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ALBUM OF ORIGINAL WATERCOLOURS OF SOUTH AMERICA.: EMPSON, Charles

EMPSON, Charles

Published by [Colombia: 1824-1827] (1827)

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About this Item: [Colombia: 1824-1827], 1827. Oblong folio (10 x 14 2/8 inches). 30 EXCEPTIONALLY FINE drawings of which 18 are watercolor (no. 24 is in grisaille) and 12 are pencil (no. 21 faintly signed "Empson"), each with tissue guards (various sizes ca 7 x 9 inches), all mounted into an album, mounting leaves numbered 1-32 in a contemporary hand (no. 16 skipped in numeration, no. 31 removed). Contemporary dark green straight-grained morocco, with floral blind-tooled border and gilt-tooled frame, spine gilt, top edge gilt, pink silk markers (extremities a bit rubbed). Provenance: with the invoice of Francis Edwards dated October 1953, made out to; Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 96 This album of beautiful original watercolours is accompanied by Empson's published account of his journey to South America: "Narratives of South America; illustrating Manners, Customs, and Scenery" (London: A.J. Valpy & William Edwards for the Author, 1836), and the portfolio of illustrations "Fac-similes of Twelve Drawings of Tropical Scenery from Sketches made on the spot by Charles Empson", with 12 plates of which 10 are etched and 2 are lithographed, all hand-colored, and mounted on cards. Empson, a print and watercolour dealer in Bath, spent three years travelling the northern part of South America, for the most part in what is now Colombia, from 1824 to 1827. "The glorious descriptions of Humboldt had induced many persons who had no other motive beyond that of beholding Nature in all her majesty, to explore these regions so gorgeously clothed in primaeval vegetation, and so abundant in every production interesting to mankind. It was my happiness to associate with many travellers who had established themselves in the Republic before any of the European nations had acknowledged the independence of Columbia, and had shared in the vicissitudes of the revolutionary war; but they found ample compensation for all their privations in the inexhaustible variety of the new world. A field so rich, and so extensive, proved an irresistible temptation to the scientific man; the produce and commercial demands of so vast a continent were not less attractive to the merchant, while scenes of grandeur and beauty offered the most fascinating allurements to the imagination of the enthusiast." (Preface). Empson was accompanied by his friend Robert Stephenson, son of the famous railway engineer. They returned with precious objects of pre-Colombian art, including some gold artifacts which Charles later exhibited in Newcastle-upon-Tyne. Unfortunately, some of their possessions were lost in a shipwreck at the entrance to New York harbor. On his return Empson published his account of their adventures as "Narratives South America; Illustrating Manners, Customs, and Scenery: containing also numerous facts in Natural History, collected during a Four Years' Residence in Tropical Regions", 1836, illustrated with facsimiles of his original watercolour drawings, many of which feature in this album. 1: Fine watercolour drawing (6 4/8 x 9 4/8 inches) of the turbulent Rio Magdalena at Angostura with snow capped mountain range in the distance: "The rainy season was commencing as we left El Claro; the river rapidly swelled, and our progress was very slow: after sixteen days of hard toil, we reached Angostura, a place so called, as the river there is confined in a strait between rocks: there is at all times considerable difficulty in getting a heavy boat through this strait, but at particular seasons it is extremely dangerous. On our arrival, the river had swollen until the pressure of water above the Angostura forced the current through the strait with such violence, that it formed a cascade, or salto, as the natives call it." (page 249). 2: Fine pencil sketch (7 x 8 3/8 inches) of the Cocina or Kitchen subsequently lithographed for the published account: "The tenement represented in this sketch is variously denominated, according to the purposes to which it is applied: when the building is attached. Seller Inventory # 72lib760

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BURY, Priscilla Susan (1799-1872).

Published by [1836-1840]. (1840)

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About this Item: [1836-1840]., 1840. 4to., (10 4/8 x 8 4/8 inches). 26 FINE original botanical watercolours, each signed and dated by the artist, or otherwise inscribed by her, and 9 engraved proof plates with original hand-colour from the "Botanist". Original half maroon cloth, marbled boards, gilt, all edges gilt (extremities worn, binding detached). Provenance: Fine gift inscription from the artist to her son William Bury on the verso of the front free endpaper dated May 1871, further inscribed by the artist on the recto of the first blank. The fine watercolours, annotated as having been collected from her family homes of Fairfield, Llanbedr Hall, Plas - y -Nant, and the more illustrious gardens of Woburn Abbey, Skirving Walton, and the Liverpool Botanical Garden are of "Rhododen Vislaeum", "Alstrameria Psittacina", honeysuckle, hybrid azalea, "Maxillaria Deppi", "Cyrtanthus Angustifolia", "Benthamia Fragiferum and Septosiphons", "Cattleya Guttata var Russeliana" a specimen collected by the then Duke of Bedford in Rio de Janeiro and named for him, "Gladiolus Cardinalis", "Gaillardia Picta", "Anomatheca Cruenta", "Salpiglossis Barclayana", "Hybrid Gloxinia Walton", "Schizanthus Grahamii", posy of poppies, "Collinsia Bicolor", "Eschscholzia Californica & Anagallis Indica", "Calceolaria Milo", "Maxillaria Viridis", "Escholtzia Crocea", "Gesneria Rupestris", "Coreopsis Athosanguinea", "Delphinium Divaricatum", "Gilia Tricolor", "Azalia Indica", pansies,"Capparis Spinosa" (tipped-in). These are followed by 9 "Proof plates from some of Mrs. Edward Bury's Drawings for the Botanist" June 1839, engraved and hand-coloured. Bury, nee Falkner was the daughter of a wealthy Liverpool trader, and she began drawing plants raised in the greenhouses of her family home, Fairfield just outside Liverpool. In 1831 she published her famous collection of watercolours of lilies as "A Selection of Hexandrian Plants", the plates for which were engraved by the celebrated Robert Havell. The eight plates Bury later contributed to Maund and Henslow's "The Botanist" are tipped-in to the end of this beautiful album. Catalogued by Kate Hunter. Seller Inventory # 001702

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DALI, Salvador.

