After 1880 (32 results)

No Binding. Condition: Very Good. James Dobie After Charles W Bartlett (illustrator). An original antique engraving, printed 1880. Mounted (matted) and ready to frame. Very good condition. An engraving of a busy street scene, with the joyful populace mocking a couple of puritans.

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting, Tennyson wrote the poem 'In the Valley of Cauteretz' in 1861 after revisiting the valley.

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

First edition hard back publisher's original beige cloth covers, burgundy title lettering to the spine and the front cover. 4to 10" x 8" 106 pages. Behind the scenes monochrome photographic illustrations on matt paper by Angus McBean. From 1929 to 1934 Harcourt Williams was director of The Old Vic theatre company; among the actors he recruited were John Gielgud and Ralph Richardson. After directing some fifty plays he resigned the directorship of the Old Vic but continued to appear in the company's productions throughout the rest of his career. He appeared in thirty cinema and television roles during his later years. Former message to front end paper. Very Good condition book in Very Good condition price clipped dust wrapper with short closed tear and shallow rubs to spine tips, spine slightly tanned. Loosely inserted is a SIGNED 'Harcourt Williams' corner mounted card and period photograph of Harcourt Williams as Charles VI of France in the 1944 production of Henry V. Dust wrapper protected. Member of the P.B.F.A. STAGE & THEATRE.

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Lithograph, from 'Souvenirs des Pyrenees', a little spotting,

Colour lithographic print, 26.5 x 18 cms; 28.5 x 22 cms (sheet), a few (sealed) short edge tears, sheet toned, overall in good condition, preserved in a window mount.

Condition: Good. Hand-colored engraving. 29.5 x 21 cm (sheet). Very Good, light foxing, minor surface soiling.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored engraving. 29.5 x 21 cm (sheet). Good, foxing throughout.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored engraving. 30 x 22 cm (sheet). Very Good, light foxing, crease at upper right sheet corner, light sheet toning.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored engraving. 29.5 x 21 cm (sheet). Very Good, light foxing, minor surface soiling.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored engraving. 30 x 22 cm (sheet). Very Good, light foxing, minor surface soiling.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condition: Good. Hand-colored etchings. 23 x 15.5 cm (each sheet). Very Good, prints hinged to another support sheet.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Tinted lithograph, 24" x 40 ½" sheet. Excellent condition. The Arader view of "Broadway" is not only a stunning testament to the rise of consumerism and urban development in 19th century America. It is also a demonstration of artistic mastery with its juxtaposition of almost planimetric facades and the deep receding lines of the avenue. Note, for instance, how the lines meet just below the geometric center of the view; Boell and Michelin thus adopt an intermediary perspective that allows them to exacerbate the monumentality of Broadway's buildings while casting a documentary eye on the traffic and activities in the streets. The latter reflect the status of the rising middle class and shopping as a fashionable pastime which contemporary sources such as "Graham's American Monthly Magazine" describe in lengthy passages: "Starting in the morning until late in the evening, Broadway and the adjoining streets are crowded with magnificently dressed women and with Americans rushing about on business." Stores offered an enticing range of wares and Broadway became "to New York what the Boulevard des Italiens is to Paris". As a social platform it was the setting of "elegancies and richness of fashions (.) and the object of being in the street is that of promenading and meeting friends and acquaintances." The lithographer William Boell started his career in 1854 and quickly developed partnerships in drawing views of New York and its environs; his technical skills benefited from the rise of lithography and aquatints during the Golden Century of American printmaking and the lessons of pioneering figures such as John Hill and William Bennett are found in his linear aesthetics and the composition of his plates. Boell's talent also earned him commissions such as a series of illustrations for William Heine's "Illustration of the Japan Expedition" in 1856 - the same year in which the "Broadway" print was produced. Lit. Caroline Rennolds Milbank: "Ahead of the World: New York Fashion", in Art and the Empire City: New York, 1825-1861, New York / New Haven 2000. #10165B.

Uniform matching hard back binding in publisher's original quarter beige linen cloth over light blue paper covered boards, paper lettering labels to the spines and front covers, top edge gilt. 4to 10½'' x 8''. Contains pp. x, 235, [2 leaves]; x, 217, [2 leaves]; x, 183, [2 leaves]. 3 engraved titles. 36 captioned paper guarded mounted colour plates (including frontispiece). Hand written number 227 of 500 limited edition copies on hand made Riccardi Paper. Foxing to the fore edge of volume three, small scratch mark to the front cover of volume two, contents in Fine condition. Member of the P.B.F.A. ENGLISH LITERATURE.

