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Editore: "Bottega di Poesia" («Coi torchi litografici dello Stabilimento Ricordi si stampò l opera | Le pagine furono composte coi caratteri di Bertieri e Vanzetti»), 1923
Da: Libreria Antiquaria Pontremoli SRL, Milano, MI, Italia
Libro Prima edizione
Milano, "Bottega di Poesia" («Coi torchi litografici dello Stabilimento Ricordi si stampò l opera | Le pagine furono composte coi caratteri di Bertieri e Vanzetti») [1923] MCMXXIII, Edizione originale. Esemplare 37/50, ben completo di tutti gli elementi previsti, con le tavole numerate e firmate in autografo dall artista che firma anche il colophon; in generali ottime condizioni di conservazione, con l ultima tavola, «Infinito», siglata «1/10 prova d artista» e dunque scompagnata, e tre tavole senza il previsto passepartout («Nascita», «Amore», «Follia»); difetti perimetrali alle tavole (brunitura e lieve usura) e alla cartella, leggermente scolorita nella stampa sul fronte; lievi segni del tempo ad alcuni degli elementi paratestuali. «Artista più misterioso, più decadente e più surreale dell Italia post-unitaria: quello che più si svolge sotto i segni della carne, della morte e del diavolo infine pervenendo (sofferta anticipazione del destino non sofferto e sospetto di un Salvador Dalì) alle visioni della vita di Cristo e della vita della Vergine». Così Leonardo Sciascia, in una nota prefazione del 1975, definiva il geniale e non ancora abbastanza riconosciuto maestro dell inchiostro Alberto Martini. Illustratore a inizio Novecento di pregevoli edizioni della «Divina Commedia» e di opere di Shakespeare, Poe e Mallarmé, collaboratore della rivista d arte tedesca «Jugend» dalla quale avrebbe preso il nome lo «Jugendstil», ovvero lo stile Liberty tedesco e del mensile «Poesia» di Marinetti, questo degnissimo erede di Dürer diviso tra art nouveau e anticipazioni surrealiste, realizzò tra il 1914 e il 1915 le sei tavole litografiche che formano il poema grafico «Misteri», il suo capolavoro di carta stampata. -- Curiosa e significativa per comprendere il temperamento schivo e in fondo disinteressato dell artista nato a Oderzo nel 1876 la storia editoriale dell opera, che vale la pena ricordare attraverso la «Nota» introduttiva firmata dall editore, il dandy milanese Emanuele Castelbarco, proprietario di "Bottega di Poesia": «Alberto Martini immaginò, disegnò, incise sulla pietra l opera "Misteri" negli anni 1914-1915. Da tale epoca sino ad oggi l opera non venne messa in commercio, forse per la bizzarra noncuranza dell artista, forse per le difficoltà editoriali in un impresa del genere, insolita e limitatissima nella tiratura. Le sei litografie furono stampate sulla fine dell anno 1915, coi torchi del Longo di Treviso, dove le pietre vennero cassate; e con questo materiale abbiamo potuto comporre un edizione originale di soli cinquantaquattro esemplari. Il largo consenso di pubblico e di critica tributato all opera di Alberto Martini ci ha consigliato a pubblicare la rara edizione che viene offerta agli amatori nell anno 1923». -- Messo dunque in commercio nel 1923 in soli cinquanta esemplari numerati e firmati (oltre a quattro "prove in sanguina" e dieci copie d autore numerate da 1 a 10) e con il «commento» letterario del Castelbarco pure ornato da nuovi disegni realizzati ad hoc, «Misteri» è un viaggio per stazioni: «Sogno», «Nascita», «Follia», «Amore», «Morte», «Infinito», fermate in cui le immagini condensano speranze e incubi, dolcezza e delirio dell esistenza umana, facendo pulsare rimandi che, oltre l orizzonte simbolista, fanno trasparire «istanze futuriste-orfiche [ ] unitamente ad altre di sapore metafisico e surreale» (Landini, p. 19). Un opera potente prima e oltre le parole, figlia di figure archetipali, angosce e desideri collettivamente inconsci tradotti dall abilità e dall acuta sensibilità di Martini, artista dotato di una «fantasia infinita» come ebbe a dire il pittore Zandomeneghi capace di affascinare e impaurire. Del resto, affascinare e impaurire era ciò che Martini aveva fatto nello stesso periodo anche con le cinquantaquattro litografie a colori appartenenti al ciclo «Danza macabra europea»: composte alla scoppio del primo conflitto mondiale e terminate nel 1916, questi racconti dell orrore bellico dal sapore fortemente antitedesco benché l artista non risparmi neppure le potenze alleate dell Intesa vennero stampate come cartoline postali dalla già citata tipografia Longo di Treviso così da mostrare, oltre i confini nazionali ed evitando ogni possibile censura, l atrocità e la brutale volgarità della guerra. Bibl. F. Meloni, «L opera grafica di Alberto Martini», Milano 1975, pp. 10-21 nn. 8-13; M. Landini (a cura di), «Alberto Martini. Mostra antologica», Milano 1985, pp. 96-97 nn. 79-81. in folio massimo (680 x 490 mm), cartella editoriale con dorso in pergamena stampato in nero e piatti rivestiti di carta grigio scuro a effetto leggermente marmorizzato, stampata in oro al piatto superiore e illustrata da una litografia dell artista; contiene un fascicolo autocopertinato con legatura a filo esterno, 28 pagine con carta bianca, litografia d occhiello, frontespizio che riproduce la lastra di copertina (al verso la dichiarazione di tiratura con litografia, numerazione e firma autografa dell artista), la «Nota», l «Indice», l epigrafe in litografia e il «Commento» in 6 carte, una per ciascun «mistero» e ognuna illustrata da un capolettera appositamente disegnato; chiude la carta di colophon e seguono «Le stampe originali di Alberto Martini», 6 grandi tavole sciolte entro brossura di protezione con titolo. Edizione originale. Esemplare 37/50, ben completo di tutti gli elementi previsti, con le tavole numerate e firmate in autografo dall artista che firma anche il colophon; in generali ottime condizioni di conservazione, con l ultima tavola, «Infinito», siglata «1/10 prova d artista» e dunque scompagnata, e tre tavole senza il previsto passepartout («Nascita», «Amore», «Follia»); difetti perimetrali alle tavole (brunitura e lieve usura) e alla cartella, leggermente scolorita nella stampa sul fronte; lievi segni del tempo ad alcuni degli elementi paratestuali. cartella editoriale con dorso in pergamena stampato in nero e piatti rivestiti di carta grigio sc.
Editore: London, Offices of The Studio, 1893 - 1929., 1929
Da: Inanna Rare Books Ltd., Skibbereen, CORK, Irlanda
Libro
97 Volumes (bound in 69 Volumes). Quarto. c. 20000 pages with illustrations, photographs, original lithographs, engravings. Contemporary private Hardcover (Uniform deep blue buckram with gilt lettering on spinelabels). Very good condition with only minor signs of external wear. Only a few of the Volumes a little shaky. With the handwritten entry "A. Chester Beatty - 24 Kensington Palace Gardens - W. 8". The Studio was an illustrated fine arts and decorative arts magazine published in London from 1893 until 1964. The founder and first editor was Charles Holme. The full title was The Studio: an illustrated magazine of fine and applied art. The Studio exerted a major influence on the development of the Art Nouveau and Arts and Crafts movements. In 1964 it was absorbed into Studio International magazine. Holme was in the wool and silk trades, had travelled extensively in Europe and had visited Japan and the United States with Lasenby Liberty and his wife Emma. During his travels he had formed: . the idea of an art magazine crystallised around his recurring observation that the chief barrier between countries was language, and his belief that the more the culture of one part of the world could be brought "visually" to the attention of another, the greater the chance of international understanding and peace. Holme retired from trade in order to start The Studio. Holme had hoped to engage Lewis Hind as the editor of the new venture, but Hind went instead to William Waldorf Astor's Pall Mall Budget. He suggested Joseph Gleeson White as an alternative. Gleeson White edited The Studio from the first issue in April 1893. In 1895 Holme took over as editor himself, although Gleeson White continued to contribute. Holme retired as editor in 1919 for reasons of health, and was succeeded by his son Charles Geoffrey Holme, who was already the editor of special numbers and year-books of the magazine. The magazine was monthly; 853 issues were published between April 1893 and May 1964. The Studio promoted the work of "New Art" artists, designers and architects it played a major part in introducing the work of Charles Rennie Mackintosh and Charles Voysey to a wide audience and it was especially influential in Europe. In keeping with Holme's original concept, the magazine was international in scope. A French edition was published in Paris, differing from the English one only in that the spine and parts of the cover were printed in French, and there was an insert consisting of a French translation of the article text and some French advertisements. The American edition was titled The International Studio. It had its own editorial staff, and the content was different from that of the English edition, although many articles from that were reprinted. It was published in New York by John Lane & Company from May 1897 until 1921, and by International Studio, Inc., from 1922 until publication ceased in 1931. In 1894 and then from 1896 on, special numbers of the magazine were also published, normally three times a year. These carried various titles; 117 of them were issued between 1894 and 1940. From 1906 onwards The Studio published an annual, The Studio Year-Book of Decorative Art, which dealt with architecture, interior design and design of furniture, lighting, glassware, textiles, metalwork and ceramics. These annuals promoted Modernism in the 1920s, and later the Good Design movement. (Wikipedia) Sprache: english.
