dutch school (13 resultados)

Soft cover. Condición: Very Good. 88 pages. C J M Carter / School-ship for the Breakers" / W A Connell "Bells And Other Relics" / J H Isherwood"Hamburg-Amerika Liner 'Furst Bismarck' Of 1890" / Barbara Hinds "Saga Of The 'San Rafael'" / John D Rogers "Christmas Memories" / F G Whitnall "Lionel Lukin: Inventor of the Life-boat" / W A Laxon "The Blue Emu at Sea" (2) / John Young "Group Order For Dutch Owners" / E W Argyle "More Norfolk Island Issues" / Capt. N A Holmberg "Last Voyage of the 'Favell' (8) (SL#49).

First edition in publisher's original illustrated card wrap covers (soft back). 8vo. 8'' x 5¼''. Full printer's code 1 2 3 4 5 6 7 8 9 10. Contains 178 pp with 21 monochrome illustrations on coated art paper. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. ART [Flemish and Dutch].

LeatherBound. Condición: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 126. A perfect gift for your loved ones. Reprinted from 1853 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 126.

Nineteenth century green leather binding, five raised bands to the spine, gilt details between the bands, all page edges gilt, gilt ruled lines to the perimeters and internal paste downs. 8vo. 7'' x 4½''. Contains 134 + i pages with 58 single-page sharp woodcut illustrations. Emblems include beasts of burden, deer, winged-man, caged bird, palm tree, caged rodents, elephant, and others. Smart bookplate inside belonging to Henry William Hunter Master of Arts with antler motif. Light rubbing to the spine edges and in Very Good clean condition. Member of the P.B.F.A. LITERATURE BEFORE 1800.

Water-colour on Dutch laid paper, some light spotting and toning to paper. Framed and glazed, overall size: 38.7cm x 45.7cm. Dimensions: 180 x 130mm. (7 x 5 inches). From a "Tulip Book", in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right, with several highly accomplished works to his name. However, as with most of the great Dutch masters of this period, they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection.

Hardcover. Condición: Good. DUTCH SCHOOL, 17TH CENTURY An Album of 39 Watercolors of Fish and Other Sea Creatures Watercolor over traces of black chalk, within black chalk framing lines; almost all inscribed in brown ink, verso, with identification and measurements of the fish depicted; the 39 drawings attached to 20 album sheets, loosely contained in an early 19th-century folder (spine in disrepair), with a label inscribed in brown ink: 41 Stuks / Visschen in Sapverwen / door / Rochus van Veen / 17e Eeuw / Uit de Collectie / van / DenwelEd Heer Ploos van Amstel Two drawings fixed to each album sheet (in all except one case), the album sheets 16 1/8 x 12 3/8 in. Provenance: Cornelis Ploos van Amstel (according to the label on the album cover) In 17th-century Holland, the art of natural history drawing took on a new significance. As never before, artists produced a great series of high-quality watercolors, combining very scientific observation and annotation with considerable artistic and aesthetic quality. However, most such watercolors depict flowers or, less frequently, insects or land animals, and representations of fish from this period are relatively rare. Loca:6.3BC.19C.

