Original copper engraving, hand colored in outline and wash, published in a 1574 in a Latin text edition of the 'Theatrum Orbis Terrarum' at C. Diesth in Antwerp. A highly decorative map of North Africa with parts of Southern Italy published in the atlas ,Theatrum Orbis Terrarum' by A. Ortelius. This antique map shows North Africa with the Mediterranean Sea and the Atlantic coast. The map is equipped with many place names, rivers, mountains, towns, a small part of Italy, Sicily, the islands Corsica, Sardinia, Menorca, Mallorca, etc. The map is ornated with a large title cartouche in the upper margin, as well we find for decoration a sea monsters and a ship in the sea. Villages and towns are shown as miniature views. Ortelius was born on 14 April 1527 in the city of Antwerp, which was then in the Habsburg Netherlands (modern-day Belgium). The Orthellius family were originally from Augsburg, a Free imperial city of the Holy Roman Empire. In 1535, the family had fallen under suspicion of Protestantism. Following the death of Ortelius's father, his uncle Jacobus van Meteren returned from religious exile in England to take care of Ortelius. Abraham remained close to his cousin Emanuel van Meteren, who would later move to London. In 1575 he was appointed geographer to the king of Spain, Philip II, on the recommendation of Arias Montanus, who vouched for his orthodoxy. He travelled extensively in Europe and is specifically known to have traveled throughout the Seventeen Provinces; in southern, western, northern, and eastern Germany (e.g., 1560, 1575–1576); France (1559–1560); England and Ireland (1576); and Italy (1578, and perhaps twice or thrice between 1550 and 1558). Beginning as a map-engraver, in 1547 he entered the Antwerp Guild of Saint Luke as an illuminator of maps. He supplemented his income trading in books, prints, and maps, and his journeys included yearly visits to the Frankfurt book and print fair, where he met Gerardus Mercator in 1554. In 1560, however, when travelling with Mercator to Trier, Lorraine, and Poitiers, he seems to have been attracted, largely by Mercator's influence, towards the career of a scientific geographer. (Wikipedia)
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp ,Dorothea Leonhart München'. Signed in pencil, numbered 2051 / 3000 English Pop Art by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London).
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp ,Dorothea Leonhart München'. Signed in pencil, numbered 2606 / 3000
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp ,Dorothea Leonhart München'. Signed in pencil, numbered 2798 / 3000
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. The screenprint is signed in pencil, numbered 2876 / 3000. Image size: 740 by 495mm (29¼ by 19½ inches). Sheet size: 850 by 600 mm. Note: this is an oversize and fragile artwork, which requests an individual calculation for the shipping cost. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. Signed in pencil, numbered 2876 / 3000
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. The screenprint is signed in pencil, numbered 2606 / 3000. Image size: 740 by 495mm (29¼ by 19½ inches). Sheet size: 850 by 600 mm. Note: this is an oversize and fragile artwork, which requests an individual calculation for the shipping cost. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. Signed in pencil, numbered 2606 / 3000 Only one copy on stock!
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. Signed in pencil, numbered. Image size: 740 by 495mm (29¼ by 19½ inches). Sheet size: 850 by 600 mm.
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp ,Dorothea Leonhart München'. Signed in pencil, numbered 1135 / 3000
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp ,Dorothea Leonhart München'. Signed in pencil, numbered 1183 / 3000
Original screenprint by Sir Eduardo Luigi Paolozzi (1924 Leith - 2005 London) in colors, printed and published 1971 in Munich by Dorothea Leonhart. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. The screenprint is signed in pencil, numbered 3000 / 3000. Image size: 740 by 495mm (29¼ by 19½ inches). Sheet size: 850 by 600 mm. Note: this is an oversize and fragile artwork, which requests an individual calculation for the shipping cost. In the lower left corner with gallery dry stamp,Dorothea Leonhart München'. Signed in pencil, numbered 3000 / 3000 Some spots outside the image in the lower left side 5-10 cm above the drystamp. Only one copy on stock!
