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Published by Legare Street Press, 2022
ISBN 10: 1018872027ISBN 13: 9781018872025
Seller: THE SAINT BOOKSTORE, Southport, United Kingdom
Book Print on Demand
Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Published by Legare Street Press 2022-10, 2022
ISBN 10: 1018872027ISBN 13: 9781018872025
Seller: Chiron Media, Wallingford, United Kingdom
Book
PF. Condition: New.
Published by Legare Street Press, 2022
ISBN 10: 1018867120ISBN 13: 9781018867120
Seller: THE SAINT BOOKSTORE, Southport, United Kingdom
Book Print on Demand
Hardback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Published by London Published By F G Moon 20 Threadneedle August, 1827
Original brown buckram boards, rubbed and soiled. Front board with dulled gilt title: "Monkeyana". Spine and corners carefully repaired. Creased endpapers, lightly soiled. 25 engraved plates, most with tissue guards, lightly soiled and spotted. Engraved title-page: "Published Decr.1 1827, by Moon, Boys & Groves 6, Pall Mall, a Paris chez Pieri Beriard Boulevard des Italiens." Six plates are unsigned; the rest are signed variously as by 'TL', (4); 'Thomas Landseer' (2) , 'Drawn and etched by Thomas Landseer' (2) ; ' T. Landseer' (2) ; 'Ths Landseer' (2) ; 'Thos L' (2) ; 'Thos Landseer' (3) or 'Landseer' (1) ; plus 6 un-signed. All plates carry publication-dates, 1827(10) 1828 (15) . ** "Monkeyana is a satirical masterpiece by Thomas Landseer, the printmaker brother of the famed animal portraitist Edwin Landseer. Each of the etchings features misbehaving monkeys dressed in human clothes. Thomas Landseer was "one of the most gifted and innovative engravers of his generation, being particularly adept in the use of textural etching. Much of his career was taken up with reproducing the works of his brother, Edwin.he subsequently made prints after all of his brother's most famous works.In all, he made more than 125 engravings after his brother's paintings." (Oxford Grove Dictionary of Art).
Seller: Il Bulino Antiche Stampe srl, Milano, MI, Italy
Art / Print / Poster
senza rilegatura. Condition: in ottime condizioni. Acquaforte misure: mm 254 x 200; foglio mm 378 x 276 Disegnatore e incisore specializzato in incisioni satiriche e di animali. Figlio dell'incisore John George Landseer e allievo di Benjamin Robert Haydon, lavora come illustratore con altri allievi di quest'ultimo. Gli si attribuiscono circa 125 incisioni soprattutto di animali spesso in collaborazione con il fratello Edwin e derivate da Rembrandt, Rubens, Stubbs e altri. Ha esposto presso la Royal Academy di cui divenne socio incisore nel 1867 e presso la Liverpool Academy dal 1853-77. Questa stampa è una delle dieci illustrazioni pubblicate in: The Devil's Walk: ten etchings, di Robert Southey e Samuel Taylor Coleridge. Edizione pubblicata a Londra da F. G. Harding nel 1831 con illustrazioni di John Landseer. Mediante arditi contrasti chiaroscurali e un tratto fitto e intrecciato vediamo emergere due figure: il diavolo in primo piano si destreggia sinuoso tra le fiamme, con la bocca aperta quasi in un urlo a occhi sbarrati, quasi infuocati, appena alle sue spalle il volto paffuto, enorme e spaventato del generale Gascoignes. In basso quattro versi da The Devil' Walk. Nella mano destra il diavolo regge un tizzone sul quale si legge la parola Payne. Impressione eccellente, dai neri intensi. Ottimo stato di conservazione, carta leggermente ingiallita. Ampi margini oltre la battuta del rame, foglio intonso.
Published by Moon, Boys & Graves, London, 1827
Seller: White Fox Rare Books, ABAA/ILAB, New York, NY, U.S.A.
Half Morocco. Condition: Near Fine. Folio. Large paper edition. 34 by 25 cm. Etched title, followed by 24 etched plates of anthropomorphic monkeys, acting out scenes from Shakespeare or illustrating lines from Cowper, Dryden and others. Thomas Landseer was the brother of the more famous Sir Edwin Landseer and was best known for making many fine engravings of his brother's work. "Monkey-ana" is one of the few works he engraved from his own designs. These designs are as full of spirit, originality, whimsy and mastery as anything by Sir Edwin. On china paper mounted on wove rag. The work was originally issued in six parts of four etchings each, and the six original wrapper covers are bound in at the end. These wrapper covers are lightly foxed. Otherwise, the plates are crisp and clean, with only the most occasional, light finger smudging on an margin edge. One plate cut slightly shorter than the rest. Bound in contemporary half red morocco. Marbled paper boards. Light wear to the binding.
