. The artist depicted the animals with brilliant colors and a mastery of detail. The manuscript depicted several previously unknown species. Watercolor number 183 features a detailed autographed commentary from Noury himself. Noury's text was mainly dedicated to his zoological findings with a smaller section on plants. The individual classes and sections are introduced by a summary table, which follows Milne Edwards zoological classification system of mammals, birds, reptiles, fish, ringed animals, insects, myriapods, arachnids, crustaceans, molluscs, and zoophytes. His descriptions were often enriched with island anecdotes.Charles-Gaëtan Noury (1809-1869) was a French naval officer and naturalist. He boarded the Sirà ne in Brest, France in 1846 as the deputy to Commander Lavaud. Lavaud had been appointed governor of the French settlements in Oceania. While Lavaud served as governor, Noury had command of the Sirà ne and stationed in Papeete (Tahiti). He dedicated himself to scientific research there and with the help of painters produced this remarkable astonishing manuscript.Noury had one work published in Nantes in 1861 entitled Album Polynà sien de M. C. Noury, Capitaine de Vaisseau which showed images of tattoos and artifacts of South Sea curiosities. This work with 15 plates is currently on the market at 25,000 EUR.This one of a kind manuscript from Noury offered here remained undiscovered for over 160 years. It features 458 illustrations and hand-written scientific text that make it a truly astonishing work for any collection.Additional photos available upon request. --- The work is in very good to excellent condition overall. The bindings are slightly rubbed. There can be some faint foxing to title or illustrations. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mounting Card Size ~ 16 3/8" by 11 3/8" Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mo. Signed by Author.
Edité par Nuremberg: Fleischmann, and Adam Ludwig Wirsing, [plates dated 1753-1786]., 1786
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale Signé
Folio (18 x 13 inches). 172 fine hand-colored engraved plates by J.M. Seligman, J.M. Stock and A.L. Wirsing after G.D. Ehret, G.W. Baurenfeind, B.R. and M.B. Dietschin, N.F. Eisenberger, J.C. Keller and others (plates 60 and 61, and 121 and 122 counted as one plate each, bound without plates 90, 126, 131, 135, 179 and 180, first two plates with slight vertical crease, plate 97 with small tear at fold not affecting the image). Bound without text. Contemporary mottled calf (joints cracked, extremities scuffed). "ONE OF FINEST RECORDS OF THE CULTIVATED FLOWERS OF THE PERIOD" (Dunthorne). First edition, bound, as often found, without text, which was not published simultaneously with the plates. Described by Blunt as "one of the most decorative florilegia of the mid-eighteenth century" with more than forty of the plates based on drawings by Trew's famous protégé Georg Ehret with whom he had collaborated on "Plantae Selectae". The spectacular plates are "full sized colored figures of Hyacinths, Tulips (over 20 plates), Ranunculi, Anemones, Caryophylli, Lilies, Auriculas, Roses, Narcissi, Iris, Cheiranthi, Asters, Fritilleries, Crown Imperials" (Dunthorne), and are some of the most sought after and important botanical prints in the world. It is no wonder that he became one of the foremost illustrators of botanical images of his time, at a time when it can be said that art of this nature was highly prized and passionately collected. Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret s "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as Hortus Nitidissimus [as here] (1750 86) and Plantae selecta e (1750 73), in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist, Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists in Holland. Some of his paintings of the exotics were engraved in Linnaeus's "Hortus Cliffortianus" (1737). "[Ehret] signed and dated his work, naming the subject in pre-Linnaean terms. He published a florilegium, "Plantae et papiliones rariores" (1748 62), with eighteen hand-coloured plates, drawn and engraved by himself. Ehret also provided plant illustrations for several travel books. His distinctive style greatly influenced his successors" (Enid Slatter for DNB). The number of plates bibliographers have associated with this work differs considerably: Brunet V:943 (calls for 190 plates); Dunthorne 310 (180 plates, actually 178); Great Flower Books p. 78 (180 plates, plates 60/61 and 121/122 are represented by one plate each); Johnston "Cleveland Collections" 493 (190 plates); Nissen BBI 1995 (180 plates, 60/61 and 121/122 each on one plate, referance to Tjaden with 190 plates); Pritzel 9500 (180 pl.
Edité par NP, NP, 1954
Vendeur : ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, Etats-Unis
Signé
Hardcover. Etat : g to vg. Original document. Originally published in 1953, "Battle Cry" is the enthralling first novel by legendary American author Leon Uris, best known for such classics as "Trinity" and "Exodus." Many of the events in the book are based on the writer's own World War II experience with the 6th Marine Regiment. Original typescript, screenplay and revised final shooting script with many manuscript annotations by Leon Uris: Bound by the "Hollywood Bindrey". - The original typescript of "Battle Cry" is bound in three volumes, in full decorative morocco bindings,with gold lettering to spines. Raised band. Each binding signed E. T. and dated 1973. Decorative endpapers. 800 of a total of 830 leaves have been underlined and / or annotated in pencil (regular and red) by Leon Uris. The three-volume typescript is housed in a matching olive cloth covered slipcase. Volume 1 with fly leaf handsigned by Leon Uris. Maquette of the first five pages bound in. [3], 9, 304 leaves, of which only nine have no annotations nor underlining. Volume 2 with fly leaf handsigned by Leon Uris. [1], 305-608 leaves, of which only thirteen have no annotations nor underlining. Volume 3 with fly leaf handsigned by Leon Uris. [1], 609-816 leaves, of which only eight have no annotations nor underlining. Leaves watermarked "Macadam Bond." "Battle Cry"'s patriotic spirit - "in contrast to war novels by Norman Mailer (The Naked and the Dead), James Jones (From Here to Eternity), Herman Wouk (The Caine Mutiny), Irwin Shaw (The Young Lions), and James Gould Cozzens (The Guard of Honor) - expressed a positive, supportive view of the military despite the carnage, confusions, and loss of life inherent in war. Patriotism not nihilism, heroism, not cowardice, defined its themes, which were welcomed by the marines and the public. All of this made the book a commercial success. Warner Brothers bought the film rights, and Leon Uris moved to Hollywood to write the following screenplay for the movie, which was released in 1955." (See: The New York Times, dated 6/25/2003, and Ira B. Nadel's "Leon Uris: Life of a Best Seller," pp. 52-67). - The original "Battle Cry" screenplay is bound in olive calf, with gold lettering and tooling to spine. Leon Uris' name in gilt to front cover. Raised bands. Marbled endpapers. Binding by Hollywood Art Book Bindery, in Los Angeles. [1], 157 leaves; Nine 8 x 10" original silver gelatin prints depicting behind-the-scene views; [3] leaves (Index to Breakdown), 3 leaves (Set List from Final Script dated 2/13/1954); 120 leaves (Daily Production Call sheets). Title page dated 11/30/1953 and annotated in blue ink by Leon Uris. Leaves 2 and 3 of the cast of characters annotated in pencil and blue ink. Extensive annotations in blue ink and or pencil to leaves 58 to 62, 64 to 67, 69, 71, 72, 76 to 107, 111 to 139, and 140 to 157. Laid in at rear, eight typed Test Scenes: "The Squad" (4 leaves), "Marion and Spanish Joe" (2 leaves), "Ski" (1 leaf), "Pat and Andy" (4 leaves), "Pat and Andy #2" (3 leaves), "Pat and Andy #3" (2 leaves), "Danny and Kathy (Alternate)" (2 leaves), and "Danny and Kathy" (2 leaves). - "Battle Cry - Revised Final" (shooting script) screenplay is bound in olive calf, with gold lettering and tooling to spine. Leon Uris' name in gilt to front cover. Raised bands. Marbled endpapers. As indicated at upper margin of fly leaf at rear, binding by Hollywood Art Book Bindery, in Los Angeles. This revised final screenplay is interspersed with sixty 8 x 10" original silver gelatin prints being movie stills (49) as well as behind-the-scene views (11) housed in plastic leaves bound in. Three photographs have a smaller size (5 3/4 x 8"). Ten of the 60 silver gelatin prints come directly from the Warner Bros Pictures Distributing Corporation, as captioned at lower margin. The title page dated 3/27/1954 is handsigned in light blue ink by the director Raoul Walsh, the assistant director Russ Saunder, production designer John Beckman, and technical adviser Colonel Jim Crowe. Two inserts, being hand-colored maps of Saipan and Red Beach, bound between leaves 125 and 126. The first four leaves of the revised final screenplay are handsigned and inscribed to Leon Uris by ten members of the cast, namely: Tab Hunter (Danny Forrester): "Mr. Uris, I loved the book "Battle Cry" and I only hope that I was able to capture a part of "Danny" in this film. Thanks for everything. My best, Always, Tab Hunter '54," Mona Freeman (Kathy - later Mrs Danny Forrester), Aldo Ray (Pvt. / Pfc Andy Hookens): "Leon - A great novel deserves a great filming, Here's Hoping!", William Campbell (Pvt. 'Ski' Wronski), John Lupton (Pvt. / Cpl. Marion 'Sister Mary' Hotchkiss), Justus E. McQueen (Pvt. L.Q. Jones), James Whitmore (MSgt. Mac / Narrator), Nancy Olson (Mrs. Pat Rogers), Rhys Williams (Enoch Rogers), Hilda Plowright (Mrs. Rogers - Pat's mother). Laid in at rear, a typed and handsigned 3-page letter from Los Angeles-based award-winning freelance journalist David Robb to Leon Uris. In this letter dated December 6, 2002 (six months before Uris' death), David Robb, the author of "Operation Hollywood: How the Pentagon Shapes and Censors the Movies" tells Leon Uris that after searching through 'thousands of pages of Pentagon documents - internal memos and correspondence between military officials and Hollywood producers,' he discovered a file in which the Pentagon had concerns about an aspect of Leon Uris' screenplay, namely, the racial friction depicted between two of the characters, Pedro and Speedy. After telling Uris that he wrote a powerful script that touched on a very sensitive issue, David Robb ends his letter by asking the author of "Battle Cry" the following seven questions: 1) How did you feel about this scene being cut from the movie? Did it bother you, or were you okay with it? 2) Did you fight to keep it in the movie? If so, to whom did you complain? 3) Who made the final decision to edit it out? Raoul Walsh? A studio executive? 4) Was there a real-life pe.
