2013, ISBN: 9780295985985

Taschenbuch, Gebundene Ausgabe, Erstausgabe

London: M. A. Nattali, 1846. Cloth. Very Good Indeed. 7" by 4.5". Not Stated. An exploration into the British Museum's collection of Egyptian antiquities, complete in two volumes. This … Mehr…

London: M. A. Nattali, 1846. Cloth. Very Good Indeed. 7" by 4.5". Not Stated. An exploration into the British Museum's collection of Egyptian antiquities, complete in two volumes. This work describes all manner of artefacts and monuments from ancient Egypt, including mummies, papyrus, sphinxes, paintings, sculpture and the famed Rosetta Stone.Written by George Long (1800-1879), an English classical scholar. His works included translations of Marcus Aurelius' 'Meditations' and Epictetus' 'Discourses', as well as revised editions of Macleane's Juvenal and Persius and Horace, 'The Civil Wars of Rome' and 'Decline of the Roman Republic'.Complete in two volumes.Illustrated with forty-one woodcuts in volume I and fifty-five in volume II. Collated, complete. Rebound in full cloth by Bath Library. Externally very smart, with just some general wear. Library bookplate to the front pastedown of each volume, alongside a few inscriptions. Internally, firmly bound. Pages are bright and clean. Very Good Indeed, M. A. Nattali, 1846, 3, Scarce two volume set of half red Morocco with gilt floriated panels and title to spine; five raised bands. Marbled endpapers. Previous owner's bookplates to front; otherwise no previous owner's names or other markings.. Worn corners and top of volume I spine. Pp. [viii] 399 Vol. Pp. [viii] 448 4.5 x 6.5 in, M. A. Nattali, 1846, 2.5, London: Harrison & Sons, 1896. Second limited edition. Hardcover. g- to vg. 1/500, out of series. Large Quarto. xii, 361 (1)pp., 35 plates, incl. folding frontispiece. Original three quarter black leather over pebbled green buckram with gilt ruling and lettering on covers and spine; five raised bands. Gilt top edge. Marbled endpapers. Folding frontispiece. Red and black title page. All text pages, including title page with red border. Historiated endpieces. "The collection of Egyptian Antiquities of which some account is given in the following pages were acquired by Lady Meux in 1882, 1895-6. They contain a number of very important objects, among which the following are worthy of special note:-(1.) Limestone slabs from tombs of officials who flourished in the IVth and Vth dynasties, and four fine sepulchral stelae inscribed with hymns to the Sun-god from Akhmim. (2.) The rectangular wooden coffin of An-heru, inscribed in hieratic with Chapters from the Book of the Dead. This coffin was made in the XIth dynasty, about B.C. 2600, or earlier, and belongs to the class represented by the Coffin of Amamu in the British Museum. (3.) A magnificently painted coffin of an unnamed member of the confraternity of the priests of Amen-Ra at Thebes. (4.) The mummy and coffin of Nes-Amsu, the second prophet of the god Amsu, and prophet of the god Khonsu at Apu (the panopolis of the Greeks, represented today by the modern town of Akhmim in Upper Egypt), about B.C. 350..." (Budge). Illustrated with 35 lithographic plates and hieroglyphs. Binding with light wear along edges, some scuffing and flaking of leather at upper spine scuffing of upper joint. Foxing in margins of text pages and plates throughout, not affecting images. Block lightly age-toned. Binding in overall good-, interior in good+ to very good condition., Harrison & Sons, 1896, 3, London: Moon, F.G., 1844. Excellent Condition. Notes: The Prints of David Roberts:Part 1 - The PrinterLouis Haghe (1806-1885) was one of the msot skillful exponents of the tinted lithograph who became a leading reproductive lithographer in England and on the Continent. Haghe's reputation as a lithographer was primarily based upon topographical views, of which Twyman notes "his most important work of this kind, the translation of Roberts' sketches of the Holy Land, represents the culmination of his art".Part 2 - The Publication of Roberts' Holy Land and EgyptRoberts first sketched in his journals "on the spot" the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts' original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts' designs onto lithographic stones.Part 3 - A Genesis of Roberts' PrintsDavid Roberts fulfilled a boyhood dream by visiting the East and recording what he saw there; by August 1838 he had resolved to "visit the Holy Land, and make drawings of the scenes of sacred history and the antiquities of Egypt". By this time Roberts had already established himself as a successful topographical artist and published his set of Spanish scenery as tinted lithographs, Picturesque Sketches in Spain, 1837. Eventually he would be elected to the prestigious Royal Academy on the strength of his topographical paintings.Part 4 - The PlatesRoberts' Holy Land and Egypt project has been called "the most ambitious work ever published in England with lithographic plates" (according to Micheal Twyman). Its production involved over 600 lithographic stones used over an eight to nine year period. It is generally agreed the lithographers Day & Haghe were the most efficient for such large scale work, while Louis Haghe himself was a master lithographer.The plate formats strongly influenced their presentation as prints: large full-page and small half-page vignettes representing what Roberts intended to be the difference between finished