Null [BIARRITZ IMPERIAL] Emile-Antoine BAYARD (1831-1891) after M. FORTRIS (19th…

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[BIARRITZ IMPERIAL] Emile-Antoine BAYARD (1831-1891) after M. FORTRIS (19th century) for Le Monde Illustré (September 7, 1861, no. 230) HM the Emperor's arrival in Biarritz, August 30 LITHOGRAPHY. Color proof not from a later reprint. 16.5 x 22.5 cm Comment: Interesting document illustrating Napoleon III's first visit to Biarritz since construction of the Villa Eugénie, ordered three years earlier, began. In the original edition of Le Monde illustré, it is added that the Emperor comes directly from the Camp de Châlons, where the 3rd military parade of the imperial army was held before, among others, Charles XV of Sweden, William Smith O'Brien of Ireland and Mac Mahon. The journey will last 6 days. ATTACHED: Charles MERCEREAU (1822-1864) for La France de nos Jours, F. SINNETT (ed), 1853-1876 View of the Napoleon Baths and Casino LITHOGRAPHY. Proof after the letter titled, captioned and numbered in the margins. 23 x 32 cm Provenance : Yves Gastou Collection, Biarritz

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[BIARRITZ IMPERIAL] Emile-Antoine BAYARD (1831-1891) after M. FORTRIS (19th century) for Le Monde Illustré (September 7, 1861, no. 230) HM the Emperor's arrival in Biarritz, August 30 LITHOGRAPHY. Color proof not from a later reprint. 16.5 x 22.5 cm Comment: Interesting document illustrating Napoleon III's first visit to Biarritz since construction of the Villa Eugénie, ordered three years earlier, began. In the original edition of Le Monde illustré, it is added that the Emperor comes directly from the Camp de Châlons, where the 3rd military parade of the imperial army was held before, among others, Charles XV of Sweden, William Smith O'Brien of Ireland and Mac Mahon. The journey will last 6 days. ATTACHED: Charles MERCEREAU (1822-1864) for La France de nos Jours, F. SINNETT (ed), 1853-1876 View of the Napoleon Baths and Casino LITHOGRAPHY. Proof after the letter titled, captioned and numbered in the margins. 23 x 32 cm Provenance : Yves Gastou Collection, Biarritz

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Estim. 90 - 200 EUR

VERDET (Emile): Oeuvres d'E. Verdet, published by his students. Paris, Imprimerie Impériale [then Imprimerie Nationale], 1868-1872. 8 volumes in 9 vols. 14 by 23 cm. Contemporary fawn half-basane, 5-rib spine. Minor superficial flaws to binding (not serious), some scattered foxing. Numerous in-text illustrations. First collective edition. A native of Nîmes, Verdet was one of the most remarkable physics teachers of the mid-19th century. He lectured at the Ecole normale supérieure, the Ecole polytechnique and the Faculté des sciences. He also "brought to the attention of French physicists the main papers published in foreign scientific journals". Book details : Volume 1: Notes et mémoires. Preceded by a notice by M. A. de La Rive. Paris, Imprimerie Nationale, 1872, 1 portrait-(4)-XXVIII-390 pp. -Tome I des OEuvres. Volumes 2 and 3: Cours de physique professé à l'Ecole polytechnique. Published by M. Emile Fernet. Paris, Imprimerie Impériale, 1868-1868, 2 volumes of (8)-II-459 pp. and (4)-512 pp. -Tome II et III des OEuvres. Volumes 4 and 5: Conférences de physique faites à l'Ecole normale. Published by M. D. Gernez. Paris, Imprimerie Nationale, 1872, 2 parts with continuous pagination of (4)-X-1050 pp. + 2 ff. n.ch. (faux-titre and title of part 2). -Volume IV (1st and 2nd parts) of the OEuvres. Volumes 6 and 7: Leçons d'optique physique. Published by M. A. Levistal. Paris, Imprimerie Impériale, 1869-1870, 2 volumes of (4)-VI-584 pp. and (4)-648 pp. -Volumes V and VI of the OEuvres. Volumes 8 and 9: Théorie mécanique de la chaleur. Published by Messrs. Prudhon and Violle. Paris, Imprimerie Impériale, 1868-1870, 2 volumes of (4)-II-(2)-pp. [XI] to CXLVIII-335 pp. and (4)-424 pp. -Volumes VII and VIII of the OEuvres. A comprehensive summary of scientific knowledge in 1870.

