Figure Camera, First Edition (9 results)

Hardcover. Condition: Good+. Dust Jacket Condition: Good. First Edition. Owners name in ink on several pages. Some small chips on front of DJ. Corners and spine of DJ hae sipping. ; Covered in Mylar; B and w photos; 9 X 1 X 11.25 inches; 112 pages.

First edition. 4to. 48 pp. Duotone photography. Cloth in dustwrapper, unclipped, edgewear, very good copy. (87176).

Condition: Buone. fotografie in b/n (illustrator). Prima Edizione. Num Pagine 249 tela editoriale con sovracoperta illustrata.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First Edition. Very Good Hardcover with dustjacket.

Paper. Condition: Good. First Edition. An Original Official Letter Appointing an Interview with the Pope for Leone Levi. Dated Dall Antigamera Pontifigia Vaticano 17 by the Octtobre 1867. Part filled in part typed. Signed to base by The Maestro di Camera ( is the real chief chamberlain to the Pope). A very senior figure in the Papal Hierarchy. The Maestro di Camera at this time was in Filippo de Angelis. Levi Leone, 1821-1888. English jurist and statistician. His chief work, History of British Commerce and of the Economic Progress of the British Nation, 1763-1870, is considered to be a partisan account of British economic development. Size is 270mm x 200mm. Condition is good. Light folding creases and light marking. More images can be taken upon request. Ref17153. Signed by Author(s).

Brossura. Condition: ottimo. prima edizione. Torino, S. Lattes & C. Librai-Editori, 1900. In-16° (16,5 cm x 9 cm). Pp. 48 di cui 24 di testo e 24 tavole a piena pagina raffiguranti 86 figure a colori impresse in cromolitografia. Esemplare in ottimo stato di conservazione. Interessante e raro piccolo atlante, difficile a trovarsi ben conservato, opera di Ubaldo Valbusa (1872-1939). L' Autore è stato tra i fondatori del Cai e dello Ski Club Torino. Docente di scienze naturali, intellettuale, erudito, è stato un personaggio fondamentale negli anni in cui gli sport della montagna hanno avuto un ruolo fondamentale nella nascita dell' Italia.

Couverture rigide. Condition: Bon. Dust Jacket Condition: Moyen. Edition originale. New York, U.S. Camera publishing corporation, 1952. In-4, 1952. Plein cartonnage toilé de l'éditeur, jaquette illustrée. 104 photographies, dont 1 dépliante. Jaquette défraichie avec de petites déchirures et de petits manques, des traces de mouillures. Album en bel état.

Paper. Condition: Fine. René Le Bègue (illustrator). First Edition Thus. Published in Camera Notes, volume 3, number I (July 1899). Printed as a photogravure by the Photochrome Engraving Company, a company that Alfred Stieglitz had founded. Image size is 7 3/4 inches by 4 3/4 inches. René Le Bègue was a Parisian photographer who founded the Photo-Club de Paris and was the first French photographer elected to England's Linked Ring. Alfred Stieglitz recognized his talent when he included six of Le Bègue's photographs in his personal collection. The semi-nude portrait offered here is typical for Le Bègue, who almost exclusively photographed nude women. The photogravure is in excellent condition: a superb impression that is in virtually as-new condition. Now archivally matted in an off-white passe-partout and ready to be framed in a standard 11" by 14" frame. Size: 7 3/4 inches by 4 3/4 Inches. Photo.

