Resultados de búsqueda: Prints and Photographs from AARDWOLF Fine Books

Blackie & Son, Glasgow, Edinburg & London, 1856; Original hand colored copper engraving picturing six species of snake: Anaconda, Pedda Poda, Port Natal Python, Rattlesnake, Black Rattlesnake, and Cobra de Capello. Plate #68 from Oliver Goldsmith’s "A History Of The Earth And Animated Nature," 1856. Drawn by James Stewart, engraved by J. Bishop. An original plate, not a reproduction. Hinged and matted acid free, ready for framing. Sheet size 6" x 9 3/4", outside matte dimensions 9" x 12". Fine condition. Clean, bright, colors fresh and vivid.

Imprimerie Royale, Paris, c. 1770; Original copper engraving of a sea lion, after a drawing by Jacque de Seve, which depicts the subject in its natural environment, a style De Seve is credited with originating, and a departure from the works of previous natural history artists who typically placed their subjects in an unpopulated void of blank space. Plate XLVIII from Volume VI of Buffon’s monumental Histoire Naturelle, published in 36 volumes between the years 1749 and 1788. Engraved by Marie Rousselet Tardieu ("M. R. veuve Tardieu"), widow of eminent cartographer and engraver Pierre Francois Tardieu, and one of few documented female engravers. Printed on laid paper. Fine original condition, with no attempts at later colorization. Hinged and matted entirely acid free with 100% rag museum board, ready for framing. Sheet size 7 3/4" x 10 3/8", plate mark 6 1/2" x 8 3/4", outside matte dimensions 11" x 14". An exceptional print.

Henry Moses, London, 1811; Original hand colored copper engraving of an elaborate pictorial Greek patera in the collection of the British Museum, by prodigious 19th century English engraver Henry Moses (1782-1870). Engraved in the plate, "Published by H. Moses Oct. 1, 1811." Hinged and matted acid-free, ready for framing. Sheet size 6 1/2" x 8 3/4," plate mark 4" x 5 1/2", outside matte dimensions 8 1/2" x 11". Excellent condition. Clean, crisp, bright, colors brilliant. A single miniscule faint speck of foxing in the blank area at lower right. A rich and beautiful print, meticulously detailed.

Stuttgart Verlag v. Krais & Hoffmann, Stuttgart, 1868; Large hand colored copper engraving of Mecynorhina torquata Drury and Acrocinus longimanus, together with sixteen other species of beetle. Contrary to its ferocious appearance, Mecynorhina is actually a pollen eater, native to tropical Africa, and among the largest of the world’s flower beetles, attaining a body length of more than 3". The South American Acrocinus or "Harlequin Beetle" depicted at right is of equivalent body size, but with long articulated forelegs that add an additional 6" to its overall length. Engraved identification key in the lower margin lists the Latin binomial and German common name for all beetles shown. An original double plate from C.F.A. Kolb’s Naturgeschichte des Tierreichs, published at Stuttgart in 1868. Hinged and matted entirely acid free, ready for framing. Full sheet size 13 1/4" x 16", matte window 12 3/4" x 14 1/4", outside matte dimensions 18" x 19 1/2".… Leer más

Bibliographisches Institut, Leipzig, 1897; Handsome 19th century chromolithograph depicting 13 breeds of domestic cattle. An original double plate from Joseph Meyer’s renowned 19th century encyclopedic natural history reference, "Myers Konversation Lexikon -- Ein Nachschlagewerk des allgemeinen Wissens, 5th Auflage," published at Leipzig in 17 volumes between the years 1893 to 1897 by Bibliographisches Institut, venerable German publishing house founded by Meyer in 1826 and still in business today. Complete identification key in the bottom margin for each breed pictured. Hinged and matted entirely acid free, ready for framing. Window size 10 1/4" x 8 1/4", outside matte dimensions 14 3/8" x 12 3/8". Fine condition, clean, crisp, bright, colors vivid. A sparkling print.