Vendeur : Arader Galleries Drawings & Watercolors, New York, NY, Etats-Unis
Signé
No Binding. Etat : Fine. HERMAN HENSTENBURGH (DUTCH, 1667-1726) Still-life with a monkey and a basket of flowers on a stone ledge Watercolor and gouache within black framing lines, on vellum Paper size: 16 1/2 x 12 3/4 in Frame size: 25 1/2 x 21 7/8 in Signed l. r.: H. Henstenburgh. fec= Provenance: Pieter van den Brande and/or Johan Pieter van den Brande, Middelburg; by descent to E. C. Baron van Pallandt; sold by him, Amsterdam, Mak van Waay, 26 September 1972, lot 336; private collection The development of natural history painting paralleled progress in the field of science. Drawing played an essential role in the advancement of natural history. The influence of animal and plant illustration directly affected the development of allegorical and trompe l il painting. The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with symbolic meaning. Snakes, lizards, and frogs had powerful symbolic connotations and were related to Medusa's theme. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities. The caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after the resurrection. Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings, he creates a play of lines and colors that can be appreciated not merely for its decorative aspects but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands. According to contemporary accounts, his early works imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include exquisite flower and fruit pieces and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his lifetime. Loca: 6.3WCC.4D.
Edité par Paris: Les Éditions du Solstice, 1992, 1992
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale Signé
First edition, first printing, number 24 of 80 copies signed by Lichtenstein and Ginsberg on the limitation page from a total edition of 125; each print is initialled lower right by Lichtenstein, numbered lower left. In 1991, Lichtenstein was approached to provide illustrations for a French edition of Allen Ginsberg's The New Fall of America. Ginsberg selected 11 poems to be translated into French and Lichtenstein created 10 collages inspired by them, from which etchings were printed for the book. The imagery is characteristic of Lichtenstein's work in popular illustrations. "The image of Ginsberg as a Buddha in a lotus pose, for instance, was inspired by a vignette symbolizing meditation on a yoga class sheet. Cubistic visions of the city and emblems of explosions alternate with more peaceful landscapes to provide a visual counterpart to Ginsberg's vivid evocation of contemporary America" (Morgan Library and Museum). Corlett 267-276. Folio. Original red cloth, spine lettered in white, Velin d'Arches paper pages unbound. With the publisher's blue cloth slipcase. 10 coloured etching and aquatints on 250 gsm Velin d'Arches paper. Sheet sizes: Approx 48 x 35.4 cm. Image sizes: Approx 37.5 x 27.8 cm. Fine in fine slipcase.
Paris, Louis Broder, coll. « Écrits et Gravures », n° 2, (24 octobre) 1956. 1 vol. (190 x 255 mm) de 122 p. et [1] f. Maroquin grenat, décor de filets à froid sur les plats, reprise du décor sur le dos, doublures de maroquin bleu, gardes de soie, titre doré, tranches dorées sur témoins, couverture illustrée conservée, chemise et étui bordés (reliure signée de Semet et Plumelle, 1960). Précieux exemplaire, unique, sur japon. Il est imprimé spécialement pour l?éditeur, Louis Broder, et est enrichi d'un grand dessin original par Pablo Picasso, aux crayons de couleurs (bleu et rouge) représentant Max Jacob, signé et daté : « Picasso, Cannes le 14.1.57 pour Louis Broder ». C'est le seul exemplaire imprimé sur ce papier, avant les 170 exemplaires du tirage, et il est enrichi de suites d'épreuves originales, réhaussées et signées. Les 30 premiers exemplaires sont enrichis d'une suite des trois pointes-sèches. Cet exemplaire, composé pour et par Louis Broder, contient en sus les pièces suivantes : - la couverture lithographiée, imprimée sur japon ; - le portrait frontispice lithographié, sur japon, ici rehaussé à la main et en couleurs par Picasso ; - le portrait frontispice sur vergé de Montval, justifié 2/2 et exceptionnellement signé ; - le portrait frontispice sur vélin fort - seule épreuve connue sur ce papier, - les 3 pointes-sèches, sur japon également, ici aussi exceptionnellement rehaussées à la main et en couleur par Picasso. - les 3 pointes-sèches sur vergé de Montval, exceptionnellement signées par l'artiste. On ne connaît aucune autre suite de ces trois pointes-sèches signée, hormis celles des épreuves Broder qui comportent la mention autographe du peintre au crayon : « Bon à tirer / Picasso / Cannes le 10.9.56 » (Aguttes, septembre 2021, n° 442). La suite présente dans les 30 exemplaires du tirage de tête n'est signée dans aucun des exemplaires connus ; - la couverture en lithographie de l'étui, en triple état ; - le feuillet de souscription, sur japon ; - un état supplémentaire de la lithographie du deuxième plat de l'étui ; - la suite des 24 bois gravés par Aubert sur vergé de Montval. Le texte de cette Chronique est une commande passée en 1935 à Max Jacob par l'épouse du marchand d'art Paul Guillaume pour honorer sa mémoire. Elle s'adressait ainsi à celui qui saurait le mieux relater l'époque de cette avant-garde qu'il avait tout à la fois initié et vécu aux côtés d'Apollinaire, Picasso, Salmon ou Braque. « Le projet deviendra ce récit fondamental sur le cubisme : La chronique des temps héroïques, commencée en 1935 dont seul le début parut du vivant de Max Jacob, en 1937. C'est en 1956 que Louis Broder en fera cette édition limitée, à l'occasion du quatre-vingtième anniversaire de la naissance du poète, avec des eaux-fortes de Picasso, d'après un manuscrit complet des huit chapitres. Le texte de cette édition n'avait jamais été repris depuis. Il n'existe pourtant pas de témoignage aussi vivant et direct sur l'aventure de l'art moderne, depuis la bohème montmartroise jusqu'aux frasques des années folles. » Picasso y a créé 3 hors-textes, traités à la pointe-sèche, datés du 7 septembre 1956 (d'après le bon à tirer du frontispice) : elles représentent chacune Max Jacob écrivant, nu de dos ainsi que son profil, tête penchée. Picasso avait également fait un portrait de profil de son ami alors qu'il était à Vallauris, le 23 septembre 1953 - celui qu'il décida de retenir ici pour le frontispice de ce livre : le bon à tirer de cette lithographie est daté « Cannes, 10.09.56 ». Pour la couverture et l'étui, Picasso créa deux autres lithographies originales en couleurs, puis ajouta 24 gravures sur bois, exécutées par Georges Aubert, d'après des dessins dans l'esprit des in-texte du Chef-d'oeuvre inconnu, le texte de Balzac que Picasso avait illustré en 1931 chez Ambroise Vollard. « On peut affirmer que non seulement Max est le premier ami français de Picasso et qu'il va offrir libéralement à Pablo toute cette culture dont il est porteur, mais que, durant vingt ans ils vivront l'un à côté de l'autre, une amitié plus solide qu'on ne veut bien le dire, et toutes les ?batailles', les grandes heures d'un art nouveau dont ils se veulent les chefs de file à commencer par le cubisme. » Max Jacob (né en 1876) est celui avec lequel Picasso publie son deuxième livre illustré, le célèbre Saint Matorel, chef-d'oeuvre commandé par Henry Kahnweiler en 1911. Ils se sont rencontrés en 1901 à Paris, l'un venant de Quimper, sa ville natale l'autre tout fraîchement débarqué de Barcelone. Le poète a découvert le travail du peintre dans la galerie d'Ambroise Vollard qui expose pour la première fois le jeune Pablo Ruiz Picasso. Ce dernier et Max Jacob partagèrent une chambre boulevard Voltaire avant que le peintre ne s'installe rue Ravignan, à cette adresse devenue mythique : « Bateau lavoir », baptisée ainsi par le poète. Au numéro 7 de cette même rue, Max Jacob louera même un temps une petite chambre pour faciliter ses visites quotidiennes dans l'atelier de son ami. Au sortir de la guerre, c'est encore à Picasso qu'il demande de devenir son parrain de baptême (le 16 février 1918, à la chapelle Notre-Dame-de-Sion à Paris), avant que Picasso ne lui demande d'être son témoin de mariage avec Olga Khokhlova six mois plus tard, à l'église orthodoxe Saint-Alexandre-Nevsky. Douze ans après la mort tragique du poète, au camp de Drancy en 1944, Louis Broder permet à Picasso de livrer le plus bel hommage posthume qui soit, témoignage de cinquante ans d'amitié renvoyant aux premières heures de leur longue connivence. À soixante-quinze ans, Pablo Picasso oeuvre ici comme jamais pour le grand compagnon de ses débuts. Celui auquel Éluard avait écrit sur un exemplaire de Cours naturel « À Louis Broder qui aime les livres encore plus que moi » a laissé dans le monde de l'édition d'art une empreinte aussi brève que majeure. Une dizaine de livres, deux collections « Miroir du poète » et « Écrits et gravures », dont cette Chroniq.