Da: Lynge & Søn ILAB-ABF, Copenhagen, Danimarca
Membro dell'associazione: ILAB
Prima edizione
Amsterdam et Leipzig, Chez Jean Schreuder, 1765. 4to. Uncut in the original marbled boards. Professionally rebacked preserving almost all of the original back. The fragile orginal binding is here preserved in its entirety, and it has quite a bit of overall wear. Apart from a small hole to two leaves in the index, affecting ab. one work on each of the four pages, it is internally nice and clean. Title-page printed in red and black. Beautiful eng. title-vignette and a few other woodcut vignettes and initials. (4), XVI, (2), 540, (18) pp. First edition thus, being the first collected edition of Leibnitz' philosophical works in French and Latin, and containing the FIRST PRINTING of one of Leibnitz' most important philosophical works, his "Nouveaux essays sur l'entendement humain" (New Essays on Human Understanding), in which he attacks and refutes Locke and his "Essay on Human Understanding" and gives important testimony to his own philosophical ideas. With its 496 pages, this extensive work takes up most of this collection of philosophical works, and it also constitutes one of his largest and most important of his philosophical works. As explained by Raspe, the editor, in his preface to this publication, "LES NOUVEAUX ESSAIS SUR L'ENTENDEMENT HUMAIN, qui sont la partie principale de recueil, sont connûs trés imparfaitement par l'histoire de la Philosophie de Leibnitz, que Mr. Ludovici a publiée" (p. X), and the reason why the work was known, even though it had not been published, is because of a letter that Leibnitz had written in 1714, in which he explains why he did not wish to publish the work. Raspe quotes the letter (p. X), from which it becomes clear that Leibnitz had not wished to publish an attack on Locke and his work, because Locke had died in 1704 (the same year that Leibnitz had actually written the work), and because Leibnitz was against publishing refutations of dead authors: "Mais je me suis degouté de publier des refutations des Auteurs morts, quoiqu'elles dissent paroitre Durant leur vie & étre communiqués à eux memes". Raspe points to the nobleness of this decision, but he also points to what could be other reasons for Leibnitz not wishing to publish his seminal work, one of them being that towards the end of his life (he died in 1716), he did not wish to enter into any more controversies with the British, since he was already engaged in two very important ones that occuopied much of his time and energy: The first concerned the invention of the differential calculus, the second was against Mr. Clarke on liberty and important metaphysical and theological questions. Another reason could also be that he did not want to begin controversies with the friends of Locke, who at that time were many and important.Locke's "An Essay Concerning Human Understanding", which is the work here being refuted by Leibnitz, became the crucial groundwork for the future empiricists with David Hume in the foreground, and thus Leibnitz' work, though published posthumously, probably came to play a bigger role in the history of philosophy than it would have done had it been published just after he wrote it. Few philosophers of his time were susceptible to Leibnitz' ideas and his application of logic to the problems of metaphysics, as most of them were far more receptive to Locke's empiricism. However, when Leibnitz' "Nouveaux essays." was finally published here in his "Oeuvres philosophiques" in 1765, it became hugely influential and was also an important factor in the development of Kant's transcendental philosophy.The hugely famous work by Locke, in which he stated his famous theory that the mind of the newborn is like a blank slate (tabula rasa) and concluded that all ideas come from experience and that there are no such things as innate principles, was generally sharply criticized by the rationalists, the most important of them being Leibnitz. Leibnitz' response, his "Les nouveaux essays sur l'entendement humain" constitutes the most important of the rationalist responses and it is written in the form of a chapter-by-chapter refutation. He refutes the major premise of Locke's work, that the senses are the source of all understanding, primarily by adding to this "except the understanding itself", thus going on to distinguish between his three levels of understanding, which are part of the centre of his philosophy.For Leibnitz as well as for Locke the great inspiration was Descartes, but they chose two fundamentally different directions, Locke the materialistic one and Leibnitz the idealistic one. The present work represents the greatest clash between the two giants of late 17th century philosophy. The effect of Leibnitz' work was enormous, and among the Germans he invoked a great passion for philosophical studies. Leibnitz represents a striking contrast to both Locke with his empiricism and Spinoza. One earlier collection of some of Leibnitz' works had been printed before this one, but it did not contain his "New Essays on Human Understanding", and only consisted of his "Smaller Philosophical Works". This is the German 1740-edition "Kleinere philosohische Schriften". The other writings contained in this publication are "Examen du sentiment du P. Malebranche que nous voyons tout en Dieu", "Dialogus de connexione inter res & verba", "Difficultates quaedam Logicae", "Discours touchant la methode de la certitude & de l'art d'inventer", "Historia et commendatio charactericae universalis quae simul sit ars inveniendi".Graesse IV:152.
Da: Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam, Paesi Bassi
Arte / Stampa / Poster Copia autografata
Allegories of the four seasons. Drawings in ink and watercolour made by Oreste Marozzi around 1910. Three of the four drawings are signed on the backing board: "O. Marozzi dis. e dip." Diameter: each medallion approx. 28 cm. Liberty style ("Stile Liberty") the Italian variant of Art Nouveau, flourished between about 1890 and 1914. It took its name from Arthur Lasenby Liberty and the department store he founded in 1874 in London and later in Milan s Galleria, which specialized in importing ornaments, textiles and art objects from Japan and the Far East. Liberty style was especially popular in large cities outside of Rome which were eager to establish a distinct cultural identity, particularly Milan, Palermo and Turin, the city where the first major exposition of the style in Italy was held in 1902. Like other versions of Art Nouveau, Liberty style had the ambition of turning ordinary objects, such as chairs and windows, into works of art. Unlike the French and Belgian Art Nouveau, based primarily on nature, Liberty style was more strongly influenced by the Baroque style, with lavish ornament and color, both on the interior and exterior. The Italian poet and critic Gabriele d'Annunzio wrote in 1889, as the style was just beginning, "the genial sensual debauche of the Baroque sensibility is one of the determining variants of the Italian Art Nouveau." The allegories of the four seasons which we have here, are designs for panels of a cabinet. "Ver" (Spring) has her hair adorned with braids, ribbons, and light blue gems, probably aquamarines. They match the gems on her dress and can be associated with the freshness and clarity of spring waters. Its tranquil colour may remind one of blooming flowers and the awakening of nature during the spring season. She wears a fine damask dress hinting at her wealth. In her hand, there is a feather pen and opened letter hidden by a bunch of flowers. What does the season have in mind for her' With her slightly inclined head, "Aestas" (Summer) reminds us of Botticelli s Venus but with her hair up and decorated with a softly intertwined ribbon and pearls cascading towards the forehead. What we see of her dress is a celebration of light veils over a red tunic. A large blue gem ornamented with rubies make a necklace that support her gracious looks. She is holding a sheaf of wheat, alluding to Ceres, the personification of harvest and summer, The portrait of "Autunnus" (Autumn) in profile, is reminiscent of one of Botticelli s three graces. A cascade of blonde wavy hair is partially pinned on the head with a braid and adorned with two strands of pearls. The maiden's fingers make their way through the leaves below, while from a branch that wraps around the lady's neck, we catch a glimpse of a purple dress with a red precious stone (presumably a ruby) at the center, placed above a delicate veiled chemise, in line with the fashion of the Renaissance era. "Hiems" (Winter) has two pine cones next to her right shoulder, symbolizing the winter season. Her thick blonde hair is protected by a veil fastened with ribbons adorned with an amethyst. She wears a ribbon with a matching pendant as a necklace. The purple gemstones are used to symbolize spirituality, mysticism, and a connection to the divine. Oreste Marozzi (1874-1947) was an Italian artist and illustrator. Marozzi gained recognition for his contributions to the art world during the late 19th and early 20th centuries. He was associated with the Liberty style. While specific details about Marozzi's life and career are limited, his illustrations are highly regarded for their beauty and craftsmanship. His work often featured delicate lines, intricate details, and a sense of whimsy. Although Oreste Marozzi might not be as well-known as some other artists of his time, his artistic contributions remain significant. Provenance: Galleria Sangiorgi. Giorgio Sangiorgi (1886-1965) was a principle of the most renowned art-dealing family in Rome. The firm was located at 117 via Ripetta at Palazzo Borghese and was famous for many important auctions, with catalogues written in collaboration with leading scholars. The galleria specialized in ancient art, furniture, ceramics and textiles. Price: Euro 3.950,-.