Original engraved map, printed from two plates and handcolored in wash and outline when published. A highly detailed and large map of South East Asia. Published by Homann´s Heirs and engraved after a drawing by Tobias Meyer in 1748. The left half of the map shows India with Delhi all the way to Burma, Vietnam, Laos, Malaysia, Sumatra and Singapore as well as the Maldives with the Indian Ocean. The right half of the map depicts the Philippines, Java, Borneo, Papua New Guinea and Eastern China. The title cartouche can be found on the left bottom including a dedication to the former Prince of Orange - Nassau, Wilhelm IV. Many engraved place names, mountains, rivers, lakes, political border are engraved on the map. The map was printed from two plates, these two sheets were joined together and then pasted down on cardboard. The upper margin cut close to the printed title at the top of the map, the bottom cut close to the engraved printed border line.
Original copper engraving, uncolored. A finely engraved chart extending from Newfoundland to the British Isles and Denmark and north to include Davids Straits, Greenland, Iceland and a part of Norway. Text along the right hand side lists location with their longitude and latitude and the chart uses a precise technique by which only those coastlines definitely known are fully shaded. Engraved by Petit and with the stamp of the Depot De La Marine.
Original woodcut map, mounted on linen, finely hand colored. Published in Ingolstadt, dated 1567 (probably 1568). The map was published in 24 segments to make up a large wall map of Bavaria. The 24 hand colored segments are mounted on 20th century linen. The overall dimens of the map are about 66¼ by 63¾ inches. The map is here present between the 1st and 2nd state published 1567/1568. The Apian map of Bavaria was an extraordinary achievement. As a survey based on triangulation, it was quite precocious; as a topographic survey of an entire country and as a model of modern topographic maps issued in uniform sheets, it was the first. Its inherent accuracy and detail ensured that it would remain a useful map, in different guises, for a very long time indeed. (Karrow) The child prodigy Philipp Apian took over the chair of Mathematics at Ingolstadt University in 1552 upon the death of his father at 21 years old. Two years later he received a commission from Duke Albrecht V to undertake a survey of Bavaria in order to make a map. After the next seven years Apian's map with lovely colours was ready. It measured 500 x 500 centimetres! The original was lost around 1782 but copies were made during the eighteenth century and just a small number survive in the Bavarian Land Survey Office. Duke Albrecht was pleased with his stunning map but desired something more manageable. He ordered Apain to make it somewhat smaller, put it in a special porfolio and publish it, this is the work we offer here. To quote Karrow 'The first sheets of this map were published in Munich as early as 1566. Evidently the work there did not progress as he wished, and Apain himself transferred the finishing of additional woodblocks and the printing to the printing shop inherited from his father in Ingolstadt.' The elaborate woodcutting was done by Jost Amman and Gradierer von Zürich, whose initial appears ath the bottom edge of sheet 22. More normal work was done by Wolf Strauss and HF (unidentified), whose monograms appeared at the lower right hand corner of sheet 24 below the date 1567. Neither of these last two monograms appear here. The original woodblocks still survive in the Bayerisches Nationalmuseum.
Original lithograph, hand colored in outline when published. A fine large and detailed engraved map of Germany published in Carl August Eyraud's printing house in Neuhaldensleben in Saxonia. An unusual and rare 19th century lithograph map, printed from four plates, depicting Germany with its newest political divisions. The map was published in the small printing house by Carl August Eyraud in Neuhaldensleben near Magdeburg in Saxonia. The publication date is probably between 1816-37 (the map depicts Rhein Bayern, which was founded 1816 and existed only until 1837). The scale of the map highly detailed and shows cities, towns, small place names, rivers, lakes, mountains political borders as well roads between the various places. In the lower left corner a large table of explanations in various colors to explain the political posessions of the various kingdoms, duchies and free cities.