Published by (c.1933 - 1935)., (Paris). (1933)

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About this Item: (c.1933 - 1935)., (Paris)., 1933. 4to. (274 x 216 mm). [11 leaves of cream paper]. 11 leaves with manuscript text in pencil or ink with sections highlighted with colour crayon or pastel, corrections, annotations, excisions and interpolations throughout; sheets numbered 1 - 11 at upper left, right or at centre in pencil or ink, final leaf with 'FIN'. Sheet size: c.270 x 210 mm. Loose in later portfolio with white title label to front cover. Dali's unpublished illustrated manuscript for a Surrealist theatrical scenario. Dali has illustrated his text with 3 original drawing: one small head in ink (leaf 1), a soft skull (leaf 2), and a piano with umbrellas mounted on a bed (leaf 6). The title and parts of the text (usually dialogue) have been outlined by Dali in red, green and / or yellow crayon. From the late 1920s Dali had become fascinated by theatre and film. In 1927 he had designed and built the scenery for his friend Federico Garcia Lorca's play 'Mariana Pineda' before his collaborations with Luis Bunuel. In 1929 he and Brunel produced the script of the film, 'Un Chien Andalou' and the two worked together again in 1930 on 'L'Age d'Or'. Dali continued to work on film scripts and set design throughout his life, working with Jean Gabin on 'Moontide' and designing the Surrealist dream sequences for Alfred Hitchcock's 'Spellbound'. Dali produced both the sets and the libretto for the ballet 'Bacchenale' set to the music of Richard Wagner and set designs for 'Labyrinth' (1941) and 'The Three-Cornered Hat' (1949). This scenario, for Dali's 'Admosferic-animals-tragedie - 'espectacle surrealiste'', probably from 1933, is written in a peculiar phonetic French of DalÃ's own construction and has only 2 speaking parts - a mother ('Mere' and a son ('Fis') whose dialogue - as one might expect given the author and the preoccupations of the period - discuss birth, life, sex and death. The setting is completely Surrealist and references Dali's own motifs and obsessions at the time - the 'Angelus of Millet' and naked cyclists. amongst others. Dali painted his famous 'Architectural Angelus of Millet' in 1933 as well as 'Gala and the Angelus of Millet preceding the Imminent arrival of the Conical Anamorphoses'. He executed several paintings with imagery featuring naked cyclists at this time. The music chosen by Dali for his drama is the 'Habanera' from Bizet's Carmen together with Wagner's 'Tannhauser'. This work probably predates Dali's important text 'Interpretation paranoiaque-critique de l'image obsedante de L'Angelus de Millet', published in Minotaure in June 1933, which has affinities with Dali's drama. As a further indication that the subject was a considerable obsession for Dali, an alternate version with the same title exists, although it must be stated that the text is longer and more detailed in the present version. The other version of this manuscript was sold at Christie's, Paris, in 2005 in the sale 'Bibliothà que Daniel Filipacchi - Deuxià me Partie', see lot 82. 'L'Angà lus de Millet, beau, comme la rencontre fortuite sur une table de dissection, d'une machine à coudre et d'un parapluie!' ('Le Mythe Tragique de l'Angà lus de Millet, Interprà tation 'paranoà ague-critique'' pg. 95) ' . cet 'espectacle surrà aliste' inà dit constituant la premià re version 'dramatique' de sa fameuse 'Interprà tation paranoà aque-critique de l'image obsà dante de l'Angà lus de Millet' qui sera publià e, dans le premier numà ro de la revue 'Minotaure', en juin 1933. Aprà s le thà me oedipien de Guillaume Tell, Dali travaille, au dà but des annà es 1930, sur 'L'Angelus de Millet', dont il analyse le contenu à rotique dans son essai 'Le Mythe tragique de l'Angelus de Millet' qui ne sera publià que trente ans plus tard, en 1963.' (see 'Bibliothà que Daniel Filipacchi - Deuxià me Partie'). [see 'Le Mythe Tragique de l'Angà lus de Millet, Interprà tation 'paranoà ague-critique'', Jean-Jacques Pauvert Editeur, 1963, pp. 77 - 91]. Seller Inventory # 45532

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Sketches Illustrative of the Native Inhabitants and: EARLE, Augustus

EARLE, Augustus

Published by New Zealand Association, London (1838)

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From: Hordern House Rare Books (Surry Hills, NSW, Australia)

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About this Item: New Zealand Association, London, 1838. Oblong Folio, 10 hand coloured lithograph plates, complete as issued in original cloth backed illustrated wrappers, in solander box. Very rare: one of the great early Pacific books, with its vivid series of exquisitely hand-coloured lithographic views and portraits, by an artist at the height of his powers. Earle's fascinating work was published in London in 1838, not long after he had finally returned from his adventures on the Beagle and in the remote Southern Hemisphere, and was the grandest component of an influential campaign to promote British settlement in New Zealand, which at that date was still almost non-existent. The fine and large views do not really have any direct equivalent among contemporary works, and as examples of scenes of life in the earliest phase of European settlement in New Zealand are of unparalleled importance.Earle is considered the first European artist to be resident in New Zealand, and is particularly known for his "magnificent Romantic studies of the Bay of Islands" which became the basis for these published views (Hackforth-Jones, Augustus Earle, p. 26). The Sketches Illustrative of the Native Inhabitants and Islands of New Zealand is therefore considered to be particularly important for the region, which at the time was becoming established as a likely centerpiece for British ambitions.The Bay of Islands was also significant in terms of Cook's voyages, not least because of Cook's early landfall there during the Endeavour voyage in 1769: in this light it is remarkable to see that one of the men mentioned in the letterpress of Earle's book, and whose estate is depicted on the eighth plate, is Eruera Maihi Patuone, now famous not only as one of the great Maori politicians of the time, but for having personally met Cook when a young man.Earle's book predates the Treaty of Waitangi (1840) and is therefore an exceptionally important insight into the earliest phase of New Zealand settlement. The work also includes a number of exquisite portraits of Maori men and women, which predate the now more recognised portraits of George French Angas (The New Zealanders Illustrated, 1847). Moreover, for all of the hold that the Pacific had on the imagination of the European world, it is perhaps surprising to consider that the great majority of published works were issued uncoloured: Earle's stunning scenes, as a result, should be considered in the tradition established by John Webber and Louis Choris.As is always the case with hand-coloured works, especially on this grand scale, only a small number of copies would ever have been published, which underlines its rarity.[A full description and plate-list is available on request]. Provenance: Private New Zealand Collection. Seller Inventory # 4504656

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SONG HUA QUAN JI BIAN WEI HUI

Published by Zhejiang University Press

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About this Item: Zhejiang University Press. Soft cover. Condition: New. Language:Chinese.Author:SONG HUA QUAN JI BIAN WEI HUI.Binding:.Publisher:Zhejiang University Press. Seller Inventory # AG045680

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WAUGH, Henry W.