Editore: Brizio (incisioni Bertolotto & C.),, 1936
Da: Libreria Antiquaria Pontremoli SRL, Milano, MI, Italia
Libro Prima edizione Copia autografata
Savona, Brizio (incisioni Bertolotto & C.), [1936] I dell Impero, Edizione originale. Eccezionale esemplare di associazione tutta ligure, proveniente dalla biblioteca di Angelo Barile, pregiato da una bellissima dedica autografa di poeta e artista: «a [Angelo] Barile come principio di avvenire | Savona 10 VII 36 XIV | Giovanni Acquaviva || alla più limpida voce di Liguria | Lupe». In complessive ottime condizioni, con alcune parti mancanti all ampia unghiata di copertina, come usuale, e fioriture sul piatto anteriore di copertina. Straordinario libro d artista, uno dei più sorprendenti prodotti editoriali del tardo futurismo, interamente disegnato da Giovanni Acquaviva, dalla copertina fino ai «caratteri tipografici in "gotico futurista"»: «La veste grafica del volume [.] era stata concepita in un gusto tra avanguardia e Art nouveau: fregi decorativi, asimmetria dello schermo tipografico sullo spazio bianco della pagina, copertina in carta da pacchi con collage di tessuto stampato a colori, ecc. Marinetti non esitò a presentare il libro come uno dei capolavori dell edizione futurista» (Lista, p. 77a). -- Il libro è rarissimo: soli due gli esemplari registrati nel censimento ICCU (Nazionale di Firenze e Ministero dell Interno, Roma), mentre l opera sembrerebbe mancare del tutto alle istituzioni estere. Al poema versolibero di Pennone (altrimenti noto con il nome futurista di «Lupe») fanno da contraltare le splendide illustrazioni di Acquaviva, alcune a piena pagina, virate in verde, nero e sanguigna, ed esaltate dal grande formato album. Ma a sorprendere più di tutto è il layout delle pagine interne, un eccezionale intarsio di razionalismo tipografico nordeuropeo precisamente accostabile a prodotti contemporanei di estrema modernità, come il «Poema di Torre Viscosa» o il «Poema del vestito di latte» con suggestioni d ascendenza, più che liberty, addirittura preraffaelita, che richiamano ad esempio la «Sibilla», il libro d artista completamente disegnato da Giulio Aristide Sartorio nel corso del decennio 1910-1920. -- « [.] è con Savona: alla terra più rude al mare più limpido al cielo più azzurro che Pennone realizza il suo capolavoro, un libro che prima di tutto è un atto d amore verso la sua città. Concepito come libro oggetto, si direbbe oggi, con una veste editoriale bizzarra (la copertina è ornata da un collage di tessuto [.] raffigurante lo stemma di Savona, opera di Acquaviva) [.] il libro nella sua edizione originale è davvero magnifico» (Galeotti). Bibl. Lista, Le livre futuriste, p. 71 n. 168; Cammarota, Futurismo, 369.4; Galeotti, Pennone voce futurista (Resine 106-7, 2006, pp. 59-62). in 4° (330 x 245 mm), legatura editoriale in cartonato goffrato grigio chiaro con unghie, copertina d artista con applique in tela a grana grossa ritagliata a gagliardetto, stampata nero e rosso sullo sfondo con titolo cubitale in bianco: «SAVONA»; in quarta di copertina un fascio con cifra XIV stampato centrale in nero (design di Giovanni Acquaviva); pp. 99 [3] (dopo una carta bianca e il frontespizio, il testo inizia con pagina numero 7 senza che manchi nulla), interamente illustrate a diversi viraggi nel testo. Edizione originale. Eccezionale esemplare di associazione tutta ligure, proveniente dalla biblioteca di Angelo Barile, pregiato da una bellissima dedica autografa di poeta e artista: «a [Angelo] Barile come principio di avvenire | Savona 10 VII 36 XIV | Giovanni Acquaviva || alla più limpida voce di Liguria | Lupe». In complessive ottime condizioni, con alcune parti mancanti all ampia unghiata di copertina, come usuale, e fioriture sul piatto anteriore di copertina. legatura editoriale in cartonato goffrato grigio chiaro con unghie, copertina d artista con applique in tela a grana grossa ritagliata a gagliardetto, stampata nero e rosso sullo sfondo con titolo cubitale in bianco: «SAVONA»; in quarta di copertina un fascio con cifra XIV stampato centrale in nero (design di Giovanni Acquaviva);
Editore: [?Haarlem: 1689]., 1689
Da: Arader Galleries - AraderNYC, New York, NY, U.S.A.
DE HOOGHE, Romeyn (1645 - 1708). L Epiphane du Nouveau Antichrist. [?Haarlem: 1689]. Broadside (22 x 16 inches), illustrated with a fine engraved plate (14 6/8 x 16 inches), above the headline "The Arrival of the Anti-Christ", and three columns of letterpress (edges close cropped affecting the last line of letterpress, a bit spotted, early repair on verso). A broadside satirising the birth of the Prince of Wales (James Edward Stuart, the future Old Pretender), the fall of James II and the beginning of the War of the Grand Alliance, with an etching by de Hooghe. In the centre three figures wearing armour and paper crowns, James II (1), Louis XIV (2) and the Grand Dauphin (a), enact the Three Kings in a traditional Dutch Epiphany procession holding aloft the "Star of the Kings" (b), here composed of a windmill, and an orb encircled by the mitres of the seven bishops who opposed James's declaration of indulgence. James wears a Jesuit's biretta under his paper crown, a holy water stoop, a rosary, a sword at his side and shackles on his ankles; he pulls on a rope attached to the Star to keep it in motion. On the right in a centre of group of figures, the Pope (3) holds a cardinal's hat (d) for Father Petre and swaddling clothes (e) for the young prince. On the left, Cardinal von Fürstenberg (4), shown as if on pilgrimage to Cologne, holding a cross with a banner reading "L'Elector Imaginaire", presumably a reference to the newly appointed Archbishop-Elector Joseph Clemens von Wittelsbach. Behind him is Father Petre (5) riding on a blind donkey and carrying a crucifix. In the left foreground, Mary of Modena kneels rocking a cradle (6) in which lies the Prince of Wales (c) playing with a toy windmill; the foot of the cradle is elaborately carved with a wheel of fortune to which cling naked children. On the right, the pope is restrained by William III (7), who carries a lance with the cap of liberty, and Leopold I (8); behind them is a group of soldiers with guns, lances, a trumpet and a flag labelled, "Inutrumque Turcam" and beyond a German inn with the sign of the roasted cock. In the distant background, to left, are ruined catholic churches and chapels (f), a row of gibbets and the sun setting on the papacy (9). Provenance: From the Krown & Spellman Collection, their sale, Heritage, 4th November, 2015 lot 45243 The first political iconographer of the Netherlands and its first great caricaturist.Romeyn de Hooghe was the most significant and prolific Netherlandish engraver in the second half of the seventeenth century (The Getty Institute) Romeyn de Hooghe was born in Amsterdam in 1645 "and worked there until c.1680-1682, when he moved to Haarlem, where he died in 1708. For several Netherlandish provinces, he created interior architectural paintings and other works. In 1662 De Hooghe was invited by Adam Frans van der Meulen (1632-1690) to Paris, where he etched the baptism of the Dauphin in 1668. There he met King Jan III Sobieski of Poland and was knighted by him in 1675. "De Hooghe painted, engraved, sculpted, designed medals, enameled, taught drawing school, and bought and sold art as a dealer. During the 1690s he made sculptures for the palace of Het Loo (1689-1692), designed and etched triumphal arches and medals for William III's entry into the Hague (1691), and designed the Haarlem market festival decorations for the peace celebration after the capture of Naumur (1695). His political, legal, and economic interests are evident in his writings: Schouburgh der Nederlandsche Veranderingen (1674), Æsopus in Europa (1701), Spiegel van Staat des Vereenigde Nederlanden (1706), and Hieroglyphica of Merkbeelden der oude Volkeren (1735), all of which he also illustrated. He was well-educated and may have attended law classes at a university in Harderwijk or Leiden. "De Hooghe's earliest print, after Nicolas Berchem, was made around 1662. He created about 3500 images, most after his own designs, some after other artists, for himself and.