Original Siebdruck „Flowers" von Andy Warhol 1972, erschienen in New York bei Sunday B. Morning editions. Rückseitig mit Verlagsstempel ,Sunday B. Morning' und ,fill in your own signature'. Andy Warhol (1927-1987) In the 1960s, Warhol began producing paintings of famous American products such as Campbell's Soup Cans by Campbell Soup Company and Coca-Cola, as well as images by celebrities such as Marilyn Monroe, Troy Donahue, and Elizabeth Taylor. He founded his studio "The Factory" in those years and gathered a variety of artists, writers, musicians and underground celebrities. He switched to serigraphs, which he produced serially, and not only sought to make art from mass-produced items, but also to produce mass art himself. Warhol reduced the role of his own hand in the production of his work and declared that he wanted to be "a machine," and Warhol unleashed a revolution in the arts. His work quickly became very controversial and popular. Warhol's work from this period revolves around the American Pop (Popular) culture as Roy Lichtenstein. He painted dollar bills, celebrities, brand name products, and snippets of newspaper clippings - many of which were iconic headlines from the decade (eg, photos of mushroom clouds and police dogs attacking civil rights protesters). His motives were instantly recognizable and often had a mass appeal. This aspect interested him the most and unifies his pictures from that time.
Original Siebdruck des Mao Tse Tung Portraits von Andy Warhol 1972, erschienen in New York bei Sunday B. Morning editions. Rückseitig mit Verlagsstempel ,Sunday B. Morning' und ,fill in your own signature'.
Andy Warhol (1927-1987)
In the 1960s, Warhol began producing paintings of famous American products such as Campbell's Soup Cans by Campbell Soup Company and Coca-Cola, as well as images by celebrities such as Marilyn Monroe, Troy Donahue, and Elizabeth Taylor. He founded his studio "The Factory" in those years and gathered a variety of artists, writers, musicians and underground celebrities. He switched to serigraphs, which he produced serially, and not only sought to make art from mass-produced items, but also to produce mass art himself. Warhol reduced the role of his own hand in the production of his work and declared that he wanted to be "a machine," and Warhol unleashed a revolution in the arts. His work quickly became very controversial and popular. Warhol's work from this period revolves around the American Pop (Popular) culture as Roy Lichtenstein. He painted dollar bills, celebrities, brand name products, and snippets of newspaper clippings - many of which were iconic headlines from the decade (eg, photos of mushroom clouds and police dogs attacking civil rights protesters). His motives were instantly recognizable and often had a mass appeal. This aspect interested him the most and unifies his pictures from that time.
Original Siebdruck des Marilyn Monroe Portraits von Andy Warhol 1972, erschienen in New York bei Sunday B. Morning editions. Rückseitig mit Verlagsstempel ,Sunday B. Morning' und ,fill in your own signature'.
Andy Warhol (1927-1987)In the 1960s, Warhol began producing paintings of famous American products such as Campbell's Soup Cans by Campbell Soup Company and Coca-Cola, as well as images by celebrities such as Marilyn Monroe, Troy Donahue, and Elizabeth Taylor. He founded his studio "The Factory" in those years and gathered a variety of artists, writers, musicians and underground celebrities. He switched to serigraphs, which he produced serially, and not only sought to make art from mass-produced items, but also to produce mass art himself. Warhol reduced the role of his own hand in the production of his work and declared that he wanted to be "a machine," and Warhol unleashed a revolution in the arts. His work quickly became very controversial and popular. Warhol's work from this period revolves around the American Pop (Popular) culture as Roy Lichtenstein. He painted dollar bills, celebrities, brand name products, and snippets of newspaper clippings - many of which were iconic headlines from the decade (eg, photos of mushroom clouds and police dogs attacking civil rights protesters). His motives were instantly recognizable and often had a mass appeal. This aspect interested him the most and unifies his pictures from that time.
Steel engraving, hand colored in outline and wash. An detailed map and street plan of Philadelphia. Inside the plan are many place names, rivers, etc. At the right side (in the area of the Delaware River) are two vignettes engraved, the United States Bank and the Exchange. At the lower left corner is a key of the city's main buildings.
