After 1823 (30 resultados)

Disbound. Engraved. Size: Folio. 7pp.

Seltenes in Farben gedrucktes Schabkunst-Blatt von 1790. -- Blatt-Maße: ca. 32 x 23 cm. -- gut erhalten. || Rare color printed mezzotint from 1790. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 1550.…

Seltenes in Farben gedrucktes Schabkunst-Blatt von 1790. -- Blatt-Maße: ca. 32 x 23 cm. -- im Außenrand leicht fleckig, ansonsten gut erhalten. || Rare color printed mezzotint from 1790. -- slightly stained in the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 1550. …

Seltenes in Farben gedrucktes Schabkunst-Blatt von 1790. -- Blatt-Maße: ca. 32 x 23 cm. -- gut erhalten. || Rare color printed mezzotint from 1790. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 1550.…

Original Radierung aus dem 19. Jh. -- Blatt-Maße: ca. 35 x 26 cm. Platte: ca. 22 x 15 cm. -- im Außenrand etwas fleckig, sonst gut erhalten. || Original etched portrait from the 19th century. -- with some staining on the outer margin, otherwise in good condition. || -- This is an original! No copy! - No reprint! // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10. …

Size: Folio. [i (title)], 24, 8pp. Disbound, sewn. Two pages torn and reinforced. Engraved.

Etching, proof before title, on India paper, good margins, The original painting was completed in 1814.

Lithograph with blue tint proof before all letters, good margins, This is presumably the head from L'Amour, the original of which was in the collection of M. de la Salle. See GONCOURT. Catalogue Raisonne de l'Oeuvre . . . Prud'hon. 1876 168 bis which describes the Bellenger lithograph.

Lithograph with blue tint proof before title, 'Galerie Arsene Houssaye', good margins, The original illustration was for Lucien Bonaparte's 'la Tribu Indienne' first published in 1799. The print records the original drawing was in the collection of the writer Arsene Houssaye [1815-1896].

Lithograph with grey tint, proof before all letters, inscribed in pencil 'Daphnis & Chloe after Prud'hon by G. Bellanger', large margins, The British Museum have a fully lettered impression of this print with a brown tint.

Disbound, sewn. Engraved. Size: Folio. [i (title)], 47pp.

Blatt-Maße: ca. 54,5 x 35 cm. -- Original Radierung von 1842. Sehr seltenes Portrait! -- im Außenrand etwas fleckig, obere Ecke etwas geknickt, sonst gut erhalten. || Original portrait from 1842. Very rare! -- with some staining on the outer margin, upper corners a little crinkled, otherwise in good condition. || -- This is an original! - No copy! - No reprint! // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Niederländisch Gewicht in Gramm: 35.…

Condición: Good. Engraving. 43 x 60 cm (sheet). Very Good, light foxing and water staining in the margins, print chine-colled to another support sheet.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

etching & aquatint, large margins, The original is stated as being in the collection of M. Marcille.

Condición: Good. Lithograph chine-colle mounted on a support sheet. 24 x 17.5 cm (sheet). Very Good, some specks foxing, a few handling creases, a short repaired tear in upper right sheet corner.

Condición: Good. Hand-colored engraving. 33.5 x 26 cm (sheet). Very Good, light foxing and minor toning, missing upper left and right sheet corners.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condición: Good. Hand-colored engraving. 33.5 x 26 cm (sheet). Very Good, light foxing and minor toning.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condición: Good. Hand-colored engraving. 35 x 27 cm (sheet). Very Good, light foxing and minor toning.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Condición: Good. Hand-colored engraving. 33 x 24 cm (sheet). Very Good, light foxing and minor toning.Provenance: ancienne galerie Vandevoorde, 22 rue Vignon, Paris.

Disbound. Engraved. Not in RISM. Size: Folio. [i (title)], 24pp.

Sewn as issued. Engraved. Size: Folio. 32pp. (lacking title-page). RISM A/I/3 and A/I/11 F 944 citing just three copies (Austria and Germany).

Condición: Good. 34x23 cm. Hand colored engraving on laid rag. Very Good.Mounted on mat board, will cost extra to ship flat. Alternately, the engraving can be carefully removed from mat board, and rolled into a tube for shipping.