Published by Ca 1859 (1859)

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About this Item: Ca 1859, 1859. 19 fine pencil sketches (4 6/8 x 7 6/8 inches) each captioned in pencil in the image by the artist, tipped-in to heavier stock at an early date and captioned in ink on the mount, matted; preserved in a brown morocco backed brown cloth clamshell box. The fine and detailed images include scenic views: Near Sidney, Ohio Ohio Canal, Coshocton Near Bellfontaine. O. Cochocton. O. Near New Castle. Ohio. Near Dresden. O. Near Washington. Ohio. Tarlton. O. Somerset. O. Newark. O. N.E. corner 6th & Vine. Sts. Cin. O. 2 Near Cincinnati. O. Kalida. O. Tarlton. O. 4th Street. Cin. New Tarlton. Ohio Wapakoneta. Ohio Near Wapakoneta Ohio Mt. Vernon. Ohio Henry W. Waugh, nephew of the better known artist Samuel B. Waugh, was an itinerant artist actor who performed, painted and toured with the Spaulding and Rogers Circus between 1857-1859. He is also known to have assisted in the production of a celebrated temperance panorama undertaken by Jacob Cox. "It was known as Cox and Waugh's panorama, and it comprised fifty-four scenes. The daily local column nearly always contained an announcement of a temperance meeting or lecture. The 'Journal' of March 15, 1854, says in referring to the temperance panorama: "We calculate much on its influence for a Prohibition law"; which shows that these panoramas were taken seriously. And on May 15, 1854: "This is a great town for panoramas, not only showing them but making them. We have already sent out two or three and there are still a couple behind." "In another place (May 24, 1854), the 'Journal' says: "We were premature in our announcement of the Cox and Waugh panorama, showing the eagerness with which this panorama of temperance was awaited. "A mammoth undertaking," says the Journal, February 18, 1854. "We learn that Mr. Henry Waugh, the talented young artist, who has spent considerable time in our City, has been solicited to paint a panorama of scenes in Egypt, Palestine, Italy, Greece and other ancient regions. Arrangements were made for a friend to go abroad, and send back daguerreotypes of the interesting scenery, ruins, etc., as 'copies for Mr. Waugh's pencil.' It was estimated the work would occupy three years." "Cox and Waugh's Panorama was first presented on the evening of May 30, 1854, to an overfull house (in spite of the rain)." (This from the Louisville 'Journal', June 20, 1854.) "The success of this excellent production has been even greater than was anticipated, and anticipations were of no slight magnitude. It is home-made painting of home scenes, and is superbly executed. Its tone is subdued and its scenes are free from extravagance that make impure taste. It will bear study, and the more it is studied the more its excellence appears. The character of the spectators no less than their numbers attest the merit of the panorama and appreciation of the artists. It was afterward taken to many larger cities in the State, where it was given before interested audiences. This enormous panorama is without doubt the largest and most magnificent one we have ever witnessed, and is, we believe, destined to begin a new era in the history of panoramic exhibitions." "The New Albany, Madison, Cincinnati, and Dayton papers also spoke of the panorama in the highest terms. After being shown in Western cities for a year or more it was sold and taken to the East. "Examples of the work of young Waugh were exhibited at Jones' Music Store, and represented "some of the beautiful scenery of our own land, our cities and American forests, most artistically put up on canvas by the finished hand of this young artist." "A few days later, February 21, 1853, there was a great musical convention, at which a "prize banner" was presented to the band producing the best music. "This beautiful specimen of art" was the work of Henry W. Waugh, and was "executed on fine white satin, which is now being edged with gold lace and handsomely trimmed. The design represents Music as a female about to be crowned with laurels by two cherubs. Seller Inventory # 72od3

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Original painting: "Sailor's Farewell," together with autograph: Kent, Rockwell

Kent, Rockwell

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About this Item: 1935. Kent, Rockwell (illustrator). Measuring 13 by 9 1/4 inches, this watercolor bears Kent's signature along with the inscription, "to his friend Charly Mortensen, 1935." Mortensen was the telegraph operator aboard the Hans Egede, the ship on which Kent made two of his three celebrated voyages to Igdlorssuit, Greenland, where he would live off and on between 1929 and 1935. His life and work among the native Greenlanders during these years resulted in two of his greatest books: Greenland Journal and Salamina. The present painting, a moving, somber work executed in the artist's typically realistic style, depicts a European sailor, presumably preparing to depart Greenland for home, comforting a native Greenlander who is weeping into her hands at the prospect of their parting. The watercolor is accompanied by Mortensen's autograph book, which contains numerous drawings and inscriptions by friends and Hans Egede passengers, including two drawings by Kent, both signed. One drawing, a charming, informal pen and ink scene of the Hans Egede en route from New York to Greenland under a starry sky, bears an inscription by Kent thanking Mortensen for being a "considerate and obliging friend." The other item, a landscape, appears to use a combination of pen and ink and watercolor, and is inscribed by Kent, "This is a genuine drawing by me -- only drawn all over again and much improved by Mortensen (fair wireless operator, better artist, and best of fellows). Sworn to this day, July 3rd 1935, by Rockwell Kent . so help me God!" Mortensen's replicated drawing does not appear in the book, although another of his drawings does: a depiction of a native Greenlander, signed "CM after RK," apparently meaning the piece was executed by Mortensen in the style of Kent. Of further interest is a drawing contributed by Kent's teenaged son, Gordon, who accompanied his father on one of the Greenland excursions. Bound in full red leather, which shows some cracking and general wear, the book is a unique item that offers an intimate glimpse into a key period in the life of one of the most important illustrators of the twentieth century. Laid in are seven black and white photographs, including one of the Hans Egede docked at Igdlorssuit, where it has been met by native Greenlanders in sleds and canoes. Watercolor double-matted and in a handsome Art Deco-style cherry frame. (Johnson, Fridolf. Rockwell Kent: An Anthology of His Work, pp. 161-179). Seller Inventory # 20843

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SONG HUA QUAN JI BIAN WEI HUI

Published by Zhejiang University Press

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About this Item: Zhejiang University Press. Soft cover. Condition: New. Language:Chinese.Author:SONG HUA QUAN JI BIAN WEI HUI.Binding:.Publisher:Zhejiang University Press. Seller Inventory # AG044495

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SONG HUA QUAN JI BIAN WEI HUI

Published by Zhejiang University Press

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About this Item: Zhejiang University Press. Soft cover. Condition: New. Language:Chinese.Author:SONG HUA QUAN JI BIAN WEI HUI.Binding:.Publisher:Zhejiang University Press. Seller Inventory # AG044496

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Manuscript sketchbook with 48 original watercolors of: Isak of Igdlorpait

Isak of Igdlorpait (1866-1903).

