Peepshow (17 results)

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Hardcover. Condition: New. Dust Jacket Condition: None Issued. Peepshow Collective (illustrator). 1st Edition. This is a New and Unread copy of the first edition and is sealed in the publisher's unopened shrink wrap as issued.

Condition: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Previously water damaged.

Hardcover. Condition: Used - Like New. 'Peepshow has achieved a rare alchemy: corralling a set of unique visual talents into a cohesive, and hugely influential, collective. Over the past decade, the Londonbased group have worked across illustration, animation, set design, textiles and art direction for such clients as the Victoria & Albert Museum, M&C Saatchi, BBC, The New York Times and SHOWstudio, while also creating their own work for books, exhibitions and events worldwide. They've represented the best of British imagemaking at expos for The British Council and The Museum of Modern Art in Japan, and have featured in shows at the ICA, the Hayward Gallery and Somerset House.' 'Peepshow has achieved a rare alchemy: corralling a set of unique visual talents into a cohesive, and hugely influential, collective. Over the past decade, the Londonbased group have worked across illustration, animation, set design, textiles and art direction.'.

Hardcover/Hardback. Condition: As New. Peepshow Collective praesentiert Arbeiten des gleichnamigen britischen IllustrationsNr. und Design-Kollektivs aus BrightonLondon. Das Buch dokumentiert die schoepferische Bandbreite der Gruppe: Illustrationen, Animationsstilll, Grafikdesign, Installationen und visuelle Konzepte Nr. komponiert in einem kuenstlerisch inspirierenden Bildband. Zu sehen sind ueber 600 Werke ihrer Studioarbeit aus ikonischen Projekten. Besonders interessant ist es fuer Absolvent:innen der Illustrationskunst, Designinteressierte und Sammler moderner visueller Kultur.

soft cover. No Jacket. Theatre Restaurant musical. Illustrated with black and white drawings. 30 cm. 46 pages VG. Very good condition with light shelf wear to covers, owner details on front cover, hihghlighting and annotations.

Hardcover. Condition: Good. Dust Jacket Condition: No Dust Jacket. Cowern, R.T. (illustrator). Small hard cover, in good condition. No jacket intended. Undated, but circa 1950. A carousel style book opening out to form a 6-point star with six 3D scenes from the Nativity. Blue cloth tie is in place. General shelf and handling wear; illustrated hard covers and cloth spine strip are marked in places, and edges and corners show wear. Colours are bright, inside and out, text clear and unmarked. A really attractive little pop-up book. CN. Used.

Condition: Very Good. Pop-up scenes to make hexagonal by Borje Svensson Duodecimo pictorial boards with ties 5 openings (lacks one tie-ribbon but has ribbon "hanger") V.G+ (MONTANTARO 50). 1 volume. Hardcover.

Hand drawen and constructed peep show, 120 x 145 mm. opening out to 690 mm. with 6 bellows and six perspective views, the first and last bellows with restoration, the front and back panels covered with thick textured paper. The Thames Tunnel was constructed between 1825 and 1843. Originally intended for horse drawn traffic it opened to pedestrians only, then was converted to railway use in 1865. This charming hand made peep show was probably copied from contemporary publicity during construction as it shows several horse drawn wagons which were not permitted to use the tunnel once it opened.

[Augsburg, M. Engelbrecht, [ca. 1750]. Seven large, oblong cardboard sheets (ca. 16.0 x 20.0 cm), with fine hand-colouring, being six cards with delicate cut-outs and one backpanel, together forming a garden party scene. = A wonderfully preserved set of the rarer large-size 18th century peepshows (with seven cards), which are more usually found in a "medium" (ca. 9 x 14 cm) or "small" (ca 7 x 9 cm) format, each usually with only six cards. A complete set of all seven cards, with delicate cut-outs and fine hand-colouring. The cards are numbered 29 [183]-189 in print on the versos. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of a the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). Preserved in contemporary wrappers with handwritten text Depart pour la Chasse de Loiseau. A very good set, showing a seldom-seen subject. Rare.

[Augsburg, M. Engelbrecht, [ca. 1750]. Seven large, oblong cardboard sheets (ca. 16.0 x 20.0 cm), with fine hand-colouring, being six cards with delicate cut-outs and one backpanel, together forming a garden concert scene. Preserved in contemporary wrappers with handwritten text Concert de Musique. = A wonderfully preserved set of the rarer large-size 18th-century peepshows (with seven cards), which are more usually found in a "medium" (ca. 14 x 9 cm) or "small" (ca 9 x 7 cm) format, each usually with only six cards. A complete set of all seven cards, with delicate cut-outs and fine hand-colouring. The cards are numbered 38 [246]-252 in print on the versos. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of a the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). A very good set, showing a seldom-seen subject. Rare.

Oblong 8vo (168 x 228 mm). Hand-coloured lithographed upper cover and 7 hand-coloured lithographed scenes bound concertina-style and extending to approximately 850 mm. A fine example of a peepshow, consisting of six cut-away scenes and one back scene on the inside of the lower cover. When viewed through the holes in the upper cover, a lively, three-dimensional scene is revealed, a festival crowd in a long street of Constantinople, terminating at the port. - "Paper peepshows developed out of sturdier 18th-century peepshows, in which views were slid at regular intervals into a rigid box made of wood or cardboard, with the peephole located at one end. In the example below, several scenes have been combined into a larger frame. The layered structure of the peepshow was inspired by Baroque stage sets where the decor was painted onto a series of parallel planes that moved along grooves set in the stage" (Victoria & Albert Museum). - Some soiling and wear to cover, bellows intact, minor damage to a few figures, minor spots of toning. An intact example of a fragile piece. No copies recorded in OCLC. - Hyde, Gestetner Collection, 103.