Graphik - Konvolut - 23 sheets, consisting of: 2x bird depictions, col. Lithographs by the Art Anst. v. Emil Hochdanz, Stuttgart 1867, among them no. 14 and 20, each browned / stained, corners creased, remains of old binding, ca. 20,5 x 15cm / 20 x 15,5cm, 3x color and gold heightened lithograph, publisher, print and coloring by Hermann Oeser, Neusalza, ca. 1855. Colorit by Hermann Oeser, Neusalza c. 1855, including "Napoleons Niederlage bei Sedan" / "Am Brunnen" / "Am Königsee", creased / torn, c. 23 x 17cm, 3x "Beilage zur Bunten Welt III.", chromolithographs (inscr. "Oelfarbendruck v. Adoph Wolf"), Dresden c. 1880, including "Die Heimkehr vom Felde", no. 1 (in Pl. sign. u. dat. "J. B. Schmelzer sc. 1877) / "Ungarisches Zigeunerlager", no. 3 / "Auf der Weide", no. 7, each browned / foxing / creased / partially torn, approx. 15.5 x 21cm, 4x etchings by Luigi Aloysio Cunego (1757 Verona - 1823 Rome, once inscribed "Aloy Cunego inc." in pl.), portraits of ecclesiastical dignitaries, early 19th cent, including portraits of "Fr. Hieronymus Pistorien [...]" / "Fr. Paulus a Cesena [...]" / "Fr. Hyacinthus a Casali [...]" / "Fr. Erasmus a S. Gallo [...]", each min. creased / browned, pl. ca. 13 x 9cm - 14 x 9,5cm, 1x "Amerikaner", no. 10, lithograph by Engelhorn and Hochdanz, Stuttgart 1846, somewhat browned / stained / creased, sheet ca. 20.5 x 14cm, 1x "Jakob und Rachel", anonymous steel engraving after François Lemoyne (1688-1737), Kunst-Verlag Karlsruhe 19th cent, somewhat foxed, approx. 12.5 x 10cm, 1x double sheet with two copper plates, including "Portrait of Maria Antonia of Austria" (1669-1692) by Carl Gustav Amling (1665-1703) / "Bavarian Lion" (as atlas with globe), from "Ch. Weltkugel), from "Churbayr. Atlas" by Krauss u. Ertl, stained / browned, lesions (backed), remains of old binding, sheet size approx. 16 x 18,5cm, 1x print after a pen and ink drawing by A. Burghart, dat. June 19, 1942, somewhat browned / stained, min. lesion, approx. 13.5 x 10.5cm, 7x etchings / reproduction prints, various sacred motifs / images of grace (e.g. "B. V. M. Soßauiensis" / "Wahre abbildung des H. Anastasy Martyr Carm. [...]" / "Wahrhaffte abbildung der wunderthätigen Gnaden Mutter Mariae zu Nessen bey denen P.P. Carmeliter zu Straubing" / "Miracul Bildes U. L. Frauen von der Nessel zu Straubing" / a.o., various engravers (once by von Weissen). Engraver (once by Weissenhahn), pl. ca. 8 x 5cm - 16 x 9,5cm, each mounted on passep. (ca. 21 x 29,5cm - 36 x 27cm), partly inscribed in pencil by another hand (margins), unframed