Published by ca 1899, Igdlorpait (1899)

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About this Item: ca 1899, Igdlorpait, 1899. Condition: Fine. 11 x 17 cm; 24 double-sided leaves, each bearing a watercolor sketch with a caption in Greenlandic (Kalaallisut) and a German translation in a separate hand. Bound in decorated wraps. Inscription in German on front blank, "Drawn and painted from his own experience in 1899 to 1900 with the left hand (the right is paralyzed) by the goat-herder Isaak of the Mission station in Igdlorpait in Greenland. Gift of the last Brother missionary in Igdlorpait, Br. Riegel." References: Bugge, G.N. (1969): Îsâp ássilialiai - Isaks billedbog [Isak’s Picture Book], Det Grønlandske Landsbibliotek & Stadsbibliotek i Lyngby (reprinted by Det Grønlandske Forlag, Nuuk, 1977). Kaalund, B, ed. (1969): Grønlandsk kunst fra Aron til i dag, Louisiana. Kaalund, B. (2010): The Art of Greenland, 3rd edition, Glydendal, Copenhagen. Little is known about the Greenlandic Inuit artist Isak (1866-1903) other than what is preserved in the register of the Moravian mission at Igdlorpait. He lived there with his father, a subsistence fisherman and hunter. Records for 1890 describe Isak as 24 years old, and "not able to pursue [his father's] occupation due to an accident" that deprived him of all motion in his right arm. As an invalid, living in poverty, Isak was hired to herd goats for the missionaries, who gave him a biblical name (but no surname). The missionaries procured paper and watercolors for him when they noticed that he could draw and paint, and the artist manufactured several booklets of watercolor scenes. Isak gave the manuscript book offered here as a gift to Adolf Riegel as the mission was closing in 1900. Reigel sent a similar book of Isak's to fellow missionary Ragnhild Bugge, whose son (G. N. Bugge) published it in facsimile in 1969. Reigel wrote to Bugge,"Our paralyzed and invalid goat-herd Isak has with these watercolors quite certainly not produced masterpieces, but your dear sister will however be pleased to know that the noble art of painting is in any event also represented in Greenland. One cannot demand much from a paralyzed one-armed Greenlander, but he is in any case a genius.". Seller Inventory # 5754

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J.K. Rowling

Published by Bloomsbury, London (1997)

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From: St Marys Books And Prints Wisden Dealers (Stamford, United Kingdom)

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About this Item: Bloomsbury, London, 1997. Soft Back. Condition: Very Good. An incredible uncorrected pre-publication proof copy of the first book in the Harry Potter Series. Limited to just 200 copies. Bound in the original plain white and yellow wrappers. A couple of light marks but presents very well overall. Includes spelling mistakes such as 'J.A. With fewer than 10 copies known to be in existence of the original jacket artwork. One of the hardest items to for any Harry Potter to collect. . Seller Inventory # 093954

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Illustrations of the manners, customs, and condition: Catlin, George

About this Item: Henry G. Bohn, London, 1866. 2 volumes, 8vo, pp. viii, 264; viii, 265, [1]; 3 hand-colored maps (1 folding), plus 310 hand-colored engravings on 177 plates; publisher's half red morocco over marbled boards, gilt-decorated spine in 6 compartments, glt-lettered direct in 2, a.e.g.; extremities rubbed, internally quite clean and bright; a very good set. The celebrated colored issue, and purportedly one of only "12 or more" copies so made. Clark III, 141; Field, 260; Howes C-241; Pilling, Proof-sheets, 685; Sabin 11537; Streeter Sale, 4277; Wagner-Camp, 84. Seller Inventory # 38201

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An album of original watercolour drawings of: ROTHSCHILD, Lionel Walter,

ROTHSCHILD, Lionel Walter, Baron Rothschild (1868-1937) - John Gerrard KEULEMANS (1842-1912, artist)

Published by "London (1899)

