Search Results: Prints and Photographs from AARDWOLF Fine Books

Francois-Seraphin Delpech, Paris, 1824; Hand colored stone lithograph of enigmatic Bourbon aristocrat Louis Philippe Joseph, Duke Of Orleans (1747-1793), whose dedication to the ideas of Rousseau led to his becoming an active supporter of the French Revolution, eventually giving up his own name and title in favor of "Philippe Egalité", for which act he became wildly popular. In the end, however, the complexities of political intrigue endemic to all revolutions resulted in his demise, and he was guillotined during the Reign Of Terror on November 30, 1793. Drawn, lithographed, and signed in the stone by French painter/printmaker Jean-Baptiste Mauzaisse (1784-1844) one of the first of French artists to adopt the process, then in its infancy. Original hand coloring. Published by notable early nineteenth century Parisian print shop proprietor Francois-Seraphin Delpech (1785-1836). Sheet size 12 1/4" x 10 1/8". Very Good condition. Slight toning, single 3/8" closed edge tear in… Read More

David Felt, Stationers’ Hall, NY, 1839; Steel engraving by master engraver Alexander L. Dick (1805-1855), after the painting by John Masey Wright (1777-1866) depicting a scene from the Robert Burns poem "The Rigs O’ Barley" in which a Highland lad courts his sweetheart Annie at the edge of a field of ripening grain. An engraved stanza from the poem reads, "The sky was blue, the wind was still, The moon was shining clearly; I set her down wi’ right good will, Among the rigs o’ barley." Published by David Felt at Stationers’ Hall, New York in 1839. Hinged, matted, and framed entirely acid-free, ready for hanging. Sheet size 6 3/8" x 7 5/8", image size 4 3/8" x 5 7/8", full matte 8" x 10". Pristine condition, clean, crisp, bright, and fresh. A beautiful engraving, with a striking play of light.

David Felt, Stationers’ Hall, NY, 1839; Steel engraving by master engraver Alexander L. Dick (1805-1855), after the painting by John Masey Wright (1777-1866), representing a scene from the song "Highland Mary," composed by Robert Burns for his lost love, Mary Campbell. Depicts a Highland youth wooing his sweetheart beneath the shelter of an aged oak, accompanied by a verse from the song reading, "The Golden hours, on angel wings, Flew o’er me and my dearie; For dear to me; as light and life, was my sweet Highland Mary." Published by David Felt in New York at Stationers’ Hall, 1839. Hinged, matted, and framed entirely acid-free, ready for hanging. Sheet size 6 3/8" x 7 5/8", image size 4 1/4" x 5 5/8", full matte 8" x 10". Pristine condition, clean, crisp, bright, and fresh. A charming image, finely detailed, with a full rich tonal range.

Goupil, Paris, 1878; Large woodburytype photograph of Pope Leo XIII (1810-1903) attired in white papal robe and skullcap. Photo measures 7 1/2" x 9", mounted on 11" x 14" card with the pontiff’s name and date of birth printed at the bottom. Accompanied by four pages of biographical text, in French, with an engraving of the papal coat of arms on the top half of the first page. From the 19th century "Galerie Contemporaine" photographic collection of eminent public figures, published in Paris by Goupil et Cie., and issued in parts from 1876 to 1884. Photograph is in Fine condition, Text Near Fine, with faint foxing.

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. Hinge-mounted 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.

Germany, 1780; Circa 1780 copper engraving of the Pyrenean Desman (Galemys pyrenaicus), diminutive amphibious mammal related to the mole and shrew, native to portions of Northern Spain and Portugal. Once widespread throughout Europe, only two species of Desman remain, the other secluded in the remote regions of Russia. An original plate from an 18th c. German edition of Buffon’s Histoire Naturelle. Engraved by G.P. Trautner after the drawing by Jacques de Seve, with the subject depicted in its natural setting. Two primitive charcoal kilns are visible in the background. Plate number at top (II Tab. 9 Seite) Sheet size 7 1/2" x 9 1/2", plate mark 6 1/4" x 8 1/4". Printed on laid paper. Hinged and matted entirely acid free with 100% rag museum board in 11" x 14" size, ready for framing. Original state, with no later attempts at colorization. Fine condition. An attractive print of an uncommon mammal.