drawings and sketches. roberts was a good judge of accurate transposition of his watercolors and sketches into lithography.Today historians regard Roberts' Holy Land and Egypt as the last link between the established artist and topographical lithography. Since Roberts' prints were the most costly publishing venture in Britain at the time, undertaken by a publisher "on his own responsibility", Roberts sighed on its completion: " ... thank God .. that with being blessed with health and backed by my ever esteemed friend Louis Haghe I may also say the most satisfactory."References:Micheal Twyman, Lithography, 1800-1850, London, 1970Katherine Sim, David Roberts, London 1984J.R. Abbey, Travel in aquatint and lithograph 1770-1860, Nos. 272, 385James Ballantine, The Life of David Roberts, Edinburgh, 1866Helen Guiterman, David Roberts, London 1978Barbican Art Gallery (catalogue), David Roberts, London, 1986British Library (BS), Image Size : 257x354 (mm), 10.125x13.875 (Inches), Platemark Size : , Paper Size : 603x410 (mm), 23.75x16.125 (Inches), Coloring: Hand Colored, Medium: Lithograph, Categories: ; Artists David Roberts Egypt; Views Africa Egypt, Moon, F.G., 1844, 0, London: Moon, F.G., 1848. Very Good Condition; margins trimmed. Notes: The Prints of David Roberts:Part 1 - The PrinterLouis Haghe (1806-1885) was one of the msot skillful exponents of the tinted lithograph who became a leading reproductive lithographer in England and on the Continent. Haghe's reputation as a lithographer was primarily based upon topographical views, of which Twyman notes "his most important work of this kind, the translation of Roberts' sketches of the Holy Land, represents the culmination of his art".Part 2 - The Publication of Roberts' Holy Land and EgyptRoberts first sketched in his journals "on the spot" the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts' original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts' designs onto lithographic stones.Part 3 - A Genesis of Roberts' PrintsDavid Roberts fulfilled a boyhood dream by visiting the East and recording what he saw there; by August 1838 he had resolved to "visit the Holy Land, and make drawings of the scenes of sacred history and the antiquities of Egypt". By this time Roberts had already established himself as a successful topographical artist and published his set of Spanish scenery as tinted lithographs, Picturesque Sketches in Spain, 1837. Eventually he would be elected to the prestigious Royal Academy on the strength of his topographical paintings.Part 4 - The PlatesRoberts' Holy Land and Egypt project has been called "the most ambitious work ever published in England with lithographic plates" (according to Micheal Twyman). Its production involved over 600 lithographic stones used over an eight to nine year period. It is generally agreed the lithographers Day & Haghe were the most efficient for such large scale work, while Louis Haghe himself was a master lithographer.The plate formats strongly influenced their presentation as prints: large full-page and small half-page vignettes representing what Roberts intended to be the difference between finished drawings and sketches. roberts was a good judge of accurate transposition of his watercolors and sketches into lithography.Today historians regard Roberts' Holy Land and Egypt as the last link between the established artist and topographical lithography. Since Roberts' prints were the most costly publishing venture in Britain at the time, undertaken by a publisher "on his own responsibility", Roberts sighed on its completion: " ... thank God .. that with being blessed with health and backed by my ever esteemed friend Louis Haghe I may also say the most satisfactory."References:Micheal Twyman, Lithography, 1800-1850, London, 1970Katherine Sim, David Roberts, London 1984J.R. Abbey, Travel in aquatint and lithograph 1770-1860, Nos. 272, 385James Ballantine, The Life of David Roberts, Edinburgh, 1866Helen Guiterman, David Roberts, London 1978Barbican Art Gallery (catalogue), David Roberts, London, 1986British Library (BS), Image Size : 255x348 (mm), 10x13.75 (Inches), Platemark Size : , Paper Size : 352x390 (mm), 13.875x15.375 (Inches), Coloring: Hand Colored, Medium: Lithograph, Categories: ; Artists David Roberts Egypt; Views Africa Egypt, Moon, F.G., 1848, 3, London: F.G. Moon and Co., 1845. From the Standard Folio First Edition, limited to 500 sets only. A single original hand-coloured lithographic plate drawn on stone by Louis Haghe after David Roberts' paintings done on location in 1839. Printed on a half folio sheet 17" x 11", the captioned image, is 14" x 10", now presented in cream mounting boards 20" x 18" glazed behind clear mylar. Beautifully hand-coloured to the highest standards of the time. An example in excellent condition, clean, fresh, beautifully preserved. FROM One of the most desirable of all travel and COLOURplate books. This is an excellent plate with the impressive content of one of the world's great holy sites, according to Jewish, Christian, and Islamic tradition, the biblical Mount Sinai was the place where Moses received the Ten Commandments. An excellent plate with exceptional detail and depth of colour. We have a good number of impressive images from the Standard Folio Edition of this classic work available for purchase. As well as many other views of Petra and Sinai there are also available views of Egypt,Tyre, Nubia, the Jordan, Sidon and Baalbec. Please inquire for further details. Roberts set sail for Egypt on 31 August 1838, a few years after Owen Jones. His intent was to produce drawings that he could later use as the basis for the paintings and lithographs to sell to the public. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt. Roberts made a long tour in Egypt, Nubia, the Sinai, the Holy Land, Jordan and Lebanon. Throughout, he produced a vast collection of drawings and watercolour sketches. On his return to Britain, Roberts worked with lithographer Louis Haghe from 1842 to 1849 to produce these lavishly illustrated plates. He funded the work through advance subscriptions which he solicited directly. The scenery and monuments of Egypt and Holy Land were fashionable but had hitherto been hardly touched by British artists, and so Roberts quickly accumulated 400 subscription commitments, with Queen Victoria being subscriber No. 1., F.G. Moon and Co., 1845, 0, 1850. London, Cassell etc., c. 1850. Original, vintage Lithograph. Beautifully Framed. Size of frame with Lithograph: 62 cm x 45.5 cm. Size of actual Lithograph: c. 34 cm x 50 cm. Excellent condition ! David Roberts RA (24 October 1796 – 25 November 1864) was a Scottish painter. He is especially known for a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841. In 1832 he travelled in Spain and Tangiers. He returned at the end of 1833 with a supply of sketches that he elaborated into attractive and popular paintings. The British Institution exhibited his Interior of Seville Cathedral in 1834, and he sold it for £300. He executed a fine series of Spanish illustrations for the Landscape Annual of 1836. Then in 1837 a selection of his Picturesque Sketches in Spain was reproduced by lithography. In London he made the acquaintance of artists such as Edward Thomas Daniell and John Linnell, who frequented Daniel's house. J.M.W. Turner managed to persuade him to abandon scene painting and devote himself to becoming a full-time artist. Roberts set sail for Egypt on 31 August 1838, a few years after Owen Jones. His intent was to produce drawings that he could later use as the basis for the paintings and lithographs to sell to the public. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt. Roberts made a long tour in Egypt, Nubia, the Sinai, the Holy Land, Jordan and Lebanon. Throughout, he produced a vast collection of drawings and watercolour sketches. Muhammad Ali Pasha received Roberts in Alexandria on 16 May 1839, shortly before his return to the UK. He later reproduced this scene, apparently from memory, in Volume 3 of Egypt & Nubia. Upon Roberts's return to Edinburgh in 1840, his fellow-artist, Robert Scott Lauder, painted his portrait. (In 1980, the National Gallery of Scotland purchased the portrait.) Scottish society fêted him. For instance, he was the guest of honour at a dinner on 19 October 1842, at which Lord Cockburn presided. On his return to Britain, Roberts worked with lithographer Louis Haghe from 1842 to 1849 to produce the lavishly illustrated plates of the Sketches in the Holy Land and Syria, 1842–1849 and Egypt & Nubia series. He funded the work through advance subscriptions which he solicited directly. The scenery and monuments of Egypt and Holy Land were fashionable but had hitherto been hardly touched by British artists, and so Roberts quickly accumulated 400 subscription commitments, with Queen Victoria being subscriber No. 1. Her complete set is still in the Royal Collection. The timing of publication just before photographs of the sites became available proved fortuitous. In 1851, and again in 1853, Roberts visited Italy, painting the Ducal Palace, Venice, bought by Lord Londesborough, the Interior of the Basilica of St Peters, Rome, Christmas Day, 1853, and Rome from the Convent of St Onofrio, presented to the Royal Scottish Academy. His last volume of illustrations, Italy, Classical, Historical and Picturesque, was published in 1859. He also executed, by command of Queen Victoria, a picture of the opening of the Great Exhibition of 1851. In. 1839 he was elected an associate and in 1841 a full member of the Royal Academy; and in 1858 he was presented with the freedom of the city of Edinburgh. The last years of his life were occupied with a series of views of London from the Thames. He had executed six of these, and was at work upon a picture of St Paul's Cathedral as seen from Ludgate Hill, when he died suddenly. He collapsed on Berners Street on the afternoon of 25 November 1864 and died at home that evening. The symptoms, described as apoplexy in most histories, were those of a stroke. He was buried at West Norwood Cemetery. (Wikipedia), 1850, 0, London: Moon, F.G., 1844. Good Condition; upper and lower margins extended. Notes: The Prints of David Roberts:Part 1 - The PrinterLouis Haghe (1806-1885) was one of the msot skillful exponents of the tinted lithograph who became a leading reproductive lithographer in England and on the Continent. Haghe's reputation as a lithographer was primarily based upon topographical views, of which Twyman notes "his most important work of this kind, the translation of Roberts' sketches of the Holy Land, represents the culmination of his art".Part 2 - The Publication of Roberts' Holy Land and EgyptRoberts first sketched in his journals "on the spot" the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts' original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts' designs