Estim. 1 800 - 2 000 EUR

FERDINAND BARBEDIENNE (France, 1810-1892). "Bacchus (Antinous) and Ariadne", c. 1850. Chiseled bronze, patinated and partially gilded, on Belgian black marble base. Signed. Presents some pitting on the base. With Mechanical Reduction stamp. Measurements: 27 x 12 x 11 cm; 27,5 x 12 x 11 cm. Pair of busts in bronze representing Bacchus and Ariadne. The foundry F. Barbedienne was founded in Paris in 1838 by Ferdinand Barbedienne and Achille Collas, the latter inventor of a machine to mechanically reduce the format of sculptures. At first they were dedicated to the production of bronze reproductions of sculptures from Roman and Greek antiquity, such as the one presented here. Their first contract to publish works created by a living artist was signed in 1843, with the sculptor François Rude. During the following years, after surviving the economic collapse of 1848, the Barbedienne house signed contracts with many of the sculptors active in Paris at the time, including David d'Angers, Jean-Baptiste Clesinger, Antoine Louis Barye and others. Achille Collas died in 1859, after which Ferdinand Barbedienne was left as sole partner in a firm that had grown to approximately three hundred workers. In 1865 he was appointed president of the Association of Broncists, a position he held until 1885. However, the outbreak of the Franco-Prussian War in 1870, and the consequent shortage of raw metals, forced Barbedienne to interrupt his artistic production, although he signed a contract with the French government to make cannons, which allowed him to keep the foundry open. After the war, he resumed his sculptural production and put even more effort into signing contracts with various sculptors. At his death in 1891, he was praised as the best foundryman in France, and was called by Albert Susse "a source of pride for the nation". The management of the foundry then fell to Barbedienne's nephew, Gustave Leblanc, who continued the high quality of production and opened branches in Germany, England and the United States. It presents some pitting at the base.

Starting price 250 EUR

E. SADELER (1570) after TIZIAN (1488), Portrait of Marcus Salvius Otho, around 1600, Copper engrav Egidius II Sadeler (around 1570 Antwerp - 1629 Prag) after Tizian: Tiziano Vecellio (around 1488 Belluno - 1576 Venice): Portrait of the Roman Emperor Marcus Salvius Otho (32 AD-69), c. 1600, Copper engraving Technique: Copper engraving on Paper Inscription: At the lower part signed in the printing plate: "AEgidius sadeler S.C.M. sculp. / Titianus inventor / Marcus sadeler excudit.". Upper middle inscribed in the printing plate: "M. SYLVIS OTHO.". At the lower part further inscription: "VIII. Ad regnum ingressus fuit hic vt apertus Othonie/Per miseram facta proditione necem: Hic idem fuit extremus regni exitus. Auli Vi sibi cum gladijs adueniente Super. / Suspector magni et quoniam fuit iste Neronis, Nomine quem voluit saepe referre Nero, Rettulit atque fuga: ac manibus tum denique mortem Persimilem sibi et hic coscijt suis.". Date: c. 1600 Description: Copperplate engraving by Sadeler, Egidius (1570 Antwerp - Prague 1629) and Sadeler, Marcus Christoph (before 1614 Munich - Prague 1660) after Titian (1477 Pieve di Cadore - Venice 1576). Marcus Salvius Otho (32-69 A.D.) was one of the four Roman emperors of the quadruple imperial year 69. The copperplate engraving is particularly striking in that his right arm is bare, but his left arm is clad in 17th century armour. It is an interesting portrait of an ancient figure, who appears to have been transported to the 17th century by the armour. Person: Depicted: Marcus Salvius Otho (32 Ferentium - 69 Brixellum) Roman Emperor Keywords: Rome, Roman Empire, Antiquity, Empire, Emperor, Emperor portrait, Armour, Imperium Romanum, 17th century, Renaissance, Portraits, Italy, Rome (Latium), Size: Paper: 52,3 cm x 37,3 cm (20,6 x 14,7 in), Plate: 35,0 cm x 24,0 cm (13,8 x 9,4 in), Depiction: 29,8 cm x 23,5 cm (11,7 x 9,3 in)

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