Germany, 1780; Circa 1780 copper engraving, after the drawing of Jacques de Seve, of a Paca, the large stub-tailed semi-aquatic mammal indigenous to tropical regions of South America, once used as a food source in Brazil. The Paca is shown here in its natural setting alongside its offspring, of which seldom more than one is produced at birth. An original plate from an 18th c. German edition of Buffon’s Histoire Naturelle. Plate and page numbers at top (XVII Tab. 157 Seite). Sheet size 7 1/2" x 9 1/2", plate mark 6 1/4" x 8 1/4". Printed on laid paper. Hinge-mounted entirely acid free and matted with 100% rag museum board in 11" x 14" size, ready for framing. Fine and handsome original condition, with no later attempts at colorization.

Germany, 1780; Circa 1780 copper engraving after a Jacques de Seve drawing of the Civet Cat (Viverra sp.) from an 18th c. German edition of Buffon’s Histoire Naturelle. The Civet, a skunk-like mammal indigenous to the South Asian and African tropics, was at one time essential to the manufacture of perfumes for the musk oil extracted from its perineal gland. Plate and page numbers engraved at top (Taf. XXXIV, 181 Seite). Sheet size 7 1/2" x 9 1/2", plate mark 6 3/8" x 9". Printed on laid paper. Hinge-mounted entirely acid free and matted with 100% rag museum board in 11" x 14" size, ready for framing. Original state, with no later attempts at colorization. Fine and handsome.

Garnett Terry, London, 1793; Antique copperplate engraving from Thomas Sheraton’s "The Cabinet Maker And Upholsterer’s Drawing Book In Four Parts," 18th century design and instruction manual for furniture designers. Plate #8 from The Appendix, picturing a wardrobe described by Sheraton as follows: "The upper middle part contains six or seven clothespress shelves, generally made about six or six and a half inches, with green baize tacked to the inside of the front to cover the clothes with. The lower part consists of real drawers. The wings have each of them arms to hang clothes on, made of beech, with a swivel in their center, which flips onto an iron rod fixed by plates screwed on to each side of the wings, as expressed in the design. The whole is made in four separate carcasses. The wings by themselves, and the upper and lower middle parts separate." Designed and drawn by Thomas Sheraton, engraved and published by Garnet Terry, 1793. An original plate, not a reproduction.… Read More

Garnett Terry, London, 1792; Antique copperplate engraving from Thomas Sheraton’s landmark 18th century design and instruction manual for furniture designers, "The Cabinet Maker And Upholsterer’s Drawing Book In Four Parts." Plate #44 from Part III, showing two table designs, which Sheraton described as follows: "The left-hand table is to write and read at. The top is lined with leather or green cloth, and cross-banded. To stop the book there are two brass plates let in, with key-holes; and in the molding, which is to stop the book, there are two pins with heads and shoulders, by which the molding is effectually secured. The right-hand table is meant to write at only. The top part takes off from the under part, which, having a bead let in at the back and ends of the top, prevents the top part from moving out of its place. This table being made for the convenience of moving from one room to another, there is a handle fixed on to the upper shelf, as the drawing shows. In the drawer… Read More

Garnett Terry, London, 1791; Antique copperplate engraving from Thomas Sheraton’s landmark 18th century design and instruction manual for furniture designers, "The Cabinet Maker And Upholsterer’s Drawing Book In Four Parts." Plate #25 from Part III, showing a multipurpose table in two views, complete with dimensional callouts. Of this table Sheraton wrote in part, "The use of this piece is both to answer the purpose of a breakfast and a dining table. When both the leaves are flipped under the bed, it will then serve as a breakfast table. When one leaf is out, as in this view, it will accommodate five persons as a dining table, and if both are out, it will admit of eight, being near seven feet long and three feet six inches in width. The drawer is divided into six boxes at each side, as in the plan, and are found useful for different sorts of tea and sugar and sometimes for notes or the like. In this drawer is a slider lined with green felt to write on. The style of finishing is… Read More

Lucien Vogel, Paris, 1914; First Edition; octavo (7 1/2" x 9 3/4"); heavy handmade paper; one page. Vintage Brissaud-illustrated advertisement for Parisian corset makers Royal Worcester & Cie,, promoting the "Corset de Bon-Ton," named in honor of Lucien Vogel’s trend-setting fashion journal, La Gazette Du Bon Ton, recognized world wide by the fashion conscious as the epitome of good taste and style. The magazine 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 the age, and each of its 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. From the July, 1914 issue of the Gazette. Not a reproduction. Text in French. A scarce item from… Read More