Edité par Unpublished, Constantinople and Egypt, 1845
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Signé
Portfolio. 42 watercolors hinged onto 22 period card mounts, 7 signed by Preziosi, 1 signed by Beaumont, ranging in size from 4 1/4 x 5 1/2 inches to 13 x 20 1/2 inches, all with contemporary ink manuscript caption titles on the mount, some additionally captioned by the artists. Housed in burgundy cloth chemise within a period burgundy morocco box made to resemble a paneled binding with gilt edges, signed by A[lphonse] Giroux (1776-1848), a pupil of Jacques-Louis David who manufactured the first daguerreotype camera, at Rue du Coq S. Honore, No. 7, Paris, with original white silk lining in moiré pattern and white ribbon, clasped together with gold lock on fore-edge complete with key Provenance: Prince Roger de Bauffremont. A captivating collection of watercolors of Turkish and Egyptian scenes, accomplished by two notable nineteenth-century Orientalist artists, documenting a journey through the region by the French Prince Roger de Bauffremont that was intended to be published as a travel book. Some of these forty-two watercolors of Beaumont and Preziosi depict views of the Bosphorus, Therapia, and other sites in and around Constantinople. The remainder depict scenes and costumes of Egypt. Each an aristocrat, though Beaumont was French and Preziosi Maltese, they were both known as illustrators of travel books in the mid-nineteenth century. Preziosi's books were lavish chromolithographic affairs, as the present portfolio was likely intended to be. Preziosi had published Costumes of Constantinople (1844) the previous year, and would go on to issue Stamboul (1858) and Souvenir du Caire (1862). The son of Count Gio Francois Preziosi of Malta, Preziosi initially studied law before turning to painting. After studying under Giuseppe Hyzler, Preziosi finished his art training at the Paris Académie des Beaux-Arts. He moved to Constantinople in 1842, fell for the city, and was able to make a living painting the places and peoples that surrounded him. It is noted in the Atabey catalogue that "Preziosi was well-known. His studio is mentioned in Murray's guidebooks for 1854 and 1871. By that time he had become an institution in the city. He produced views of the city, and genre and costume drawings." [The Ottoman World] His paintings sold well to both the affluent local and the Grand Tourist, and his reputation was such that he also served as court painter to Sultan Abdul Hamid II. Less well-known, though no less skilled, is the other artist represented in these watercolors: Adalbert de Beaumont. De Beaumont traveled extensively, and authored several acclaimed works on Orientalist design and ornamentation. The present watercolors, accomplished on behalf of a traveling French prince, were never published and constitute a valuable and exquisitely rendered documentary of the sites visited and local costumes of the period. It is, as it were, a lost work from a bygone era. Watercolor Titles: "Femmes Turques." (2) 8 x 10 ¼ "Costumes Tures et Armeniens. Constantinople Septembre 1843." (2) 11 ½ x 8 ¾ "Vues de Therapia sur le Bosphore: En face du Palais de France; Palais de France." (2) 9 x 13 ¼ "Pont de Brousse. Asie Mineure." 14 x 20 ½ "Fouak sur le Nil." 13 x 19 ¼ "Birket el Shaouareb. Le Caire." 13 ¾ 20 ¼ "Costumes Tures et Egyptiens." (4) 7 ½ x 5 ½ "Costumes de la Haute et de la Basse Egypte." (6) 5 ½ x 4 "Costumes de la Haute et de la Basse Egypte. (6) 2 are 6 x 4 ½, 2 are 7 ½ x 5 ½ 2 4 ¼ x 5 3/4 "Costumes Tures. Constantinople." (2) 10 x 7 "Costumes Grecs." (2) 10 x 7 "Souvenir de Constantinople Title Page." 9 ½ x 6 1/2 "Nubiens dans le Désert." 9 ½ x 14 ¼ "Musiciens du Maroc." 10 ¼ x 15 "Vue du Bosphore prise de la Rive l'Asie." 13 ¼ x 18 3/4 "Les Murailles de Constantinople." 13 ¾ x 20 "Un Canal a Venise." 16 x 11 ¼ "Une Porte de la Mosquee de Bajazet. Constantinople 1845." 14 x 8 ½ "Mosquee de Shazade. Constantinople 1845." 13 ¼ x 8 ¾ "Palais Persan." 8 ¾ x 6 ¾ "Therapia." 4 x 5 ½ "Untitled." (3) 6 x 4 1/2 Llewellyn, The People and Places of Constantinople: Watercolors by Amedeo Count Preziosi. Sotheby's, The Ottoman World: The Library of Sefik E. Atabey, p.535.
Edité par England, [Douglas Cockerell / John William North], no year [c.]., 1910
Vendeur : Inanna Rare Books Ltd., Skibbereen, CORK, Irlande
Livre Signé
Folio (34 cm wide x 42.5 cm high). 216 pages. Hardcover / Binding in full green morocco with lettering and Dante's head as bronze sculpture per inlet to front cover. Binding by Douglas Cockerell, signed "WHS", during his directorship of W.H.Smith & Son (1905 - 1914). The manuscript is on excellent paper, watermarked O.W.P. & A.C.L. [O.W. Paper & Arts Co. Ltd., established by English painter John William North (1842-1924) in 1895]. The binding rubbed and with some small damages, in need of some minor restoration but overall still very good. The interior, the paper and the artwork all in excellent condition besides one of the juxtaposed photographs (Filippina Lippo) removed from the manuscript with some residue of the photograph remaining and some of the photographs with some dogears and minimal discoloration. All the original artwork in spectacular and fresh condition. The manuscript is a spectacular find and the quality of its execution is of utmost interest for any lover of rare books, manuscripts and special bindings. The circle of Douglas Cockerell, his involvement in one of the most beautiful books ever printed: the Ashendene Press Dante, as well as Cockerell being the binder of this unique manuscript, the fantastic paper used for the manuscript by one of the idyllist movement's central figures, John William North, and the wonderful Dante - theme of the manuscript with illuminated poetry from the Divine Comedy and the unique style of collage art, lets us rightfully dream that the anonymous composer of the manuscript was an important or at least peripheral member to either the Arts and Crafts Movement, the Ashendene Press or it was someone who worked in the style of the calligraphy schools that were inspired by William Morris or even earlier epigones like Owen Jones. Sprache: english.
Edité par W. Birch, Springland Cot, 1800
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale Signé
Hardcover. Etat : Very good. First. THE BIRCH FAMILY COPY OF THE FIRST EDITION OF BIRCH'S VIEWS OF PHILADELPHIA -- EXTRA-ILLUSTRATED, WITH THE PROSPECTUS AND SUSBSCRIBERS' LIST. Published by W. Birch, Springland Cot, near Neshaminy Bridge on the Bristol Road, Pennsylvania. Dec.r 31.st 1800[-1805]. Oblong folio (14 5/8" x 17 7/8", 370mm x 454mm): engraved title-page and 30 (of 29) engraved plates (a plan and 28 views, plus an additional view). With a letterpress introduction, broad-sheet prospectus and subscribers' list. Bound in contemporary mottled calf with a gilt roll border. On the spine, six panels, with the title gilt to red morocco in the second. Presented in a drop-front red morocco clam-shell box with two XXc letters concerning the volume. Some pitting to the mottling and some rubbing generally. Joints strengthened with cloth. Some marginal damp-staining. Tanning, offsetting and foxing throughout. Repaired marginal tears to five plates. Some plates supplied from other copies. William Russell Birch (1755-1834) was born and trained in England by no less than Thomas Jefferys, the jeweler and map-seller, and Sir Joshua Reynolds, founding President of the Royal Academy. He brought this expertise to the New World, settling in Philadelphia in 1794. Whereas engraved city views were long-established in Europe, no collection of them had ever been printed and published in America. His target audience was wide; the title points to a European market, aiming to encourage emigration to the new-born nation whose Athens -- its capital (until just before the publication of the work) and intellectual heart -- was Philadelphia. The views -- notionally painted by Birch's son Thomas, who would go on to be one of the great American landscape painters -- were exceptionally popular, resulting in several states and three later editions within Birch's lifetime. Subscribers included Thomas Jefferson as vice president (it is written that he displayed the volume at the entrance to his office once president), Gilbert Stuart and William Hamilton. Coloring was available at an additional cost; thus the work is slightly misleadingly termed a "color-plate book." In the present item, 21 of the plates are in the first state, 8 are in the second and 1 in neither state described by Snyder; the additional plate (Schuylkill Bridge High Street) corresponding to Snyder (1949) 43a, dated 1805, and not from any edition of the collection. This mix of states and the additional plate -- as well as the prospectus (which is found in few copies) and the list of subscribers (found in most copies) -- becomes clearer in view of the provenance of the volume: by descent through the author's family. To a work of the greatest rarity -- Howes gives it his highest rating of "dd:" "superlatively rare books, almost unobtainable" -- this unique provenance and make-up add a nonpareil scarcity and value. The provenance of the volume is established by two letters, dated 9 and 20 February 1962. The former (3 typed pages) is on the letterhead of The Old Print Shop, run by the Newman family then as now. Mr. Newman writes to Mr. Robert L. McNeil, Jr. of Philadelphia with a description of provenance and a thorough collation. The second letter (four manuscript pages signed) is written and signed by Helene Somers Millar (Newman's Mrs. William Millar). Mrs. Millar describes her discovery of the portfolio in a secretary that she inherited by way of William Birch's daughter Albina, her great great grand-mother. Robert Lincoln McNeil Jr. (1916-2010) was a pharmaceutical executive best known for developing and selling Tylenol. He was raised in the Germantown section of Philadelphia, and became a life-long philanthropist in the region, a collector as well as a patron of the arts -- a legacy that persists in the Barra Foundation, of which he was founder. The present item was purchased at his sale (Sotheby's New York, 5 December 2013, lot 3). Deák 228; Howes B 459 (dd); Sabin 5530; Stauffer 159-188.
Vendeur : rareandsigned, LEEDS, Royaume-Uni
Signé
Signed. Original L S Lowry Oil on Board of His Dearest Friend Rev Geoffrey Bennett. Hand signed L S Lowry to lower left. Geoffrey Bennett was one of Lowry's very closest friends, lifelong in their friendship meeting as bank clerks in Manchester in the 1930s. When Bennett moved to West Cumbria in 1939, the two would contiue their friendship through regular correspondence and meetings, with Lowry visiting the North West town many times. The previous owner of the present work, The Reverend Geoffrey Bennett (1902-1991) was a lifelong friend of the artist who assembled one of the most impressive collections of the artist's works. There was an old-fashioned formality about their relationship, they always referred to each other as 'Mr Lowry' and 'The Reverend Gentleman' (after his ordination as an Anglican clergyman in 1962) and when Lowry died in February 1976, Reverend Bennett conducted the funeral service. The sale of the Reverend Bennett's collection was held at Christie's, London, on 23 March 1995. The 13 lots totalled £528,440: a record-breaking auction which changed the Lowry market. The proceeds from the sale were divided equally to go to the impoverished clergy and the restoration of Carlisle Cathedral. This is a unique portrait - an exceptionally scarce original L S Lowry oil painting gifted by Lowry on a visit to his friend. The board is approx 350mm x 250mm. Lowry's signature is clear and is countersigned to the verso with various extra notes, some in the artists hand and associated reference numbers. A unique signed Lowry personal painting which would look incredible framed and mounted. The artwork has marks and wear over the years, including surface marks, edgewear, some loss of paint in areas, pin holes to corners. Overall the piece is in good condition and certainly would benefit from being framed. Signed Lowry original art like this is seldom found. This is 100% authentic with an original letter of authenticity. Genuine L S Lowry signed original drawing. Buy your genuine signed L S Lowry originals and signed Lowry drawings and artwork and Lowry autographs from the home of L. S. Lowry originals and the no.1 memorabilia experts here at RARE AND SIGNED. Highly collectable and a surefired investment. Signed by Illustrator.
