last 7 days
last 30 days

Alexandre Antique Prints, Maps & Books

method-draw-image (23)

Sylvae sacrae.] SYLVAE SACRAE // Monumenta // sanctioris philosophie // quam severa // ANACHORETARUM // disciplina vitae et religio // docuit // MORTVI VIVIMUS /. / 1594 ? [bound with] SOLITVDO, // SIVE // VITAE FOEMINARVM // ANACHORITARVM, // AB // Adriano Collardo collectae // atque expressae : // A Cornelio Kiliano Dufflaeo // Carmine Elegiaco // explanatae . // (Anvers, 1606). [bound with] Trophaeum vitae solitariae. [bound with] Solitudo sive vitae patrum eremicolarum. per antiquissimu Patrem D. Hieronimu eorundem Primarium olim conscripta: iam ver primm neis laminis, idq[ue] Ioannis et Raphaël Sadeler fratru impensis scalpt et excusa] [bound with] Oraculvm anachoreticvm.

I: Sadeler, Raphael and Joann. [and] Collaert, Adrian; II&III: COLLAERT, Adrian; Martin de VOS (Martinus Vossius) , Martin van HEEMSKERK, d?après STRADANUS; IV&V: SADELER, STRADANUS; DE VOS, Mart, after Ioann. SADELER (elder) and Raphaël I. SADELER. Edition : First edition anthology of five works. , 18th century full vellum; rebacked expertly saving the original spine; flat spine with gilt lettered and dated title on morocco label; edges marbled; renewed endpapers., Captions in Latin. The work depicts hermits, saints with one of five parts devoted to female believers; this anthology is rarely offered. The members of the Sadeler family were among the most successful Flemish engravers and publishers of their time. , Size : Oblong folio (335x263mm)., 103 copper-engravings; of these 102 illustrated; these include: three titles [to the first three works]; the paragramma with engraved border. The first work, ?SYLVA SACRA? being one complete series of hermetic saints with 31 illustrated plates plus a dedication; of the remaining four series of hermetic saints, one is dedicated to female hermits: Work II or the ?SOLITUDO, SIVE VITAE FOEMINARUM? has 14 plates (of 25); Work III or the ?ORACULVM // ANACHORETICVM. // ? MDC? has 22 plates (of 26); Work IV or the ?Solitudo // sive // vitae patrum // eremicolarum?? has 12 plates (of 30); Work V or the ?Trophaeum vitae solitariae. // ? Venetiis? (1598, Martin de Vos figur.) has 23 plates (of 26). , Volume : five works in one volume, References : Graesse VI: 211-212. , Ll: bl., [ill.102ff]. Collation: all of 31 ill. plus 1 dedication; 14 ill.; 22 ill.; 12 ill.; 23 ill. An illustrated work in very good condition with plates clean and mostly wide margined; a few of the plates are reinforced with fine tissue paper; also occasional marginal tears repaired.
method-draw-image (23)

Collection of drawings in detail of the most approved construction of American machinery : with descriptions, calculations and specifications / by the American Engineering Society of New York. ?Bound with “Collection of drawings in detail of the most approved construction of American machinery : with descriptions, calculations amd specifications / by the American Engineering Society of New York. ?Bound with “American engineering, illustrated by large and detailed engravings embracing various branches of mechanical art, stationary, marine, river boat, screw propeller, locomotive, pumping and steam fire engines, rolling and sugar mills, tools, and iron bridges, of the newest and most approved construction.

Caesar, Charles; and Weissenborn, Gustavus: Edition : First Editions. Atlas volumes only., Contemporary red pebbled cloth; rebacked expertly; spine raised with five bands; gilt lettered title on two; dated; endpapers renewed; edges uncut. , A selection of engineering plates from the two most important and scarce American engineering works.American Engineering seems to have occupied much of Weissenborn?s attention in the mid-late 1850s and in 1861 he published his complete work as text and plate volumes of 50 plates in a folio atlas., Size : Large folio (612 x 395 mm, Work I: Twenty-two (22) illustrated plates, of these one (1) full-page hand-coloured title and 21 double-page plates.Work II: Thirty-seven (37 of 50) illustrated plates; of these one (1) full-page hand-coloured title and 36 double-page plates - some in colour., References : Sampson Low & Sons: The American Catalogue of Books: Or, English Guide to American Literature . p.46; Nicolas Trubner: Trübner's Bibliographical Guide to American Literature: A . (1859); John H. White: A History of the American Locomotive: Its Develop Near fine and handsome example with plates clean and crisp; few plates backed with acid-free tissue paper.
method-draw-image (23)

Japanese Botanical Plate Book:] ?Soka Hyakushu? or One-hundred Varieties of Flora or Flowering Plants.

