André Dignimont Art

Fernando Botero BOTERO SCULPTURE (hand signed by Fernando Botero), 1987 Hardback monograph with dust jacket (hand signed by Fernando Botero) Hand signed by Fernando on the first front end page 13 × 11 1/2 × 1 1/2 inches Provenance Hand signed for the present owner at Fernando Botero Sculpture...

This is an early 19th century hand-colored satirical caricature etching entitled "John Bull and his favourite statue of bronze!!", published and possibly engraved in London in 1802 by William Holland (1757-1815). It depicts John Bull (symbolizing the English people) kneeling in profile before William Pitt, who was prime minister of England at the time, and for whom the American city of Pittsburgh was named. Pitt is standing, pretending to be a statue. A rectangular pedestal beneath Pitt is inscribed: "Erected by Voluntary Subscription!" Pitt's body seems elongated, reminding that this a caricature. He is standing, looking to the left, his aristocratic nose held high in apparent arrogance and his hands are deep in his pockets, with his hat under his right arm. John Bull, is dressed simply for the time. He is on in his knees in a gesture of supplication, as if in prayer or begging for some action from a deity. He is holding his hat in both hands, looking up at Pitt. Trees and bushes are seen in the background. A caption showing John Bull's words in the upper left ironically reads: "O Wonderful Man! - how I revere thy sublime resemblance. - what obligations I am under to thee! what happy times thou hast brought about! Bread for nothing! Beef 3d per pound! Porter 3d per pot! a Goose 2 shillings! and a fat Turkey 3s.6d!! - whit every thing else cheap in proportion! - besides the wonderful decrease of Taxes!! - O Dear - O Dear I hardly know how to express myself, I feel so enraptured. - O that fine brass countenance how it shines with conscious Integrity!" The engraving is presented in a gold-colored wood frame and a tan-colored mat, with curved upper corners. The frame measures 18" high, 13.13" wide and 0.5" deep. The framing and mounting utilizes acid-free archival materials and it is glazed with UV conservation clear glass. There are a few faint areas of discoloration and spotting and an apparent short barely visible crease in the lower right corner of the inscription area. The print is otherwise in very good condition. William Holland was printmaker as well as a prominent dealer of satirical prints in London in late 18th and early 19th century. He carried works by the best known satirists of the time: Gillray, Rowlandson, Newton and Woodward, as well as his own creations. Holland along with the other prominent print-sellers of the time, Hannah Humphrey and Samuel Fores, were responsible for promoting the golden age of British caricature...

The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition. The "Analysis of Beauty" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Fine Arts Museums of San Francisco. The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe. A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene. The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate. Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...

This portrait of a nobleman in King Henry VIII's court entitled "N. Poines, Knight" is an etching and stipple engraving, printed in color on light pink-colored paper with hand-coloring in 1795. It is from "The Book of Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty" by Francesco Bartollozzi (1728–1815), after a drawing by Hans Holbein the Younger (1497/8 - 1543) in the 16th century. It was published in London by John Chamberlaine in 1797. This is a bust length portrait of a noble man (Nicholas Poines (or Poins), who is facing to the left. He is bearded and is wearing a feathered cap and an ornate shirt. Bartolozzi's engraved portrait is after a drawing by Hans Holbein the Younger (1497-1543), the famous artist in the court of Henry VIII. The inscription below the image reads "In his Majesty's Collection". "Published as the Act directs April 6, 1795 by I. Chamberlaine". Below the image on the left it reads: "From the original drawing by Hans Holbein". Below the image on the right it reads: "Engraved by F Bartolozzi RA Historical Engraver to His Majesty". The engraving is presented in an ornate beaded black frame with a gold inner trim and a light peach-colored mat. It is glazed with UV conservation glass. The frame measures "22.25 high, 17" wide and 1.25" deep. There are a few tiny spots, but the print is otherwise in excellent condition. There is a small ding in the the upper right. The original text from the 18th century publication is included in a sleeve on the back of the frame. There are three additional framed Bartolozzi engraved portraits from Holbein drawings that are available on 1stdibs. They are framed and matted identically to this one, other than some differences in frame size. These include portraits of Anne Boleyn, Henry VIII's son Edward, who succeeded Henry as King and himself was succeeded by Queen Elizabeth I, and M. Souch. These would make for an attractive and interesting display grouping. A discount is available for the purchase of one or more of these portraits, depending on the number. These can be viewed on our Timeless Intaglio...