Blackie & Son, Glasgow, Edinburg & London, 1856; Antique hand colored copper engraving of a grouping of pheasants: Common Peacock, Ring Neck Pheasant, Horned Pheasant, and Silver Pheasant. Plate #54 from Oliver Goldsmith’s "A History Of The Earth And Animated Nature," 1856. Drawn by James Stewart, engraved by J. Bishop. An original plate, not a reproduction. Hinged and matted acid free, ready for framing. Sheet size 6" x 9 3/4", outside matte dimensions 9" x 12". Fine condition. Clean, bright, colors vivid.

The Leyden Museum, Leyden, Netherlands, 1889; Color lithograph of the reclusive Liberian Maned Owl (Bubo Letti Butt. or Jubula Letti Butt.), found only in small sections of lowland West African rainforests from Liberia to Republic Of Congo. An original plate from Notes From The Leyden Museum, official zoological periodical of the Reijksmuseum of Natural History, Vol. XI, No. 1, January, 1889, the issue in which Buttikofer first described and named the species. Drawn and lithographed by Theodoor Van Hoytema (1863-1917), renowned for his realistic natural history studies for the Reijkmuseum, as well as for his later art nouveau style commercial work. Excellent condition. Clean, bright, colors vivid. Archivally hinged and matted acid free with 100% rag museum board, ready for framing. Sheet size 6" x 9 3/8", window 5 1/2" x 8 1/4", outside matte dimensions 11" x 14". A beautiful and scarce print of an uncommon avian subject.

Blackie & Son, Glasgow, Edinburg & London, 1856; Antique hand colored copper engraving of felines: lion, lioness, Bengal tiger, leopard, and jaguar. Plate #39 from Oliver Goldsmith’s "A History Of The Earth And Animated Nature," 1856. Drawn by James Stewart, engraved by J. Miller. An original plate, not a reproduction. Hinged and matted acid free, ready for framing. Sheet size 6" x 9 3/4", outside matte dimensions 9" x 12". Fine condition. Clean, bright, colors vivid. A beautiful print of the world’s big cats.

Stuttgart Verlag v. Krais & Hoffmann, Germany, 1868; Magnificent hand colored copper engraving of the colossal Macrodontia cervicornis or "Sabertooth Longhorn Beetle," pictured together with 20 additional species of exotic beetle. Macrodontia, native to the South American rain forest, is one of the world’s largest beetles, reaching an adult size of over 8 1/4". An original double plate illustration plate from C.F.A. Kolb’s Naturgeschichte des Tierreichs, published at Stuttgart in 1868. An engraved identification key in the bottom margin lists theLatin binomial and German common name for each beetle pictured. Hinged and matted entirely acid free, ready for framing. Full sheet 13 1/4" x 16", matte window 12 3/4" x 14 1/4", outside matte dimensions 18" x 19 1/2". Fine condition, clean, bright, colors vivid. Scarce.

Blackie & Son, Glasgow, Edinburg & London, 1856; Antique hand colored copper engraving of a family of wild Asiatic elephants, with a brightly outfitted domesticated elephant bearing his mahout under a howdah canopy visible in the background. Plate #45 from Oliver Goldsmith’s "A History Of The Earth And Animated Nature," 1856. Drawn by James Stewart, engraved by J. Bishop. An original plate, not a reproduction. Hinged and matted acid free, ready for framing. Sheet size 6" x 9 3/4", outside matte dimensions 9" x 12". Fine condition. Clean, bright, colors fresh and vivid. A charming image.

Rudolph Ackermann, London, 1817; Original hand colored aquatint of a Regency style Bailiff’s Cottage designed by John Papworth. Plate 24, Vol. IV, from the November 1, 1817 issue of the Repository Of Arts, Literature, Commerce, Manufactures, Fashions, And Politics, renowned London arts periodical (1809-1829) published monthly by legendary printer, lithographer, and bookseller, Rudolph Ackermann, whose print shop in the Strand was a lair for London’s well-heeled classes. Through the pages of the Repository Ackermann exerted considerable influence on English taste in art, fashion, and architecture, employing some of the most celebrated artists of the day as his illustrators. Architect John Papworth (1775-1847) designed many of London’s signature buildings and public spaces during the Regency period of the early nineteenth century, and was a regular contributor to Ackermann’s Repository for nearly twenty years. Fine condition. Clean, crisp, bright, no traces of foxing, colors brilliant.… Leer más