Editore: Società Editrice di Novissima,, 1901
Da: Libreria Antiquaria Pontremoli SRL, Milano, MI, Italia
Prima edizione
Milano (poi: Roma, dal 1903), Società Editrice di Novissima, 1901 - 1910, Edizione originale. Rara collezione completa (10 volumi). Esemplari in ottime condizioni con rare e normali abrasioni ai piatti (da segnalare solo brunitura e maggiori tracce d usura al piatto del X volume). Carte pulite con qualche occasionale fioritura. Rarissima collezione completa di «Novissima» "albo d arti e lettere" ideato e fondato da Edoardo De Fonseca tra il 1900 anno in cui diede vita a Milano alla Società Editrice di Novissima - e il 1901, anno di pubblicazione del primo volume di questa bellissima e unica nel suo genere rivista dedicata alla letteratura, all arte e all illustrazione. Contraddistinta da una grafica curata e riccamente liberty, al suo interno «Novissima» raccoglieva testi e componimenti poetici di autori importanti (tra i molti, De Amicis, Pirandello, Pascoli, D Annunzio), rubriche di teatro, musica e moda, inserzioni pubblicitarie ma, soprattutto, illustrazioni e tavole stampate su carte di tipo diverso. Bompard, Majani, Terzi, Dudovich, Kienerk sono solo alcuni degli illustratori che De Fonseca chiamò a sé per collaborare stabilmente al periodico annuale e per firmare le copertine, piccoli gioielli d Art Nouveau. Nel dettaglio, «Novissima» si presentò con la copertina del 1901 - raffigurante una giovane donna tra i rami di ciliegio - firmata da Aleardo Terzi; nel 1902 con l illustrazione di Antonio Rizzi; nel 1903 con l elegante creazione dello scultore Edoardo Rubino, a metà tra bassorilievo e cammeo; nel 1904 con la grafica del notissimo cartellonista Marcello Dudovich; nel 1905, il piatto anteriore è affidato ad Augusto Majani, mentre nel 1906 nuovamente ad Aleardo Terzi; nel 1907, in un numero che affronta i temi emersi all Esposizione Internazionale di Milano dell anno precedente, la copertina - che ritrae un uomo intento a innaffiare un melograno - è di Duilio Cambellotti; nel 1908 il tema femminile è invece sviluppato da Giovanni Mataloni; nel 1909 è la volta di Alfredo Baruffi, a cui viene affidata anche l illustrazione dell intero volume, mentre nel 1910 la pubblicazione si congeda con la copertina di Umberto Bottazzi. Tra i contributi artistici accolti all interno dei numeri, non si può non segnalare quantomeno la presenza di un opera di Giacomo Balla nel volume del 1904. Perfettamente in linea con i tempi, l esperienza di «Novissima» si concluse nel 1910 al mutare del gusto artistico e del clima culturale, rimanendo tuttavia una splendida testimonianza dello spirito a cavallo tra la fine dell Ottocento e l inizio del Novecento, così sospeso, onirico e borghesemente languido. 10 voll., 22,5 x 27 cm, mezza tela con piatti in cartone e tela illustrati, 100 - 140 pagine circa, diverse tavole fuori testo in ogni volume, Edizione originale. Rara collezione completa (10 volumi). Esemplari in ottime condizioni con rare e normali abrasioni ai piatti (da segnalare solo brunitura e maggiori tracce d usura al piatto del X volume). Carte pulite con qualche occasionale fioritura. mezza tela con piatti in cartone e tela illustrati,
Editore: Dick Swift, (Los Angeles, 1939
Da: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, U.S.A.
Hardcover. Condizione: Near Fine. Oblong octavo. Cord-tied brown leatherette album blind stamped with 14 gelatin silver prints Each is approximately 5" x 4", with caption title in manuscript beneath the image. Album near fine, the images are fine. Dick Swift was an American printmaker and illustrator later known for his experimentation with different printing techniques during a printmaking revival in Los Angeles in the 1950s and 60s. This hardbound album contains 14 rare images of Swift's early pen drawings, long before he developed the more representational printmaking style he became known for. The drawings display the seeds of the artist's skill and the themes he would later hone-in on and develop. Likely done during his time at Chouinard Art Institute, the first formal art education he received, Swift casts a large net for inspiration; the influence of genres such as surrealism and art nouveau paired with cynical social criticisms make up these more literal early works. The drawings mostly contain a caricaturization of Hollywood debauchery. A witness to the squalor and sleaze of Los Angeles at the time, Swift's drawings are moralistic, if perhaps a bit arch: "Skid Row" and "Bald-Headed Row" depict crowded nightlife scenes with Neanderthal-esque men ogling scantily clad women. Other captions such as "Praise the Lord and Pass The Ammunition," "With Liberty and Justice For All," and "Aimee Semple McPherson gives an illustrated lecture" are a clue into the artist's disillusion with both the government and his Roman Catholic upbringing. Two drawings show a specific dystopian future of completely automated factories creating humans on an assembly line, while other drawings contain surreal nightmarish hellscapes of suffering or more realistic incidents of everyday cruelties. This well-preserved and neatly-bound album is an interesting look into the undeveloped and naive ideas of the young artist before his many mentorships. Richard Swift, Jr. was born in Long Beach, California on January 29, 1918. He attended Chouinard Art Institute before moving to New York to study under artists such as Reginald Marsh, Yasuo Kuniyoshi, and Morris Kantor at the prestigious Art Students' League. He returned to California in 1946 to continue his studies at several art institutions in Los Angeles and received his M.F.A. in 1957 from Claremont College. In his later career, Swift taught at Occidental College, California State University at Long Beach, and Chouinard Art Institute. He died in June 2010 but his prints continue to be exhibited and auctioned internationally. Swift's work can be found in the collections of the Cincinnati Art Museum, the Cleveland Museum of Art, the Memphis Brooks Museum of Art, the Philadelphia Art Museum, the Library of Congress, and the Worcester Art Museum. This album was certainly retained by Swift as a portfolio or example of his early work. Arresting, personal, and insightful window on what was to some degree an outrageous take on contemporary Los Angeles society.
Da: Libreria Antiquaria Pregliasco, Torino, Italia
Condizione: molto buono. Delizioso album di grande formato (mm 380x220) con 96 fogli che contengono oltre 550 cartoline di soggetti e tecniche differenti, molte a colori ed alcune dipinte a mano. Elegante e raffinata legatura coeva in velluto con elementi floreali, tutte le pagine sono decorate con motivi vegetali liberty su fondo verde acqua e ciascuna contiene 6 cartoline (3 al recto e 3 al verso), alle sguardie entro tondo scritta "The English Manufactory" e timbro in ceralacca "Società editrice cartoline Torino n.12". Il grande interesse dell'album risiede, oltre che nei gradevoli soggetti, nella varietà delle differenti tecniche adottate: acquaforti, pirografie su cartoncini colorati, fototipie con colorazione a mano, stampa a caldo in rilievo, cromolitografie, fotoincisioni. L'età dell'oro della cartolina illustrata è considerata dal 1898 al 1918: le prime esposizioni tematiche si tengono a Lipsia nel maggio 1898 e a Munich nel luglio 1899. La cartolina Art Nouveau ? in cui la donna assume un ruolo molto importante - ha dimensioni fisse (90x140mm) per cui il disegnatore è vincolato da uno spazio limitato. Fino a circa il 1906 un'intera faccia della cartolina era obbligatoriamente riservata all'indirizzo del destinatario, pertanto qualcuno cominciò a scrivere sulle illustrazioni. Proprio per questo gli illustratori crearono degli spazi vuoti accanto alle immagini. In Italia grande diffusione hanno le serie delle "donnine" illustrate da artisti famosi, quali Bianchi, Bompard, Bertiglia, Busi, Corbella, Colombo, Dudovich, Franzoni, Golia, Mauzan, Terzi, Zandrino. La moda femminile italiana segue lo stile di Parigi, mentre in quelle statunitensi, con l'emancipazione, si nota un abbigliamento più funzionale e sportivo. L'anonimo collezionista raccolse e divise per soggetti il materiale tra cui acquaforti con vedute di Amsterdam, pirografie su cartoncino colorato a mano di fiori e animali, vedute di nuvole o paesaggi agresti, fototipie con riproduzioni di dipinti, ritratti, personaggi a cavallo, scene di genere, imbarcazioni, paesaggi marittimi, fiori (spesso con colorazione a mano), animali africani, stampa a caldo in rilievo di soggetti grecizzanti, belle litografie a colori di soggetti di montagna, fotoincisioni su carta litografata di riproduzioni delle vedute di Torino del Theatrum Sabaudiae del 1682 e vedute dei principali monumenti di Roma, litografie a colori di figure femminili. La maggior parte delle cartoline sono "non viaggiate", mentre alcune recano timbri del 1903. Quelle del periodo Art Nouveau, soprattutto femminili e quelle dipinte sono veramente notevoli, ed assai valutate. In ottimo stato di conservazione. Photo.