Edité par St Petersburg, Imprimerie de l'Académie Impériale des Sciences, 1854., 1854
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Edition originale Signé
Folio (ca. 380 x 547 mm). 3 vols., including atlas. (22), CLI, (3), 279, (1) pp. (8), 339, (1) pp. Atlas has chromolithographed pictorial title, 48 engraved and 41 chromolithographed plates (numbered I-LXXXVI), 5 engraved plans, and 2 folding engraved maps. Contemporary marbled boards; modern spines with giltstamped labels. The rare first edition of this monumental work on the antiquities housed at the Hermitage Museum in St Petersburg, published at the personal expense of Emperor Nicolas I. The Tsar took a deep interest in Russian archaeological finds following the discovery of a Scythian burial mound near Kerch in 1830, and many of these discoveries are featured here. - A large number of the plates are magnificently lithographed in vivid colour after the drawings of Piccard and Solntzev. "Ouvrage imprimé avec une grande luxe. Le texte, en russe et en francais, est précédé d'une préface, signée du nom de M. Gilles, conservateur de l'Ermitage [.] Le nombre des exemplaires tirés n'est, dit-on, que de 200. Leur prix à Paris est de 400 fr." (Brunet). - The Swiss painter and engraver Piccard (1807-88) had studied in Paris and was active in Lausanne until the end of the 1830s. Long in Russia, he would return to Lausanne in 1869. Solntsev (1801-92) had already completed the massive six-volume album series "Antiquities of the Russian State" (1849-1853) and was one of the principal interior decorators of the Kremlin Palace. - Some foxing throughout, mainly concerning the margins and the first and last quires of the text volumes, but to some extent also the margins of the plates. Bindings professionally repaired. Removed from the Library of the Birmingham Assay Office, one of the four assay offices in the United Kingdom, with their inconspicuous library stamp to the flyleaves. Extremely rare: we can trace only one other copy at auction (2013, Sotheby's Paris, sale 1333, lot 532: EUR 59,100 - the duc de Luynes copy). - Brunet I, 321. Graesse I, 149f. Thieme/Becker XXVI, 579. OCLC 82476426.
Edité par Shakespeare and Company May 1927, Paris, 1927
Vendeur : Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, Etats-Unis
Edition originale Signé
Ninth Printing of the First Edition. 205 x 160 mm. (8 1/8 x 6 1/4"). 4 p.l. (first blank), 735 pp. DRAMATIC DARK BLUE-GRAY CRUSHED MOROCCO, BLIND-TOOLED AND INLAID TO AN ABSTRACT DESIGN, BY SALLY LOU SMITH (stamp-signed with her initials in gilt on rear doublure), with overall wraparound design of inlaid elongated, irregular-shaped pieces of black, gray, blue, tan, and yellow morocco with blind-tooled lines extending from these shapes, MATCHING MOROCCO DOUBLURES tooled in gilt with branch-like lines, yellow handmade free endpapers, gray flyleaves, all edges gilt. In the matching morocco-backed clamshell box. Front flyleaf INSCRIBED BY JOYCE TO H. G. WELLS: "To / H. G. Wells / Respectfully / James Joyce / 5 November 1928 / Paris." Slocum and Cahoon 17. â Isolated faint foxing or marginal spots, but a clean, fresh copy with few signs of use, in a new binding. This later printing of what is generally recognized to be the most important 20th century novel in English is inscribed by the author to one of his earliest and most important supporters, and is offered in a binding by an influential Designer Bookbinder. First issued in 1922, "Ulysses" rocked the literary world. J. B. Priestley, writing in the "Clarion" in 1934, said what most scholars and critics acknowledge--that "as a literary feat, an example of virtuosity in narration and language, it is an astounding creation. Nobody who knows anything about writing can read the book and deny its author, not merely talent, but sheer genius." Our copy was presented by Joyce to H. G. Wells (1866-1946), whose support of "Portrait of the Artist as a Young Man" was instrumental in establishing Joyce's literary reputation. Reviewing that book in 1916, Wells praised "its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction." He considered "Portrait" to be "by far the most living and convincing picture that exists of an Irish Catholic upbringing," and noted how sharply it contrasted the Irish and the English: "No single book has ever shown how different they are, as completely as this most memorable novel." The two men did not meet until 12 years later, in Paris, at which time Joyce inscribed the present copy of his masterwork to Wells. At the same time, Joyce presented Wells with some excerpts of what would become "Finnegan's Wake." On 23 November 1928, Wells wrote to Joyce from his winter home in the south of France, expressing his regret that he could not promote these latest works with the same enthusiasm: "I have enormous respect for your genius dating from your earliest books and I feel now a great personal liking for you but you and I are set upon absolutely different courses. . . . I want a language and statement as simple and clear as possible. . . . Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?" Still, Wells acknowledged, "Your work is an extraordinary experiment and I would go out of my way to save it from destructive or restrictive interruption." The abstract binding by distinguished modern artisan Sally Lou Smith evokes a journey: as the multicolored inlays march from the rear edge around the spine and across the front against a grim, gray ground, Bloom's peregrinations through Dublin and the characters he encounters seem to be brought to mind. Born in the United States, Smith (1925-2007) spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001).
Edité par Johnston and Coulston, Philadelphia, 1880
Vendeur : James Cummins Bookseller, ABAA, New York, NY, Etats-Unis
Edition originale Signé
First edition. The author/artist's own copy. Signed by Johnston on the portrait and additionally signed and dated Camden, June 25, 1891 on the front endpaper. Woodcut portrait frontispiece, signed in ink by Johnston and dated March 1, 1880. Calligraphic title printed ink blue purple and red inks by G. W. Leids, 128 leaves printed by hectograph recto only including numerous drawings after various artists of Johnston's "Studio". 2 vols. 8vo. Printed in Hectograph and with Original Contributions by Walt Whitman. The hektograph printing process, was introduced in the late 1870s, and involved the use of inks, gelatin and water, and manual manipulation of printed sheets (a few pages have slight smudges or fingerprint marks, reflecting the challenges with the process). Drawings or handwriting made with special inks, usually purple in color, are wet transferred onto gelatin coated sheets to create a negative, from which a new sheet can be pressed to received the ink. The number of usable impressions made from each negative is thus extremely small. Artist John R. Johnston (1825-1895) was born in Cincinnati. He studied art with Frederick Franks, and with muralist Henry Lewis; in 1848 he helped paint Lewis's "Mammoth Panorama of the Mississippi" (a one-thousand-foot panorama), and, in 1849, he collaborated with Edwin Forrest Durang on "A Panorama of the Bible." He moved to Baltimore in 1856, continuing work as a portrait painter, a photographic colorist (and photographer), and eventually moved to Camden, New Jersey, and opened a studio in Philadelphia, where he painted landscapes and still lifes. The studio, which is humorously documented in this work became a gathering point for Philadelphia area artists, politicians and literary figures, including Walt Whitman. Indeed Johnston and his family socialized with Walt Whitman, frequently having Sunday dinner together. Scholar Ruth L. Bohan discusses the close friendship between Johnston and Whitman, stating (in part): "Johnston and his wife and two children hosted Whitman on a regular basis becoming like a second family to him" [cf 'Looking into Walt Whitman: American Art, 1850-1920,' p. 46]. An introductory page of 'The Studio Souvenir' whimsically lists the "Studio Staff," as follows: "Chief, Col. John R. Johnston/ Lieut. Gen., Geo. C. Price/ Marshal Jos. Berry/ Atty Gen Jeremiah Black/ Treasurer A. L. Drexel/ Commissary B. F. Shedaker/ Surgeon Gen Dr. J. M. Ridge/ Chaplain T. B. Coulston/ Chief of Old Pensioners A. J. Shallenberger/ Poet Laureate Walt Whitman / Asst Attorney Wm A. Hoyt." Following the list of "Studio Staff" is a leaf listing the names of twenty-four "Attendants" to the Chief The "Contents" page which follows states: "This little volume contains 'original' sketches by many of the leading Artists in the world, biographies of my personal friends who visit the Studio. The Artists Sketches embrace the distinguished names of Calback, Dore, Sonntag, J. H. Beard, Moran, Dyke Erringer, Hitchcock, McLellan, Park Crayon, Washington, Kensett, Louis Lang, Edwards, Bartolomie, Baracco, Guillot, Almandin and many others known to fame. I have had this collection for many years. It will serve as a little Souvenir for my friends. The Author." The work includes a three-page autobiography of Johnston, along with humorous biographical information about Johnston's "Staff" (presumably written entirely by Johnston), including Geo. C. Price, Joseph Berry, Thomas D. Coulston, A. J. Shellenberger, B. F. Shedaker, John H. Wilson, W. H. Peeples, Andrew S. Tompkinson, Charles H. Bleezard, Dr. J. M. Ridge, Dr. Albert P. Brown, William R. Warner, Charles E. Shedaker, James H. Dewey, Charles Stokes M. D., William Coulston, William A. Hoyt, John R. Johnston, Jr. (son of artist John R. Johnston), Col. Alexander, George Welm, Sam D. Locke, Ferd La Gierse, James Buchanan (Born 1838 in Country Donegal), Edwin S. Conner, "The Phrenologist Tramp", and two full-page texts signed and dated by Walt Whitman. Whitman is mentioned on the following pages of 'The Studio Souvenir': 1) On "Studio Staff" introductory page, Walt Whitman is listed as: "Poet Laureate Walt Whitman" 2) A section of biographies, devoted to members of the "Studio Staff," has a four-page satirical account of a visit of "The Phrenologist Tramp", Liam O'Cousin, and records the size of heads ("Walt Whitman 52 oz", i.e. above average). [Whitman, from 1846, had a serious interest in phrenology.] 3). Autograph note in purple hektograph: "Feb 1 '80 Loafing around for a couple of hours this fine sunny crispy day . look's in at my friend Col. Johnston's studio, the sun shining bright & I feeling all right, Walt Whitman" [Whitman Archive ID: yal.00428] 4) Leaf headed: "Witnesses Here unto:" with Walt Whitman's signature in purple hektograph, followed by the hektographed signatures of John R. Johnston, W. H. Peeples, and T. D. Coulston] 5) Autograph letter from Walt Whitman in purple hektograph, 1 page, Camden, N.J. / at 434 Dean Street/ Sunday Evening/ Feb 15th '80/ [15 lines, beginning]: "Another fresh, Dear, social evening here, with Col., & Mrs. Johnston, & Ida, & John (an evening same as I have had, over & over again for six years). I shall be 61 years old - I have just returned from a four months' trip to the Rocky Mts . Am well for me - Walt Whitman." 6) Leaf with various statements of praise for 'The Studio Souvenir' (printed in purple hektograph). The first statement is signed by Walt Whitman: "It compares well with 'Addison's Spectator' - Walt Whitman." 7) Another leaf with various statements about 'The Studio Souvenir' and John R. Johnston (printed in purple hecktograph). The last statement on the page is signed (in purple hecktograph) by Walt Whitman: "Nothing does me more good than to have a little shakeup with the boys of the Studio. Walt Whitman." Artist John R. Johnston's personal copy, with his name stamped in gilt on front cover: "Col. John R. Johnston." Signed, and dated, by the artist on second bla.