No Binding. Condición: Very Good. 12 ¼ x 18 3/8 inches (31.1 x 46.7 cm., entire sheet). etching & engraving (6 small holes in upper blank margin). "The Battle of Friedland (14 June 1807) was a major engagement of the Napoleonic Wars between the armies of the French Empire commanded by Napoleon I and the armies of the Russian Empire led by Count von Bennigsen. Napoleon and the French obtained a decisive victory that routed much of the Russian army, which retreated chaotically over the Alle River by the end of the fighting. The battlefield is located in modern-day Kaliningrad Oblast, near the town of Pravdinsk, RussiaNapoleon's overwhelming victoryeffectively ended the War of the Fourth Coalition, as Emperor Alexander I reluctantly entered peace negotiations with Napoleon. These discussions eventually culminated in the Treaties of Tilsit, by which Russia agreed to join the Continental System against Great Britain and by which Prussia lost almost half of its territories." (Wikipedia).…

No Binding. Condición: Very Good. 12 ¼ x 18 3/8 inches (31.1 x 46.7 cm., entire sheet). etching & engraving (6 small holes in upper blank margin). "The Battle of the Pyramids, also known as the Battle of Embabeh, was a major engagement fought on 21 July 1798, during the French Invasion of EgyptAfter capturing Alexandria and crossing the desert, the French army led by General Napoleon Bonaparte, scored a decisive victory against the main army of the local Mamluk rulers, wiping out almost the entire Ottoman army located in Egypt. It was the first battle where Napoleon personally devised and employed the divisional square tactic to great effect. The deployment of the French brigades into these massive rectangular formations repeatedly threw back multiple cavalry charges of the Mamluks." (Wikipedia).…

Condición: Good. Suite complète de 24 planches gravées par Pierre-Gabriel Berthault d'après 24 aquatints and soft ground etchings, title page 29 x 21.5cm; others oblong.OCLC Number / Unique Identifier:3723722.); Louis-Martin Berthault (1770?1823) : French architect and landscape-architect, a pupil of Percier. He decorated a house on the Rue du Mont-Blanc, Paris, and designed a celebrated garden at Raincy which included a Russian House, a grotto, and an iron bridge (all 1790s and early 1800s). His garden at Les Fontaines, near Chantilly (1792-1822), had Picturesque and Neo-Classical features (e.g. Fisherman's House, Boat-House, Sepulchre, and Obelisk on an island), and is known from the drawings by C. Bourgeois and Berthault's uncle, Pierre-Gabriel Berthault, published in Suite de Vingt-Quatre Vues de Jardins Anglais (1812). Berthault transformed several French gardens into less formal arrangements, notably at Courson (from 1820). He became Chief Architect to the Empress Josephine (1763-1814) in 1805, for whom he carried out works at the garden of La Malmaison. Other parks on which he worked were those at St-Leu-Taverny, Beauregard (near Villeneuve-St-George), and Compiègne. His eclectic use of a wide variety of exotic shrubs and trees created a rich, sometimes overwhelming effect.British Museum: Paul André Basset, artist and publisher.Address: (by mid 1812) rue Saint Jacques no.64 (which was still the building at the corner of the Mathurins), where firm remained at least to 1885 (see Beraldi I p.104.)Biography. Paris print publisher, printseller and wallpaper manufacturer, son of André. Married in 1787. Premises at the corner of rue St Jacques and rue des Mathurins. Very active during the revolutionary period . Retired in 1819; business continued by various members of the family at same address before disappearing after 1865 (see Nouvelles de l'Estampe 176 (2001) p.6, note 11). The family were major publishers, with 1425 entries in the BdlF between 1799 and 1852. The firm aimed at the middle parket, and only published social satires, never political caricatures.Some plates were taken over from Martinet. Basset publications are sometimes found with running numbers at top right, which presumably refer to a catalogue.Expertise by : : Jean Lequoy Librairie Giraud-Badin 22, rue Guynemer - 75006 Paris.…

Condición: Good. Steel line and stipple engraving. 24 x 33.5 inches. Marginal tears and abrasions., partially mounted on linen.left to right: Henry T. Tuckerman (1813-1871), Oliver Wendell Holmes (1809-1894), William Gilmore Simms (1806-1870), Fitz-Greene Halleck (1790-1867), Nathaniel Hawthorne (1804-1864), Henry Wadsworth Longfellow (1807-1882), Nathaniel Parker Willis (1806-1867), William H. Prescott (1796-1859), Washington Irving (1783-1859), James Kirke Paulding (1778-1860), Ralph Waldo Emerson (1803-1882), William Cullen Bryant (1794-1878), John Pendleton Kennedy (1795-1870), James Fenimore Cooper (1789-1851), and George Bancroft (1800-1891).This imaginary scene shows fifteen celebrated literary figures gathered at the home of Washington Irving, author of such popular tales as "Rip Van Winkle" (1819) and "The Legend of Sleepy Hollow" (1820). Advertisements published in the New York Times in December 1863 announced the painting's exhibition at a Manhattan art gallery, where visitors could purchase a fifty-four-page booklet describing the work. "It is, in the truest and completest sense, a National picture," the anonymous author declared, and its production "will be universally regarded as a National event."The painting resulted from a collaborative effort. The photographer Mathew Brady captured the likeness of each writer (including Nathaniel Hawthorne, Henry Wadsworth Longfellow, Ralph Waldo Emerson, and Irving himself), and the artist F. O. C. Darley designed the group composition. Working from those materials, Christian Schussele painted this canvas while Thomas Oldham Barlow engraved a widely reproduced print.From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.…

