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London: printed for the author; and sold by John and James Rivington, at the Bible and Crown in St. Paul's Church-Yard, Date: 1759. Seventh edition. Frontis & 17 plates. [1368]pp. Folio. Contemporary calf, rubbed with loss. Seventh edition. Frontis & 17 plates. [1368]pp. Folio. "The seventh edition was published in 112 numbers, .. between 16 October 1756 and 31 March 1759" (Henrey). ESTC T59415; Henrey, B. British Botanical and Horticultural Literature before 1800, 1111 1759. printed for the author; and sold by John and James Rivington, at the Bible and Crown in St. Paul's Church-Yard US
Rome, Date: 1774. Copper engraving, on two joined sheets, by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows the moment during the Last Supper when Jesus announces that one of the twelve disciples will betray him. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring, but also because of the influence they had on ...
Rome, Date: 1770. Copper engraving, on two joined sheets, by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Jacob at Luza having a vision of the angels ascending and descending by a ladder which reached from earth to heaven. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring, but also because of the influence they ...
Rome, Date: 1774. Copper engraving, on two joined sheets, by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. In the main panel the Lord appears to Isaac and tells him not to go down into Egypt but to stay in Gerara. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. The ...
Rome, Date: 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The scene in the main panel shows the three angels that appeared to Abraham and told him that he and his wife Sarah will have a son. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. ...
Rome, Date: 1774. Copper engraving, on two joined sheets, by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Joseph telling his brothers of his prophetic dreams "Hear my dream which I dreamed. I thought we were binding sheaves in the field: and my sheaf arose as it were, and stood, and your sheaves standing about bowed down before my sheaf ... I saw in ... [another] dream, as it were the sun, and the moon, and eleven stars worshipping me." A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be ...
Rome, Date: 1774. Copper engraving, on two joined sheets, by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David, having subdued Syria, returning to Jersusalem with armour made of gold. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. The ...
Rome, Date: 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Shaved within plate mark, expert neat repairs to left margin, one just affecting the image area. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from ...
London: Richard Bentley, Date: 1853. Full Description: MELVILLE, Herman. White-Jacket; or The World in a Man-of-War. London: Richard Bentley, 1853. First edition, remainder issue (second issue). Consisting of the 1850 first edition sheets with the new cancel title-pages. Two octavo volumes (7 5/8 x 4 9/16 inches; 194 x 116 mm). iv, [2, contents], 322; iv, 315, [1, blank] pp. Later half dark blue calf over marbled boards,. Spines elaborately tooled in blind and gilt. Red and green morocco spine labels, lettered in gilt. Top edge red. Newer endpapers. Some occasional finger smudging. Otherwise a near fine copy. The manuscript was refused by Murray, Colbour, and Moxon, before Bentley offered two hundred pounds for the English rights to print 1000 copies. The American edition is subsequent to the English. Sometime in 1853 Bentley, in an effort to stimulate sales of Melville's books, ordered the remainder sheets of Redburn, The White Jacket and The Whale bound up in uniform red cloth bindings, with cancel title-pages. "The book contains an account of Melville's experiences subsequent to those related in Omoo, as a sailor aboard the United States Frigate United States, from which he received his discharge in Boston, in October, 1844" (Minnegerode, M. Some Personal Letters of Herman Melville and A Bibliography, p. 155). The work that immediately preceded Moby Dick. In White-Jacket "Melville reveals his distaste for the brutal and inhumane practices of the ship officers in ...
