Søgningsresultat

Paris & Brussels, Van Oest, 1927-28. 42x32. IV+40; + IV+41-52; + IV+53-68; + IV+69-84; + IV+85-112 pp + altogether 200 plates with heliogravure reproductions. Title leaves printed in black and red. Loose as issued in five printed covers; kept in a handsome sturdy red cloth box with elegant title lettering. An excellent set apart from some ruptures in the paper cover folds. Bibliographia Sirén 284 / 294. A rare, complete set of the English-language edition of this extensive, beautifully produced collection of large-format reproductions of Chinese paintings selected by Sirén from American collections, with his own text describing and commenting on the works.

Paris, Albert Lévy, (1922). 41x31. XVI+28 pp. + 100 excellent fine-paper photogravure plates, with 115 photographs, including five coloured. 20 plans and sections and 32 photos in the text. Loose as issued in a printed cloth-backed portfolio with tie-strings. A splendid copy of this rare work, with just a couple of plates affected by weak unobtrusive foxing in uppermost margin. (Ouvrage publié sous les auspices de la Résidence Générale de France au Maroc). An important and attractive collection of photographs of madrasas, mosques, mausoleums and other Moorish edifices mainly in Marrakech, Rabat, Salé, Meknes, and Fés. The introduction and the historical-descriptive text to the plates are written by the Orientalist painter Joseph de La Nézière, who travelled extensively in North Africa. He was the official artist for the French Colonial Office, and may well be the photographer behind many of the plates.

Vienna 1908. 65x45. VIII+160 pp. + 33 plates, in colour or with coloured tipped-in overlays over the larger monochrome plate. 393 illustrations in the text (mostly photos) including 16 tipped-in colour plates. This copy lacks four of the 33 plates: nos. 4, 19, 20, and 30. Fine half brown leather. Edition limited to a total of 300 copies. Enay/Azadi 385a. A fine copy - apart from the unfortunate lacking of four plates - of this rare, important and magnificently produced work.

Paris 1960. 35x27. 34 pp. introductory text by Gaston Bachelard + 96 pp. with full-page reproductions + 24 original colour lithographs by Chagall. Publisher's pictorial boards (original lithograph by Chagall). An excellent copy. (Verve, Vol. X: Nos. 37-38). The Bible illustrations were commissioned by Ambroise Vollard in 1931. Although Vollard died eight years later Chagall continued to work obsessively with the Bible series till 1956, melding symbolic motifs and iconographies from the traditions of Jewish Hasidism, eastern Orthodoxy and western Christianity, as well as incorporating elements from his Russian cultural roots, The outcome was published by Verve as Bible (1956) and Dessins pour la Bible (1960).

Romae, Fausto Amideo, 1750. 39x25. Two title leaves + 100 engraved plates. Bound in one volume, contemporary half calf, the boards rubbed especially towards extremities, with some loss of the marbled paper. The free endpapers slightly stained, and the front one slightly torn. Small repaired tear in bottom margin of the first title leaf. Very fine, clean plates, with occasional light foxing in margins not affecting the engravings, which are all in good vigorous imprints. Second issue of the 18th century's finest published collection of secular and eccesiastical designs for silversmiths and goldsmiths, printed from the original copper plates used for the first edition issued in Prague in 1714. Giovanni Giardini (1646-1721) was a draughtsman, silversmith, gem-carver and bronze caster in Rome. After an apprenticeship to the silversmith Marco Gamberucci, he became qualified as a master silversmith and rapidly achieved a position of prestige in the silversmiths' guild. In 1698, he was named bronze-founder for the Papacy, completing important commissions, objects which are today in St. Peter's in Rome as well as in the Victoria and Albert Museum in London and the Kunsthistorische Museum in Vienna. Only a few of his works in silver have survived, most of them church furnishings that escaped the depredations of the Napoleonic army. These show a strong sense of form and a technical mastery that earned him important commissions from the Papal court. When the body of Queen Christina of Sweden was exhumed in 1965 in St Peter's, a set of pieces by Giardini was found: the Queen's silver sceptre, crown and funerary mask of 1689. Giardini's reputation, however, is based on his pattern-book designs for sacred and secular objects published in Prague in 1714 as 'Disegni diversi' and reprinted in Rome in 1750 with the title 'Promptuarium artis argentariae'. The objects are divided into different types, with varied and original decorative designs. They reflect the influence of late Baroque sculpture and architecture, especially the work of Bernini and Francesco Borromini, from which they derive their long curving lines and their repertory of naturalistic ornament. Although many of Giardini's patterns represent pure caprices that would be difficult to execute in precious metal, they were an important source of inspiration for Roman artistic silver production throughout the eighteenth century, and they continued to be influential into the nineteenth.