Editore: Clement, Tournier & C. editeurs (ma Lith. art. Frey & fils), Geneve (ma Zurich), 1896
Da: Coenobium Libreria antiquaria, Asti, Italia
Cartella illustrata cm 23 x 48,5 contenente 6 tavole in litografia a colori stampate al recto (al verso marca editoriale a stampa e timbro del rivenditore italiano) cm 22,4 x 48. Minimi difetti marginali, qualche lievissima stazzonatura, piccolo particolare abilmente restaurato al margine superiore della tavola n. 4. Minimi segni d'uso e ombreggiature alla cartella. Rara serie, composta da 6 tavole, caratterizzate da complesse composizioni aventi come soggetto uccelli inseriti in allegorie floreali. Mary Golay e' stata unaÂimportante illustratrice art nouveau, di origine inglese (1869 - 1944), autrice in particolare di tavole litografiche e cartoline caratterizzate da tematiche naturalistiche e allegoriche. '. in the contest art nouveau, referencev must be made reference to an exceptional woman, Mary Golay, who was will known for her decorative prints rather than her posters., Printed and distributed by an enterprise specializing in this type of work, Clement, Tournier & c. Geneve.'. J. C. Giroud, Art nouveau and the swiss poster, p. 77. ITA.
Editore: Clement Tournier & C., Geneve, 1900
Da: Coenobium Libreria antiquaria, Asti, Italia
Cartella cm 18 x 40 illustrata a colori contenete 6 tavole stampate in litografia a colori su carta pesante al recto e con marca tipografica dell'editore al verso e timbro a tampone della libreria torinese Crudo e Lattuada. Piatto posteriore della cartella abilmente rifatto.Rara serie, composta da 6 tavole, caratterizzate da complesse composizioni aventi come soggetto uccelli e figure femminili inserite in allegorie floreali.ÂÂMary Golay e' stata unaÂimportante illustratrice art nouveau, di origine inglese (1869 - 1944), autrice in particolare di tavole litografiche e cartoline caratterizzate da tematiche naturalistiche e allegoriche. '. in the contest art nouveau, referencev must be made reference to an exceptional woman, Mary Golay, who was will known for her decorative prints rather than her posters., Printed and distributed by an enterprise specializing in this type of work, Clement, Tournier & c. Geneve.'. J. C. Giroud, Art nouveau and the swiss poster, p. 77 FRA.
Editore: Milan: [Printed by Pizio e Pizzi for] A. A. & Co., 12, via Torquato Tasso, 1931, 1931
Da: Peter Harrington. ABA/ ILAB., London, Regno Unito
Prima edizione
A spectacular and notably scarce illustrated catalogue of luxury neckwear, with no other copies of the present or any subsequent issues traced. Superbly realized by Milanese art printers Pizio e Pizzi, this stylish work illustrates an extensive range of ties, cravats, pocket squares, and mufflers, all in vibrant colours on a gold ground. The work describes itself as "the first illustrated catalogue, which opens the series of our annual publications, is above all intended to be the expression of our respectful homage to the revered and affectionate memory of the founder of this firm, the Cav. Antonio Apostolo. we continue his work with profound attachment, in order that the name 'Apostolo' already synonymous with 'cravat' and with it all that it implies: best quality, excellent workmanship and honest dealing, should rapidly expand all the world over". Despite the puffery there seems to be very little remaining trace of the company or of its output. The two-page list of representatives world-wide certainly seems impressive, leading off in Paris with Robert Boutet de Monvel - fashion writer for Vogue and the Gazette de Bon Ton, brother of society portraitist and Deco stylist Bernard - but further down the list we find that their London agent was E.W. Nutting of Battersea, who appears to have been the proprietor of the Balham Sanitary Steam Laundry. However, one enduring and substantial piece of evidence for the glory that was once Apostolo is the Casa Apostolo still at 10-12 via Tasso today, an imposing building in the Italian "Liberty" art nouveau-derived style, built 1906-8 by Ulisse Stacchini, architect of Milano Centrale station, and the San Siro stadium. Octavo, 42 pp. Original cream hammer-finish medium card wrappers, printed and embossed in gilt and sage green, price list pocket inside lower panel, no price list present. 30 pp. of illustrations printed in colour and gilt, fully captioned throughout in Italian, French, Spanish, English and German, caption to one plate tipped in on calque paper. Lightly rubbed and soiled on the wrappers, else very good.
Editore: Ministry of War Services c. 1939, Canada, 1939
Da: Alexandre Antique Prints, Maps & Books, Toronto, ON, Canada
Arte / Stampa / Poster
Iconic poster commemorating the sacrifices made during the First World War, with the Canadian National Vimy Memorial, Vimy Ridge, in the background, and a heroic figure raising the torch of liberty in the foreground, symbolizing the cause for which the soldiers fell. , Image Size : 890x590 (mm), 35.04x23.23 (Inches), Platemark Size : , Paper Size : 920x606 (mm), 36.22x23.86 (Inches), Printed in Color, Lithograph Very Good, laid down on acid free canvas for long term preservation.
Editore: Bruno Hessling, [1900-1910]., Berlin & New York:, 1900
Da: Zephyr Used & Rare Books, Vancouver, WA, U.S.A.
Prima edizione
Two vols. Folio. 16.75 x 13 in. [4] pp. printed text & introduction, [12 pp (unpaginated).] of original fascicle wrappers printed titles on each, 60 lithograph plates by C.G. Roeder in Leipzig. All preserved in the original dark green illustrated paper portfolios, Art Nouveau wraparound cover art of nude woman w/ flowing tresses encircling the covers, printed notices indicating that the work would consist of 10 fascicles with 6 plates each (minor edgewear, closed tears to folds, minor bumping to corners), still a VG complete set. First edition of the complete series of Art Nouveau masterpieces representing a lush and complex style, filled with grotesque faces, elements drawn from nature, and occasional hidden devices. Friling (1867-1940) trained at the Arts & Crafts Musuem in Berlin, and became a noted illustrator and interior designer creating designs for interiors, furnishings, ceramics, and especially metalwork for the Metallwarenfabrik fur Kleinkunst Walter Scherf & Co. in Nuremberg. Osiris was the trademark name for Arts & Crafts pewter art pieces which were sold by Liberty & Co. at the beginning of the 20th century producing over 1300 different items before the firm's bankruptcy in 1909. Friling influenced generations of artists and desingers through his portfolios issued by Bruno Hessling. Worldcat locates 5 complete sets (Chicago Art Institute; Saint Johns Univ., Mainz, Bologna, Weimar).
Da: Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam, Paesi Bassi
Arte / Stampa / Poster
LIBERTY STYLE / ART NOUVEAU POSTER Wild irises. Lithograph designed in 1902 by Ricca a student of the School for Applied and Industiral Arts at Syracuse (IT) for the "Arte italiana decorativa e industriale" a monthly periodical published under the patronage of the Italian Ministry of Agriculture, Industry and Trade. Size (paper): 57 x 87,5 cm. In the realm of Art Nouveau (or as in this case, the Italian Liberty Style or "Stile Liberty"), a captivating motif that frequently found its way onto posters, textiles, and decorative objects was the wild iris. This delicate and vibrant flower, with its slender petals and graceful stature, embodied the essence of the Art Nouveau movement, which sought to capture the beauty of nature in its purest form. Art Nouveau, with its emphasis on organic forms and flowing lines, found an ideal muse in the wild iris. The sinuous stems and curvilinear shapes of the flower mirrored the elegant and undulating lines that defined this artistic style. The iris became an emblematic symbol, often featured in intricate illustrations, stained glass windows, and decorative patterns that adorned buildings, furniture, and jewelry. The wild iris, or Iris sibirica, possesses an inherent allure that resonated with Art Nouveau artists. Its long, slender leaves gracefully arch upward, forming a structural elegance that lent itself well to the sinuous curves of Art Nouveau design. Art Nouveau artists were captivated not only by the physical beauty of the wild iris but also by its symbolism. The iris has long been associated with various meanings, such as eloquence, wisdom, and hope. Its name derives from the Greek word for a rainbow, paying homage to its diverse range of hues. In Art Nouveau, the iris became a symbol of femininity, mystique, and enchantment, embodying the ethereal qualities that permeated the movement. When portraying wild irises, Art Nouveau artists often embraced a stylized approach, blurring the lines between realism and abstraction. They sought to capture the essence and spirit of the flower rather than rigidly adhering to its physical characteristics. The result was a series of artworks that exuded a dreamlike quality, with irises floating and intertwining amidst flowing lines and intricate patterns. Price: Euro 475,-.