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About this Item: "London, 1899. Oblong octavo. (8 3/8 x 11 1/4 inches). Black ink calligraphic manuscript title, manuscript map in blue ink of New Guinea, northern extremities of Australia and the surrounding islands, hand-coloured with a related key beneath to show the distribution of the various species and sub-species, 7 plates of pen-and-ink and watercolour drawings of various species of cassowary (the first five plates each with three heads, the sixth plate with two heads and the final plate with a fine full-length study of an adult and a young bird). Loosely inserted is an early manuscript listing (in the same hand as the captioning of the plates and the index to the map) of various species of the birds, with common names and locations. Contemporary brown morocco-backed cloth-covered boards, dark red morocco box Provenance: Otto Fockelmann (of Hamburg, near-contemporary signature in blue ink on title) Pre-publication presentation manuscript with watercolour drawings depicting the 17 species or sub-species of Cassowaries identified by Rothschild in his "Monograph of the genus Casuarius" published in 1900. In December 1900, Walter Rothschild published his seminal work on the cassowary in the Transactions of the Zoological Society (vol.XV, pt.5, pp.109-290), which included exquisite plates by John Gerrard Keulemans. The manuscript title of the present album, however, is dated the year prior. The fine watercolours in the present album, each of which bears close comparison with the finished plates as included in Rothschild's "Monograph of the Genus Casuarius," are the work of fine bird artist John Gerrard Keulemans. Keulemans worked from the live birds housed in Lord Rothschild's private menagerie at Tring and travelled to Germany to sketch the live specimens at the Zoological Gardens of Berlin. This latter fact, allied with Otto Fockelmann's name on the title may provide the most likely explanation for the existence of this unique pre-publication manuscript. Rothschild was scouring the world for any species or sub-species that had escaped his notice. The Fockelmanns were well-known dealers in rare birds, based in Hamburg, and they would have been contacted to ask if they could help, perhaps by Keulemans at Rothschild's request during one of his trips to Germany. Before the publication of the monograph, the original watercolours were the most accurate method of recording the species that Rothschild had already identified, and the present images may, in part, have been produced to allow the Fockelmanns to eliminate them from Rothschild's "shopping list". The Fockelmanns were evidently much taken with the drawings, as it seems likely that they were responsible for its current final form: with a German title, a map with German place names, and a loosely inserted index (with Rothschild's name spelled incorrectly, and notes in German) with additional species which had been identified by Anton Reichenow added in 1913. [With:] ROTHSCHILD, Lionel Walter, Baron Rothschild (1868-1937) - John Gerrard KEULEMANS (1842-1912, artist). A Monograph of the Genus Casuarius . London: 1900. Extract from the Transactions of the Zoological Society of London , vol. XV.-Part 5, pp. 109-290. Quarto (12 x 9 1/2 inches). 24 plates (18 hand-coloured lithographed plates of birds, 2 hand-coloured lithographed maps and 3 photolithographed plates). Period blue buckram, original blue wrappers bound in. For the published work, see: Anker 547; Nissen IVB 796; Wood p.543. For Keulemans life and work, see T. Keulemans & Jan Coldewy, Feathers to Brush The Victorian Bird Artist John Gerrard Keulemans (Epse, The Netherlands & Melbourne, Australia: 1982). Seller Inventory # 21824

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BA JIN YUAN ZHU . FEI XIN WO HUI TU . QIAN JUN YAO BIAN WEN

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1941-01-01 Pages: 148 Publisher: Thousand Leaves bookstore book of original Tibetan seal. Which one like paste and peeled off the paper traces (see 8 pictures). I picture the past 10 products overall 9 products. Friends of the writing. the credibility-based. A good book is the school good book benefit Friends! Identified and requirements of each product differences. having read the shot paste descriptions and auction images. in order to prevail. declined to games. Doubt ask before making a photograph that is confirmed. not commercial price after the shoot. after the settlement of the transaction were not returned. please buy carefully! The film is deliberately delivery. to bear auction commission several times! Published online. and do not speak the credibility Blacklist! The photograph within five days after delivery. Unsold auction go directly to the price adjustment I the online bookstore the Juxiangshuwu jxsw of! Bookshop. supplier price after set. after the settlement of the transaction were not returned. please buy carefully! Bookstore book can bargaining. The books do not charge $ mailing costs. The Executive Matters not covered by the provisions of the site. Because the holidays. so book settlement payment is generally sent daily to go to work.Four Satisfaction guaranteed,or money back. Seller Inventory # EJ009069

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BEN SHE.YI MING

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Binhong painting quotations emoticons (original + publications) Wang Bomin letters aFour Satisfaction guaranteed,or money back. Seller Inventory # AM014395

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Saint-Victor, Beauvalet de (Chevalier).

Published by (NP, ca. 1840). (1840)

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About this Item: (NP, ca. 1840)., 1840. 9 1/4 x 11 3/4. 120 pages. The album is comprised of 12 alphabets of 25 letters (there is no "W") on rectos of thick, smooth paper which was "made" by the artist. There are also a title page, an index, and 10 section titles preceding the ten major alphabets of ornamented initials. These are lettered in black & red and stencil-signed "par Beauvalet St. Victor." Saint-Victor's watercolored & gilded letters are his own creations, derived from Medieval sources. The letters are all majuscules (Onciales du 9e au 11e siecles, 12e siecle, 12e au 14e siecles; Gothiques Ornà es, Anglais Ornà es, Majuscules d'Eglise, d'Eglise Ornà e, Alphabet de Romain Droit Ornà et Ombrà , and -in a closing crescendo- Majuscules Choisies Ornàs 12e au 14e. Letters are variously one, two, or 4 to a page, separated by a gilt rules. The other 2 alphabets are single leaves of simple Lombardic caps in red and gold. Bound in full wine morocco, all edges gilt (upper joint lightly rubbed) in Medieval style, ca. 1896 for J. E. Woodhead. Fine, in felt-lined slipcase. Born in Paris in 1780, the artist described himself as a "Peintre Minerologiste brevetà " (a patented minerologist painter) in reference to the luminous pigments he invented. St.-Victor's technique may be even more important, as he appears to have been an early adopter of pochoir. His process-- aquarelle-miniatures-- St. Victor termed “veritablement unique dans son genre.” In his 1835 manual "Aquarelle-Miniature Perfectionnà e reflets mà tallique et chatoyans et peintre a l'huile sur velous en six leçons," the artist gives precise and detailed instructions for the tools needed: cutting implements, various brushes, colors, and paper prepared with a smooth vellum-like surface (instructions for this are included). Although painting with stencils was used in c19 decorative arts (theorem painting on velvet, for example), the process does not seem to have been employed to illustrate books. St. Victor was one of the first to use stencils for book illustration. His process was labor intensive, slow, and expensive. And it coincided with the rise of chromolithography.THE ONLY COPY LOCATED. Examples of Beauvalet de St. Victor's work are rare. They may all have been offered by subscription. His Vases Grecques et Étrusques illustrated from stencils and "peints d'apres sa nouvelle decouverte metallique," was issued in fascicules between 1837 and 1845. And they were expensive. His aquarelle-miniature text book was--10 francs for each of the 6 lessons. The Vases was 32 francs for each fascicule. Woodhead was a prominent c19 Chicago businessman. His name is stamped in gilt at base of spine; he has penciled his name in tiny letters and the date '96 at top corner of title page. Seller Inventory # 14275