Venetia, Camillo Borgominiero, 1584. 35x25. 3 leaves (title, dedication, table of chapters) + 137 leaves (numbered 1-96, 95-136). Leaf 34 erroneously numbered 32. More than 200 woodcut illustrations (including 50 more or less full-page, or double-page) and ca 110 ornamental intials and vignettes. An attractive copy in a contemporary full vellum binding; the boards with old, neat repairs (loss of vellum from edges of the boards replaced with newer vellum). An illustrated treatise on military fortification and the ideal fortified city, authored mainly by the military architect Giacomo Fusto Castriotto from Urbino, but edited, annotated and posthumously published (originally in 1564) by Castriotto's friend Giralomo Maggi (also known as Hieronymus Magius), a poet, scholar, urban planner, military engineer, and naturalist, who studied in Bologna under the Renaissance humanist Francesco Robortello. Several passages are devoted to a kind of insidious fortification, that is, protecting the urban population through a complex street plan with indirect streets and narrow walkways, leading invaders astray from where they actually wanted to go.

Berlin, Wasmuth, (ca 1880). 48x32. 4 pp. (title leaf and list of plates) in each volume; + 45 + 40 + 42 + 42 + 42 + 42 + 42 plates i.e. heavy blue-gray card boards with mounted original collotypes of photographs showing elevations, sections and plans; thus a total of 295 plates, each with one collotype except 44 plates which have two, usually elevation and plan. The plates of vols. 2, 3, and 5 have printed numbers and captions; plates of vols, 1, 6 and 7 have printed numbers only (with the exception of eight plates in vol. 1 which have captions also); the plates in volume 4 have no numbers or captions and are identified on the list of plates only. Excellent set kept in seven contemporary uniform cloth-backed portfolios with tie-strings and gilt-lettered spines. A marvellous set of collotype prints from photographs of architectural competition designs for the Prix de Rome, the winners of which were awarded a bursary that allowed them stay in Rome for three to five years at the expense of the state. Pierre Lampué was a prominent member of the French Society of Photography, and the official photographer of the École de Beaux Arts in Paris. The highly sofisticated collotype prints were obviously produced in strictly limited editions, and collections of this scope are of the utmost rarity. A beautiful and valuable pictorial archive of French Beaux-Arts architecture.

Leiden, Sijthoff, (1914). 40x30. 58; + 42 pp. text and 13 photo plates (9 tipped-in) + a total of 153 heavy cardboard leaves with ca 280 tipped-in colour plates (high-quality renderings of painted photographs) + 152 leaves with text to the plates. Original full leather with gilt decoration and lettering, top edges gilt. Minor external wear, otherwise a fine set, from the library of Charles Harold St John Hornby, Chantmarle, Dorset, with his bookplates. Edition limited to 200 copies. The rare and exquisitely illustrated documentation of the most extensive and important collection of Italian majolica that existed at this time.

Shanghai, Watson, 1920. 38x29. VIII+42+IV pp. + 66 leaves, each with one tipped-in plate. Publisher's blue satin cloth, gilt-lettered and decorated with Chinese ciphers, a very fine copy. Edition limited to 1000 numbered copies of which this is no. 331, printed for H[ugo] v. Heidenstam. The Swedish engineer and diplomat Hugo von Heidenstam served as chief engineer at the Chinese International Commission for Shanghai River and Port 1910-1928, and as a member of the Chinese Government's Committee on the Regulation of Yangtsekiang 1917-1928. Most likely of Scottish origin, Donald Mennie arrived in China in 1899 and worked initially for the firm Mactavish & Lehman & Co., one of the first Shanghaiese producers of picture post-cards, before moving to the likewise Shanghai-based company of A.S. Watson & Co. Mennie became a managing director of the firm and a leading entrepreneur in China in the 1920s and 30s, but he also had a passion for photography, and used his position in Watson's to get his photographs published.