Da: Inter-Antiquariaat Mefferdt & De Jonge, Amsterdam, Paesi Bassi
Arte / Stampa / Poster
"Cristalleria da Tavola Terraglie Porcellane", advertising sign for a shop selling table glassware, earthenware, and porcelain, design by E. Calori to be executed in coloured glass. Colour lithograph made around 1902 for "Arte italiana decorativa e industriale" a monthly periodical published under the patronage of the Italian Ministry of Agriculture, Industry and Trade. Size (paper): 59 x 88 cm. The "new style" that emerged and spread in Europe between the late 19th and early 20th centuries is defined by different terms depending on the country where it is applied. In Milan and Italy, it is called Liberty. The term derives from the name of the company of Arthur Lasemby Liberty, which was opened in London in 1857 and had a shop in Milan's Galleria. During those years, the company spread new designs through its products. Initially, when people in Milan talked about Liberty, they specifically referred to that particular type of production. Only later did the term come to assume the meaning of the style corresponding to Art Nouveau in France, Jugendstil in Germany, Secession in Austria, or Modernisme in Catalonia. Among the various applications in the fields of architecture, objects, furnishings, fabrics, and advertising, glass in general, and stained glass in particular, was one of the preferred materials for artisans, artists, and designers devoted to Liberty. It best expressed the common theme of all decorations: the botanical or "floral" style. Trees, flowers, leaves, winged insects, and animals were considered archetypes of beauty, inherently significant forms, often expressed in a rhythmic formula characterized by free development that, in some cases, extended to rigorous asymmetry. As a result, glass-making activities experienced a significant increase. The number of glass manufacturing industries producing plates of glass multiplied, and they also began producing important quantities of frosted glass for furniture and window displays, acid-etched and painted glass, as well as colored glass for the creation of increasingly sought-after stained glass windows. The number of factories producing glassware for homes and public places such as cafes and restaurants, catering to the bourgeoisie of Milan, grew considerably, along with articles for lighting purposes. Advertisers also make their definitive appearance, with companies that will create the most beautiful and famous stained glass windows for Milanese clients. In addition to "Beltrami G. e C." (gold medal at the Sacred Art Exposition in Lodi in 1901, Grand Diploma of Honor at the Decorative Art Exposition in Turin in 1902, and Grand Gold Medal at the Venice Exposition in 1903), there is "Corvaya, Bazzi e Comp." offering artistic glass decoration and stained glass with a patented process imitating antique and modern stained glass, using lead, brass, etc.; "Fontana Luigi & Comp." with painted and kiln-fired artistic glass for churches, apartments, stained glass windows, galleries, shops, etc.; and "Brusotti Luigi," specialized not only in artistic stained glass but also in the creation of advertising signs and plaques. This design by Calori was such an advertising sign. Price: Euro 475,-.
Editore: Programmes Artistiques "Cinos", s. data (ma 1898 circa), Paris,, 1898
Da: Studio Bibliografico Antonio Zanfrognini, Modena, Italia
In 8° (19,5x13,5 cm); un foglio volante di (4) pp. Leggera piega al centro del foglio e per il resto esemplare in ottime condizioni di conservazione. Rarissima pubblicità teatrale per lo spettacolo che la grande attrice tearale e cinematografica francese, Sarah Bernhardt (Parigi, 22 ottobre 1844 Parigi, 26 marzo 1923) tenne al Theatre de la Renaissance di Parigi. All interno della brossure si trova anche la pubblicità per lo spettacolo che la Bernhardt avrebbe tenuto l 11 dicembre del 1898 al Teatro Paganini di Genova. La borossure pubblicitaria presenta un magnifico ritratto dell attrice realizzato dal grande artista moravo, Alfons Maria Mucha (Ivancice in Moravia nel distretto di Brno, 24 luglio 1860 Praga, 14 luglio 1939), considerato come il massimo esponente dell Art Nouveau. L'attrice parigina Sarah Bernhardt (1844-1923) fu la figura più influente nella vita artistica di Mucha. Fu il suo primo poster per lei, Gismonda, a renderlo famoso e crebbe sia come uomo che come artista attraverso la sua collaborazione professionale e l'amicizia con la più grande personalità scenica dell'epoca. Mucha conobbe Sarah Bernhardt per la prima volta alla fine del 1894. La leggenda narra che nel giorno di Santo Stefano (26 dicembre) Mucha, allora umile illustratore, stava facendo un favore a un amico, correggendo le prove nel laboratorio di stampa di Lemercier, quando l'attrice chiamò la stamperia con una richiesta urgente di un nuovo poster per la sua partecipazione all opera teatrale, Gismonda. Tutti i soliti artisti di Lemercier erano in vacanza, quindi disperato si rivolse a Mucha chiedendogli se se la sentiva di realizzare lui un poster. Nonostante la sua mancanza di esperienza nella progettazione di poster, Mucha colse l opportunità e si mise subito al lavoro. Finito il manifesto lo presentarono insiema alla grande attrice che con grande stupore di Mucha, si entusiasmò per l opera. Fu così che i manifesti "Gismonda" di Mucha tapezzarono tutta Parigi il mattino del 1° gennaio del 1895. Questa data è oggi celebre perché segna una rivoluzionare del design dei manifesti. La forma lunga e stretta, i sottili colori pastello e l'immobilità della figura quasi a grandezza naturale, introducevano una nota di dignità e sobrietà sorprendente per la sua novità. I manifesti diventarono immediatamente oggetti del desiderio per collezionisti, molti dei quali usavano metodi clandestini per ottenerli, corrompendo coloro che per lavoro applicavano i manifesti o semplicemente, uscendo di notte e tagliandoli dai cartelloni di nascosto. Felicissimo del successo di Gismonda, Sarah Bernhardt offrì immediatamente a Mucha un contratto per la produzione di scenografie, costumi e poster. In base a questo contratto, Mucha produsse altri sei poster per le sue produzioni: La Dame aux Camélias (1896), Lorenzaccio (1896), La Samaritaine (1897), Médée (1898), La Tosca (1898) e Hamlet (1899). Mucha applicò a questi manifesti lo stesso principio progettuale che aveva sviluppato per Gismonda: l'uso di un formato allungato con un'unica figura intera dell'attrice collocata in un'alcova poco profonda sollevata da terra come fosse una santa, tutte caratteristiche che si possono ritrovare in questa brossure. La collaborazione tra Mucha e Sarah Bernhardt fu, certamente, reciprocamente vantaggiosa. I poster di Mucha hanno immortalato l'immagine "divina" dell'attrice, consolidando il suo status iconico. Da parte sua, Bernhardt era così innamorata del lavoro di Mucha che dopo il 1896 fece uso dei suoi progetti per tutti i manifesti che pubblicizzarono i suoi tour americani. D altra parte, il successo della Bernhardt ha promosso il lavoro di Mucha e lo ha aiutato ad assicurarsi un punto d'appoggio per realizzare la sua arte ed aprirgli nuovi mercarti, anche dopo il 1904 quando l artista s'imbarcò sul transatlantico La Lorraine, diretto a New York ed continuò la sua carriera negli Stati Uniti. Le brossure pubblicitarie di Mucha, proprio per la loro funzione di fogli volanti usa e getta, sono rarissimi.
Editore: Jean Boussod, Manzi, Joyant & Co., Paris, 1898
Da: Libreria Le Colonne, TORINO, TO, Italia
12 fasc. in un vol. in-folio (cm. 41,2x31,4), pp. XL, (6), 248 (numerazione continua) + magnifico CALENDARIO oro e col ill. da I. CHALON + altre 19 meravigliose TAVOLE a colori f.t. in typogravure (inc. da Goupil); legatura editoriale m. pelle marron zigrinata, con titolo e fregi oro sul dorso a 5 nervi. Gran titolo oro editoriale ornato al piatto in tela granulosa rossa. Qc. escoriaz., ma solido. Sguardie editoriali a fogliami oro su fondo malva, con brachetta edit. in tela. Conservate tutte le superbe COPERTINE ill. a colori, veri emblemi ART NOUVEAU, di Guillonet, Chialiva, Edouard Detaille, Wostry, Georges Roux, Jacques Wagrez, LEFTWICH-DODGE, Adrien Moreau. Tra gli illustratori: Marold, Carriere, Chalon, Nicollet, Marold, Ferdinand BAC, LUNOIS (il circo e la domatrice), Lucius Rossi, Vallet, D'Agen, Groilleron, Laurent-Desrousseaux, Louis Morin, Consuelo Fould, Marcel Pille, Mayer, Notor, M.me Paule Crampel. Myrbach, L. Vallet, Jean Veber, Lucien Métivet, Marchetti, Does, Cain, Nicolet, Vallet, Nys. Da segnalare 1) num. spec. sul pittore di MILITARIA e napoleonica Edouard DETAILLE (25 RIPROD. e 13 foto; manca 1 tavola f.t. su Waterloo); 2) la notazione musicale "Valse nonchalante", di SAINT-SAENS, ill. a colori da Rowalsky. 3) splendido num. spec. sulla TUNISIA (40 ill.). 4) numero monografico sul pittore François FLAMENG (28 riprod.). 5) le 4 STAGIONI dis. da GUILLONET in cornice di Popineau. 6) i 5 disegni di De FEURE a illustraz. di un racconto di Paul e Victor Margueritte. Scritti di: Georges Rodenbach, Ferdinand Bac, Antonin Proust, Judith Gautier, Ernest Daudet, Eugene Muentz, Frederic Masson. Su: BAMBOLE, ETIOPIA (di Bonvalot, 14 ill.), sport invernali, viaggi, esercito francese, Daudet, Mallarmé, Napoleone (Nicopolis 1799, 12 ill. col.), i Salons e ateliers d'arte (tra cui Lefebvre, Henner, Bonnat, Flameng; asportato un foglio; 29 ripr. e foto), il Balzac di Rodin, cavalli e CARROZZE sotto Luigi XV, (26 dis.), Giappone (11 ill. di F. REGAMEY), ombrelli, falconeria in Inghilterra, novità al Louvre, gli ALPINI ital. e franc., (12 ill.), moda, aerostati nell'esercito, ecc.