Woodcut ovoid roundel (60 x 75 mm), contemporarily trimmed to just outside neatline and contemporarily mounted to a larger sheet of paper (in excellent condition). One of the earliest printed views of what is today Beijing: an unrecorded bird's eye prospect over 'Cambalu', or Khanbaliq (on the site of modern Beijing), the capital of China during the Yuan Dynasty (1271-1368). The Yuan Dynasty was founded by the legendary Mongol warrior Kublai Khan, who after conquering China proclaimed his new capital at Khanbaliq, although the city would not be completed until 1293. During the succeeding Ming Dynasty (1368-1644), Khanbaliq was transformed into what is known as Beijing. Interestingly, as seen in the view, the walled rectangular form of the old city of Beijing is already evident in the design of Khanbaliq. Marco Polo visited Khanbaliq, but his description of its location was vague. For over two centuries thereafter Europeans were confused as to not only the location of "Cambaluc", but they even sometimes confused its identify with "Cathay" (China), thinking that it was the name for the entire country. This confusion was cleared up by the Jesuit Matteo Ricci during his first visit to Beijing in 1598, when he definitively identified Khanbaliq as the precursor to the modern Chinese capital. The present work is one of a series of 26 woodcut roundels of views and maps that were found together as collection. Charming, mysterious and apparently unique, in the absence of any accompanying documentation we are left to make educated guesses about their genesis. By all appearances they seem to be late 16th or early 17th century Flemish or Dutch woodcuts, probably proofs for vignettes to adorn the sides of an unrealized copper-engraved wall map (or maps). Indeed, this period saw the beginnings of the "carte à figures" wall maps that became all the rage during the 17th century, and which occupied an iconic place in the art world of the Low Countries. In the fluid and fast-paced environment of the large European print shops, it was common for artists to experiment with designs for copperplate maps by making woodcut proofs, as carving into wood was much quicker and cheaper. Only if the design was accepted for publication was it engraved into copper (an expensive and demanding process). The views within the roundels were generally predicated on the most authoritative recent sources. Many of the views are based on those published within the first four volumes of Braun & Hogenberg's "Civitates Orbis Terrarum" (6 vols., 1572-1618), the first great "town book", featuring bird's eye views of cities in Europe, Asia, Africa and America. Inspired by Ortelius's ground-breaking world atlas "Theatrum Orbis Terraum" (1570), which featured all of the world's known regions in detail, this monumental endeavour featured 546 views and maps of cities. The views from the "Civitates" are imbued with profound historical importance as, in many cases, they are the first accurate and detailed views of many great cities and towns, and were the most popular and influential images of these urban centres available to Europeans during the late 16th and much of the 17th centuries. Other fantastic sources include Jan van Linschoten's "Itinerario" (Amsterdam, 1596), one of the most consequential books ever written, responsible for breaking the Portuguese monopoly on European trade in South and East Asia. Likewise, other views were borrowed from important and pioneering 16th century prints and manuscripts. The unknown maker of the set of roundels to which the present view belongs likely intended for them to serve as proofs for the vignettes adorning the sides of an intended "carte à figures" wall map (or more likely maps). The creation of such woodcut proofs was commonplace, although very few examples survive to this day, as most were destroyed once their incidental use had transpired. In any event, these woodcut roundels are a fascinating insight into the operations of a large cartographic workshop in the late 16th century.

Water-colour on Dutch laid paper, some light toning. Framed and glazed, overall size: 38.7cm by 45.7cm. Dimensions: 18 by 13cm. (7 by 5 inches). From a "Tulip Book", in the manner of Anthony Claesz who produced his own "Tulip Book" in c.1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right, with several highly accomplished works to his name. However, as with most of the great Dutch masters of this period, they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces.

Water-colour on Dutch laid paper, light paper toning. Framed and glazed, overall size: 38.7cm x 45.7cm. Dimensions: 180 x 130mm. (7 x 5 inches). From a "Tulip Book", in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right, with several highly accomplished works to his name. However, as with most of the great Dutch masters of this period, they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection.

Water-colour on Dutch laid paper, some light toning. Framed and glazed, overall dimensions: 38.7cm by 45.7cm. Dimensions: 18 by 13cm. (7 by 5 inches). From a "Tulip Book", in the manner of Anthony Claesz who produced his own "Tulip Book" in c. 1641. These florilegia were commissioned to illustrate the differences between varieties of tulip bulb which at the time demanded such high prices. The beauty of these works ensured that their images would be copied for decades to come by amateur painters and gardeners alike. Claesz was a Dutch master in his own right, with several highly accomplished works to his name. However, as with most of the great Dutch masters of this period, they happily supplemented their income by illustrating such books. It also allowed them to study in detail subjects that would later be incorporated in their great flower pieces. Provenance: Private Dutch collection.