London: Smith, Elder & Co, Date: 1886. First edition. [iv], 313; [iv], 312 pp. 2 vols. 8vo. Bound in forest green half morocco backed marble boards with gilt ruling, gilt titles on five-banded spine, and t.e.g. Marble endpapers with handsome bookplate of heiress Gustavia Senff on upper pastedowns; near fine. First edition. [iv], 313; [iv], 312 pp. 2 vols. 8vo. Purdy, pp. 50-54; Sadleir 1111 1886. Smith, Elder & Co US
London: Smith, Elder & Co, Date: 1886. First edition. [iv], 313, [1], [2, ads]; [iv], 312, [4, ads] pp. 2 vols. 8vo. Publisher's smooth blue cloth, blocked in black on covers and titled in gilt on the spine, gray floral endpapers. A very good copy, with light edgewear and scuffing to covers, bubbling to cloth on vol. I front cover. Bookplate of Roger H. West and his signature to half-titles. In custom blue cloth slipcase. First edition. [iv], 313, [1], [2, ads]; [iv], 312, [4, ads] pp. 2 vols. 8vo. FIRST EDITION IN ORIGINAL CLOTH. The first edition in publisher's cloth of perhaps Hardy's greatest novel - one of only 758 copies printed, of which just 600 were bound. In uncommonly fresh condition. Purdy, pp. 50-54; Sadleir 1111 1886. Smith, Elder & Co US
155; 203; 176 leaves of text (plus a few blank leaves at beginning & end of each vol.). Three vols. 8vo (246 x 173 mm.), a cont. tetsuyoso binding, gold silk endpapers with patterns of pine trees & sprays of gold (kindei, "golden mud"), with gold silk brocade over semi-stiff wrappers, red silk manuscript title labels on upper covers. [Japan]: 1707? A beautifully calligraphed manuscript, in three volumes, of the Sandaishu ["collection of three reigns"], the collection of the first three of 21 imperially commissioned waka poetry anthologies compiled from 905 to 1439. These three collections are: 1. Kokin wakashu, compiled ca. 905-20; 2. Gosen wakashu, compiled 951 ff.; 3. Shui wakashu, compiled 1005-11. These first three "provided the model of language; in formal poetry thereafter, a poet was expected to use that word hoard (although innovations were made). The first of the twenty-one set the organizational principles for the rest...The conception underlying the [first] collection no doubt reflected then existing ideas about poetry. But it realizes them so well and so influentially that to some degree all Japanese poetry before 1868 is conceivable only on its terms."-Miner et al., eds., The Princeton Companion to Classical Japanese Literature (1985), p. 342 & p. 187. The Kokin wakashu was envisioned by Emperor Uda (reigned 887-97) and ordered by Emperor Daigo (reigned 897-930), perhaps in 905. These 1111 poems were selected by Ki no Tsurayuki, Ki no Tomonori, ...
[New York]: NP, Date: 1985. First edition. vg. 1) Publicity photographs of Diane von Furstenberg by Helmut Newton & press photographs: A) Four 8" x 10" b/w publicity photographs, announcing the opening of Diane von Furstenberg's boutique (all four in duplicate, total of eight photographs). Two photographs by Helmut Newton show von Furstenberg modeling the "Fatale" & "Venezia" dress. All with typewritten information of design pasted on lower rear margin with text folding out below photograph. a) "Fatale," dress of pearl pink silk marocain and black lace. A Gala gown from the Couture collection created for Diane von Furstenberg Fifth Avenue, opening November, 1984. Same image of Furstenberg by Newton depicted on original invitation card to the opening of her Couture Collection (see # 4 below). b) "Venezia," sumptuous swatches of imported black lace and black silk charmeuse for Gala occasions, from the Couture collection created for Diane von Furstenberg Fifth Avenue, opening November, 1984. c) "Zanzibar," a slim gown of Gondola black silk jersey with cocq feathers ruche, for grand exits and Gala occasions, from the Couture Collection created for Diane von Furstenberg Fifth Avenue, opening November, 1984. d) Reproduction of a b/w drawing by architect Michael Graves on photo-paper of Furstenberg's Fifth Avenue storefront. B) Press photos from 1984 Spring/Summer Couture Collection: Thirteen b/w 8" x 10" photos of two models showing eleven different designs. (Three of the ...
Rome: Domenico de' Rossi, Date: 1693. Large folio. 10 hand-coloured engraved plates by Dorigny on laid paper (each 15 7/8 x 26 inches approximately), titles and imprints printed in gold, black ink-ruled borders, each plate cut to the edge of the image, mounted on large sheets of contemporary thick laid paper (each 29 3/8 x 40 3/8 inches approximately). Unbound A very fine suite of richly hand-coloured plates offering a stunning visual record of one of the best of the decorative interior schemes carried out by Raphael in Rome. This wonderful series records Raphael's 'Cupid and Psyche' series of frescoes, carried out by him between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea, executed in 1512: neither the plate nor the title are present here. Originally published by the Rossis, the engravings are the work of Nicolas Dorigny (1658-1746) who lived and worked in Rome between about 1690 and 1719. The painter, classicist, and art historian Giovanni Pietro Bellori (1613-1696) provided the text at the foot of the plates (appropriate excerpts from Apuleuis's Golden Ass). "Raphael Invenit: Stampe da Rafaello" (1985) Dorigny 37-46; cf. Brunet IV, 1111; cf. Berlin Katalog 4066. 1693. Domenico de' Rossi US
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