Hollywood, California, 1923; Antique 6 1/2" x 8 1/2" b&w silver gelatin photograph of Mary Pickford as "Rosita" in the 1923 silent film of the same name directed by Ernst Lubitsch. Long tired of being type-cast as a child, even in maturity, "Rosita" was Pickford’s personal project, designed as a breakout vehicle for her first appearance in an adult role. Multitalented Knute Olaf Rahmn (1876-1957) served in early Hollywood as actor, cinematographer, and photographer, with over forty films to his credit. It was while working at Kalem Studios in Glendale, California that he first collaborated with Mary Pickford, and subsequently became her preferred still photographer, shooting her publicity stills and documenting much of her career and personal life. A beautiful photograph of perhaps the most important film actress of all time, whose prodigious talent and business acumen were pivotal in the formation of the new order in Hollywood which created the star system and the… Read More

Los Angeles Examiner, Los Angeles, 1934; 8" x 10" silver gelatin photograph of Charles Lindbergh in Los Angeles conferring with William Gibbs McAdoo, who throughout his lifetime had been U.S. Secretary Of The Treasury under President Woodrow Wilson, Director General Of The United States Railroad Commission 1917-1918, legal counsel to the founders of United Artists Studios in 1919, candidate for president of the United States in 1920 and 1924, and at the time of this photo United States Senator from California, an office he held until 1938. Congressional District Map for the County of Los Angeles on the wall in the background. An unidentified man is seated at right. From the photo morgue of the old Los Angeles Examiner newspaper, stamped on the back, "Received, Los Angeles Examiner Reference Library, Mar. 20, 1934." Very Good, surface glossy, no chips or tears.

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.

, circa 1870; Two 1/6 plate tintypes of fashionably dressed young couples, the seated man on the right in one photo dressed in a luxurious bear coat and fur hat. Very Good, some surface scratching.

Los Angeles, 1936; Vintage 8" x 10" silver gelatin photograph of Los Angeles Motor Coach Company’s double-decker bus #1013, which once ran the Wilshire Express route between Beverly Hills and Santa Monica. A number of riders can be seen seated atop the bus in the open air. License plate dated 1936. Excellent condition, clean, bright, glossy, unfaded, no chips or tears. There is a soft vertical crease about 4" in length located approximately one-third of the way in from the left-hand margin, with no cracking or tearing of the paper. A glimpse back at life in the halcyon days of 1930’s Los Angeles. From the estate of James S. Copley (1916-1973), owner and C.E.O of Copley News Service, which published, among numerous other newspapers, the Santa Monica Breeze. Not stamped, but most certainly from the Breeze photo morgue.

Goupil, Paris, 1880; Large woodburytype photograph, by Antoine Samuel Adam-Salomon, of illustrious architect Charles Garnier (1825-1898), renowned for, among numerous other accomplishments, the design of the Paris Opera House and the Casino and Grand Hotel de Paris at Monte Carlo. Photo measures 7 1/2" x 9 1/4", mounted on 11" x 14" card. Accompanied by four 11" x 14" pages of background and analytical text by Edouard Drumont, in French. From the eminent French 19th century "Galerie Contemporaine" photographic collection of leading figures from the arts and sciences, published by Goupil and issued in parts from 1876 to 1884. Fine condition.

David Felt, Stationers’ Hall, NY, 1839; Fine steel engraving by master engraver Alexander L. Dick (1805-1855) after the painting by Alfred Edward Chalon (1780-1860), favored artist of Queen Victoria. Scene depicts a wide-eyed ship’s boy, or "reefer," atop his post on the yardarm, spyglass in hand, gazing dreamily upon the horizon. Printed on heavy paper by David Felt at Stationers’ Hall. Hinged, matted, and framed entirely acid-free, ready for hanging. Sheet size 6 3/8" x 7 5/8", image size 4 9/16" x 6 1/16", full matted size 8" x 10". Pristine condition, clean, crisp, bright, and fresh. A most charming and beautifully detailed nautical print, with a full rich tonal range.

Lucien Vogel, Paris, 1921; First Edition; octavo (7 1/2" x 9 3/4"); 4 pages; Illustrated. A lively narrative on high fashion street wear, authored by Marcel Astruc 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 four stylish in-text satirical genre illustrations by Charles Laborde. From the May, 1921 issue of the Gazette. Not a reproduction. Text in French.