George Brookshaw's 'Pomona Britannica' is the finest work on fruit and flowers ever produced. Its breathtaking images display a level of technical virtuosity and beauty that distinguish this magnificent work as a true work of art. As a retired cabinetmaker, Brookshaw produced his seminal botanical study late in his career, at first publishing it in parts and then as a complete edition in 1812. The fact that this outstanding work took ten years to complete is evident in the quality of its images and the care with which Brookshaw executed each individual picture. 'Pomona Britannica' was produced as a visual record of the best available varieties of fruit in an attempt to encourage gardeners to experiment with growing fruit, and illustrates examples found in the Royal gardens at Hampton Court, Kensington Gardens, and the private gardens of the Prince of Wales in Blackheath. 'Pomona Britannica' differs from other botanical works in its dark aquatinted backgrounds and its stylized compositions. By using aquatint to create a contrasting background, Brookshaw manages to produce a truly dramatic effect. His use of stylized composition distinguishes his pictures from the dry scientific illustrations found in other botanical studies and creates an exceptionally beautiful visual experience. 'Pomona Britannica' is not only a didactic study, it is a masterpiece of illustration in which every picture is a testament to the artist's talent and ingenuity. Plates: [Nectarine] Vermash Nectarine; Violet Hative Nectarine; Roman Nectarine; North's Scarlet Nectarine; Elrouge Nectarine; Peterborough Nectarine, [Nectarine] Dutillees Nectarine; Burgnon's Old Nectarine; Brugnon's Round Nectarine; Murray Nectarine; Newington Nectarine, [Peach] Black Peach of Montreal; Cambra Peach; Monshien's Pacey of Pomperi (Pavie of Pompone?) and [Peach] Chancellor Peach; Catherine Peach; Old Newington Peach. Set of four aquatint engravings, with some stipple, printed in colours and finished by hand. Some tears on the edges otherwise good condition. Paper size: 57.5cm x 47cm. Cf. Dunthorne 50; cf. Great Flower Books (1990) p. 81; cf. Nissen BBI 244; cf. Sandra Raphael An Oak Spring Pomona 40a.…

2. London, printed & sold by Mess.rs Birchall & C°., [.] s.d. ( ca. 1830), format 34 x 24, 2 cm . Engraved title + 11 leaves with engraved music, pp 2 , 3 and last blank (as issued) . No plate number , but at the foot of each plate '' Il Flauto Magico 3rd set''. Price 8s. Pagination 44->65. Disbound, removed from a binding, minor damage to inner margin, one small tear in pp. 53/54. …

Three plates from Pietro Paolo Montagnani's 'Picturae Peristyli Vaticani, manus Raphaelis Sanci in tabulis aereis nova cura expressae, chartisque redditae anno M.DCC.LXXXX' with scenes of the early life of Jesus, after Raphael: 1) the Flight to Egypt: Mary and Christ on a camel and Joseph on a donkey among a procession of women and men. Inscribed at the bottom: 'IMPOSITIS LIBERIS ET CONIUGIBUS SUPER CAMELOS GREGIBUSQ.' signed below the picture: 'Raph. Sanct. pinx. / Aloy Agricola delin. / Aloy Cunego sculp.' 2) the adoration of the Shepherds: Mary kneeling in the center of he composition, holding the baby Christ. Two angels flying above and shepherds visiting. Inscribed at the bottom: 'VENERUN PASTORES.' signed below the image: 'Raph. Sanctius pix. / Aloys Agricola del. / Jac. Bossi scul.' 3) the adoration of the Magi: the Holy Family on the left visited by the Magi coming from the right; inscribed at the bottom: 'PROCIDENTES MAGI.' signed below the picture: 'Raph. Sanctia pin. / Aloys Agricola del. / Jac. Bossi scul.' Three engraving on laid paper with broad margins on Fabriano paper from the Miliani Family; 1) plate mark: 261 x 295 mm, total: 368 x 485 mm; soiled along the margins, stain on the top right margin, some foxing; 2) plate mark: 240 x 278 mm, total: 367 x 503 mm, some foxing on the margins and some soiling on the very far margins; 3) plate mark: 238 x 278 mm, total: 370 x 503 mm ; soil and foxing along the broad margin, stains on the left, not affecting the plate.…

(Paris) , chez le Sr. Sieber Musicien rue St. honore entre celle des Vielle Etuve et celle D'orleans chez l'Apothicaire N°85 (the words ''chez l'Apothicaire'' are deleted), s.d. (ca. 1788), in-folio, 31,5 x 24,5 cm, the two parts ; violino primo , title + 14 pp of engraved music ; violino secondo , title + 14 pp of engraved music. Plate number 157. Each part sewn and without a wrapper ( removed from a convolute). With the contemporary ex-libris in handwriting of Philippe Tillier . See Fétis, Biographie Universelle des Musiciens , Vol. III pp. 257-258. See Lesure, Musique imprimée avant 1800 dans les Bibliothèques publiques de Paris pp. 205. (N° de la BN A.33966). …