Hardcover. Condition: Fine. FIRST EDITION, SECOND ISSUE. A genuine, unsophisticated copy with no interventions. Bound in contemporary stiff parchment (worn, soiled and stained, corners and extremities worn with some restorations. The text is in overall fine condition, the paper fine, the margins broad, with just cosmetic faults: Marginal finger-soiling, heavier to first two leaves; pages 49-50, 135-136, and a few other leaves towards the end with marginal damp-stains, wrinkled gutter of plate opposite p. 95 (from paste), with stains at head and foot (not affecting the image), small tallow stain to blank corner of plate 61 and following two text lvs., gutter of p. 119/120 and following plate with a few wormholes and some staining from the paste, p. 123/4 with clean tear at head, not entering the text, p. 139 with light ink smear and marginal damp-stain, final leaves with v. light damp-stain in the gutter and outer margin; some leaf edges curled and with small tears. With 72 numbered etched plates, after and possibly by Bibiena, pasted in, and an engraved portrait of the author printed in the prelims. First edition, second issue, with the author's address "In Bologna Appresso L'Autore" added to the title and numbers added to the plates. One of Baroque theater's most important innovators, Ferdinando Galli Bibiena founded a dynasty of eight artists whose work, produced largely for the Farnese family and the House of Austria, shaped stage and theater design from the 1680s to the 1780s. Trained in painting, draftsmanship, and architecture, Ferdinando developed the family's distinctive style while creating stage sets, decorations, buildings, and gardens for the Farnese court in Parma and Piacenza. He is best known for inventing the scena per angolo - the "angled scene" - which broke with the rigid symmetry of seventeenth-century stages and introduced dynamic, immersive perspectives. This innovation established him as one of Europe's leading stage designers. His reputation brought commissions from major Italian theaters and, in 1708, an invitation to Barcelona to direct festivities for the marriage of Archduke Charles (later Emperor Charles VI). Later, together with his sons Giuseppe and Antonio, he worked at the Viennese court, further refining this revolutionary perspective system. Ferdinando codified his ideas in L'architettura civile, an influential manual for students of art and architecture. It is the first treatise to formally define scena per angolo, explained in Part Four's Della prospettiva delle scene, o teatri di nuova invenzione as a means of transforming static scenery into dynamic, spatially rich theatrical environments. The work is divided into five sections: geometry, civil architecture, perspective, including illusionistic "sotto in sù" perspective; instructions for painting perspective for theatrical scenes, including the "scena per angolo" technique; and the mechanics of transporting and supporting stage scenery. "The five-part text of Architettura civile contains references to the principal canonical writers on architecture (Vitruvius, Leon Battista Alberti, Andrea Palladio, Sebastiano Serlio, Vincenzo Scamozzi, and Giacomo Barozzi da Vignola) and on painting (Leonardo and Albrecht Durer), but is more circumspect in its references to experts on perspective; neither Nicola Sabbatini nor Andrea Pozzo is mentioned, the latter an especially glaring omission. The section on geometry includes a comparative table of scaled measurements, and although this was not a new idea (Serlio had provided scaled comparative measurements in his treatise), it added to the documentation of the widely diverse measurements used in European cities. In the section on architecture, Ferdinando follows Palladian principles of architecture, discussing types of buildings and appropriate kinds of ornament. The first two parts of the treatise establish several methods for the mastery of spatial illusionism in architecture and offer a repertory of architectural forms. "Ferdinando's Architettura civile is written in a very pithy style, with brief notes that make it resemble a recipe book. (His intention was to help average readers of 'mediocre ingegno' find what they want rapidly.) The first part, ostensibly on geometry, also provides a list of architectural principles regarding composition, preconstruction deliberations, typology of architecture, and construction materials. In part 2, Ferdinando turns to the architectural orders, admittedly following 'the most followed' that is, Vignola and Palladio. His illustrations for the orders of columns are densely composed, rich plates. His innovations for the composite order are quite extraordinary and include several figurative suggestions, such as trophies and serpents. Many of the details echo Francesco Borromini's architecture. "The third part on perspective is the core of the book. There Ferdinando deals with the theoretical aspects of optical perception, including the visual pyramid, and historical predecessors among whom he prefers Vignola's second manner of constructing perspective. He divides perspective into common, horizontal, and sotto in su (worm's-eye view). It is in the fourth part that he introduces the reader to his innovation of the scena per angolo, preceded by a short discussion of painting. In the conclusion, part 5, Ferdinando discusses the art of moving weights, which corresponds to the engineering and mechanical aspect of stage design hidden from the view of the public. Thus, although the treatise provides the basics of geometry, mechanics, and principles of architecture, it is principally intended to instruct theater and stage designers. "The fourth part of the treatise provides detailed instruction on stage design. To an even greater extent than Andrea Pozzo, Ferdinando did not allow the physical form of the stage to constrain his artistic principles, abandoning the axial continuity between auditorium and stage and placing his sets at 45 degrees to the proscenium opening. His scenery was composed.