Published by London, c. 1850., 1850
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
First Edition
Single sheet, (32 ¾ x 43 inches). Fine engraving showing a hunting scene (separation at plate mark, repaired, affecting the imprint). First edition. Sir Edwin Landseer once wrote, "Who does not glory in the death of a fine stag?" In 1847 the Marquis of Bredalbane commissioned Landseer to create a large painting he entitled "A Drive of Deer - Glen Orchay." Landseer sent the painting to the Royal Academy, and Breadalbane presented it to Prince Albert (the engraving is dedicated to the Prince Consort as well). It was then engraved by Thomas Landseer, Sir Edwin's brother, and at the time was the largest plate ever executed from any work by that artist. Glen Orchay, also written as Glenorchy, is located in Argylshire, and visible in both the painting and the engraving are a range of hills which are part of the Southern Grampians. "Landseer had close links with the sphere of zoological art through his friendship with [Joseph] Wolf and through the activities of his own brothers, Charles and Thomas Landseer, both of whom were occasionally employed as illustrators of popular books on natural history. However, his paintings had a scale, dramatic power and imaginative exaltation that set them apart from such works. They were history paintings, but of a completely original kind, in the sense that they invested the lives of animals themselves with tragic grandeur. That this could be done so convincingly is itself evidence of great changes in attitudes to nature in the nineteenth century: the profound philosophical implications of the discoveries in geology, paleontology and evolutionary theory which I have outlined placed animals at the forefront of consciousness. As a writer in the London Quarterly Review put it in 1874, Landseer painted 'the poetry of animal life, running so curiously parallel to the poetry of human life' (Diana Donald, Picturing Animals in Britain, 1750-1850, p. 94). "One of his pictures, 'The Drive' (as here), which was exhibited in 1847 and acquired by Prince Albert, showed a herd of deer funneled through a narrow mountain pass and presenting an easy target for the concealed guns. As the Art-Union's reviewer noted, what it showed was not stalking but ambush: a practice which Landseer himself described in a letter as 'base atrocious or contemptible assassination.' The artist who in 1844 had represented the spearing of an otter with a bravado and flamboyance that defied remonstration now showed himself increasingly ill at ease with the sporting myth" (Donald, p. 303).
Published by London: Louis Brall, 1865., 1865
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
First Edition
"Single sheet, (26 ½ x 42 inches). Fine engraving showing a hunting scene. First edition. Sir Edwin Landseer once wrote, "Who does not glory in the death of a fine stag?" He rose to fame in the 1840s and 1850s, largely due to the publication of prints based on his paintings of deer. These engravings, including this one and 'The Monarch of the Glen' secured Landseer's place in history, achieving status as familiar household icons. "Landseer had close links with the sphere of zoological art through his friendship with [Joseph] Wolf and through the activities of his own brothers, Charles and Thomas Landseer, both of whom were occasionally employed as illustrators of popular books on natural history. However, his paintings had a scale, dramatic power and imaginative exaltation that set them apart from such works. They were history paintings, but of a completely original kind, in the sense that they invested the lives of animals themselves with tragic grandeur. That this could be done so convincingly is itself evidence of great changes in attitudes to nature in the nineteenth century: the profound philosophical implications of the discoveries in geology, paleontology and evolutionary theory which I have outlined placed animals at the forefront of consciousness. As a writer in the London Quarterly Review put it in 1874, Landseer painted 'the poetry of animal life, running so curiously parallel to the poetry of human life' (Diana Donald, Picturing Animals in Britain, 1750-1850, p. 94). "Landseer's Stag at Bay was exhibited in 1846 No human figures are visible, but the epic quality which Landseer gave to this animal combat is far from implying emotional distance. This is the view of the quarry which the eager sportsman would obtain through his telescope or spyglass: indeed, Landseer's series of drawings called 'The Forest' included several circular designs, in frank allusion to telescopic sights. The animals are seen from a low eye level, the stag silhouetted against the sky, and are brought so close to us that the dogs - one already laid low - are partly cut off by the bottom edge of the painting, as though almost outside the zone of optical focus. All are intensely real, with that heady recollection of the experience of stalking and that first-hand, empathetic knowledge of the hunted animal which Landseer conveyed to Keyl. The artist could imitate a stag's 'voice & gesture & expression eye faintly rolling in Corner - the very ears seemed to go back,' and this recall was used to heighten the emotive, quasi-anthropomorphic characterization of the animals. It is like watching a modern wildlife film, or rather, like being in a theatre; the grim facts are lifted to the level of high tragedy by the stag's expression of defiance and agony The fitful shafts of light, the wind whipping up the water of the lake into spray, the jagged shoreline and lonely horizon, the eagle hovering in the clouds in hope of carrion: all heighten the pathos of the animals' plight" (Donald, p. 299).".
Published by London: L. Brall, 1868., 1868
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
First Edition
Single sheet, (27 x 42 inches). Fine engraving showing stags (small indentation on lower margin). ?First edition. Sir Edwin Landseer rose to fame in the 1840s and 1850s, largely due to the publication of prints based on his paintings of deer. This particular scene shows a confrontation between two stags in the Scottish Highlands, the victor braying to the sky, and the other yielding on the ground, as three does look on from afar. "Landseer had close links with the sphere of zoological art through his friendship with [Joseph] Wolf and through the activities of his own brothers, Charles and Thomas Landseer, both of whom were occasionally employed as illustrators of popular books on natural history. However, his paintings had a scale, dramatic power and imaginative exaltation that set them apart from such works. They were history paintings, but of a completely original kind, in the sense that they invested the lives of animals themselves with tragic grandeur. That this could be done so convincingly is itself evidence of great changes in attitudes to nature in the nineteenth century: the profound philosophical implications of the discoveries in geology, paleontology and evolutionary theory which I have outlined placed animals at the forefront of consciousness. As a writer in the London Quarterly Review put it in 1874, Landseer painted 'the poetry of animal life, running so curiously parallel to the poetry of human life' (Diana Donald, Picturing Animals in Britain, 1750-1850, p. 94).