Editore: Primo '900
Da: Libreria Le Colonne, TORINO, TO, Italia
Sguardie in carta seta cangiante dal violetto al rosaceo e contenente centinaia di cartoline di castelli, grotte, monti, fonti, ponti, soprattutto francesi.
Editore: London: George G. Harrap & Co., 1928, 1928
Da: David Brass Rare Books, Inc., Calabasas, CA, U.S.A.
"The Morbid Imaginings of Poe's Extraordinary Genius.The Drawings Are Extremely Beautiful" Illustrated by Harry Clarke [CLARKE, Harry, illustrator]. POE, Edgar Allan. Tales of Mystery and Imagination. Illustrated by Harry Clarke. London: George G. Harrap & Co., [1928]. Reprint of the second trade edition (the first with color plates). Quarto (10 9/16 x 8 inches; 269 x 203 mm.). 381, [2], [1, blank] pp. Eight color plates mounted on gray paper (including frontispiece), twenty-four black and white plates, and twenty-seven decorative tail-pieces and vignettes. Publisher's black cloth with pictorial paper label printed in gold and black on front cover. Spine pictorially stamped and lettered in gilt, top edge gilt, others uncut. Minor rubbing to extremities. Some light foxing to endpapers and preliminary leaves. A very good copy. Tales of Mystery and Imagination was first published in 1919 with twenty-four black and white plates. It was republished in 1923 with all but one of the black and white plates in the 1919 edition (The Colloquy of Monos and Una illustration (facing p. 240) replaced by an extra Pit and the Pendulum illustration (facing p. 252)), three extra tail-pieces (twenty-seven in all, the ten basic designs being repeated a number of times), and eight additional color plates tipped in on gray card (cf. Bowe). "Mr. Harry Clarke has allowed himself full liberty in attempting to express the features of Poe's Tales which differentiate them from others. In his drawings, the morbid imaginings of Poe's extraordinary genius are depicted without any attempt to soften their weird effects upon most readers. At the same time the drawings are extremely beautiful. They exhibit a wealth of delicate and intricate design such as few other, if any, living artists can command" (Harrap's advertising feature in the Bookman's Christmas Supplement, quoted in Bowe, p. 52). Henry Patrick Clarke RHA, aka Harry Clarke (1889-1931) was an Irish stained-glass artist and book illustrator. Born in Dublin, he was a leading figure in the Irish Arts and Crafts Movement. His work was influenced by both the Art Nouveau and Art Deco movements. His stained glass was particularly informed by the French Symbolist movement. He is remembered especially for his illustrations Edgar Allan Poe's Tales of Mystery and Imagination. The first version was published by Harrap in 1919 and was restricted to halftone illustrations, while a second with eight colour plates and more than 24 halftone images was published in 1923, also by Harrap. It was reprinted several times in 1923, 1926 & 1928 after which it was reprinted many times by Brentano's and the Tudor Publishing Company, both of New York. This edition with the eight color plates made his reputation as a book illustrator, during the golden age of gift-book illustration in the first quarter of the twentieth century. See Bowe, pp. 149-150. Steenson A2.j.
Editore: Preiss , Bestetti & Co., Milan, 1907
Libro
Paperback. Condizione: Very Good. [Art Nouveau] Complete first year in twelve numbers. 4to. Bound in publisher's decorated wrappers, in Art Nouveau style. 96 photogravure plates. Depicts furniture and room settings in "Stile Liberty" (also known as "Stile Floreale") by architects and designers. Includes the work of Giacomo Cometti, designer, sculptor and cabinetmaker; Eugenio Quarti, a cabinetmaker of extraordinary originality; Galileo Chini, ceramist and painter; and A. Mazzucotelli, who was the leading figure in decorative wrought iron and exponent of design reform. Other designers are Enrico Monti, Giovanni Bistolfi, Ernesto Basile and Luigi Brunelli. There are also several illustrations of installations at the "Casa dell'Arte" in Florence.
Editore: Nicolas, 1930
Da: L'Affichiste Vintage Posters, Montreal, QC, Canada
Arte / Stampa / Poster
No Binding. Condizione: Good. Date: 1930s // Size: 9.5 x 12.5 inches // Artist: Iribe, Paul // About the poster: This poster was created by Paul Iribe for the second of his three books, Rose et Noir (Pink and Black) - all of which we have in our collection. Commissioned by Nicolas, a renowned french wine specialist, these lithographs highlight the glory of french wines in contrast to foreign alcohol producers. Also called Le Mauvais Génie (Evil Genius), the book makes fun of the so-called misdeeds of American cocktails through the life of a young couple. // About the Artist: Born in Angouleme, France in 1883, Iribe received his education in Paris's École des Beaux-Arts and the College Rollin where his friends included the then-unknown illustrators George Barbier, Georges Lepape, George Martin, and Pierre Brissaud. He was a French illustrator and designer in the decorative arts yet his style favored the liberal display of fluid forms which is more in line with Art Nouveau design elements than pure Art Deco. He worked in Hollywood during the Twenties and was Coco Chanel's lover (and once design collaborator) from 1931 to his death. // In excellent condition and ready to frame. Rare.
Da: L'Affichiste Vintage Posters, Montreal, QC, Canada
Arte / Stampa / Poster Prima edizione
No Binding. Condizione: Fine. 1st Edition. Date: 1905 Size: 8.5 x 11.5 (matted to 12 x 15) Artist: Habert-Dys About The Poster: From the "Nouveaux Documents Decoratifs", published by Armand Guerinet's Librarie d'art Decoratif, located at 140 Faubourg St. Martin in Paris, these prints were used at the turn of the last century by designers and decorators as inspiration for wallpaper, interior design, ceramics, and all manner of home decor. Exquisitely colored and detailed they will be beautiful framed (alone or in a grouping). These prints were purchased in Italy, and are referred to as Italians as being in the "Liberty Style". Ready to frame. Rare.
Editore: Anno VI. Società Editrice di ''Novissima'', Roma, 1906,, 1906
Da: Libreria Antiquaria Pregliasco, Torino, Italia
Condizione: molto buono. in-8 gr. oblungo, ff. 21 n.n. di testo su due colonne, ff. 20 di tavole (incisioni, litografie e fototipie e stampe di acqueforti). leg. edit. in tela e cartone rigido, piatto super. decorato con medaglione figurato in seppia. Album facente parte di una bellissima e raffinata pubblicazione annuale (ebbe vita dal 1901 al 1910), illustrata e graficamente impressa secondo il gusto tipico dell'epoca, che è quello della ''art nouveau'' e del liberty. Il programma, come era esplicitato nel preambolo del primo numero che salutava il nuovo secolo, è quello di ''illustrare l'annata in tutte le sue opere maggiori; guardare con occhio intento al presente; intuire quanto di grande ci prepara il domani; cogliere i più bei fiori dell'arte; affinare con garbo senza pretensione il gusto delle genti''. L'album alterna fogli senza numerazione contenenti prose e poesie dei migliori scrittori italiani del tempo ad illustrazioni in nero ed a colori, molte applicate su cartoncino, che riproducono opere di grandi artisti: dipinti, schizzi e disegni, incisioni e calcografie, fotografie, accattivanti cartelloni pubblicitari, ecc. Alla collana collaborarono noti artisti, quali Morelli, Sartorio, Previati, Bistolfi, Delleani, Grosso, Casorati, Dudovich, Cambellotti, Terzi, Balla e altrettanto celebri scrittori, quali Pascoli, Giacosa, De Amicis, Capuana, Di Giacomo, Fogazzaro, D'Annunzio, Martini, Fucini, Ojetti, Pirandello, Bracco, Deledda, Beltramelli. Esemplare in ottimo stato. Manca al Cat. Periodici Bibl. Firenze. Cat. Per. Bibl. Lomb. IV, 231. Book.
