a follower (13 risultati)

Paperback. Condizione: Brand New. 349 pages. 10.75x8.38x0.88 inches. In Stock.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: New. KlappentextrnrnThis scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have.

Taschenbuch. Condizione: Neu. Neuware - This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Condizione: Very Good. First edition hard back binding in publisher's original black cloth covered boards, blocked and lettered gilt back. 8vo. 9'' x 6''. Demonised by some but highly respected by others, Osman Digna was a Mahdist leader who remained a thorn in the side of the British in Sudan for almost two decades during the late Victorian period. He was, perhaps, the ablest commander of the Ansar, the Mahdist army, who, despite numerous defeats, refused to give up the jihad against the Anglo-Egyptian authorities. Although largely forgotten in the West today, he is remembered as a hero by many in Sudan. Contains frontispiece, (xxiv), 232 pp with a folding map and a folding pedigree. Foxing to the end papers and closed text block edges, spine slightly sun faded and in Very Good condition, no dust wrapper. Member of the P.B.F.A. NORTH AFRICA [Sudan].

Hardcover. Condizione: Very Good. No Jacket. 2nd Edition. Small folio. Engraved allegorical title signed 'C. G. Amling' + [6] + 39 pages text + 14 folding engraved plates with 68 illustrations. Typographical ornaments. Contemporary half vellum. Enlarged edition, corrected by the author (first published 1664), of this influential German treatise on late baroque military architecture by the Bavarian engineer Heidemann, a follower of Daniel Speckle (1536-89) of Strassburg, one of the first exponents of modern fortification. Heidemann still considered the use of orillons for the protection of the flanks of bastions as essential, a method largely abandoned by that time under the influence of the Dutch systems of fortification. A re-interpretation of his theories was offered by Sturm in his Architectura Militaris hypoth.-eclectico (1702). The beautiful allegorical title by the Bavarian court engraver Carl Gustav von Amling (1651-1702) incorporates a view of Munich in the background. A very fresh copy of this handsome book printed on good quality paper. Jähns 1343; Jordan 1636.

Dillon's entry in the Oxford DNB states that on 6 March 1889 he 'sailed for Australia to solicit contributions; he also toured New Zealand, and returned to Ireland via the United States in late April 1890. His mission raised about £33,000'. 3pp, 12mo. Bifolium. Addressed to 'My dear Miss Meredith' and signed 'Yours very Sincerely / John Dillon'. In fair condition, lightly aged, with very light transfer of ink from another letter (from blotting pad?) onto third leaf, including signature. Folded for postage. In reply to a letter he states that he would 'certainly go down' to see her if he were 'in London during the spring - but I hope to sail to Australia on the 1st March & expect to be away till the end of September'. He asks to be remembered to her father, whose name Dillon saw 'on the Protest Committee with very great pleasure', and whom he hopes 'is gaining strength'. He is glad they all 'thought the photograph a good one'. From the Meredith album. From an album of letters received by the novelist George Meredith and his daughter Marie Eveleen (Mariette; 1871-1933).

Condizione: Very Good. FASCINATING MEDIEVAL BOOK OF HOURS WITH EXTENSIVE ILLUMINATIONS BY THREE DIFFERENT ARTISTS. In Latin and some French, illuminated manuscript on parchment, Southern Netherlands, Mons, c. 1460 (original portion), c. 1480-1490 (updated). Dimensions 167 x 116 mm., 199 folios, lacking one text leaf, written by two different scribes in gothic textualis bookhand in single column on 17 lines; BINDING: seventeenth century brown calf over wooden boards, spine with four raised bands, gold-tooled, gilt title ("OFFICIU / BEATEM / VIRGIN", partly worn out), gilt edges. ILLUSTRATION: 22 full-page miniatures within full rinceaux borders by the Mildmay Master (13), the Master of Philippe de Croÿ (7), and a third Mons illuminator, follower of Simon Marmion (2), and 4 small miniatures by the Mildmay Master, additional sixteen full rinceaux borders, and 5-line initials in pink or blue on burnished gold grounds. The Mildmay Master was responsible for the core of the original manuscript; the artist paints elongated figures with small heads and slender bodies, mostly situated on pale yellow tiled grounds. His outdoor landscapes are cursory. Unusual here are his delicate acanthus and floral borders sprinkled with fanciful grotesques. The artist responsible for updating the manuscript is the Philippe de Croÿ Master. He favors tiled floors in brown or gray and white, with a generally somber, almost grisaille palette, with blue and white, grey, and a burnt brownish orange. A third painter, a follower of Simon Marmion, intervened during this second campaign. The most skilled of the three illuminators, his delicate figures are well-modeled, with tiny hands and individualized faces. PROVENANCE: The manuscript was made in Southern Netherlands probably in two different stages. The core of the Hours and the calendar were written in Mons for an unknown patron, c. 1460. Then, around 1480, the manuscript was updated, also in Mons, for a couple represented in prayer in the manuscript: Jean Antoine de Mahieu, Lord of Bosqueau, and his wife, Jacqueline de Sivry, Lady of Buath; belonged to Jean-Baptiste-Florentin Gabriel de Meyran, marquis de Lagoy (1764-1829); inside front cover: "Jean Fra(n)sois de Lescluse demeurant a Frasne." CONDITION: ink stain in the margin of f. 1, water stains in lower margins of first 32 leaves, colors slightly faded on marginal decoration f. 120v, stain in the marginal decoration f. 77v, other minor signs of use, otherwise in very good condition. Binding condition: leather very rubbed, gold tooling worn, front cover almost detached, hinges of the back cover fragile. Full description and images available. (BOH 217).