onto lithographic stones.Part 3 - A Genesis of Roberts' PrintsDavid Roberts fulfilled a boyhood dream by visiting the East and recording what he saw there; by August 1838 he had resolved to "visit the Holy Land, and make drawings of the scenes of sacred history and the antiquities of Egypt". By this time Roberts had already established himself as a successful topographical artist and published his set of Spanish scenery as tinted lithographs, Picturesque Sketches in Spain, 1837. Eventually he would be elected to the prestigious Royal Academy on the strength of his topographical paintings.Part 4 - The PlatesRoberts' Holy Land and Egypt project has been called "the most ambitious work ever published in England with lithographic plates" (according to Micheal Twyman). Its production involved over 600 lithographic stones used over an eight to nine year period. It is generally agreed the lithographers Day & Haghe were the most efficient for such large scale work, while Louis Haghe himself was a master lithographer.The plate formats strongly influenced their presentation as prints: large full-page and small half-page vignettes representing what Roberts intended to be the difference between finished drawings and sketches. roberts was a good judge of accurate transposition of his watercolors and sketches into lithography.Today historians regard Roberts' Holy Land and Egypt as the last link between the established artist and topographical lithography. Since Roberts' prints were the most costly publishing venture in Britain at the time, undertaken by a publisher "on his own responsibility", Roberts sighed on its completion: " ... thank God .. that with being blessed with health and backed by my ever esteemed friend Louis Haghe I may also say the most satisfactory."References:Micheal Twyman, Lithography, 1800-1850, London, 1970Katherine Sim, David Roberts, London 1984J.R. Abbey, Travel in aquatint and lithograph 1770-1860, Nos. 272, 385James Ballantine, The Life of David Roberts, Edinburgh, 1866Helen Guiterman, David Roberts, London 1978Barbican Art Gallery (catalogue), David Roberts, London, 1986British Library (BS), Image Size : 322x488 (mm), 12.625x19.25 (Inches), Platemark Size : , Paper Size : 375x534 (mm), 14.75x21 (Inches), Coloring: Hand Colored, Medium: Lithograph, Categories: ; Artists David Roberts Holy Land; Views Asia Middle East Holy Land & Palestine, Moon, F.G., 1844, 2.5, London: Moon, F.G., 1844. Very Good Condition; upper margin extended. Notes: The Prints of David Roberts:Part 1 - The PrinterLouis Haghe (1806-1885) was one of the msot skillful exponents of the tinted lithograph who became a leading reproductive lithographer in England and on the Continent. Haghe's reputation as a lithographer was primarily based upon topographical views, of which Twyman notes "his most important work of this kind, the translation of Roberts' sketches of the Holy Land, represents the culmination of his art".Part 2 - The Publication of Roberts' Holy Land and EgyptRoberts first sketched in his journals "on the spot" the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts' original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts' designs onto lithographic stones.Part 3 - A Genesis of Roberts' PrintsDavid Roberts fulfilled a boyhood dream by visiting the East and recording what he saw there; by August 1838 he had resolved to "visit the Holy Land, and make drawings of the scenes of sacred history and the antiquities of Egypt". By this time Roberts had already established himself as a successful topographical artist and published his set of Spanish scenery as tinted lithographs, Picturesque Sketches in Spain, 1837. Eventually he would be elected to the prestigious Royal Academy on the strength of his topographical paintings.Part 4 - The PlatesRoberts' Holy Land and Egypt project has been called "the most ambitious work ever published in England with lithographic plates" (according to Micheal Twyman). Its production involved over 600 lithographic stones used over an eight to nine year period. It is generally agreed the lithographers Day & Haghe were the most efficient for such large scale work, while Louis Haghe himself was a master lithographer.The plate formats strongly influenced their presentation as prints: large full-page and small half-page vignettes representing what Roberts intended to be the difference between finished drawings and sketches. roberts was a good judge of accurate transposition of his watercolors and sketches into lithography.Today historians regard Roberts' Holy Land and Egypt as the last link between the established artist and topographical lithography. Since Roberts' prints were the most costly publishing venture in Britain at the time, undertaken by a publisher "on his own responsibility", Roberts sighed on its completion: " ... thank God .. that with being blessed with health and backed by my ever esteemed friend Louis Haghe I may also say the most satisfactory."References:Micheal Twyman, Lithography, 1800-1850, London, 1970Katherine Sim, David Roberts, London 1984J.R. Abbey, Travel in aquatint and lithograph 1770-1860, Nos. 272, 385James Ballantine, The Life of David Roberts, Edinburgh, 1866Helen Guiterman, David Roberts, London 1978Barbican Art Gallery (catalogue), David Roberts, London, 1986British Library (BS), Image Size : 347x505 (mm), 13.625x19.875 (Inches), Platemark Size : , Paper Size : 