"Dessine par Gallier" is a hand-colored engraving and etching by Pierre Laurent (1739-1809) and Pierre Audouin (1768-1822) after a painting by Eustache Le Sueur...

Jiri Kolar (Jiří Kolář) Analphabetogramme - Signatur Objekt Nr. 23 (Collages, Assemblages, Poetry, Surrealism) Analphabétogramme (hand-pressed copper print) with matte Year: 1995 Size: 12×11.6×0.6in Edition: 756 of 990 Signed, numbered by hand Publisher: First Edition, Verlag Rommerskirchen, Rolandseck - Germany COA provided Ref.: 924802-1933 White original cardboard in a Plexiglas slipcase, signed and numbered, number 756 of 990. 28 pages in block book form, texts and colored illustrations of collaged sculpture photographs, 1 loosely enclosed hand-signed original hand-pressed copper print ("Analphabétograms") under passepartout. The cardboard cover is cut out like a passe-partout so that the title illustration is visible when the book is hung on the wall as an art object using the acrylic glass frame provided. Tags: Czech artist,Poet,Visual artist,Political activist,Collages,Assemblages,Poetry,Surrealism,Dada...

An 18th century etching and engraving entitled "Earl Sandwich Refusing to Leave His Ship While on Fire in the Battle of Sole Bay" by William Byrne (1743-1805), after a painting by Robert Smirke (1753-1845). It was published in London in 1798. The print is presented in a cream-colored mat. The mat measures 17.13" in height and 13" in width. The print is in excellent condition. Edward Montagu, the 1st Earl of Sandwich...

This a framed Giovanni Battista Piranesi (1720-1778) etching entitled "Reliquiae Theartri Pompejani" (Remains of the Theatre of Pompey) from "Il Campo Marzio dell'Antica Roma" (The C...

A pair of French classical romantic prints original created in the 18th century by Jacques-Firmin Beauvarlet (1731-1797) after paintings by Francois Boucher (1703-1770), utilizing ...

Francis Bacon Francis Bacon (hand signed and warmly inscribed by Francis Bacon), 1975 Softcover catalogue with stiff wraps (hand signed and warmly inscribed by Francis Bacon) hand si...

A hand-colored portrait of Henry Prince of Wales, Son of James, engraved and etched by the Dutch master of portraits Jacobus Houbraken (1698-1780...

"Pillory, Charing Cross" is an illustration (Plate 62) from "The Microcosm of London", published in London in 1809 by R Ackermann's Repository of Arts. The scene was created by one of the most famous British satirists and caricaturists of the late 18th and early 19th centuries' Georgian Period, Thomas Rowlandson, who drew the figures, while Augustus Charles Pugin drew the architecture. The plate was then created by Hill, Stadler and Bluck using a combination of aquatint and etching and was then hand colored with watercolor. Scenes illustrated in "The Microcosm of London" gives an accurate and often comical view of everyday life in London during the Regency Period of the early 19th century. While Pugin’s excellent architectural drawings capture the size and shape of the exterior as well as the interior of London’s principal buildings, Thomas Rowlandson’s insightful and often whimsical and satirical view of the city's inhabitants depicts the color and vitality of the late Georgian society, both rich and poor alike. This print depicts the "Pillory, Charing Cross", where criminals were brought and placed on display while secure in the stocks, as are seen in this print. A crowd is present in the square jeering at the prisoners. A statue of Charles I on horseback stands atop a very large pillar to the right. Shops with apartments are seen on the left. Young wealthy people frolic around and on a carriage on the right in front of the statue of King...