No Binding. Condizione: Fine. This illuminated Antiphonal leaf, depicting Saint Ursula within a large initial D was painted in Bologna around 1290-1300. The artist was a close follower of Jacopino da Reggio, one of the key painters of the late Duecento. Ursula is crowned and noble, with a slender figure and delicate facial features, holding the palm of martyrdom. Her portrayal closely parallels a Gradual leaf in the Fondazione Giorgio Cini (inv. 22018), confirming the attribution to this anonymous Bolognese master. The page, written in Latin, comes from the First Nocturne, first Responsory for the feast of the 11,000 Virgins of Cologne (Deonoto fuit nata placens). Large in scale (485 × 375 mm), with a historiated initial measuring 134 × 128 mm, it was designed for communal liturgical use. The bold red rastrum (32 mm, six four-line staves) frames notation in square script, typical of Bolognese choirbooks of the late 13th century. Saint Ursula was one of the most celebrated female saints of the Middle Ages. Her legend, tied to Cologne, inspired innumerable depictions in manuscripts, frescoes, and panel paintings. In this miniature she embodies both regality and sanctity, reflecting the expressive refinement of Bolognese illumination at the cusp of Gothic and Renaissance styles. The leaf has an esteemed provenance, formerly in the collection of Dr. H.F. Jossi Debrunner of Chur, Switzerland; sold at Sotheby's, London (3 December 2008, lot 10); and subsequently acquired by Dr. Edwin E. Gordon (1927-2015), Madison, Wisconsin, a prominent American collector. Provenance: Dr. H.F. Jossi Debrunner (1922-1986), Chur, Switzerland Sotheby's, London, 3 December 2008, lot 10 Dr. Edwin E. Gordon (1927-2015), Madison, WI, USA Literature: M. Medica & F. Toniolo, Le miniature della Fondazione Giorgio Cini (2016), no. 88. D. Benati, "La città sacra," in Duecento: Forme e Colori del Medioevo a Bologna (2000). M. Medica, La città dei libri e dei miniatori," in Duecento: Forme e Colori del Medioevo a Bologna (2000).

Condizione: Very Good. In the Style of Katsushika Hokusai (illustratore). An extremely rare Late Edo Period, mid 19th century silk painting crudely entitled Hokusai Y?ki-Zu, or Hokusai's Ghost. As the title bluntly entails, the painting is that of a ghostly, grimacing yokai, with warped flesh and a face that is almost reminiscent of a plucked chicken. Its robes billow in the wind and have been detailed with some excellent shading techniques, adding an ominous shadow effect, and the grimacing appearance of the yokai has certainly been produced by an experienced artist. Y?rei-zu are a genre of Japanese art consisting of painted or woodblock print images of ghosts, demons and other supernatural beings. Paintings such as these reached their peak popularity by the mid to late 19th century. However, paintings of yokai and demons in particular are significantly rarer than those depictions of yurei and the like, this being the only example I have ever come across in recent years. The painting has a stated attribution to Katsushika Hokusai, with a fair impression of his artist seal, and signed Zen Hokusai Iitsu hitsu. However, while the painting itself is of high quality and exudes some of Hokusai's style, the seal does not match exactly to original examples, and the three-dimensional expression of the Yokai suggests it was more likely produced after Hokusai's passing. There is also an inscription to the wooden box itself (dated 1980), stating the attribution has been confirmed by Director Iinuma of the Hokusai Museum in Obuse, which boasts a tremendous collection of original works and woodblock prints by Hokusai and other associated artists. Having spoken to the Museum on January 7th, 2026, they have stated that while Iinuma was serving as museum director in 1980, "research into Hokusai's original paintings was still in its infancy, and his judgment of the work was limited, so Iinuma himself may have considered it to be an authentic work." Regarding the inscription as well, "Iinuma did not appraise or inscribe works as he did in this case. Based on the wording of the inscription, it is likely that the owner of the work, or someone who accompanied Iinuma to view the work, wrote down what they heard." Still, on its own the painting is a beautifully produced example, and an extremely rare yokai subject, very much in the Hokusai Style, and still quite possibly produced by a dedicated follower of his work. The painting has been neatly mounted onto a plain covered kakejiku (hanging scroll), with jikusaki (knobs) made of wood. There is a wooden box to accompany it, preserving the scroll, also enclosed in a slipcase. One silk painting mounted on a kakejiku (hanging scroll), 120 x 73.8 cm full size, 34.5 x 62 cm main painting This painting is in very good shape, with minimal rubbing or wear to the a few creases and to the outer covers. There are a few creases to the painting and a single silk split, and some old spotted stains to the lower section of the painting.