Edité par Giovanni Battista Piranesi, Rome, 1762
Vendeur : Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, Etats-Unis
Edition originale Signé
Hardcover. Etat : Fine. FIRST EDITION. An extremely fine copy of the first edition, bound in a fabulous contemporary Baroque binding by an unidentified Roman binder. Binding and contents in excellent condition. Binding with light wear at the hinges, contents extremely fresh with dark, rich impressions of the plates. There is a little damp-staining to the lower corner of the opening leaves (and a few other leaves further on in the book), a few instances of light marginal spotting, a stray smudge or two. There are some clean tears or splits (without loss) at some folds of the massive folding plate. The Binding: Contemporary mottled calf, richly gilt, the boards with elaborate rococo borders, tooled with flowers, scrolling foliage, and ornate shell ornaments. The binding is in excellent condition with very minor wear. For an identical binding, see The Frank H. Kessner Collection of Books on Rome, Christie, Manson & Woods, (4-5 Oct. 1990, Lot 447, p. 206-7). For a set of works by Piranesi, including the Campus Martius, bound in very similar contemporary bindings and given as a gift by the Venetian Pope Clement XIII to the Republic of Venice (and presumably his friend the Doge Marco Foscarini), see "Piranesi. Incisioni, Rami, Legature, Architetture", Alessandro Bettagno, editor (1978), p. 76-77, and (for the images), p. 427 and 428. Contents: pp. [i] blank; [ii-vii] dedication by Piranesi to Robert Adam, in Latin (on versos) and Italian (on rectos); [viii] blank; [i] approbation, dated Rome, 16 June 1761, with two imprimaturs; 2-69 text, in Latin (on versos) and Italian (on rectos), printed within a triple line border; [70] blank; i-xii key to plans of the Campus Martius on plates iii-iv, Latin and Italian in parallel columns; i-xvii index of monuments on the large map of the Campo Marzio (plates V-X), Latin and Italian in parallel columns; [xviii] blank. Ornaments: Etched headpiece on Latin dedication with view of "Sepulchrum Mariae Honorij Imp. Uxoris . . "etched headpiece on Italian dedication with view of "Labrum aegyptiacum porphyreticum . . .," signed "Piranesi F"; etched tailpiece with group of monuments captioned "Nonnulla monumenta sepulcralia . . ."(p. 68), signed "Piranesi F"; etched tailpiece showing a "Stylobata columnae" (p. 69), signed "Piranesi F"; etched initial *A" incorporating quiver, arrows set against a relief of trophies (p. 2); etched initial "D" with decorated belt and trophies (p. 3) Illustrations: Etched, engraved, and drypoint title plate with title incised on cracked stone tablet, surrounded by fragments including broken column bearing dedication to Robert Adam: "Roberto Adam Britanno Architecto Celebérrimo"; added etched title plate with bird's-eye view of reconstructed Campo Marzio with title in Italian: "II Campo Marzio Dell'Antica Roma Opera Di G.B. Piranesi Socio Delia Real Società Degli Antiqvari Di Londra"; and 52 etched, engraved, and drypoint coppers on 48 plates numbered I-XLVIII (plates XII and XLVI each with additional unnumbered plate on the sheet; plate XLVII with two additional unnumbered plates on the sheet; plates II and XXXI folding, both printed from two coppers; plate XXXII double page; remainder full page). Plates V-X are joined together to form the enormous folding map. Plates XV-XIX, XXI, XXVI-XXIX, XXXV, XLII, XLIII with captions printed on separate plates. Most plates with Piranesi's signature ("Piranesi F/'). Plate XXXI, "Scenographia Machinae" is signed by Francesco Fontana as designer and draftsman and by Arnold van Westerhout as engraver ("Aeques Fran.cus Fontana Inuen; et delin."; "Arnoldus Van Westerhout Antuerp.s. Sculpsit"), and must have been prepared before 1725, the year of van Westerhout's death."(Millard Catalogue) "The 'Campo Marzio' was published by Piranesi in 1762 with two frontispieces (in Latin and Italian) and fortyeight plates. The publication borrows from the two main interests of the author, the archaeological research and the polemical battles of the early 1760s. His historical inquiry is here committed to supporting his view of the primacy and genius of Roman builders. This work originated in the 1750s and is dedicated to Robert Adam, who befriended Piranesi during his Grand Tour visit of Rome. Adam witnessed Piranesi' s engraving of the imperial plan of Rome in 1755, eventually stretching over six copperplates. This plan is one of Piranesi's most feverish fantasies, marshaling a huge range of imaginary constructs for the celebration of ancient Rome. Within this plan he proposes an urban and architectural landscape of the utmost complexity. Piranesi achieves this tour de force through a great variety of illustrations and employs every means of representation at his disposal. This project allows him to display his knowledge of cartography in the making of the ichnographic plan of the reconstructed ancient city. He had earlier worked with the cartographer Giovanni Battista Nolli, the author of the plan of contemporary Rome published in 1748. "Nolli's plan was not only accurately surveyed but also pioneered a mode of representation technically known as figure-ground, which allowed the clarity and accuracy of the plan to be appreciated visually. Piranesi also relied on archaeological reconstruction and landscape illustration in the making of the plates in the Campo Marzio series. The plates illustrate the buildings in this part of Rome, stretching into both bends of the Tiber, since Piranesi interprets the Campo Marzio as the valley between the Roman hills, including the area north of the Porta del Popolo, richly endowed with public and military structures. "In this publication, Piranesi refined his method of graphic juxtaposition. The Campo Marzio opens with a great plan of Rome with stone fragments illusionistically "placed" on it; subsequently sheets of details are "pinned" onto larger plans and views. Thus Piranesi uses trompe l' oeil to juxtapose differently scaled drawings. He reconstructs the foundation of the Tiber island as a ship, and he uses part.
Edité par Paris, Eugène Renduel, 1832-1833., 1833
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien Signé
I) Lucrèce Borgia. 1833. (2), XI, (1), 192 pp. - II) Le Roi s'amuse. 1832. (8), XXIII, (1), 183 pp. - III) Marie Tudor. 1833. (6), IV, 214 pp. Each with frontispiece. All three bound in a single volume in slightly later half calf with giltstamped spine and marbled covers. - A matching second volume contains: - 1) Borgia, Lucrezia (1480-1519). Letter signed. Rome, 20 Nov. 1501. ½ p. Folio. - 2) Hugo, Victor (1802-1885). Autograph ink caricature, mounted on backing paper. 10 x 13 cm. - 3) Mocquard, Jean-François (1791-1864). Autograph letter signed. Paris, 15 Jan. 1853. 1 p. 8vo. - 4) Fournier, Louis Edouard (1857-1917). Autograph drawing inscribed. 12.5 x 20.5 cm. - 5) Donizetti, Gaetano (1797-1848). Autograph musical manuscript (fragment). 6 pp., ca. 33 x 12 cm. - 6) Hugo, Victor (1802-1885). Two autograph instructions signed. 26 Dec. 1839 and 20 Feb. (no year). Oblong 8vo. 2 pp. - Both volumes stored together in a matching calf-entry marbled slipcase. A charming ensemble of three first editions of Victor Hugo's plays, each one inscribed by the author to his elder brother, the essayist and military writer Abel Hugo (1798-1855). When the set was auctioned at the sale of the library of the author's grandson Georges-Victor Hugo, it was acquired by Arthur Meyer, the director of the prestigious daily "Le Gaulois" and a passionate collector who was wont to enrich, or "truffle", his books with appropriate rare autographs and drawings. In this case, the addenda, bound in a matching half-calf volume, greatly surpass in value the works they accompany: 1) A precious letter by the Renaissance noblewoman Lucrezia Borgia, famous for her marriages and her affair with Pietro Bembo (signed "Lucretia Esteri de Borgia"), written in recommendation of Hector Beringero to the poet Antonio Tebaldeo (1463-1537), secretary to Francesco II Gonzaga, Marquess of Mantua (later Lucrezia's lover). Meyer had acquired this outstanding document from the collection of Alfred Morrison (cf. Catalogue of the Collection of Autograph Letters and Historical Documents Formed Between 1865 and 1882 by Alfred Morrison, 1883, p. 100). - 2) Almost equally striking is the original, highly expressive pen-and-ink drawing by Victor Hugo, showing the dark shape of a portly figure holding a candle (an illustration of Act III, Scene 1 of his 1843 play "Les Burgraves"), captioned by the artist in his own hand: "Mm. Mélingue criant: Caïn! de la Coulisse". In the original production, the actress Rosaline Mélingue had played the role of Guanhumara, providing the off-stage voice for the eerie scene. - 3) Also included is a letter by J.-F. Mocquard, chief-of-staff to Napoleon III, addressed to Auguste Romieu, the directeur des beaux-arts, concerning matters of theatrical censorship (including Hugo's play "Lucrèce Borgia"). 4) The associations are reinforced in an expressive charcoal drawing showing Victor Hugo reading to his brother Abel the first act of "Lucrèce Borgia", inscribed in pencil to the collector by the artist L. E. Fournier: "A M. Arthur Meyer très cordialement". 5) Finally, Meyer was able to include a fragment of Gaetano Donizetti's original manuscript of his 1833 opera "Lucrezia Borgia", which he had based on Hugo's play. 6) At the very end are two brief notes by Victor Hugo in which the author instructs his publisher Renduel to issue to the bearer copies of his works, including "Lucrèce Borgia". - Provenance: bookplates of Arthur Meyer and Jean Inglessi, as well as an additional monogrammed bookplate. Last in the collection of Pierre Bergé (1930-2017).