366x542 (mm), 14.375x21.375 (Inches), Coloring: Hand Colored, Medium: Lithograph, Categories: ; Artists David Roberts Holy Land; Views Asia Middle East Holy Land & Palestine, Moon, F.G., 1844, 3, Middle East: Paris Impremerie de C.L.F.Pancoucke 1820-1829. Copper engraved view of the painted interior of the temple of Mnemnon, Thebes from the third volume of the "Antiquities "of the "Description de l'Egypte," 2nd Edition; black & white; verso blank. Blind stamp of the publisher Panckoucke to margin. The view shows the highly decorated interior of the palace and temple of Remeses II. erroneously called the Memnonium. Good dark impression; some light foxing mainly to margins. "Description de l'Egypte, ou, Recueil des observations et des recherches qui ont été faites en Egypte pendant l'expédition de l'armée française." When Napoleon Bonaparte invaded Egypt in 1798, he brought with him an entourage of more than 160 scholars and scientists. Known as the French Commission on the Sciences and Arts of Egypt, these experts undertook an extensive survey of the country's archeology, topography, and natural history. . For four years more than 150 artists, engineers, linguists, and scientists traveled throughout the country, examining almost every aspect of ancient and contemporary Egypt. They recorded and measured in meticulous detail Egypt's topography, flora and fauna, and its ancient and contemporary architecture. A soldier who was part of the expedition found the famous Rosetta Stone, which the French linguist and scholar Jean-François Champollion (1790-1832) later used to unlock many of the mysteries that long had surrounded the language of ancient Egypt. The Egyptian expedition ended with a total military failure. The French left Egypt in 1801, with the honors of war, but defeated; yet military failure remains a significant event in the history of knowledge because it is the first time a military expedition was accompanied by a scientific expedition. In 1802 Napoleon authorized the publication of the commission's findings in a monumental, multi-volume work that included plates, maps, scholarly essays, and a detailed index. Publication of the original Imperial edition began in 1809 and continued to 1822, sold by subscription. It proved so popular that a second edition was published under the post-Napoleonic Bourbon Restoration. The "Royal edition" published in Paris by C.L.F. Panckoucke from 1820-1830. The Second edition consists of 11 or 12 volumes of plates in folio and 24 of text [bound as 26] 8vo. Brunet:II, 617; Blackmer/Navari: 476 [1st edition] Middle East Egypt Memnonium. Thebes, Paris Impremerie de C.L.F.Pancoucke 1820-1829, 0, [NOTICE EN FRANÇAIS À LA SUITE]First edition.Unique print : 100 copies. L'Oeuvre priapique isa collection of twenty-three plates by Denon representing subjects with erotic connotations, was published in Paris, at the end of 1793, by N.C. Aubourg Hôtel Bullion rue J. J. Rousseau. Heteroclite in spirit, execution and also in size - one finds scenes taken from ancient coins, Roman paintings from the Naples Museum of Herculaneum as well as compositions invented by Denon - this series constitutes Denon's first attempt as an engraver, when he arrives in Paris, to try to exploit his fund and earn some money. This initiative was ill-timed and testifies to his lack of knowledge of the surrounding climate. In this second year of the Republic, the initiative was politically incorrect, even dangerous: Robespierre, in the great "Discourse on the principles of political morality..." which he delivered on 4 February 1794, proclaimed that "in the system of the French Revolution, what is immoral is impolitic, what is corrupt is counter-revolutionary". And, on Wicar's proposal, the Société républicaine des arts decided, on 22 April 1794, to draw up a list of reprehensible and obscene works to be denounced to the Committee of Public Salvation. L'¼uvre priapique was part of the list and the collection was very quickly confiscated, if at all, when it was put up for sale: there simply remains no known copy of this edition, and the exact composition could never be established with certainty. Denon subsequently had a remarkable career: first director of the Louvre Museum and official engraver of the Egyptian Expedition. But it was not until several years later that this engraved work was published: it was not until the second half of the century that the bookseller and publisher Barraud acquired all of Denon's original, among those preserved. In 1873, he then produced an edition of the engraved work, 317 plates - including the "Priapées", revealed here for the first time to the general public and printed in 100 copies. In addition to the initial series of 23 engravings, Barraud proceeded to print eight additional, unpublished engravings. Numerous forgeries were subsequently produced, including reprints of the most famous plates, such as those of "King Phallus" and "Phallus Phenomenal", which is obviously a pleasant transposition of Gulliver's Swiftian theme of Gulliver washed up on the shore of Lilliput. Most of the engravings are signed "D" in the lower margin; six are signed, one dated, four signed and dated, two captioned (one of them, representing Asian coitus, captioned in ideographs), one signed and captioned. Our collection contains all the plates from the Barraud 100 copies set of 23+8 etchings, printed on laid paper, with very large margins