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About this Item: (circa 1911), 1911. The only existing portrait of Professor Challenger hand-drawn by Sir Arthur Conan Doyle. Measuring approximately 8 x 6", but irregularly shaped, with the left top edge cut in an arc; lined notebook paper; and is captioned by his wife, Lady Jean Conan Doyle, "Arthur drew this (1913) as an idea of his conception of Challenger." Foxed; marginal tears; very good. Lady Conan Doyle is mistaken regarding the date of this drawing as she started annotating some of Doyle papers in the 1930s after her husbandÕs passing. Undoubtedly, it dates from two years earlier, when Doyle was writing The Lost World. This drawing bears a striking resemblance to the illustrations drawn by Harry Rountree for the bookÕs serialization in The Strand Magazine and possibly it was shown to him by Doyle. At the time of the writing of The Lost World, Doyle was enjoying one of the happiest periods in his life. More than any other book in his career, Doyle enthusiastically went to great lengths to help produce and promote The Lost World. He even had himself made-up as Professor Challenger for the mock photograph that appears as the frontispiece in the first edition and another pose of Doyle as Challenger was stamped in gilt on the front cover cloth. This drawing has an impeccable provenance. It was first made known to the public by John Dickson Carr in his 1949 authorized biography of Doyle, when Carr listed this drawing in his printed inventory of the Conan Doyle papers in the possession of the family. The drawing remained in the family for over 90 years until it was sold at ChristieÕs London among the Doyle papers offered by the estate of Anna Conan Doyle. The drawing captures well the massive image of Professor Challenger as Doyle as him make his first appearance in The Lost World: ÒAs I entered, his seat spun round to face me. His appearance made me gasp. I was prepared for something strange, but not for so overpowering a personality as this. It was his size which took one's breath away--his size and his imposing presence. His head was enormous, the largest I have ever seen upon a human being. I am sure that his top-hat, had I ever ventured to don it, would have slipped over me entirely and rested on my shoulders. He had the face and beard which I associate with an Assyrian bull; the former florid, the latter so black as almost to have a suspicion of blue, spade-shaped and rippling down over his chest. The hair was peculiar, plastered down in front in a long, curving wisp over his massive forehead. The eyes were blue-gray under great black tufts, very clear, very critical, and very masterful. A huge spread of shoulders and a chest like a barrel were the other parts of him which appeared above the table, save for two enormous hands covered with long black hair. This and a bellowing, roaring, rumbling voice made up my first impression of the notorious Professor Challenger.Ó. Seller Inventory # 13571J

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Le Mort. 2 Vols. (Complete) 1/10 COPIES: Bataille, Georges; André

Bataille, Georges; André Masson

Published by Au Vent d'Arles, Paris (1964)

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About this Item: Au Vent d'Arles, Paris, 1964. Condition: vg. Limited First edition. Oblong folio. [4], LVII, [11]. Original full vellum, bevelled edges. Title blind-stamped to upper panel and black lettering on spine. One of only 10 de luxe copies, containing 9 etchings with color aquatint, one original signed drawing by André Masson and an original copper plate, the latter inserted into the front cover. Limitation page signed by André Masson. With an additional suite of 9 hand-colored etchings, plus one refused, all signed by Masson, laid into publisher's vellum spine over beige cloth boards. Each etching protected with a tissue-guard. Volumes housed in original leather edged beige cloth slipcase. Bataille's final erotic text, in which he crystallises his central notion of "érotisme" (the logical end of eroticism is death), into a harrowing story. It is boldly and somewhat abstractly illustrated, as was his first erotic fiction "Histoire de l'Oeil" by his friend and long-time collaborator André Masson. Slight rubbing to edges of slipcase. Minor soiling on spines. Closed surface tears along inner front joint of main volume, firmly holding. Sporadic and minor offsetting on pages (not affecting plates). Text in French. Slipcase in overall good, bindings in good+ and interior in very good condition (with plates in fine condition). About the author: Georges Bataille (1897-1962) was a French writer. Although several philosophers have been significantly influenced by his thought, Bataille tended not to refer to himself as a philosopher. Founder of several journals and literary groups, Bataille is the author of an oeuvre both abundant and diverse: readings, poems, essays on innumerable subjects (on the mysticism of economy, in passing of poetry, philosophy, the arts, eroticism). He sometimes published under pseudonyms, and some of his publications were banned. He was relatively ignored during his lifetime and scorned by contemporaries such as Jean-Paul Sartre as an advocate of mysticism, but after his death had considerable influence on authors such as Michel Foucault, Philippe Sollers, and Jacques Derrida, all of whom were affiliated with the journal Tel Quel. His influence is felt in the work of Jean Baudrillard, as well as in the psychoanalytic theories of Jacques Lacan. Seller Inventory # 27195

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ZHE JIANG DA XUE ZHONG GUO GU DAI SHU HUA YAN JIU ZHONG XIN

Published by Zhejiang University Press

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About this Item: Zhejiang University Press. Soft cover. Condition: New. Language:Chinese.Author:ZHE JIANG DA XUE ZHONG GUO GU DAI SHU HUA YAN JIU ZHONG XIN.Binding:.Publisher:Zhejiang University Press. Seller Inventory # AE061771

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American Conchology, or descriptions of the shells: SAY, Thomas (1787-1834)

SAY, Thomas (1787-1834)

Published by Printed at the School Press, New Harmony, Indiana (1838)

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About this Item: Printed at the School Press, New Harmony, Indiana, 1838. Octavo. (9 x 5 3/4 inches). 68 hand-coloured engraved plates (33 by C. Tiebout, 19 by S. Lyon, 7 by I. Walker and 9 unsigned; 65 after Mrs. Say, 2 after C.A. Lesueur and 1 unsigned). Bound with the seven original parts upper wrappers, as well as five rear wrappers (without rear wrappers for parts numbers 1 or 7). Nineteenth century half green morocco and marbled paper covered boards, spine with raised bands in six compartments, lettered in gilt in the second, the others with a repeat decoration in gilt, marbled endpapers, top edge gilt Provenance: Thomas B. Wilson (armorial bookplate) A lovely example of the very rare Say's American Conchology, bound with the original parts wrappers, and published in the Utopian community of New Harmony Indiana. Say began his career as a naturalist in Philadelphia before 1810. While his first published works were all entomological, he began gathering material on shells at an early date, and supplemented his knowledge with information gathered during numerous expeditions in the United States, including the Long expedition on the Great Plains in 1819-20. In 1827 he joined several other distinguished naturalists of the period in Robert Owen's utopian experiment at New Harmony, Indiana, and helped to establish the printing office at the school there. Having completed the work on his American Entomology . before moving, he was able to devote all his time to American Conchology . The first number appeared in 1830, followed by five additional sections through 1834. The last part, published after Say's death, is usually dated 1838 but may actually have been printed later than that and somewhere other than New Harmony. The rest of the text was printed at the School Press and the plates were beautifully colored by the students, nine of whom worked on the project at one time. All the products of the New Harmony press are rare, and this, the only one with color plates, is particularly so. As a piece of American natural history, it is the pioneering and major work in its field, by one of the great American naturalists. "Here are hand-colored copperplate engravings diamond fine in their precision. There was not even any varnish used to heighten the coloring. Looking at these little shells, it almost seems possible to pick them off the page" (McGrath). "A work as extraordinary for having been produced in the wilderness as for its elegance and the importance of its contribution to natural history" (Streeter). This example with important provenance to Thomas Bellerby Wilson (1807-1865), Born in a wealthy Quaker family, Wilson trained as a physician but spent his life studying natural history and as a patron of the sciences in the Philadelphia area. He actively collected specimens of minerals, fossils, shells, birds, reptiles, fish and insects and was the principal benefactor of the Academy of Natural Sciences in Philadelphia. A fine set of Thomas Say's pioneering work devoted to American shells, issued by the School Press at the utopian colony of New Harmony, Indiana. Bennett p.94; Byrd & Peckham Indiana Imprints 414; McGrath pp.15-16; Meisel III, 405; Nissen ZBI 3614; Sabin 77368; Streeter Sale 1413. Seller Inventory # 35755