Edité par Paris Louis Brodeur, 1962
Vendeur : Shapero Rare Books, London, Royaume-Uni
Livre Signé
Limited edition, one of 40 copies on vélin pur chiffon from a total edition of 180 copies; folio (48 x 38 cm); 61 pp. text, 37 woodcuts (2 double page and 7 within text, 30 in colour) including duplicate suite of 18 woodcuts each numbered 21/40 and signed by Braque, one extra plate in triplicate; full black polished calf by P.-L. Martin with abstract geometric design onlaid in brown and cream calf dated 1964 (binder's mark and date), spine lettered in gilt, all edges gilt, suede endpapers, black calf-backed chemise, brown cloth boards, housed in matching slipcase; slight wear to upper edges of spine, very minor scuff to design. Published in 1962, just a year before Braque died, the timely Si je mourais là-bas [If I die over there] was a suite of eighteen wood-engravings to accompany poems from Guillaume Apollinaire's Poèmes à Lou, which Braque himself selected and edited accordingly. Braque had been a close companion of Apollinaire, who died forty years prior to the series but gave a lot of good publicity to Braque and his fellow Cubists. Despite this, Braque felt that his friend, who was also an art critic, understood nothing about painting, a source of playful tension between the pair which may have contributed to the obscure nature of the suite's images. Pierre-Lucien Martin (1913-85) was one of the most successful French binders of the 20th century. He was trained at the École Estiènne in Paris and gained experience in several binderies before emerging as a designer in his own right after the Second World War. His designs are characterised by understated colour, impressive three-dimensional effects, and the intricate but highly logical application of geometry. This volume is a superb example of his work.
Edité par Charles L. Webster and Company, New York, 1886
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
Early printing of Twain's masterpiece, inscribed by Mark Twain. Octavo, bound in half buckram by Roycroft with paper labels to the spine, tissue-guarded frontispiece photogravure plate of Gerhardt's bust of Clemens, one hundred and seventy-four illustrations by E. W. Kemble. Presentation copy, inscribed by the author on the title page, "To Mr. Garth W. Cate: TakingÂtheÂpledge will not make bad liquor good, but it will improve it. Truly Yours, Mark Twain, Nov. 25/06." With a lengthy letter of provenance dated October 14, 1964 and signed by the recipient which reads in part, "Dear Mr. Jacobs, If I had been younger and could have carried out a study of some of Mark Twain's motives and acts, I never would have parted with my cherished old copy of the first printing of Huckleberry Finn. This was the first book given to me by my father. In 1906-1907 I was a lecture manager for Elbert Hubbard, the Sage of East Aurora, whose quasi-socialist group The Roycrofters was quite famous as an arts and crafts enter at East Aurora, New York. By that time the HUCK FINN was loose in its covers. Elbert Hubbard saw the book on my desk when I brought it in to have it rebound in the Roycroft Bindery. Said he, "No author could resist seeing such a well worn volume testifying to the delight it had given many readers. Why don't you send it down to Mark Twain and ask him to inscribed it. I'll sign and send Mark a few of my own books along with it, thus salting the mine for you." So I sent HUCK back to its spiritual father, and when it returned I was somewhat shocked, having been sent to a temperance Sunday School by a whiskey fearing mother, to find that he had inscribed it "To Mr. Garth W. Cate - Taking the pledge will not make bad liquor good, but will improve it." (Incidentally it was several years after that before I took my first drink. I am an abstainer today). Later on I was to marry a Christian Science practitioner, and when she saw this inscription she exclaimed: Why, that is the most immoral thing I ever saw! How could a great author send such a sentiment to a young man?" A careful search of Mark Twain's writings revealed that he had a deep-seated lifetime aversion for pledges, especially when they had been obtained under pressure from those of an older generation. It seems when Mark was a boy in his early teens, his mother and aunt talked and pressured him into signing a pledge not to touch alcohol in any from. Later he was to refer to this as "A ball and chain clanking behind him down the years of time." He hated such restrictions, especially when thrust upon him while immature." In very good condition. With the original publisherâ s decorated green cloth cover bound in and three rare portraits of Twain tipped in. With two further letters of provenance and several period Twain-related clippings adhered to several pages. Housed in a custom half morocco clamshell box. An exceptional presentation copy with noted provenance. Written over an eight-year period, Twain's Adventures of Huckleberry Finn was controversial from the outset, attacked by critics for its crudeness, coarseness and vulgarity. Upon issue of the American edition in 1885, several libraries, including the Concord and Brooklyn Public Libraries, banned it from their shelves. Twain later remarked to his editor, "Apparently, the Concord library has condemned Huck as 'trash and only suitable for the slums.' This will sell us another twenty-five thousand copies for sure!" The book nevertheless emerged as one of the defining novels of American literature, prompting Hemingway to declare: "All modern literature comes from one book by Mark Twain. It's the best book we've had. All American writing comes from that. There was nothing before. There has been nothing since.".
Edité par Common Press, 2012
Vendeur : dC&A Books, Crockett, CA, Etats-Unis
Art / Affiche / Gravure Edition originale Signé
Hardcover. Etat : Near Fine. No Jacket. 1st Edition. Title: The Philadelphia Negro Reconsidered: Suite of 18 Silkcreen Prints. Artist: Terry Adkins after W.E.B. Du Bois. Publisher: Common Press, University of Pennsylvania, School of Design, Department of Fine Arts. Place: Philadelphia, Pennsylvania. Date: 2012. Special characteristics: Original copy of a ltd. ed. 1/18, one of only two copies signed by the artist. Description: 2012. Fo. 18 unpaginated plates, a series of multilayer silkscreens from Du Bois hand-drawn maps and color-coded tabs, each separated by wax paper, in a black hardcover slipcase with color title and illustration stamped/embossed on the front cover. Measures: 16 W x 25 L x 2 H inches. About the artist: Terry Adkins (1953 2014) created the portfolio The Philadelphia Negro Reconsidered in collaboration with The Common Press at the University of Pennsylvania, which is directed by Matt Neff. The portfolio was inspired by The Philadelphia Negro - W.E.B. Du Bois pioneering demographic study of Philadelphia s original 7th Ward. Terry Adkins s art is in the collections of the Hirshhorn Museum and Sculpture Garden, the Metropolitan Museum of Art, the Museum of Modern Art, Pérez Art Museum Miami, and Tate Modern, among others, and has been exhibited around the world. About the publisher: The Common Press is the letterpress printing studio at the University of Pennsylvania. The press is a collaboration of interests at Penn, including writing (Kelly Writers House), print culture (the Rare Book & Manuscript Library) and visual arts and design (the School of Design). The facility provides a mixed media environment where students can move between digital and manual image making, collaborating with writers, printmakers and others in the book arts. The Common Press exists to assist in teaching design and to facilitate collaborative projects across the university. It was founded on January 17, 2006, the 300th anniversary of Benjamin Franklin s birth. Provenance: Arthur E. McFarlane II (W.E.B. Du Bois great grandson). On Friday, February 12, 2012, the whole portfolio was presented to Arthur by Terry Adkins personally when the UPenn Board of Trustees gave his Grandpa an honorary doctorate (of which he received the original along with a proclamation by the Philadelphia City Council and Mayor Nutter). About the work: Neff, the manager of Penn s Common Press and Print Shop, along with PennDesign s Marc Blumthal and Ivanco Talevski, worked closely with Adkins on the portfolio, which was inspired by W.E.B. Du Bois The Philadelphia Negro, the 1899 demographic study of black people living in Philadelphia s original Seventh Ward. The area covered Spruce to South streets and Seventh Street to the Schuylkill River. Terry is not just rethinking Du Bois as an artist and a practitioner, he s reconsidering the visual work, says Neff. He wanted to recast Du Bois as one of the first modernist painters, predating Piet Mondrian paintings of urban landscapes. In the original research, conducted for Penn in 1896 and 1897, Du Bois went from house to house interviewing heads of households to gather information such as profession and socio-economic status, as well as whether they were affected by social problems such as poverty and crime. To create the screen prints, Adkins, who joined the Penn faculty in 2000, used Du Bois hand-drawn maps of the neighborhood with its color-coded bar graphs of Du Bois findings, and Adkins had Du Bois maps layered to produce the prints. The maps are layered visually, but the content conceptually are super-layered, says Neff. There's a lot happening behind those images. What contemporary art does is, it shows you something that you can take on the surface as what you re seeing, but, if you look into it, there's much more embedded in it. Adkins 18 prints in the portfolio were created in 2012 to commemorate the appointment of Du Bois as an honorar. Signed by Illustrator(s).