and in perfect condition. It comes from the library of Louis Perceau, the famous french erotica bibliographer. Cohen, 285; Gay-Lemmonyer, II, 451. NOTICE FRANCAISE | FRENCH DESCIPTION Édition originale. "L'Oeuvre priapique", un recueil de vingt-trois planches de Denon représentant des sujets à connotation érotique, paraît à Paris, fin 1793, chez N.C. Aubourg Hôtel Bullion rue J. J. Rousseau. Hétéroclite d'esprit, de facture et aussi de dimensions - on trouve aussi bien des scènes tirées des monnaies antiques, de peintures romaines du musée de Naples d'Herculaneum que des compositions inventées par Denon -, cette suite constitue la première démarche de Denon graveur, lorsqu'il arrive à Paris, pour tenter d'exploiter son fonds et de gagner un peu d'argent. Initiative bien mal venue et qui témoigne de sa méconnaissance du climat ambiant. En cet an II de la République, l'initiative est politiquement incorrecte, voire dangereuse : Robespierre dans le grand "Discours sur les principes de morale politique..." qu'il prononce le 4 février 1794, proclame que " dans le système de la révolution française, ce qui est immoral est impolitique, ce qui est corrupteur est contre-révolutionnaire ". Et, sur proposition de Wicar, la Société républicaine des arts décide, le 22 avril 1794, de dresser une liste des ouvrages répréhensibles et obscènes pour être dénoncés au Comité de Salut public. L'Oeuvre priapique fait partie du lot et le recueil a été très vite retiré, si tant est qu'il ait été mis en vente : il ne subsiste tout simplement aucun exemplaire connu de ce tirage, et la composition exacte n'a jamais pu être établie avec certitude. Denon fit par la suite une carrière remarquable : premier directeur du Musée du Louvre et graveur attitré de l'Expédition d'Égypte. Mais il faudra attendre plusieurs années pour voir publier cette oeuvre gravée : ce n'est que dans la seconde partie du siècle que le libraire-éditeur Barraud acquiert l'intégralité des cuivres originaux, parmi ceux conservés, de Denon. Il réalise alors en 1873 une édition de l'oeuvre gravée, soit 317 planches - dont celle des "Priapées", révélées ici pour la première fois au grand public et imprimées à 100 exemplaires. À la série initiale de 23 gravures, Barraud procède au tirage de huit gravures supplémentaires, inédites. De nombreuses contrefaçons verront le jour par la suite, notamment des retirages des planches les plus célèbres comme celles du "Roi Phallus", ou celle du "Phallus phénoménal", qui est bien évidemment une transposition plaisante du thème swiftien de Gulliver échoué sur le rivage de Lilliput.La majeure partie des gravures est signée " D " en marge inférieure ; six sont signées, une datée, quatre signées et datées, deux légendées (dont une, représentant un coït asiatique, légendée en idéogrammes), une signée et légendée. Notre recueil comporte l'intégralité des planches du tirage original in-folio de Barraud, des 23+8 planches, imprimées sur vergé, à toutes grandes marges et en parfait état. De la bibliothèque de Louis Perceau.Cohen, 285 ; Gay-Lemmonyer, II, 451., 0, Turkey & Caucasus: Paris "Imprimerie de Dondey-Dupré, Rue St Louis, No 46, Au Marais." 1825-37. Coloured lithograph of a Mamelouk from Louis Dupré's " Voyage â Athènes et â Constantinople...". Original hand colour; verso blank; blind stamp of Dupré as issued. The image shows the heavily armed soldier seated with the Bospherous in the background. Mamelouks were a warrior caste of slaves originally from Egypt. Islamic rulers created this warrior caste by collecting non-Muslim slave boys and training them as cavalry soldiers especially loyal to their owner and each other. They converted to Islam in the course of their training. The Mamluks were first used in Muslim armies in Baghdad by the Abbasid caliphs in the 9th cent. and quickly spread throughout the Muslim world. They eventually became so powerful that they managed to challenge the existence of the rulers who were their masters In 1250 Aybak became the first Mamelouk sultan and they would rule in Egypt and Syria for the next 250 years Towards the end of the 15th cent. the Mamluks became involved in a war with the Ottoman Turks who captured Cairo in 1517. The Mamluks favored the cavalry and personal combat with sword and shield. They were no match for the Ottomans, who skillfully used artillery and their own slave infantry, the Janissaries, to defeat the Mamluks. The Ottoman ruler, Selim I, put an end to the Mamluk sultanate and established a small Ottoman garrison in Egypt. He did not, however, destroy the Mamluks as a class; they kept their lands, and Mamluk governors remained in control of the provinces and were even allowed to keep private armies. In the 18th cent., when Ottoman power began to decline, the Mamluks were able to win back an increasing amount of self-rule. In 1769 one of their number, Ali Bey, even proclaimed himself sultan and independent of Constantinople. Although he fell in 1772, the Ottoman Turks still felt compelled to concede an ever greater measure of autonomy to the Mamluks and appointed a series of them as governors of Egypt. The Mamluks were defeated by Napoleon I during his invasion of Egypt in 1798, but their power as a class was ended only in 1811 by Muhammad Ali. . Removed from a frame; Colours bright; even toning; some light spotting to margins. Louis Dupré [1789-1837]. A pupil of Jacques-Louis David in Paris, Louis Dupré became resident