collectibles europe

Hardcover. Rutland VT, Tuttle Publishing, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover, 170 pages. This art book contains many unique pieces that were produced extensively in the United States, Great Britain, and other European countries during the late 19th and early 20th centuries, when this fine art was at its height. All of the illustrations are in full color. The book contains 424 plates, 50 of which are full page. The complete description of each piece indicates its size, the type of glass used, its identification marks, the names of the designer and/or producer, when known, and its present owner. While every significant type of art glass produced during this period is covered in the succinct text, the exciting galaxy of 424 plates, interspersed throughout the book, were selected not only because of their rare beauty and authenticity, but also to show representative pieces, similar to those that are still obtainable. Most important of all in identifying a piece and determining its value, according to the authors, are its color, its shape, and the texture of its surface, to which they constantly give particular attention.

Hardcover. West Chester PA, Schiffer, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, Hardcover, 265 pages. Illustrated with full color photographs. 3 paperclip impressions at top edge of same amount of pages. Copy of "Penny Bank" Antique and Collectible Commercial Perfume Bottle Pocket Price Guide - Third Edition - laid-in. Clean, tight copy. Comprehensive guide to collecting the past and present bottles used by perfumers. Beautiful color pictures of flacons made by R. Lalique, Baccarat, J. Viard, Brosse, A. Jollivet, Cristal Nancy, Wheaton, C. K. Benda, and Lucien Guillard. Figural, novelty dimestore, and bottles with the original packaging are shown. Lavishly illustrated with catalog and ad pictures. Histories of many famous perfume houses and bottle makers are included. A directory of hundreds of American and European perfumers from 1870 to the present, with the names of thousands of scents makes dating a bottle easier for the collector.

Hardcover. Paris, Flammarion, 1st, 1977, Book: Very Good, Dust Jacket: Very Good, 167 pages. Hardcover. Text in French only. Illustrated in full color and black & white. Dust jacket with wear to edges - jacket now protected with clear plastic cover. Clean, tight copy.

Hardcover. Los Angeles, J. Paul Getty Museum, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, 211 pages, hardcover, 186 illustrations, 23 in color. A well illustrated detailed study of the 21 European clocks (19 French, 2 German) in the Getty Museum with detailed biographies of their makers.

NY/Paris, Hachette/French & European Publications, 1st US, 1965, Book: Very Good, Dust Jacket: Very Good, Hardcover, 530 photos. 40 in color. 341 pages. This is the English translation of Verlets' 1963 masterpiece "Les Ebenistes du XVIIIe Siecle Francais". Written by the Chief Curator of decorative arts at the Louvre, this classic text discusses each of the known French cabinet-makers active during the 18th century. This involves over 30 individuals, who were influential in determining the styles of the Regency, through Louis XV & XVI. Sections on each figure or firm with numerous examples of their furniture. Excellent 12 page appendice on maker marks, with thumbnail sketches of individuals and firms, business locations, etc.

Softcover. Florence, Italy, Qua D'Arno, 1st, 1987, Book: Very Good, Dust Jacket: None, Softcover, 156 pages, bilingual texts in English and Spanish, b&w plates and text throughout. Illustrates and describes numerous torture devices including breast rippers, the ever popular rack and iron maiden, heretics fork and many more. Clean copy.

Softcover. New York, Rizzoli, 1st US, 1983, Book: Very Good, Dust Jacket: Very Good, Hardcover, 302 pages. Blue cloth cover with gilt lettering to spine, color illustrated dust jacket, 405 b&w and 80 color illustrations, stapled cardboard slipcase. Bottom right corner of cover slightly bumped. Very light wear to dust jacket edges; a very clean, tight copy. This book is the first to survey the whole i development of porcelain n Europe between the Napoleonic era and the First World War. The nineteenth century was a period of technological change and of artistic innovation: both these strands came together in the development of porcelain, which industrialization brought within the reach of the burgeoning middle classes of industrial Europe. While early in the century Neoclassicism had brought about a new purity of line and decoration, in Germany and in England taste demanded more elaborate styles and resulted in the emergence of the 'new Rococo' and later in the development of revived styles of decoration such as Minton's 'Majolica' and the work of studio potters. This book covers not only the great factories, Sevres, Limoges, Copenhagen, Meissen, but also the smaller producers in Holland, Italy and Spain and extends to the birth of Art Nouveau.

Hardcover. Boston, Museum of Fine Arts, 1st, 2018, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. , 144 pages illustrated in color and b&w. During the global postcard craze that peaked around 1900 and continued for several decades thereafter, photographers in Africa grasped the opportunity to serve a lucrative market for images of the continent, both locally and worldwide. Their picture postcards now contribute to understanding political and cultural changes in Africa at the time, as the rise of the new medium coincided with the expansion and consolidation of colonial rule. They also provide a way to reconstruct the life and work of the photographers of European, African and other backgrounds who created these images-which often survive only in postcard form-and in some cases published them as well. The cards were produced for residents and travelers in Africa, as well as for buyers and collectors who had never set foot on the continent. Their depictions of colonial administrations and the exploitation of resources and peoples, as well as images inscribing tribal identities and racial classifications, often reflect the colonizers' worldview. Yet it is also possible to recover the authorship of some of the African women and men who participated in these photographic encounters. For instance, some cards show that members of Africa's elites recognized the power of photographic images to enhance their standing and present their own narratives.