Editore: Jean Boussod, Manzi, Joyant & Co., Paris, 1898
Da: Libreria Le Colonne, TORINO, TO, Italia
12 fasc. in un vol. in-folio (cm. 41,2x31,4), pp. XL, (6), 248 (numerazione continua) + magnifico CALENDARIO oro e col ill. da I. CHALON + altre 19 meravigliose TAVOLE a colori f.t. in typogravure (inc. da Goupil); legatura editoriale m. pelle marron zigrinata, con titolo e fregi oro sul dorso a 5 nervi. Gran titolo oro editoriale ornato al piatto in tela granulosa rossa. Qc. escoriaz., ma solido. Sguardie editoriali a fogliami oro su fondo malva, con brachetta edit. in tela. Conservate tutte le superbe COPERTINE ill. a colori, veri emblemi ART NOUVEAU, di Guillonet, Chialiva, Edouard Detaille, Wostry, Georges Roux, Jacques Wagrez, LEFTWICH-DODGE, Adrien Moreau. Tra gli illustratori: Marold, Carriere, Chalon, Nicollet, Marold, Ferdinand BAC, LUNOIS (il circo e la domatrice), Lucius Rossi, Vallet, D'Agen, Groilleron, Laurent-Desrousseaux, Louis Morin, Consuelo Fould, Marcel Pille, Mayer, Notor, M.me Paule Crampel. Myrbach, L. Vallet, Jean Veber, Lucien Métivet, Marchetti, Does, Cain, Nicolet, Vallet, Nys. Da segnalare 1) il numero speciale sul pittore di MILITARIA e napoleonica Edouard DETAILLE (25 RIPROD. e 13 foto; manca 1 tavola f.t. su Waterloo); 2) la notazione musicale "Valse nonchalante", di SAINT-SAENS, ill. a colori da Rowalsky. 3) splendido num. spec. sulla TUNISIA (40 ill.). 4) numero monografico sul pittore François FLAMENG (28 riprod.). 5) le 4 STAGIONI dis. da GUILLONET in cornice di Popineau. 6) i 5 disegni di De FEURE a illustraz. di un racconto di Paul e Victor Margueritte. Scritti di: Georges Rodenbach, Ferdinand Bac, Antonin Proust, Judith Gautier, Ernest Daudet, Eugene Muentz, Frederic Masson. Su: BAMBOLE, ETIOPIA (di Bonvalot, 14 ill.), sport invernali, viaggi, esercito francese, Daudet, Mallarmé, Napoleone (Nicopolis 1799, 12 ill. col.), i Salons e ateliers d'arte (tra cui Lefebvre, Henner, Bonnat, Flameng; asportato un foglio; 29 ripr. e foto), il Balzac di Rodin, cavalli e CARROZZE sotto Luigi XV, (26 dis.), Giappone (11 ill. di F. REGAMEY), ombrelli, falconeria in Inghilterra, novità al Louvre, gli ALPINI ital. e franc., (12 ill.), moda, aerostati nell'esercito, ecc.
Editore: Delagrave, Paris, 1900
Da: Gilibert Libreria Antiquaria (ILAB), Torino, TO, Italia
Prima edizione
In-4° (325x250mm), pp. VII, 130, bella brossura originale Liberty a decori floreali impressi en camaïeu elegantemente stilizzati, il tutto da disegno di Georges Auriol (egli è indicato con il semplice monogramma). Antiporta incisa da Jean Patricot (Lalique, Devant de Corsage). 27 tavv. in b.n. f.t. e numerose figure in b.n. intercalate n.t. Dorso restaurato. Discreto esemplare in barbe. Edizione originale di questa superba monografia sulle arti decorative e applicate all'Esposizione Universale di Parigi del 1900, fra i più importanti volumi dedicati all'Art Nouveau in tale àmbito estetico. L'opera documenta la produzione di artisti ed atelier come Lalique , De Feure, Gallé, Guimard, Tiffany and Co., ecc., nella grandiosa esposizione parigina, trattando di ogni possibile declinazione delle arti decorative: oreficeria, mobili, arazzi, legature, oggetti di uso comune, pizzi, ricami, vasellame, ecc. Roger Marx (Nancy, 1859-Parigi, 1913), padre di un altro celebre critico come Claude Roger Marx, fu critico e storico dell'arte dallo spiccatissimo e pionieristico gusto anche per le arti decorative e applicate (egli fece approntare una sezione ad esse dedicata al Salon del 1891) e strenuo difensore delle avanguardie estetiche del proprio tempo, segnatamente dell'Impressionismo. Da subito ardente sostenitore del movimento impressionista, fu amico personale di Claude Monet, Auguste Renoir, Camille Pissarro, Paul Cézanne, Henri de Toulouse-Lautrec, Auguste Rodin ed Eugène Carrière (che gli dedicò un noto ritratto). Francese.
Editore: London Edinburgh & Boston : T N Foulis, 1914
Da: Surrey Hills Books, Cranleigh, Regno Unito
Prima edizione
First Edition. Crown 8vo (190 mm); (x), 102, (4) pp. Eight tipped-in colour plates by Alfred Rawlings with thirty-six designs in verdigris by Warrington Hogg. Original pictorial boards, designed by Jessie M. King in her signature style in red, green, grey and yellow; lettering in black to front cover and in gilt to spine; top edge gilt, fore-edge rough-cut; dust-jacket with colour illustrated panel on the front, chipped in one corner, jacket also chipped at head and tail of the spine and in a few minor places around edges. This is a special, Graingerized (extra-illustrated) copy, as six other pictures (with descriptions) of sundials have been laid down on the front and back endpapers, including those at the Tower of the Winds in Athens, that at the home of Charles Dickens at Gadshill, Kent, and the one at Madeley Court neat Stourbridge. Near contemporary inked presentation inscription on front endpaper reads: "To M.P.S. with love from Olivia, Xmas 1916". A really lovely and bright copy in the slightly chipped dust-jacket. Jessie Marion King was one of the most influential and important Scottish illustrators of the 20th century. She studied with Fra Newberry at the Glasgow School of Art, where she developed her unique blend of Scottish mysticism and continental Art Nouveau style, alongside Charles Rennie Mackintosh, Margaret and Frances MacDonald, and Herbert MacNair. Throughout her fine art and illustrative career, King was in high demand with publishers, especially Glaswegian publisher Gowan & Sons, and Edinburgh publisher T.N. Foulis. King was one of the artists known as the Glasgow Girls. She also collaborated with Chivers of Bath on three magnificent vellucent bindings, had an ongoing relationship with Liberty to produce jewellery and fabric commissions and published books featuring her own drawings. An eccentric and dynamic personality, King was recognised for her second sight, gifted to her by the "Little People" when she was a young girl, her odd style of dress which was described as witch-like, and the way she attracted artistic personalities as she did at her home in Kirkcudbright. Book.
First edition, #753/1,000. 4to; 213 pp.; illustrated from photographs. A fine copy in original cloth with color illustration affixed to front cover. Contemporary photographs of furniture and decoration by Ernesto Basile. Basile was an Italian architect working in Palermo in the arly 20th century. His design work exemplifies the Italian art nouveau/Liberty style. Text in Italian.
Editore: Berlin, Verlag Georg Bondi, 1908-1914., 1914
Da: Antiquariat Lenzen, Düsseldorf, Germania
Libro
4°. 26,5 x 16,5 cm. 409; 382; 324; 358; 403; 394; 423; 433; 390 Seiten. Original-Lederbände mit Blindprägung, goldgeprägten Innenkantenfileten und marmoriertem Schnitt. 1. Auflage. Schauer II, 15. Jeder Band mit in Rot und Schwarz gedrucktem, illustriertem Jugendstil-Doppeltitel, Vortitel und Impressum je in Rot gedruckt und durchweg jede Seite mit Schmuckbordüren. Ausstattung durch Melchior Lechter. Exlibris. Einbände etwas berieben und stellenweise leicht fleckig, Seiten insgesamt nur leicht und stellenweise in den Stegen etwas deutlicher gebräunt, in Band 2 Seite 369/370 lose, in Band 3 eine Lage lose, Seiten 341/342 etwas knickspurig und mit kleinem Randeinriss (ca. 1 cm), ansonsten gutes bis sehr gutes Exemplar. Sprache: deutsch.
Editore: Les Maîtres de l'Affiche - imprimerie Chaix, 1897
Arte / Stampa / Poster Prima edizione
autre. - Les Maîtres de l'Affiche - imprimerie Chaix, Paris 1897, 29x39,9cm, une affiche lithographiée sur vélin fin. - Lithographie originale en couleurs, gommée et tirée sur vélin fin. Timbre à sec de l'imprimeur en bas à droite de la planche. Superbe publication mensuelle française, les Maîtres de l'Affiche, parut entre 1895 et 1900 à l'initiative de Jules Chéret. Chaque numéro de la revue comprend quatre affiches reproduites au format cloche et en chromolithographie présentant pour chacune un timbre à sec d'authentification. Très bel exemplaire en dépit d'un petit trou d'épingle en marge haute de l'affiche. Cette affiche fut réalisée par Giovanni Mataloni, l'un des précuseurs du stile Liberty , l'Art Nouveau italien. [ENGLISH DESCRIPTION ON DEMAND].