in Rome and was appointed official painter to the prince Jerome Bonaparte, in 1811. In 1819, Louis Dupré took a six-month tour of Greece and Turkey, accompanied by three affluent English gentlemen, Messrs Hyett, Vivian, and Hay. He was received by the French consul Fauvel in Athens and introduced into Greek society allowing him to make his paintings of important personalities of the time, both in Athens and in Joannina where he portayed Ali Pascha, his family and attendants. He continued to Thessaly and from there he sailed to Constantinople, where he made the acquaintance of Prince Michael Soutzo of Moldavia with whom he returned to Italy via Romania. Upon arriving in Constantinople his companions left quickly, frightened by an outbreak of the plague. Dupré, however, remained and completed a series of watercolors. Nevertheless, the Englishmen funded Dupré's entire trip in exchange for these drawings, of which the artist also made duplicates that he exhibited at the Salon of 1824. His work " Voyage â Athènes et â Constantinople" was published in 10 livraisons, in Paris in 1825 through to 1837, consisting of 40 lithographs: portraits, costumes and views of Athenian antiquities, based upon these drawings. [Colnaghi of London pirated 2 of the portraits of Ali Pascha and published them before Dupré.] The work became synonymous with the Greek War of Independence. The image of Mitropolos, holding the Greek standard symbolizes the Greek victory. Louis Dupre's" Voyage a Athenes et à Constantinople "is a fascinating example of a travel book so contradictory it begs to be read against the grain. Taking the form of a costume album, it is based on notes and drawings made during the artist's voyage in the Ottoman Empire in 1819. However, the book was produced in France from 1825 to 1839, after the outbreak of Greek insurrections against Ottoman rule in 1821, a popular cause in France. This contextual gap between the moment of travel and the moment of production accounts for the work's contradictory aspects. It is overtly philhellenic, taking the side of the Greek rebels in their conflict with the Ottomans, seeing in the insurgence a revival of ancient ideals and culture. Yet key aspects of the work, particularly its costume images, tug against and undermine its underlying turcophobia and, ultimately, its nationalist, essentialist message of Hellenic regeneration. Dupre's colorful plates are striking and even hauntingly memorable, arresting the viewer's attention. His close-up depiction of boldly posed figures introduces an ambiguity into his travel account that belies its ideological frame. In particular, the costume images, resembling Ottoman-produced costume albums, implicitly celebrate a notion of empire-as-diversity that contradicts Dupre's nationalist text. [Elizabeth Fraser, Ottoman Costume and Inclusive Empire: Louis Dupré in Ottoman Greece .Fashioning Identities symposium, Hunter College, NYC, October 2013] Colas 916; Lipperheide 1434; Droulia 901; Navari/ Blackmer: 517; Sotheby's/Blackmer 559 Turkey & Caucasus Turkey Mamelouk Mamluk Mamlouk, Paris "Imprimerie de Dondey-Dupré, Rue St Louis, No 46, Au Marais." 1825-37, 0, University of Washington Press. New. 2006. Paperback. 0295985984 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy, brand new, pristine, never opened -- 164 pages. Description: "There’s more than one way to make a bed, and humans throughout history have devised every sort they could imagine. From a simple blanket laid on the ground to elaborately carved four-posters hung with sumptuous draperies, from a hammock swinging under the stars to a stifling cupboard bed built into a wall, the ways in which humans have gone about trying to get a good night’s sleep are myriad. This book, illustrated with some 140 images, takes readers on a lively tour of beds and sleeping customs over time and around the world. Beginning with 'sleeping low,' Carlano and Sumberg show that, whereas in Europe and North America sleeping on bedding on the floor was the lot of the poor, in many other parts of the world it has long been a cultural and aesthetic choice. Beautiful tatami-futon ensembles in Japan, intricately patterned rattan mats in Borneo, and cozy textile pads, pillows, and quilts in Turkey have kept people warm and comfortable for centuries. Yet 'sleeping high,' on raised platform beds, started early, too: such beds are known from archaeological finds and tomb paintings dating to the fourth century BCE in Egypt. From ancient Greece and Rome, the narrow, rectangular bed spread into Europe and then to North America, seeing innumerable elaborations along the way -- not only in the designs of the bedsteads themselves but also in the styles of bedding that became integral parts of the sleeping arrangement. In the modern West, people stowed away Murphy beds in the early 1900s, romped on water beds in the 1970s, and now can buy futuristic beds designed by furniture artists. Rounding out the tour, Carlano and Sumberg describe the ways people have found to sleep safely and comfortably while on the move -- whether the travelers are full-time nomads sleeping in tents or twentieth-century tourists in Pullman cars. They devote a chapter to the special beds, cradles, and cribs designed for infants and young children, and an appropriately final chapter to the abundance of sleep imagery associated with death. In short, 'Sleeping Around' offers an informative and entertaining look at the history of beds and -- under the impetus of both functional needs and aesthetic tastes -- their ever-changing designs.", University of Washington Press, 2006, 6<