La Haye, Pierre Gosse, 1726. Folio. 43x27. Four parts in two volumes: VIII+166 pp. + engraved frontispiece + engraved portrait + 92 engraved plates numbered 8-30, 35-36, 38-43 (engravings no. 1-7, 31-34 and 37 appear on text pages), and 1-61; II+48+40+20 pp. + 4 pp. Table des Matières + 112 engraved plates numbered 1-22 and 1-104 (fourteen of these plates are folding double plates, three of them bear triple numbers, and six of them bear double numbers, as do two of the single plates). Contemporary half calf, spines and extremities slightly worn with minor incipient cracking of one joint and small loss of leather from top of one spine. Lacks the engraved frontispiece and the Palladio portrait. This copy is inscribed by Sven Scholander and stems from the library of his father Fredrik Wilhelm Scholander (1816-1881) who held the positions of Architect to the Royal Palace, acting Superintendent, and Professor of Architecture at the Royal Swedish Academy of Arts. The Venetian architect Giacomo (James, Jacques) Leoni was a prominent exponent of the Palladian revival in architecture in England. 1715-20 he published the first complete English edition of Palladio's work provided with his own engraved illustrations interpreting those of Palladio, and trilingual text in Italian, English and French. The present edition was published in Hague with the French text only, and without the notes by Inigo Jones announced on the title page. Berlin cat. 2599-

Monte-Carlo, Sauret, 1960-86. 33x25. 222; II+210; 182; II+184; 252; 226 pp. With 28 original lithographs by Chagall, 21 in colour including the jackets of volumes 1-4. Publisher's printed cloth, dust jackets with protective mylar jackets; an excellent set. A beautiful, complete set of the fully illustrated Catalogue Raisonné of Marc Chagall's lithographs from the earliest works of 1922/23 to 1985.

London, Henry Bohn, 1843. 55x36. 2 chromolithographed title leaves + 2 leaves with lists of plates + X pp. + 81 lithographed plates (including 74 tinted and 3 chromolithograph), each with one leaf with explanatory text. Rebound in fine half brown morocco with the original 19th-century spine labels reattached. A fine set of these impressive volumes on Italian church architecture. After completing his studies at Eton and Cambridge, Henry Gally Knight (1796-1846) travelled extensively in the Mediterranean and the Near East. In Italy he was accompanied by the architectural draughtsman George Moore, who prepared most of the lithographed perspectives of early churches and chapels all over Italy, from drawings of his own and of Domenico Quaglio's and some other Italian and English artists' - an attractive view of Orvieto is from a drawing by Edward Lear. The chromolithographs (the title leaves and three plates of mosaics) were prepared by Owen Jones.

Milano, Edizioni del Naviglio, 1969. 24x20. An album leporellofolded into 40 card leaves including 27 pages with colour pochoirs and 10 pages with text. Kept in massive blue boards, front board with decorative white title design. No. 194 of 500 copies printed on velin Aussedat, from a total edition of 650 copies. Presentation copy with a signed inscription by Sonia Delaunay dated 17-12-70. Modernist costume designs originally created by Sonia Delaunay 1922-1928. Celebrated in writings by Jean Cocteau, Tristan Tzara, Blaise Cendrars, and others, Delaunay's innovative and daring costume and fabric designs formed an influential feature of modern art and are known to have influenced the work of Paul Klee. The album includes text by Jacques Damase, excerpts from texts by Guillaume Apollinaire, and a poem by Blaise Cendrars. An excellent copy of an exquisite publication.

Venetia, Domenico de Francheschi, 1570 (actually Venice, Pasquali, 1768). 34x24. Four engraved title leaves + II +64+76+44+ II (blank) +132 pp. Includes 217 engravings (158 full-page) besides the engraved titles and a tail-piece on last page. Early 19th-century half calf with decorated spine. The renowned edition of Palladio's Magnum Opus printed at the Pasquali press in Venice at the initiative and expense of Joseph Smith. The title page provides the impressum of the first edition of 1570, and the contents corresponds with the original in most respects - except that the illustrations (and title leaves) are copper engravings instead of woodcuts. Joseph Smith was a merchant who had settled at the age of eighteen in Venice, where he was appointed British Consul in 1740. He made a reputation as a collector of drawings, pictures, books and manuscripts, a patron of artists, and a passionate Palladian. In 1729 he prepared an edition of Boccaccio's Decamerone - so nearly an exact reproduction of the rare 1527 edition that only those acquainted with the minute differences can distinguish the copy from the original. The 1768 Palladio, however, was obviously not intended as a facsimile - rather, it is the attempt of an 18th-century Palladian to reprint the editio princeps with the possibilities of modern printing techniques, thus presenting Palladio's drawings with a clarity, sharpness and elegance much superior to the crude woodcuts of the original. Berlin cat. 2593.