[Augsburg, M. Engelbrecht, ca. 1740]. Six (of seven) large, oblong cardboard sheets (ca. 16.0 x 20.0 cm), with fine hand-colouring, being five cards with delicate cut-outs and one backpanel, together forming a single scene. Rear panel numbered, in print, N. 51 in the lower margin. = The triumphal entry into Jerusalem is a narrative in the four canonical Gospels describing the arrival of Jesus in Jerusalem a few days before his crucifixion. This event is celebrated each year by Christians on Palm Sunday. According to the gospels, Jesus arrived in Jerusalem to celebrate Passover, entering the city riding a donkey. He was greeted by a crowd acclaiming him by waving palm branches and laying cloaks on the ground to honor him. This episode introduces the events of the Passion of Jesus, leading to his crucifixion and resurrection. The event is described in Matthew 21:1-11, Mark 11:1-11, Luke 19:28-44 and John 12:12-19 (cf. Wikipedia). Given the age and subject, we assume that this item was produced by the Augsburg firm of M. Engelbrecht. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). A peepshow of this size usually consists of seven cardboards, therefore, we assume that the first cardboard (which, usually, is the least detailed) is lacking. Fifth cardboard with rather clumsy repairs, showing glue remains and reinforcements at the back. Otherwise, very good with bright and beautiful colouring.

[Augsburg, M. Engelbrecht, [ca. 1750]. Six (of seven) large, oblong cardboard sheets (ca. 16.0 x 20.0 cm), with fine hand-colouring, being five cards with delicate cut-outs and one backpanel, together forming a single scene. Rear panel numbered, in print, N. 51 in the lower margin. = A rare view into a den of thieves, having a jolly good time. Given the age and subject, we assume that this item was produced by the Augsburg firm of M. Engelbrecht. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). First cardboard (which is the least detailed, and, e.g., without human figures) lacking. Interestingly, the six remaining cards are numbered 1-6 on the versos, in quite an old, perhaps contemporary hand. In very good condition.

[Augsburg, M. Engelbrecht, [ca. 1750]. Seven large, oblong cardboard sheets (ca. 16.0 x 20.0 cm), with fine hand-colouring, being six cards with delicate cut-outs and one backpanel, together forming a single scene. = A rare view into a den of thieves, having a jolly good time. Given the age and subject, we assume that this item was produced by the Augsburg firm of M. Engelbrecht. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). Number in and old hand written in the upper margin (except the curtain), various numbers and titles on versos.

[Augsburg, M. Engelbrecht, ca. 1750]. A complete set of six engraved and carefully hand-coloured card-backed oblong prints (five with careful cutaways). Each 9.3 x 14.1 cm. = A wonderfully preserved, complete set of cards, with delicate cut-outs and splendid hand-colouring. This peepshow consists of six cards which together form a battle scene. Given the age and subject, we assume that this item has been produced by the Augsburg firm of M. Engelbrecht. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of a the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). A very good set, showing a seldom-seen subject. Very slight rubbing to the edges, otherwise a very good, clean. Rare.

[Augsburg, M. Engelbrecht (?), ca. 1780]. Six oblong cardboard sheets (ca. 20.0 x 16.0 cm), with fine hand-colouring, five cards with delicate cut-outs and one backpanel, together forming a scene in a forest, with hunters chasing a bear. Preserved in an attractive 20th-century felt-covered wooden box with glass front and top (28 x 21 x 17.5 cm). = A wonderfully preserved peepshow, or Kulissenbilder, being a complete set of cards, with delicate cut-outs and hand-colouring showing a bear hunt in the woods. The cards are numbered 1-6 in an old hand on the versos. Preserved in a custom-made box, showing the scene as originally intended. "Martin Engelbrecht (1684-1756), a native of Augsburg was the son of a colour merchant. He began his career as an artist by the attachment to a local publishing house but had by 1708 moved to Berlin where he was engaged in the designs after Eosander von Goethe of a the Silberbüfett im Ritterall at Berlin and of a porcelain cabinet in Charlottenberg. Returning to Augsburg he was involved in illustrating a wide variety of works after various artist mainly on subjects connected with the decorative arts. However in 1711 Engelbrecht was again in Berlin working at a fine art publishers with his older brother Christian Engelbrecht (1672-1735). They decided to start their own independent publishing house at Augsburg in 1719 where they produce a wide variety of graphic works. It was with peepshows Martin Engelbrecht excelled having the unique position of no other publishing house or place of publication to compete against him. Engelbrecht was kept busy with the many other special graphics and employed two artists, Jeremias Wachsmuth (1711-1771) and Johann David Nessenthaler (1717-1766), to produce designs for the peepshows. Wachsmuth's work can be found as early as 1731, and those by Nessenthaler starting from 1737. With Martin Engelbrecht's death in 1756 the business continued to thrive under the management of Engelbrecht's daughters and sons-in-law, and continued on well into the nineteenth century." (Marlborough Rare Books Catalogue, List XLV, 2009. pp. 33-34). However, the items - although most certainly from the late-early to mid-18th-century - are neither dated nor signed. Attribution to Engelbrecht is, therefore, only speculative. A very good set. Rare, especially in this very good condition.