2006, ISBN: 9780295985985

University of Washington Press. New. 2006. Paperback. 0295985984 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIP… Mehr…

University of Washington Press. New. 2006. Paperback. 0295985984 .*** FREE UPGRADE to Courier/Priority Shipping Upon Request *** - *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy, brand new, pristine, never opened -- 164 pages. Description: "There’s more than one way to make a bed, and humans throughout history have devised every sort they could imagine. From a simple blanket laid on the ground to elaborately carved four-posters hung with sumptuous draperies, from a hammock swinging under the stars to a stifling cupboard bed built into a wall, the ways in which humans have gone about trying to get a good night’s sleep are myriad. This book, illustrated with some 140 images, takes readers on a lively tour of beds and sleeping customs over time and around the world. Beginning with 'sleeping low,' Carlano and Sumberg show that, whereas in Europe and North America sleeping on bedding on the floor was the lot of the poor, in many other parts of the world it has long been a cultural and aesthetic choice. Beautiful tatami-futon ensembles in Japan, intricately patterned rattan mats in Borneo, and cozy textile pads, pillows, and quilts in Turkey have kept people warm and comfortable for centuries. Yet 'sleeping high,' on raised platform beds, started early, too: such beds are known from archaeological finds and tomb paintings dating to the fourth century BCE in Egypt. From ancient Greece and Rome, the narrow, rectangular bed spread into Europe and then to North America, seeing innumerable elaborations along the way -- not only in the designs of the bedsteads themselves but also in the styles of bedding that became integral parts of the sleeping arrangement. In the modern West, people stowed away Murphy beds in the early 1900s, romped on water beds in the 1970s, and now can buy futuristic beds designed by furniture artists. Rounding out the tour, Carlano and Sumberg describe the ways people have found to sleep safely and comfortably while on the move -- whether the travelers are full-time nomads sleeping in tents or twentieth-century tourists in Pullman cars. They devote a chapter to the special beds, cradles, and cribs designed for infants and young children, and an appropriately final chapter to the abundance of sleep imagery associated with death. In short, 'Sleeping Around' offers an informative and entertaining look at the history of beds and -- under the impetus of both functional needs and aesthetic tastes -- their ever-changing designs." -- with a bonus offer-- ., University of Washington Press, 2006, 6<

ISBN: 9780295985985

There's more than one way to make a bed, and humans throughout history have devised every sort they could imagine. From a simple blanket laid on the ground to elaborately carved four-post… Mehr…

There's more than one way to make a bed, and humans throughout history have devised every sort they could imagine. From a simple blanket laid on the ground to elaborately carved four-posters hung with sumptuous draperies, from a hammock swinging under the stars to a stifling cupboard bed built into a wall, the ways in which humans have gone about trying to get a good night's sleep are myriad. This book, illustrated with some 140 images, takes readers on a lively tour of beds and sleeping customs over time and around the world.Beginning with sleeping low, Carlano and Sumberg show that, whereas in Europe and North America sleeping on bedding on the floor was the lot of the poor, in many other parts of the world it has long been a cultural and aesthetic choice. Beautiful tatami-futon ensembles in Japan, intricately patterned rattan mats in Borneo, and cozy textile pads, pillows, and quilts in Turkey have kept people warm and comfortable for centuries.Yet sleeping high, on raised platform beds, started early, too: such beds are known from archaeological finds and tomb paintings dating to the fourth century BCE in Egypt. From ancient Greece and Rome, the narrow, rectangular bed spread into Europe and then to North America, seeing innumerable elaborations along the way — not only in the designs of the bedsteads themselves but also in the styles of bedding that became integral parts of the sleeping arrangement. In the modern West, people stowed away Murphy beds in the early 1900s, romped on waterbeds in the 1970s, and now can buy futuristic beds designed by furniture artists.Rounding out the tour, Carlano and Sumberg describe the ways people have found to sleep safely and comfortably while on the move — whether the travelers are full-time nomads sleeping in tents or twentieth-century tourists in Pullman cars. They devote a chapter to the special beds, cradles, and cribs designed for infants and young children, and an appropriately final chapter to the abundance of sleep imagery associated with death. In short, Sleeping Around offers an informative and entertaining look at the history of beds and — under the impetus of both functional needs and aesthetic tastes — their ever-changing designs. Trade Books>Trade Paperback>Art,Design & Photography>Design>Architecture, University of Washington Press Core >1<