Germany, 1790; Original 18th century hand colored copper engraving of Ochotona, commonly known as a Pika or Whistling Hare, a diminutive member of the rabbit family looking much like a small mouse and native to the cold climates of Eastern Europe and parts of Asia. Identifying binomen engraved in the plate at bottom: "Der Wachtelhase, Lepus pusillus Gmelin. Lin." Circa 1790. Artist not identified. Plate number engraved at upper right (177). Very finely detailed and colored. Archivally hinged and matted with 100% rag museum board, paper size 4 3/4" x 7 3/4", matte window 4 1/4" x 5", outside matte dimensions 10 1/4" x 12". Ready for framing. Fine condition, no chips or tears, all coloring brilliant. A sparkling plate of a charming and reclusive little creature. Rare.

, 1937; 8" x 10" silver gelatin photograph of Charles LIndbergh attending the Lilienthal Society Congress at Munich in 1937. A photo from the archives of the Los Angeles Examiner newspaper (1903-1962), with original press release still attached to the back, reading "MUNICH, GERMANY: COLONEL CHARLES LINDBERGH PICTURED WITH OTHER GUESTS WHILE ATTENDING THE OPENING SESSION OF THE LILIENTHAL SOCIETY CONGRESS HERE RECENTLY. DURING THEIR VISIT, BOTH COL. AND MRS. LINDBERGH WERE THE GUESTS OF BARON AND BARONESS VON CRAMER-KLETT AT HOHENASCHAU CASTLE." Release dated 10/18/37, photo stamped on the back "Received, Examiner Reference Library, Oct. 21, 1937 --- World Wide Photo." Although the Lindberghs were there unofficially to attend the Lilienthal conference, they also made junkets to a number of German airfields and manufacturing plants, where they reportedly engaged in covert reconnaissance of German Luftwaffe strength and capabilities for U.S. Army Intelligence. The… Leer más

Rudolph Ackermann, London, 1817; Original hand colored aquatint of a Regency-style country fishing lodge designed by John Papworth. Plate 1, Vol. III,from the January 1, 1817 issue of the Repository Of Arts, Literature, Commerce, Manufactures, Fashions, And Politics, renowned London arts periodical (1809-1829) published monthly by legendary printer, lithographer, and bookseller Rudolph Ackermann, whose print shop in the Strand was a fashionable retreat for London’s upper classes. Through the Repository, Ackermann exerted considerable influence on English taste in art, fashion, and architecture, and he employed some of the most celebrated artists of the day as illustrators. Architect John Papworth (1775-1847) designed many of London’s signature buildings and public spaces during the Regency period of the early nineteenth century, and was a contributor to Ackermann’s Repository for nearly twenty years. Fine condition. Clean, crisp, bright, no traces of foxing, colors brilliant. Archivally hinged… Leer más

Rudolph Ackermann, London, 1817; Original hand colored aquatint of a plan for a Regency style Villa designed by John Papworth. Plate 13, Vol. III, from the March 1, 1817 issue of the Repository Of Arts, Literature, Commerce, Manufactures, Fashions, And Politics, renowned London arts periodical (1809-1829) published monthly by legendary printer, lithographer, and bookseller, Rudolph Ackermann, whose print shop in the Strand became a fashionable meeting place for London’s well-to-do. Through the pages of the Repository, Ackermann exerted a considerable influence on English taste in art, fashion, and architecture, and he employed some of the most celebrated artists of the day as illustrators. Architect John Papworth (1775-1847) designed many of London’s signature buildings and public spaces during the Regency period of the early nineteenth century, and was a contributor to Ackermann’s Repository for nearly twenty years. Fine condition. Clean, crisp, bright, no traces of foxing. Archivally hinged… Leer más

Lucien Vogel, Paris, 1914; First Edition; octavo (7 1/2" x 9 3/4"); 3 pages; Illustrated. A commentary on men’s fashionable sleeping attire, authored by Pierre de Treviers for Lucien Vogel’s trend-setting Parisian fashion journal, La Gazette Du Bon Ton. Recognized world wide as the epitome of good taste and style, the Gazette was issued monthly between November 1912 and December 1925, minus a hiatus during The First World War. It employed the foremost designers, artists, writers, and critics of its age, and each of the magazine’s illustrated articles was impeccably designed and finely printed in individual single-fold folios on heavy handmade paper, then loosely laid into an outer printed folder. All artwork was produced using the costly pochoir, or stencil, technique of hand coloring. Fine condition, with six beautiful in-text color Art Deco pochoir fashion illustrations by Georges Lepape. From the 1914 Gazette. Not a reproduction. Text in French.