Leather Bound. Condición: New. Language: English. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1853. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Pages: - 134, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 134 134.

Pen and grey and brown ink, grey wash, on laid paper, on an archival mount. Fine condition. Sheet size: 18 x 23 7/8 inches. Provenance: Dr. C.A. Pompe; G. Meijer; L. Houthakker (with his collector's mark at lower right corner, not in Lugt). A beautiful and very rare drawing of one of the most beautiful "Wunderkammern" of the day, which later became the property of the Empress of Russia. This drawing shows the interior of the cabinet of curiosities of Catharina van Grovestins-von Schutz in the family house in The Hague. There is another earlier drawing of the same cabinet by the artist Daniel Marot the Younger (1695-1769), dated 1756 and currently in the collection of the Gemeentearchief in The Hague. This earlier drawing shows the interior just after it was completed, but before the expanding collection necessitated certain improvements that are shown in the present drawing: additions include a shaped central cabinet bearing what may be a portrait bust of Catharina van Grovestins-von Schutz. Other improvements include the display shelves for taxidermy specimens that have been added between the built-in display cases and the architrave above; and the central bracketed display of coral and shells that was added above the fireplace. Catharina, lady-in-waiting to Princess Anna of Orange, employed the talents of the well-known naturalist and collector Arnout Vosmaer to help assemble the Cabinet. Vosmaer later commented in his memoirs that the cabinet was 'one of the most beautiful collections . covering every domain of nature" and noted that it was eventually sold to the Empress of Russia. The present drawing may perhaps have been intended as part of the successful attempt to sell the collection to the Empress? The earliest cabinets were gathered together in the 16th century. They initially represented a genuine attempt to begin to understand the natural world but also came to be seen as an expression of the power and influence of the owner: the larger the 'wunderkammer' the more important the owner. They were the precursor to today's museums, the most famous in England being the collection of Elias Ashmole (1617-1692). His private collection, founded by the naturalist John Tradescant (circa 1570-1638) was presented to Oxford University and opened to the public on 24 May 1683 as the Ashmolean Museum. One of the best known American examples was the Peale Museum founded in Philadelphia in 1784 for Charles Wilson Peale (a painter and a scientist). His son Rembrandt Peale (more famous today as a portrait painter) subsequently established a 'branch' of the Peale Museum in Baltimore, Maryland, and this is now the oldest museum building in the Western hemisphere. The museum differed from the earlier more private collections in that it was always the Peales' intention to open the museum to the public. In its heyday the show included 90 specimens of mammals, more than 700 bird specimens mounted in 'naturalistic' mini-dioramas, a whole room of marine specimens, about 4000 insects, numerous minerals, as well as their famous mammoth skeleton (the first such display) as well as scores of Peale's portraits. Cf. H. Engel Alphabetical list of Dutch Zoological Cabinets and Menageries Amsterdam: 1986; P. Fuhring Design into Art: drawings for architecture and ornament, the Lodewijk Houthakker Collection London, 1989, vol. II, p. 761, #1102.

No Binding. Condición: Near Fine. DUTCH SCHOOL (17TH CENTURY) A Thornback Ray Pen and gray ink and watercolor heightened with white Paper size: 5 ¼ x 7 ½ in. Provenance: With F.A.C. Prestel, Frankfurt, before 1908 (L.2730) This drawing and the following lot belong to a long-standing Dutch tradition of natural history drawing. Not surprisingly, given the immense Dutch maritime tradition and dependence on the sea, fish depictions have always been popular with Dutch artists from the very beginning of the 17th century. A celebrated example is Hendrik Goltzius spectacular drawing of a John Dory, in the Teylers Museum, Haarlem, and delicate drawings of fish by Adriaan Matham, somewhat similar in style to this, also featured in the comprehensive drawing collections of Laurens van der Hem. Loca: 6.3B.D36.