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Sixty-two Original Ink Drawings Illustrating the Harriman: SPADER, William Edgar

SPADER, William Edgar

Published by [N.p., likely New York (1905)

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About this Item: [N.p., likely New York, 1905. Sixty-two line drawings on thick card stock, each signed "W. E. Spader." Sizes vary between 4¼ x 8 inches to 17½ x 10¾ inches, oriented both portrait and landscape. Minor edge wear, some thumb-soiling, a few examples with minor marginal surface wear. A Remarkable Archive from the Harriman Alaska Expedition A substantial archive of original art by William E. Spader, one of the principal artists hired to create illustrations for Edward Harriman's monumental fourteen-volume work The Harriman Alaska Series , published throughout the first decade-and-a-half of the 20th century. This important collection documents one of the great scientific expeditions of the late 19th century. Edward H. Harriman was a wealthy railroad magnate, one of the original robber barons of lore, who greatly desired to hunt bear in Alaska. Never one to do anything small, he decided not only to travel to Alaska to hunt bear on Kodiak Island, but to finance a major scientific expedition to Alaska along the way. The Harriman Expedition comprised an elite roster of scientists, artists, photographers, and naturalists whose goal was to explore and document the Alaskan coastline. For almost two months, in June and July 1899, the S.S. George W. Wlder steamed up the coast from Seattle to Siberia while various experts, including John Muir, Edward Curtis, and other botanists, biologists, geologists, artists and photographers recorded what they encountered along the way. The greatest benefit of the expedition turned out to be the sizeable published record of the journey, which Harriman financed himself. The fourteen-volume Harriman Alaska Series was published by Doubleday beginning in 1901, and remains a landmark of Arctic exploration. William Edgar Spader was a Brooklyn-born craftsperson, and illustrator, whose work appears in much of Harriman's Alaska Series . Spader lived and worked in New York, and is best remembered for his watercolors depicting beautiful women of the Art Deco period. Spader's drawings here show landscapes, numerous views of glaciers, seal hunting, camp scenes, several scenes featuring canoeing or kayaking, one illustration of death head carvings, and much more. Some of the illustrations are captioned in pencil on the reverse, identifying specific views of Davidson Glacier, Hinchinbrook Island, Spruce Island, Hanging Valley, Grewingk Glacier, Charpentier Glacier, Plover Bay, Reid Glacier, Yale Glacier, Chilkoot Lake, Russell Fiord, College Fiord, the head of Lynn Canal, a view upland near Walker Bay, the tundra near Port Clarence, a view showing the caves in Barry Glacier, a landscape showing the ridged surface of Columbia Glacier, a large landscape showing the moraine of Columbia Glacier, a landscape of the hills near Brady Glacier, a large scene of an overturned forest near the La Perouse Glacier, an indoor view of a church at Metlakahtla, and a distant view of St. Paul Village, among others. A few examples show production notes, including size notations and penciled frame lines. Spader's dozens of illustrations for Harriman's published work are well-executed black-and-white line drawings after photographs from the expedition by the likes of Grove Karl Gilbert, C. Hart Merriam, A. K. Fisher, W. B. Devereaux, and others. Numerous examples of Spader's original artwork was used to illustrate volume one of the Harriman alaska series, starting with John Burroughs' introductory essay, "Narrative of the Expedition." One illustration is captioned on the reverse, "Little Auklets Pribilof Islands, Bering Sea For Burroughs' Article." It is marked in pencil "Vol. 1, Pg. 98," where it appears in the printed work. Another illustration captioned on the verso, in pencil, "Church at Metlakahtla" is captioned in the published work as "Interior of Church Made by Indians at Metlakahtla" on page 25 of Burroughs' work. An illustration by Spader of an irrigating water wheel can be seen on page 13 of Burroughs' essay, another of a canoe in drift ice in Yakutat Bay is fo. Seller Inventory # 28802

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About this Item: paperback. Condition: Good. Pub Date: Unknown Publisher: Unknown. Reinterpreting (1947.1-) Hefei. Anhui Province. Specializes in comic books. Chinese painting. In 1964. graduated from the Normal School of Hefei. Served as a middle school art teacher. art editor of Anhui Fine Arts Publishing House. Works comics to send intelligence. the river flows to the east. Illustration dawn . Is now the editor in chief. vice president of the Beijing Arts and Crafts Press published a leading figure fine art album. Online search for t. Seller Inventory # BK000710

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BEN SHE.YI MING

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.New Year pictures the original oneFour Satisfaction guaranteed,or money back. Seller Inventory # RT068614

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HUANG SHAN SHU SHE

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Chinese Art Works the Huangshan Shushe brand new Genuine Original 30000Four Satisfaction guaranteed,or money back. Seller Inventory # EA038676

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.The Cultural Revolution hand painting comic book - 69 - 122 open Complement the original postersFour Satisfaction guaranteed,or money back. Seller Inventory # EM071502