Edité par 1800-1899, 1899
Vendeur : 21 East Gallery, Villa Park, IL, Etats-Unis
Art / Affiche / Gravure Signé
Medium: Oil A rare oil painting of an African slave by Austrian master Peter Fendi last sold aton November 9, 1935 by Albert Kendehouse, Vienna, Austria. The palette is similar other works and possesses the pathos qualities of other works. Other than the few watercolors by Fendi, I am not aware of any large scale oil paintings in this subject matter. It is possible that this work was inspired during or after his time in Venice. Fendi went to Venice in 1821 and studied Venetian 16th century masters. Fendi painted African slaves in a few watercolors (one included in Peter Fendi und sein Kreis, Albumtitelblatt fur Furst Metternich, 1837 Kat. 62 and another example pictured in the second to last picture). Last originated from a Philadelphia, PA estate in May, 2010. Dimensions and biography are below. Ships via UPS fully insured. Serious inquires only. Thanks for looking.Oil on Wood Board16 1/8 x 20 1/2 inches25 x 29 1/4 inches framed (later frame)Horizontal split (hand to right edge)Signed P. Fendi middle left (above bag right of vegetable)Die Negersklavin." Voll Trauer ist sie am Strande hingesunken und blickt sehns? chtig auf das weite Meer. ??l. Holz. SigniertThe Negro slave. " Full grief she sunk down on the shore and looks longingly at the open sea . Oil . Wood . Signed.Lot 0352 from Sale Catalog D-1631Artist Name: FENDI, PETER (Austrian)from catalog: Peter FendiTitle / Description"Die Negersklavin." Voll Trauer ist sie am Strande hingesunken und blickt sehns? chtig auf das weite Meer. ??l. Holz. Signiert. H. 40, B. 51 cm.Genre:GenreObject Type: Gem??ldeMaterial / Dimensions: ??l auf Holz, 40 cm x 51 cmSellerfrom catalog: Wien, I., K??rntnerring 4, I. Stock, Telephon U-46-0-48Transaction: Sch??tzpreis: 1000Ausrufpreis: 500Sale Date: 1935 Nov 08 - 1935 Nov 13 (This Lot: Nov 9)Sale Location: Vienna, AustriaAuction House:Kende (Albert)from catalog: Auktionshaus Albert KendeSale Location:K??rntnerring 4, Wien I, Vienna, AustriaSeller:from title page: [Keine]Notes:Freiwillige Versteigerung der Kunstsammlung und vornehmen, kompletten Wohnungs-Einrichtung in Wien, I., K??rntnerring 4, I. Stock Versteigerung 8., 9., 10., 11, 12. und 13. November 1935 / Auktionshaus A. Kende, Wien 1935. Interieurs Experten: Otto Fr??hlich, Albert Kende (Gem??lde) Leopold Wessely (Silber) Bernhard Kohn (Fl? gel) Artur Specht (Teppiche) Johann Illy (Pelze) Albert Kende (Kunstgewerbe, Skulptur, Graphik) Artur Reichmann (Bibliothek). Mit Sch??tzpreisen.Peter Fendi, (1796 - 1842) the great watercolorist of the Viennese Biedermeier period, was born in Vienna on September 4, 1796. He was the son of Joseph Fendi, who was a schoolmaster, and his wife Elizabeth. While still a child, he demonstrated an impressive talent for drawing and at the age of thirteen entered St. Anna's Academy of Fine Art, where he was to remain for three years. Decisive to Fendi's career development was his encounter with Joseph Barth, who was the personal eye doctor of Joseph II and an enthusiastic art collector. Through his connections to other influential contemporaries, Fendi became an artist at the Imperial Gallery of Coins and Antiquities, which belonged to the imperial art collections. The artist occupied himself mainly with printing, etching, lithography, and wood carving. His experiments in multicolored printing are considered pioneering achievements in the field of lithography. Since art appreciation was part of what it meant to be alive during the Biedermeier period, Fendi was often summoned to noble and common residences to give instruction in drawing and painting. In choosing idyllic family motifs, Fendi became the founder of Genre-painting, which became customary during Vienna's Biedermeier period. Fendi died on August 28, 1842. Today his works can be found in the Albertina Museum's collection of graphic art in Vienna, in the Austrian Gallery in the Belvedere, in Vienna's Museum of History, and in the collections of the Prince of Liechtenstein in Vaduz.On Jun-12-11 at 15:4.
Edité par , 15 December 1949 to 14 April 1954 and 23 June 1959, 1959
Vendeur : Kotte Autographs GmbH, Roßhaupten, Allemagne
Manuscrit / Papier ancien Signé
c. 50 pages, 4to, oblong 8vo, 16mo, some letters annotated and signed by Dorothy Pound, some also annotated by Raymond Hughes, envelopes, stamps and postmarks, all but one from St. Elizabeths Hospital, the other from Rapallo. Remarkable series of forty-eight letters written in his vernacular and idiosyncratic style, consisting of three autograph letters signed one autograph card signed E.P.", two typed cards (one with reproduction of photograph of him) and an autograph fragment, to Raymond Hughes, secretary of Four Pages, a few to Henry Swabey, editor of Four Pages, expressing his views on art, poetry, theatre, modern culture and contemporary civilisation, politics and economics, he discusses the works and ideas of contemporary writers and arists including T. S. Eliot, Wyndham Lewis ("W.L. about only writer I can READ"), William Carlos Williams, Santayana, Basil Bunting, T.E. Hulme, Robert Creeley, Gaudier-Brszeska and Remy de Gourmont, comments vindictively on literary critisism ("Blithering LITERARY criticism. WHEN one wants IDEAS in 1951") and on poetry in America ("Gheez yu SEElected. and NOT passed by the author"), exounds his ideas on writing and language, reflects on Lady Gregory s techniques ("Lady Gregory used to write masses of chat and CUT. preparing plays for Abbey (with W B Y[eats]), used to CUT, work down to smallest number of characters needed for plays"), discusses the suppression of the Cantos in Ireland and in Spain, the re-publication of some of his early work (including the A.B.C. of Economics) by Faber & Faber ("TSE [T.S. Eliot] will arrange the ceremonial bendediction of silent over-handling") and of some of his war pamphlets by Peter Russell, his own contributions to Four Pages, those of others (Williams, Bunting, Cummings, et al.) and his association with Nine (a literary magazine published by Peter Russell); he reviews his earlier work ("Lookin bak over th years, the miracle of EZ findin printers in 1908"), informs Hughes that he is sending him his Analects, comments wryly on himself ("May be nuts but am not a school girl, not given to that sort of hysteria"), suggests that a study of the English language be made from the ,CYMRIC angle and advocates the curiosity of the intellect.The letters also contain pithy expositions of Pound s theories on economics and politics: he argues about taxation, tithes, usury, interest, mechanisms of production, systems of government, the theories of Silivo Gesell ("unforchoonately nearly all Gesellites are crack pots"), those of Butchard and of Del Mar ("Del Mar great when factual . lack of theological training, cant get all out of same bottle"), remarks on Robespierre, Lafayette and Mirabeau, insists that ,there can be no mental LIFE in a nattion or group until a series of improvements are made in THOUGHT , discusses the American judicial system and the political situation in Britain, France and Italy, vituperates about the decay of contemporary culture ("No sense of intellectual responsibility in Britain OR the U.S.") and makes vitriolic remarks on America ("Horror of this continent Iggurance in U.S. so appalling that hardly any denizens CAN tell the truth"), the press ("falsifiers of news"), French drama ("Doubt the merit of most of those frogs / Claudel punk, Sartre nuts, Mauriac swill"), contemporaries and former friends ("Orwell a god DAMNED liar / who chose to lie about me when I was down") and on other magazines ("Parisan review / pewk / NO honesty among commies / and fellow punks"), and throughout the series he gives sympathetic advice on the running of Four Pages. Included are (i) a printed ,Petition for Ezra Pound (in English and in French) addressed to the President of the people of the United States of America", concerning Pound s release from St. Elisabeths, (ii) a series of letters concerning attempts to obtain Pound s release, consisting of autograph letter signed and typed letters signed by Olga Rudge (Ezra Pound s mistress), Mary Barnard and D. D. Paige (who edited The Letters of Ezra Pound, 1907-1941) and of typed transcript of letters by Ernest Hemingway and T. S. Eliot, (iii) five autograph letters signed by Dorothy Pound.Pound was incarcerated as insane at St. Elizabeths between 1945 and 1958. It was not long before Pound was seeking an outlet for his economit and political ideas and in 1948 a young man by the name of Dallam Simpson began to publish at Galverston, Texas, a small Poundian leaflet called Four Pages, with Henry Swabey its representative in England. This important end extensive series has remained unpublished. (Noel Stock, The Live of Ezra Pound, London, 1974).
Date d'édition : 1931
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure Signé
Hardcover. Etat : Fine. Pablo Picasso (illustrateur). This beautiful work with illustrations by Pablo Picasso is Honore de Balzac's Le Chef-dâ oeuvre inconnu or The Unknown Masterpiece. The work was published in Paris by Ambroise Vollard in 1931. This was one of 65 copies with the suite of etchings printed on vellum of Rives. Only 340 of the work published of which this is numbered I.The work features 20 reproduced illustrations of drawings by Pablo Picasso between 1924 and 1926, there are 67 woodcuts by Aubert after Picasso's drawings, and 13 original etchings from Picasso at the request of Ambroise Vollard to illustrate this work. The work is signed by Picasso on the receipt / justification. Balzac wrote the story exploring the conception of art, the artist, and the relationships between painter and their models.Pablo Picasso (1881-1973) is one of the most influential artists of the 20th century and co-founded the Cubist movement. He was a Spanish born painter, sculptor, printmaker, ceramicist, stage designer, poet, and playwright that worked predominantly in France. While he didn't like to work on spec or commission, he did take on illustrating literature of authors he admired. John Golding wrote of Picasso that he was â attracted to art that had a literary flavor,â and â preferred the company of writers, particularly poets, to that of other painters and sculptors.â (The Independent) His work illustrating for Balzac inspired the creation of perhaps his most famous work, the anti-war canvas Guernica.Honorà de Balzac (1799-1850) was a French novelist, playwright, literary critic, art critic, essayist, journalist and printer. He was one of the masters of the French novel. He explored the fantastic, philosophical, poetic, and realist genres. Le Chef-dâ oeuvre inconnu or The Unknown Masterpiece was written about an artist ahead of his time that destroys his secret art when two young painters discover it and think the artist has gone insane. Picasso, writes Thomas Ganzevoort, â had faced something of the same dumbfounded reaction from fellow artists upon showing them his groundbreaking proto-Cubist masterpiece Les Demoiselles dâ Avignon.â --- The work is in very good to excellent condition overall. The work is in a Jansenist binding by P. L. Martin with full brown morocco under a brown half morocco folder and slipcase. The spine is smooth with the title in gilt letters on the spine of the volume and folder. The lining and endpapers are in light beige suide with gilt edges. The cover in Montval laid paper with the title and vignette in black. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 9 1/2" by 12 3/4". Signed by Author.
