After 1910 (13 results)

Hard back binding in contemporary marble paper covered boards, paper ticket to the black cloth spine. 12mo. 6'' x 4ĵ''. Contains 187 [i] printed pages of Czech text. Tanning to the page edges, old Booksellers stamp to the title page and in Very Good sound condition. Member of the P.B.F.A. CZECHOSLOVAKIA.

8'' x 4'' down to 1½''. Single-sided bookmark for Peggy Duff's 'Left, Left, Left' with C.N.D. device. Member of the P.B.F.A. BOOKMARKS.

Original Bleistift-Zeichnungen (Vor- und Rückseite) von Jean-Baptiste Francois Arnaud-Durbec (1827-1910) aus dem 19. Jh. Nach einer Zeichnung von François Gérard. -- Maße: ca. 20 x 15 cm. -- gut erhalten. || Die auf dem zweiten Photo abgebildete Biographie ist nicht Teil des Angebots. || Original pencil drawings (recto and verso) by Jean-Baptiste Francois Arnaud-Durbec (1827-1910) from the 19th century. After a painting/drawing by François Gérard. -- in very good condition. || The attached picture of the biography of the artist is not included with the listing. || Jean Baptiste François Arnaud-Durbec (Marseille, 1827 - Paris, 1910), known as Arnaud-Durbec, was a French painter from the city of Marseille. Faced with the need to provide for his family, Arnaud-Durbec, the oldest of a numerous family, decides to quit his classical studies and becomes an apprentice in a academy where interior decoration was taught. The skills he learned during his apprenticeship will be highly important in his development as an artist. He later enrolls in the École des Beaux-Arts in Marseille, first under the direction of the Augustin Aubert (1781-1857), later unter the painter Émile Loubon (1809-1863). Loubon directs him to start working on various side projects votive offerings, decorations for cafés, church paintings, portraits, lithographs. Upon spending some time in Marignane, he gets sick from malaria and is confined to bed, in a serious condition, for three months. After surviving the disease, he returns to Marseille, where he executes paintings for the Church of Estaque. He later paints and decorates parts of the Église Saint Pierre in Avignon, as well. In 1868, he leaves for Paris, where his career truly takes off. After the Franco-Prussian War in 1870, Arnaud-Durbec meets Félix Philippoteaux (1815-1884), under whose command, together with a group of Parisian artists, he works on the Panorama du siege de Paris (1870-71). Arnaud-Durbec was also a member the Paris Commune. He is later commissioned to do the decoration of the hunting hall in the Neudeck Castle. Further works on commission follow, as Arnaud-Durbec's reputation grows; he works in various theaters, including Montpellier, and does part of the central dome of the Exposition Universelle of 1881, as well as the hall dedicated to the establishment known as Menus-Plaisirs du Roi. Arnaud-Durbec died in Paris in 1910, ending a long and fruitful career. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Original Zeichnung von Jean-Baptiste Francois Arnaud-Durbec (1827-1910) aus dem 19. Jh. -- Auf Papier montiert. -- Bild-Maße: ca. 16 x 13,5 cm. -- leicht fleckig, sonst gut erhalten. || Die auf dem zweiten Photo abgebildete Biographie ist nicht Teil des Angebots. || Original drawing by Jean-Baptiste Francois Arnaud-Durbec (1827-1910) from the 19th century. -- Mounted on paper. -- with some staining, otherwise in very good condition. || The attached picture of the biography of the artist is not included with the listing. || Jean Baptiste François Arnaud-Durbec (Marseille, 1827 - Paris, 1910), known as Arnaud-Durbec, was a French painter from the city of Marseille. Faced with the need to provide for his family, Arnaud-Durbec, the oldest of a numerous family, decides to quit his classical studies and becomes an apprentice in a academy where interior decoration was taught. The skills he learned during his apprenticeship will be highly important in his development as an artist. He later enrolls in the École des Beaux-Arts in Marseille, first under the direction of the Augustin Aubert (1781-1857), later unter the painter Émile Loubon (1809-1863). Loubon directs him to start working on various side projects votive offerings, decorations for cafés, church paintings, portraits, lithographs. Upon spending some time in Marignane, he gets sick from malaria and is confined to bed, in a serious condition, for three months. After surviving the disease, he returns to Marseille, where he executes paintings for the Church of Estaque. He later paints and decorates parts of the Église Saint Pierre in Avignon, as well. In 1868, he leaves for Paris, where his career truly takes off. After the Franco-Prussian War in 1870, Arnaud-Durbec meets Félix Philippoteaux (1815-1884), under whose command, together with a group of Parisian artists, he works on the Panorama du siege de Paris (1870-71). Arnaud-Durbec was also a member the Paris Commune. He is later commissioned to do the decoration of the hunting hall in the Neudeck Castle. Further works on commission follow, as Arnaud-Durbec's reputation grows; he works in various theaters, including Montpellier, and does part of the central dome of the Exposition Universelle of 1881, as well as the hall dedicated to the establishment known as Menus-Plaisirs du Roi. Arnaud-Durbec died in Paris in 1910, ending a long and fruitful career. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Illustrated manuscript, apparently unpublished, a genealogy and family history for the author's parents John Spratt Noble and Eliza Ann Sherburne Noble. Folio. 18, 23-143 pp. (with five leaves of unnumbered manuscript tipped in at various places in the manuscript, five pages of manuscript laid in at rear), approximately 25,000 words. Several of the tipped in leaves or plates are now loose, but very good overall, the text quite legible. Typical period ledger binding, black half-leather (rubbed, edges and corners bumped) and pebbled cloth, with a "Styles & Cash" (NY, 77 Eighth Ave.) stationer's ticket on the front pastedown, all edges sprinkled blue. (9914). The manuscript is illustrated with 31 mounted photographs (19 carte-de-visite size, mostly family portraits, but with three of family masonic mementos and two, much larger, of older family documents, 10 much smaller, all portraits), eight full-page maps (from various atlases) tipped in as plates, three of the United States, five of Great Britain, Ireland, and British counties, one lovely full-page manuscript map with watercolor of a family farm in Paterson, New Jersey ("D. K. Allen Place" [supplied title], 13 1/4 x 8 1/4 inches, picturing a plat map along a brook and pond between Broadway and Market Streets, circa late 1830s, with floor plans of the 3-story house and the various buildings shown on their lots, the rooms in the house and all of the buildings and physical features identified in a key on the verso, the streets and lots neatly laid out, and the pond, buildings, and some parcels of land nicely colored in a washes of green, blue, and tan, the property owned by the author's aunt and her husband, and reconstructed from childhood memories), five tipped-in engraved views and three engraved portraits (taken from books), a tipped in engraved family business card ("Raven & Bacon, / Piano-Forte Manufacturers, / Established 1829. / Wareroom, 135 Grand Street, / Near Broadway, / New York." Mrs. Raven was the author's aunt), a printed broadsheet ("Census and Statistics of Paterson, In the County of Passaic, and State of New-Jersey, Februa - / ry 1, 1838 [drop-title], by D. Burnett and J.S. Noble. [Paterson, NJ?], 1838. Printed broadsheet, 10, 1/4 x 8 3/8 inches, printing 50 paragraphs of text and two statistical tables in three columns on both sides. 34 of the paragraphs are numbered and describe individual businesses in Paterson, primarily factories and mills producing a variety of products, apparently not recorded on OCLC), and 15 relevant newspaper clippings, several long articles, but most short notices of deaths and other family events. For each of his families, the author provides some historical background of ancestors in Great Britain and Ireland, following those with genealogies, providing full names, birth and death dates, etc., for succeeding generations, illustrating his text with maps of the relevant countries and counties, continuing those, with increasing detail, for the 18th and 19th-century lines in America. For the members of the family from the late 19th century, the author includes personal anecdotes and memories of conversations, and includes 12 full pages for his father John Spratt Noble (1807-1888; New York, New Jersey, and Virginia entrepreneur). Noble was sent away to live with a relative when his father died in 1815 and was eventually apprenticed to a bookseller and binder in New York City, entering that trade in Paterson, N.J, when he reached 21. He moved to Brooklyn in 1839 to take over a stationery store, but gave that up to enter public service in 1841. For a while after that he was editor of a newspaper in Brooklyn and then took work with an insurance company, rising to president of the Reliance Marine Insurance Company by 1860. With the outbreak of the Civil War, Noble moved to Trenton, N.J., in 1861, starting a manufacturing company there. In the late 1870s Noble began several manufacturing businesses in Virginia, but those failed and he returned to Brooklyn in 1882, following the death of his wife, to live out his final years with his family.