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Cultural Revolution hand painting comic book - 69 - 122 open posters originalFour Satisfaction guaranteed,or money back. Seller Inventory # EM073916

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Calendario dell' Anno 1899, together with original: Fleres, Ugo

Fleres, Ugo

Published by Società Editrice Dante Alighieri, Rome (1898)

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About this Item: Società Editrice Dante Alighieri, Rome, 1898. Cellini, Giuseppe (illustrator). Oblong octavo. (60)pp. One of 200 copies. Illustrated with seventeen chromolithographed plates, which accompany a series of musical arrangements by Salvatore Saya, with lyrics by the Italian poet Ugo Fleres. Together with twenty-one of Giuseppe Cellini's original watercolor and ink drawings for Calendario dell'Anno, 1899, of which three were not used, and one is a duplicate. Each measures about 9 1/2 by 8 3/4 inches; the panels for the months of the year have, in almost all cases, placeholder text handwritten by the artist that was replaced by type in the final version. Cellini is perhaps best known for the frescoes that decorate the Galleria Sciarra in Rome, which blend influences of English Pre-Raphaelitism with the artistic traditions of the Italian Renaissance. These lovely, intricate calendar illustrations also clearly demonstrate the sway that the Renaissance aesthetic had on the Arts and Crafts movement, with elaborate floral and foliate designs, initials decorated with interlacing, and symbols for each sign of the zodiac, all in regal shades of red, blue, green, and gold. In the design for April, daisies bloom and birds perch amidst the interlace of branches that adorn the letter "A." Printed Calendario bound in stab-sewn printed stiff card wrappers, which have been neatly repaired at the spine and edges, and placed in a cloth chemise. Drawings mounted to paper mats and kept together in another cloth chemise. Both housed in a custom silk-covered drop-back box with a gilt-stamped leather spine and edges. Seller Inventory # 21771

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About this Item: paperback. Condition: Good. Pub Date: 1974 Publisher: Kodansha Revision: limited edition of 900 version 60; 55cm pay Bessatsu commentary book (Eto Chun commentary) 134p 30cm: limited edition of 900. now available in the market has been difficult to see rare. Original from Japan's major museums are in the possession of a Tang painting treasures. High collection value. Japan's direct mail. Seller Inventory # DB061291

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Collection of five original watercolors of Pima: HART, Robert Benjamin
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About this Item: [Aravaipa Canyon, AZ], 1849. Five original watercolors on card stock, detailed below. (A bit of residue on the verso of the images, one drawing with four pin-sized holes). Each matted and housed in a red morocco backed box. An extraordinary group of watercolors made by a Virginian travelling the Southern Route to the California gold fields in 1849, among the earliest illustrations depicting the Pima Indians of southern Arizona, and showing their lands in the Aravaipa canyons. A very interesting group of five original watercolors showing Pima Indians and their lands in Arizona, made by a young '49er on his way to the California gold fields by the Southern Route. The Southern Route, also called the Gila Trail, was the least travelled overland route by those headed to California in 1849, and original artwork from those overlands is very rare. These watercolors are also notable as being among the earliest images of the Pima Indians of which we are aware. Although unsigned, these watercolors were apparently produced by Robert Hart (b. 1834), whose family owned and operated several gold mines in Spotsylvania and Louisa counties in Virginia in the 1840s. In the summer of 1849 Hart, along with his cousins Andrew Bronaugh and Henry Hart, went west to participate in the California Gold Rush. They went overland, and decided to travel by the Southern Route, also known as the Gila Trail, which took them through New Mexico and Arizona, and through the lands of the Pima and other Indian tribes. The Hart-Bronaugh party passed through southern Arizona in late July, 1849, and arrived at the California gold fields the next month. Robert Hart did not stay long in California, leaving in the fall of 1850. He soured on mining and on living conditions in the mines, and returned to the East Coast by boat and across the Isthmus of Panama. Records from the 1850 census indicate that young Robert was back in Virginia, living with his aunt, Mary Frances Jenkins Holladay at her home, known as "Woodside," in Louisa County. Following Hart's return home from California, he worked with his father, Robert, and his uncle, Colonel James Hart, at the Old Rough and Ready Furnace in Louisa County. After his father's passing Hart moved with his family to Christian County, Kentucky. These watercolors were found at "Woodside" by a Hart-Jenkins family member, and have remained in the family since they were re-discovered. The watercolors are accompanied by typed excerpts from the diary of Robert Hart. These excerpts were included in a family history published by Robert M. Jenkins in 2000. The watercolors included in this collection conform to diary entries made by Hart in the period July 28 to July 31, 1849, when he and his fellows were travelling through Pima lands. The illustrations (all but one untitled) are as follow: 1) Watercolor showing five Pima Indians and an Anglo-American, 5 3/4 x 8 inches. The white man in the picture is seated with his arm resting on a table which also holds an inkwell. Some surmise that it may portray Robert Hart himself, though the figure in the watercolor appears much older than Hart, who was only fifteen when he went west to California. The scene appears to take place inside a Pima tent. Four of the Pima are fully dressed and the illustration wonderfully portrays their clothing and headdresses. The fifth Pima stands with his back to the viewer, wears a simple loin cloth, and holds a long spear. 2) Watercolor showing three horses, one with a rider, passing along a river in a small canyon, 6 x 3 1/4 inches. This illustration has four small pin-sized holes. The rider is on the horse nearest to us, and has a rifle slung across his lap. The horses are shown walking through a shallow stream that passes through a steep-walled canyon. 3) "Glade in Aravipa Canons." Watercolor showing four men setting up camp in a glade in Aravaipa Canyon, 2 5/8 x 4 3/16 inches. This illustration shows a lush glade with four men (three of them seated) depicted in the bottom center of the image. Seller Inventory # 27856

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Rackham, Arthur.

Used
Softcover

Quantity Available: 1

From: John Windle Antiquarian Bookseller, ABAA (San Francisco, CA, U.S.A.)

Seller Rating: 4-star rating

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About this Item: 1901. The original pen and ink and watercolor drawing by Rackham, 13.5 x 8.5 ins., matted and framed, in perfect condition. The original watercolor drawing of a giant man holding a candlestick for the tiny knight in full armor before him. The larger man is in fact a self-portrait by Rackham. The illustration first appeared in Little Folks Magazine in 1902, and was later printed in book form in 1903. Seller Inventory # 107766

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