Kono Bairei (1844-1895): Edition : First Edition , Contemporary stiched blue wraps; black ink manuscript title on white paper label on cover. , Text in Japanese . Kono or K?no or Yasuda Bairei (?? ??, 1844 ? 1895), the Japanese painter, book illustrator, and art teacher, was born in and lived in Kyoto. He was a member of the Ukiyo-e school and master of kacho-e painting (depictions of birds and flowers) in the Meiji period of Japan.In 1852, he went to study with the Maruyama-school painter, Nakajima Raisho (1796?1871), and following his death, with the Shijo-school master Shiokawa Bunrin (1808?77).[4]Bairei?s work includes wood block prints of flowers, birds, landscapes - with a touch of western realism. Bairei's Album of One Hundred Birds was published in 1881, and the present work on flora in 1901. He opened an art school in 1880 and his students included Takeuchi Seih?, Kawai Gyokud?, and Uemura Sh?en. , Size : octavo (242x165// and 248, Illustrated with four pages of calligraphic text introduction, final leaf bearing two red seal-stamps; 74 hand-coloured woodblock colour prints from the four-volume album work entitled ?Soka Hyakushu? or ?One-hundred Varieties or kinds of [Japanese] Flora or Flowers or Flowering Plants? , Volume : Two of four volumes. , Stamped twice on fourth text manuscript page, References : Fairbrother Strange, E.: ?Japanese Illustration: A History ?? (1897), 105; Misumi, M.: , P. 4 text pages; [74 ill.] Attractive Japanese woodblock colour prints of local flora - hand-coloured; overall, plates and text are clean and crisp and in near fine condition.
method-draw-image (23)

Institutionum geometricarum]: Albertvs // Dvrervs Nv // rembergensis pictor hvivs //[a]etatis celeberrimus, versus e? Germanica lingua in Latinam, // Pictoribus, Fabris [a]erariis ac lignariis, Lapicidis, Statu- //ariis,& vniuersis denium qui circino, gnomone, // libella, aut alioqui certa mensura opera sua // examinant, prope? necessarius, adeo? exacte? // Quatuor his suarum Institutionum // Geometricarum libris, lineas, superficies & solida corpo- // ra tractauit, adhibitis desi- //gnationibus ad eam // rem accommo- // dissimis // Lutetiae apud Christianum Wechelum, in via Iacobaea, sub scuto Basiliensi. Anno // M.D.XXXII. Nonis Augusti.

Albrecht Dürer (1471-1528), author; Camerarius, Joachim (1500-1574), translator: Edition : First Latin edition., 19th century full vellum, rebacked expertly, preserving the original boards and raised spine with four bands; old label with Duerer's signature or device and date of 1532 in manuscript ink on two. Boards covered with text leaves from a different but early publication in red and black ink. , Albrecht Dürer (1471?1528) was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to hishigh-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by Emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal Churches. Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. Thewoodcuts, such as the Apocalypse series (1498), are more Gothic than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.Dürer's two books published during his lifetime are: 1. "The Four Books on Measurement", Nuremberg, 1525 - a work on mathematics in German, cited later by Galileo and Kepler; and 2. The other, a work on city fortifications, was published in 1527. A third, "The Four Books on Human Proportion" was published posthumously, shortly after his death in 1528. The first work, was originally published under the German title "Underweysung der Messung mit dem Zirckel und Richtscheyt in Linien ebnen unnd gantzen corporen durch Albrecht Dürer zusamen getzoge[n]. 1525" (or Instructions for Measuring with Compass and Ruler); this was followed only seven years later by its first Latin Paris 1532 edition, of which our example is an extremely rare and highly desirable copy. Friedman refers to Jeanne Peiffer in stating that "while Dürer's German manuscript made his constructions available mainly for artists, the Latin translation made it accessible for savants and mathematicians." Jeanne Peiffer also states: "it is clear that in the sixteenth century there existed two very distinct audiences for the 'Unterweysung'; that of artists and that of mathematicians. But in order to be read, understood and used by each of these two categories of readers, mediation was necessary. Figures, adaptations, selective abstracts have played in this role for the former. The Latin translation, done by a humanist philologist, was able to influence the learned world and perhaps even universities. The first part or book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522.The second book moves onto two-dimensional geometry, i.e. the construction of regular polygons. Here Dürer favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography.In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention.In all these, Dürer shows the objects as nets. Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Dürer discusses in this last book of 'Underweysung der Messung' an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective., Size : Folio (310mm x 190mm). , Marrying the art of perspective and drawing with the mathematical science of geometry the work is profusely illustrated with numerous woodcut illustrations - including folding and a comprehensive section dedicated to instructions on the proper design of characters of the alphabeth; with two printer's devices - one on the title, one on the verso of the final leaf. Plates 16, 17 and 28 in book III as well as the final woodcut on the colophon page bears altered dates - 1530, 1530, 15