Lucien Vogel / Conde Nast, Paris, 1922; First Edition; octavo (7 1/2" x 9 3/4"); 3 pages; Illustrated. A look at fashionable children’s bath wear, authored by Georges Armaud Masson for Lucien Vogel’s trend-setting Parisian fashion journal, La Gazette Du Bon Ton. Recognized world wide as the epitome of good taste and style, the Gazette was issued monthly between November 1912 and December 1925, minus a hiatus during The First World War. It employed the foremost designers, artists, writers, and critics of its age, and each of the magazine’s illustrated articles was impeccably designed and finely printed in individual single-fold folios on heavy handmade paper, then loosely laid into an outer printed folder. All artwork was produced using the costly pochoir, or stencil, technique of hand coloring. Fine, with six charming in-text color illustrations by Helen Smith. From Gazette No. 7, 1922. Not a reproduction. Text in French.

Lucien Vogel, Paris, 1914; First Edition; octavo (7 1/2" x 9 3/4"); 3 pages; Illustrated. A tongue-in-cheek article on fashionable holiday gift giving, authored by Carlos Fischer for Lucien Vogel’s trend-setting Parisian fashion journal, La Gazette Du Bon Ton. Recognized world wide as the epitome of good taste and style, the Gazette was issued monthly between November 1912 and December 1925, minus a hiatus during The First World War. It employed the foremost designers, artists, writers, and critics of its age, and each of the magazine’s illustrated articles was impeccably designed and finely printed in individual single-fold folios on heavy handmade paper, then loosely laid into an outer printed folder. All artwork was produced using the costly pochoir, or stencil, technique of hand coloring. Fine condition, with seven stylish in-text color pochoir illustrations by Guy Pierre Fauconnet. From the 1914 Gazette. Not a reproduction. Text in French.

Lucien Vogel, Paris, 1914; First Edition; octavo (7 1/2" x 9 3/4"); 3 pages; Illustrated. A critical review of high fashion pearl-studded fashion masks, authored by Gabriel Mourey for Lucien Vogel’s trend-setting Parisian fashion journal, La Gazette Du Bon Ton. Recognized world wide as the epitome of good taste and style, the Gazette was issued monthly between November 1912 and December 1925, minus a hiatus during The First World War. It employed the foremost designers, artists, writers, and critics of its age, and each of the magazine’s illustrated articles was impeccably designed and finely printed in individual single-fold folios on heavy handmade paper, then loosely laid into an outer printed folder. All artwork was produced using the costly pochoir, or stencil, technique of hand coloring. Fine condition, with in-text color illustrations, by Charles Martin, featuring seven alluring mask designs. From the 1914 Gazette. Not a reproduction. Text in French.

Lucien Vogel / Conde Nast, Paris, 1922; First Edition; 7 1/2" x 9 3/4". Color pochoir fashion print by Edouard Garcia Bénito of designs for a lady’s gown by Beer and gentleman’s suit by Larsen. From La Gazette Du Bon Ton, Lucien Vogel’s legendary fashion journal which was known for its uncompromising print quality and choice of artists and illustrators, who formed a veritable Who’s Who of the Art Deco period, with George Barbier, Pierre Brissaud, Andre Marty, Charles Martin, Edouardo Garcia Benito, Erté, Thayaht, Georges Lepape, Pierre Mourgue, and Robert Bonfils listed among them. Likewise, its articles were authored by the leading Parisian writers, academics, and critics of the day, and its opinions highly influential. Vogel signed exclusive contracts to showcase the lines of Paris’s leading couture houses in the pages of his Gazette, and the magazine was regarded by fashion conscious the world over as the epitome of style and good taste. It was printed in limited edition… Leer más