London, Griggs, 1905. 50x36. Pictorial title frontispiece + decorated title leaf + 20 pp. text with ornamental borders + one map + 138 plates numbered I-CL (137 chromolithographed colour plates including twelve folding plates with double numbers, and one collotype photo plate) + 7 plates with drawings (key plans) numbered IA, XIIA, LVIIIA, LXXIIA, LXXVIA, LXXXA, LXXXIIA. Kept in a fine ashen.green cloth box with white lettering. Enay / Azadi 265. Thomas Hendley's last publication, documenting the magnificent old carpets in the Royal Jaipur collection. Although the origin of the carpets was a bit of a mystery, some of them had long been familiar to Jaipur residents; highly and justly admired, they were even lent to nobles and other courtiers for marriage festivities. According to one theory, they had been brought as spoils of war from Herat in the 16th century; a rival theory regarded them as a gift from the Emperor Shah Jahan. In 1865, however, a chance discovery by Hendley indicated that they had been commissioned by the Raja of Amber from Moghul workshops. In 1893, Hendley had the carpets photographed, but it was not until 1903, when he was supplied with a set of coloured drawings made by Jaipur artists showing details of the carpets, that he felt he had adequate material for a suitably splendid work, which was issued by his publisher Griggs two years later. Hendley's intentions was not only to record a magnificent historical collection, but to influence a wide range of industrial art, announcing that it is hoped that the reproductions will be useful in many ways besides the manufacture of carpets.

Leningrad 1935. 30x21. 102 pp. + 101 plates with colour renderings. 101 small-size and 12 full-page black and white designs in the text. Title leaves in Russian, German, French, and English. Publisher's blind-lettered cloth, spine slightly faded and darkened, lacks the Russian title leaf; contents in clean very fine condition. The last and most spectacular of the Chernikhov books published during his own lifetime, illustrating his utopian visions of modern architecture with greatest brilliance. As a Constructivist he was possessed by the powers of abstraction and geometry, but his singular, expressive designs go far beyond mere constructivism in visionary ingenuity. For Chernikhov, fantasy drawing offered the architect an effective means of liberating himself from convention, to imagine a future reflecting the avant-garde culture of the new Soviet Union. But his unusual ideas were distrusted by the Soviet regime, and the Architectural Fantasies was one of the last avant-garde art book to be published in Russia during the Stalinist era. Architectural fantasy stimulates the architect's activity, it arouses creative thought not only for the artist but it also educates and arouses all those who come in contact with him; it produces new directions, new quests, and opens new horizons. Architectural fantasy in all cases propels the culture of architectural problems, and with the freshness of new thoughts, with the transition to new phases of architectural creativity, it serves as the best aid in real design work. We also use the help of architectural fantasy in finding a form for presenting architectural representations, in finding images of architecture, in finding the basics with whose help architectural style of our epoch is crystallized. (translated from Chernikhov's text). Senkevitch 205.

Romae 1761. Folio. 2 engraved title leaves (Latin and Italian titles) + one leaf with dedication + portrait of Pope Clement XIII engraved by D. Cunego after Piranesi + 212 pp. (including four engraved initials and tail-pieces) + 38 engraved plates (12 folding including 8 double-plates and 4 quadruple-plates). With the supplement: OSSERVAZIONI SOPRA LA LETTRE DE M. MARIETTE ... Roma 1765. Folio. Engraved title leaf + 24 pp. (including six engraved head- and tail-pieces) + 3 engraved plates (the first lettered Essais de differentes Frises...) Six additional unnumbered plates not present in this copy). Fine later half brown morocco. An excellent copy with the plates in early, sharp and vigorous imprints. As the champion of Roman originality and primacy in design against the fashionable hellenism of the mid-eighteenth century, Piranesi imbued his work with a fervent didactic and polemic purpose. Styling himself Architetto Veneziano his concern was enduringly with the science and magnificence of ancient Roman building, but he brought to his depictions of it a Venetian consciousness of the variety and expressiveness of light, and an appetite for the rococo sharpened by the capricci of Tiepolo. In Della Magnificenza ed Architettura de Romani he claimed the superiority of Etruscan arts to that of the Greek, arguing that the Etruscans were the original instructors of the Roman, his point brought home with lovingly elaborate illustrations of imaginative and varied Roman ornament. In the supplement, the Osservazioni, he refutes the theories of the French critic Mariette who in 1764 attacked Piranesi's theories about the Etruscans.