Edité par New York: The Print Club, 1935, 1935
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Signé
Signed limited portfolio, number 61 of 150 sets of six plates, each of which are signed numbered and titled by Matisse. The plates comprise the artist's illustrations for the first illustrated edition of James Joyce's Ulysses, published by the Limited Editions Club the same year. Within weeks of the lifting of the US ban on Ulysses (6 December 1933), Limited Editions Club impresario George Macy approached Joyce about a special edition of the book, and by February 1934 he was en route to Paris to speak to Matisse about illustrations. Matisse accepted, and produced etchings for six of the eight episodes of Ulysses that have their counterparts in Homer's Odyssey: "The Calypso Episode"; "Aeolus, Cave of the Winds"; "The Cyclops" (described by Aragon as "the only true image of pain in Matisse's work"); "The Episode of Nausicaä"; "The Circle Episode"; and "Symbolic Landscape: Ithaca". While Joyce was delighted with the idea of Matisse illustrating his masterpiece, he was apprehensive that the artist might not have read Ulysses. Matisse had been given a copy of the French translation by Joyce scholar Stuart Gilbert, but his neighbour, the writer Dorothy Bussy, remarked that he was "in a complete fog about it" (Goodwin, p. 91). She lent him a copy of Gilbert's seminal James Joyce's Ulysses: A Study (1930). Regardless of whether Matisse read Ulysses in its entirety, Joyce approved of his decision to emphasize the classical source text: "I telephoned Joyce and spoke to him. We are in complete agreement regarding the character that I want to give to the illustration" (Matisse, letter to Simon Bussy, 11 August 1934). Aragon, p. 198; Henri Matisse, L'oeuvre gravé, 235-240; Slocum & Cahoon, 22. See William Goodwin, "'A Very Pretty Picture M. Matisse But You Must Not Call It Joyce': The Making of the Limited Editions Club Ulysses", Joyce Studies Annual Vol. 10, Summer 1999, pp. 85-103. Folio. Six soft ground etchings printed on Arches vellum paper, each separated by original tissue guards. Sheet sizes: 41.3 x 31.5 cm. In the brown cloth folding portfolio, as issued. Housed in a black quarter morocco solander box by the Chelsea Bindery. Spine of portfolio worn, joints tender. Contents clean.
Vendeur : rareandsigned, LEEDS, Royaume-Uni
Edition originale Signé
Original Braaq oil painting. Two Peneth of Chips and a Fish Large Liverpool street scene with rows of terraced houses, figures and mill beyond, oil on canvas, signed 'braaq ann'. A very rare example showing the artist as a young boy with striped shirt in the foreground and his sister Ann skipping with her friends. An imposing painting approx 750mm x 5000mm (39x29 inches framed). Original frame has some extremity wear and small marks. Painting is fine. A most beautiful large original street scene industrial painting by Brian Shields. PLEASE REQUEST FURTHER IMAGES TO VIEW THIS INCREDIBLE ORIGINAL PIECE OF ART. Accompanied by a full insurance authenticity certificate. 100% authenticity guaranteed. Brian Shields (1951-1997) was a Liverpool-born English painter. He is best known for painting industrial scenes of northern Britain. The unusual name of 'braaq' is a misspelling of the famous French artist Braque which, on account of his artistic talent as a boy, was his nickname at school. The name 'Ann' after his own signature was his sister who died at the young age of 21 and to whose memory all of his subsequent paintings were dedicated. All of Braaq's paintings are based, in a humorous way, on his childhood memories of Liverpool. In 1977 he held four exhibitions in London and was described by The Times as "one of the six most successful artists in England." This is one of several rare original Braaq paintings we currently have available for sale. Signed by Illustrator.
Vendeur : rareandsigned, LEEDS, Royaume-Uni
Signé
Original Braaq oil painting. Winter Scene with Houses and Industrial Landscape, oil on canvas signed 'braaq ann' to lower right, Measuring approx 590mm x 440mm (approx 30 x 24 inches framed). A fine substantial sized painting in original double frame mounting. A most beautiful large original street and park scene by Braaq. A very rare example showing the artist as a young boy with striped shirt in the foreground and his sister Ann holding her teddy bear. PLEASE REQUEST FURTHER IMAGES TO VIEW THIS INCREDIBLE ORIGINAL PIECE OF ART. Accompanied by a full insurance authenticity certificate. 100% authenticity guaranteed. Brian Shields (1951-1997) was a Liverpool-born English painter. He is best known for painting industrial scenes of northern Britain. The unusual name of 'braaq' is a misspelling of the famous French artist Braque which, on account of his artistic talent as a boy, was his nickname at school. The name 'Ann' after his own signature was his sister who died at the young age of 21 and to whose memory all of his subsequent paintings were dedicated. All of Braaq's paintings are based, in a humorous way, on his childhood memories of Liverpool. In 1977 he held four exhibitions in London and was described by The Times as "one of the six most successful artists in England." This is one of several rare original Braaq paintings we currently have available for sale. Signed by Illustrator.
Edité par The Limited Editions Club, New York, 1990
Vendeur : James Cummins Bookseller, ABAA, New York, NY, Etats-Unis
Signé
Number 27 of 50 copies. Number 27 of 50 copies. 8 large colour silkscreen studies, Signed by the Artist. 2 text leaves. All loose as issued. Printed by George Drexel, Osiris Screen Printing, New York on Whatman Print Matte paper. Folio (25 x 19 inches). The prints illustrate the King James version of the Book of Genesis. Bearing captions lithographed from mylars handwritten by the artist, this "exhibition portfolio" format is much larger than the regular edition of Eight Studies for the Book of Genesis. Each print signed and inscribed "HC" in pencil, lower margin. Printed by Stone Press Editions, Seattle, with the blind stamp lower right. Published by the Limited Editions Club, New York. With the title and colophon pages. Superb, clean impressions, with bright and vibrant colors. Nesbett L90-2 Laid into black cloth clamshell dropbox, with red morocco label inset on upper cover. Fine 8 large colour silkscreen studies, Signed by the Artist. 2 text leaves. All loose as issued. Printed by George Drexel, Osiris Screen Printing, New York on Whatman Print Matte paper. Folio (25 x 19 inches).
Date d'édition : 1895
Vendeur : Le Manuscrit Français, Versailles, France
Membre d'association : ILAB
Manuscrit / Papier ancien Signé
Pas de couverture. Etat : Bon. Gauguin évoque pêle-mêle son installation à Tahiti, sa vie de débauche sexuelle et financière, ses envies de peinture et sa famille, restée en Europe. Signé par l'auteur.
Edité par Los Angeles: Gemini G.E.L., 1993, 1993
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Signé
Edition of 68. Signed and dated by the artist lower right, numbered lower left. Tokyo 338. Lithograph from 11 aluminium plates and screenprint from 8 screens on Arches 88 wove paper. Sheet size: 68.6 x 54.6 cm. Framed size: 76 x 88.8 cm. Excellent condition. Presented in a dark stained wooden frame with conservation acrylic glazing.
Edité par Paris: Éditions de l'Atelier Crommelynck, 1971, 1971
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale Signé
First edition, first printing, number 36 of 350 copies signed by the artist. La Celestina, a major work of Spanish literature first printed in 1499, here translated by Pierre Heugas, was illustrated by Picasso as part of the famous 347 series, for which Picasso etched 347 plates between March to October 1968, all printed by the Crommelynck brothers. Cramer Illustrated Books No. 140; Bloch 1602. Octavo. Original full parchment boards, lettering to front cover in black. Parchment and paper dust jacket, lettering to spine in black. Housed in a parchment covered slipcase. With 66 full page original etchings and aquatints of varying sizes dated between April 11 and August 18 printed on Richard-de-Bas laid paper with La Célestine watermark. A fine copy in a fine slipcase.
Vendeur : rareandsigned, LEEDS, Royaume-Uni
Edition originale Signé
Original Braaq oil painting. Newsham Park In The Snow, oil on board, signed 'braaq 75 FB', An imposing painting 1200mm x 600mm (framed 52x28 inches) A wonderful original oil on board. Frame has some extremity wear and small marks. An exceptional example of his early work, the year after his first ever exhibition. The painting pre-dates the death of his sister ANN, to whom he then dedicated all his work. A most beautiful large original park scene painting by Brian Shields. PLEASE REQUEST FURTHER IMAGES TO VIEW THIS INCREDIBLE ORIGINAL PIECE OF ART. Accompanied by a full insurance authenticity certificate. 100% authenticity guaranteed. Brian Shields (1951-1997) was a Liverpool-born English painter. He is best known for painting industrial scenes of northern Britain. The unusual name of 'braaq' is a misspelling of the famous French artist Braque which, on account of his artistic talent as a boy, was his nickname at school. The name 'Ann' after his own signature was his sister who died at the young age of 21 and to whose memory all of his subsequent paintings were dedicated. All of Braaq's paintings are based, in a humorous way, on his childhood memories of Liverpool. In 1977 he held four exhibitions in London and was described by The Times as "one of the six most successful artists in England." This is one of several rare original Braaq paintings we currently have available for sale. Signed by Illustrator.