Bust porrait of admiral Michiel de Ruyter, after an engraving by Abraham Bloteling. Signed below the portrait: 'Naar de orig. Grav. van A. Blotelingh, Steend . v. Steuerwald. / F. Waanders. Lith.'; on the bottom reproduction of the signature of de Ruyter. l Lithograph on paper; total: 240 x 176 mm; some foxing yet in good conditions.

Lithograph, from 'Souvenirs des Pyrenees', a little spotting, some fraying on right margin, An early view of the bay of Biarritz with figures on the cliffs. Biarritz had been recommended as a health resort by doctors from the 18th century but at this time it was only a modestly sized town.

Condition: Good. Original lithograph on chine colle. 34 x 52.5 cm (sheet). Very Good, some foxing, mostly in the margins. As published in "Galerie de son Altesse Royale Madame la Duchesse de Berry. Ecole Francaise. Peintres Modernes. Ouvrage Dedie a son Altesse Royale et Lithographie par d'Habiles Artistes sous la Direction de M. Le Chevalier Bonnemaison, Membre de la Legion d'Honneur, Directeur de la Restauration des Tableaux du Musee Royal, et Conservateur de la Galerie de son Altesse Royale".Marie Caroline Ferdinande Louise de Bourbon-Sicile, Duchesse de Barry; Daughter of Francis, Duke of Calabria, later King of the two Sicilies; m. Charles Ferdinand Duc de Berry (son of Charles X) in 1816. Mother of Henri Duc de Bordeaux, exiled with the rest of the court in 1830, came back clandestinely in April 1832 in an attempt to place her son on the throne with her as a regent. Arrested and imprisoned in November 1832, freed in 1833 and sent to Palermo; she settled in Austria where she died.She commissioned a series of 250 lithographs reproducing paintings from the collection of the Duc de Berry. The plates were published from 1822, and two volumes binding the plates together were issued in 1824 and 1826.

Condition: Good. Etching on shield watermarked laid paper. 37 x 27 cm (sheet). Very Good, light specks of foxing in left margin.

No Binding. Condition: Reasonable. Facade de Ruffec Poitou. A view of the Church of Saint-Andre de Ruffec in Ruffec, in the Charente department. Lithography by Pierre-Frederic Lehnert (1811 - after 1880), after Adolphe Jean-Baptiste Bayot (1810-1866), c. 1840. Source: P. Moret. Le Moyen-age pittoresque, nonumens d'architecture, meubles et decors du Xe au XVIIe siecle (.). Paris, Veith et Hauser, c. 1840. Reasonable condition. Paper slightly soiled and? slightly browned. Some small faint brown spots affecting the image. Verso: blank. Dimensions: 312 x 217 mm. c. 1840. Print.

No Binding. Condition: Good. Facade de Ruffec. A view of the Church of Saint-Andre de Ruffec in Ruffec, in the Charente department. Lithography by Pierre-Frederic Lehnert (1811 - after 1880), after Nicolas-Marie-Joseph Chapuy (1790-1858), c. 1840. Source: P. Moret. Le Moyen-age pittoresque, nonumens d'architecture, meubles et decors du Xe au XVIIe siecle (.). Paris, Veith et Hauser, c. 1840. Good condition. Paper with minor, faint soiling, mainly affecting the right margin. Verso: blank. Dimensions: 313 x 220 mm. c. 1840. Print.

Bust portrait of Jan Pieterszoon Sweelinck after the engraving by Jan Muller. Text is also copied: 'M. Joannes Petri Swelingus Amstelo-batavus, / musicus et organifta toto celeberrimus; / vir fingulari modeftiâ ac pietate, cùm in vitâ, / tùm in morte omnibus fufpiciendus. Obijt M. DC. XXI. XVI. Octob. aet. LX.' and further: 'Bijlage van / Cecilia: Algemeen Muzikaal-Tijdschrift van Nederland'. Signed on the left: 'Steend. P.W. van de Weijer Utrecht'. Ca. 1800-1850. l Lithography on paper total: 293 x 228 mm. In good condition.