Original Zeichnung von Jean-Baptiste Francois Arnaud-Durbec (1827-1910) aus dem 19. Jh. Auf Papier montiert. -- Blatt-Maße: ca. 30 x 19 cm. -- gut erhalten. || Die auf dem zweiten Photo abgebildete Biographie ist nicht Teil des Angebots. || Original drawing by Jean-Baptiste Francois Arnaud-Durbec (1827-1910) from the 19th century. Beautiful sketch after Nicolas Poussin. -- Mounted on paper. -- in very good condition. || The attached picture of the biography of the artist is not included with the listing. || Jean Baptiste François Arnaud-Durbec (Marseille, 1827 - Paris, 1910), known as Arnaud-Durbec, was a French painter from the city of Marseille. Faced with the need to provide for his family, Arnaud-Durbec, the oldest of a numerous family, decides to quit his classical studies and becomes an apprentice in a academy where interior decoration was taught. The skills he learned during his apprenticeship will be highly important in his development as an artist. He later enrolls in the École des Beaux-Arts in Marseille, first under the direction of the Augustin Aubert (1781-1857), later unter the painter Émile Loubon (1809-1863). Loubon directs him to start working on various side projects votive offerings, decorations for cafés, church paintings, portraits, lithographs. Upon spending some time in Marignane, he gets sick from malaria and is confined to bed, in a serious condition, for three months. After surviving the disease, he returns to Marseille, where he executes paintings for the Church of Estaque. He later paints and decorates parts of the Église Saint Pierre in Avignon, as well. In 1868, he leaves for Paris, where his career truly takes off. After the Franco-Prussian War in 1870, Arnaud-Durbec meets Félix Philippoteaux (1815-1884), under whose command, together with a group of Parisian artists, he works on the Panorama du siege de Paris (1870-71). Arnaud-Durbec was also a member the Paris Commune. He is later commissioned to do the decoration of the hunting hall in the Neudeck Castle. Further works on commission follow, as Arnaud-Durbec's reputation grows; he works in various theaters, including Montpellier, and does part of the central dome of the Exposition Universelle of 1881, as well as the hall dedicated to the establishment known as Menus-Plaisirs du Roi. Arnaud-Durbec died in Paris in 1910, ending a long and fruitful career. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 1550.

Small 8vo. 1 p. on bifolium. To a friend with New Year wishes, originally enclosing a now lost photograph: "Inclus, mon cher ami, ce que vous m'avez demandé. Tous mes remerciements et mes voeux les meilleurs pour 1911". - Alexandre had his debut at the Théâtre de la Renaissance in Paris in 1879. - Minimally stained.

Hand-coloured lithograph. Image size: 12 3/8 x 16 3/4 inches. A stunning view of the gardens at Westfield House on the Isle of Wight, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Sir Augustus Clifford (1788-1877) built Westfield on the Isle of Wight in the 1830s. The grounds included the terraced sculpture garden that leads to a grand view of the sea. The sculptures and many of the plants came from Italy. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. A stunning night view of the gardens at Eaton Hall, Cheshire, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Designed under the guidance of the Duke of Westminster, the picturesque garden of Eaton Hall, with its geometric parteres, medieval statues of knights and maidens, and Gothic arches, combined elements of the English formal garden with features of the medieval garden, the latter of which complemented the neo-Gothic castle in which the Duke resided. His gardens are pictured here in a dusky light that imbues the scene with an aura of romanticism and theatricality. The dramatic reflection of the moon's brilliant light in the waters of the dragon fountain, emphasizes the fountain's importance as the dominant visual centerpiece of the garden. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. A stunning view of the gardens at Westfield House on the Isle of Wight, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. A stunning view of the gardens at Westfield Halll on the Isle of Wight, from the "The Gardens of England." The Italian-style garden at Shrublands was designed by the Victorian architect Sir Charles Barry with later modifications by William Robinson. It is a prime example of the Italian style of garden design that was popular in England during the early nineteenth century, and which was characterized by the use of decorative edifices, classical architectural elements, and stairways. Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. Published in 1857, The Gardens of England is a series of 24 plates depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

This is Seymour Haden's etched version of the painting by Thomas Wright of Derby entitled "Edwin the Minstrel". The man in the portrait was actually Sir Francis Seymour Haden's own grandfather. Thomas Haden almost whole-length, seated with his legs crossed, resting his chin on his left hand.3rd state of 5, with cross hatchings on the background, title and date on the top left corner and fading inscriptions at bottom.[NL] Portret van Thomas Haden of Derby op jonge leeftijd, zittend met zijn benen over elkaar, zijn hoofd leunend op zijn hand. Etching and dry needle on paper, wide margins; total: 400 x 283 mm; state III/5; some toning, smudges, some dirt on the margins, traces of previous mountings on verso; clear watermark fleu-de-lis in crowned shield, lettering LVG.