guerard eugene von (27 resultados)

Hard Bound Cover. Condición: Very Good. Estado de la sobrecubierta: Very Good. First Edition.

Hard Cover. Condición: VG+. Estado de la sobrecubierta: VG. First Edition. VG+/VG. Folio. original charcoal boards gilt (slightly rubbed & marked) in dustwrapper (a little rubbed, closed tear to lower fore-corner); pp. [iv], 84, with illustrations. Oversize item (1.5 kg), additional postage may be required for international and domestic delivery. A very good copy.

Hard Cover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine. First Edition. 84 pages, illustrated with 21 colour plates, b/w drawings and sketches throughout, bibliography, Von Guerard's exhibitions, index. Page edges lightly foxed. Cloth boards in dust-jacket. The artist embarked in England in 1852 and, from the first day of his voyage and throughout his time in Geelong and on the Ballarat goldfields, he kept a diary and sketchbook which captured his experiences. Size: Folio.

Hardcover. Condición: Good. Estado de la sobrecubierta: Good. pp.(iv)+84. 30.5cm. 21 colour illustrations. Black and white illustrations in the text. List and details of illustrations. Bibliography. List of Exhibitions. Index. Hard cover in dust jacket. Small printed label of private owner on end paper. Good clean copy.

4to. 84pp. Original boards in dustwrapper. Name on fe. B&W illustrations throughout and colour plates. A very good copy. First edition.

4to, 302pp. Colour and black & white illustrations. A very good hardback copy in dust jacket with faded spine. Exhibition catalogue.

Hardcover. Condición: Fine.

(rep) 4to. \dDustjacket. 84pp. Profusely illustrated in colour and black & white. Very good copy. The discovery of gold in 1851 changed Australia from a remote outpost for ex-convicts to a land of opportunities. In 1852 artist Eugene von Guerard visited the Ballarat goldfields with his sketchbook.

Brown & Maroon Cloth. Condición: Near Fine. No Jacket. Von Guerard, Eugene Ilustrador. Limited Ed, No. 550 of 1000. 118 pp, illust. in colour & b&w. Fading to spine. In slipcase that is shop soiled & worn at corners. Signed by Author(s).

Hardcover. Condición: Fine. First Edition. Hardback. Number 49 of 1500 copies, numbered and signed by Marjorie Tipping, viii,[2],118pp, colour and b/w ills. throughout, oblong folio, colour illustrations throughout, notes on individual plates, select bibliography, bound in original quarter brown cloth with beige cloth boards, title lettered in gilt on spine, portrait laid down on upper board, housed in original slipcase. Heavy, and delivery costs may be a consideration especially outside Britain. Johann Joseph Eugene von Gurard (1811Ð1901) was an Austrian-born artist, active in Australia and New Zealand from 1852 until 1882. Known for his finely detailed landscapes in the tradition of the Dsseldorf school of painting, he is represented in Australia's major public galleries, and is recognized as one of Australia's greatest nineteenth-century landscape painters. By the early 1860s von Guerard was recognised as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque. He is most known for the wilderness paintings produced during this time, which are remarkable for their shadowy lighting and fastidious detail. The scientific accuracy of such work has led to a reassessment of von Guerard's approach to wilderness painting, and some historians believe it likely that the landscapist was strongly influenced by the environmental theories of the leading scientist Alexander von Humboldt. He was one of a number of influential German-speaking residents who brought their "epistemic traditions" to Australia, and not only became "deeply entangled with the Australian colonial project", but also were "intricately involved in imagining, knowing and shaping colonial Australia" Fine.

Hardcover. Condición: Fine. Limited edition, number 72 of 500 copies, tipped in frontis portrait of the artist, 50 tipped in colour plates + numerous b/w illustrations complete, 306pp, oblong folio, a lavish production fine original decorative black half crushed morocco giltover blue cloth, ribbon marker, fine original cloth clamshell box with mounted colour illustration to front cover. Very heavy, and delivery costs may be a consideration especially outside Britain. Johann Joseph Eugene von Gurard (1811Ð1901) was an Austrian-born artist, active in Australia and New Zealand from 1852 until 1882. Known for his finely detailed landscapes in the tradition of the Dsseldorf school of painting, he is represented in Australia's major public galleries, and is recognized as one of Australia's greatest nineteenth-century landscape painters. By the early 1860s von Guerard was recognised as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque. He is most known for the wilderness paintings produced during this time, which are remarkable for their shadowy lighting and fastidious detail. The scientific accuracy of such work has led to a reassessment of von Guerard's approach to wilderness painting, and some historians believe it likely that the landscapist was strongly influenced by the environmental theories of the leading scientist Alexander von Humboldt. He was one of a number of influential German-speaking residents who brought their "epistemic traditions" to Australia, and not only became "deeply entangled with the Australian colonial project", but also were "intricately involved in imagining, knowing and shaping colonial Australia" (Barrett, et al., 2018, p.2). (2).

Oblong folio; 118pp. Colour illustrations throughout, notes on individual plates, select bibliography; original brown cloth, title lettered in gilt on backstrip, Portrait on front board, a fine copy in original slip-case, . First Edition limited to one thousand signed and numbered copies.

Print. Plate II from Eugene von Guérard's Australian Landscapes 1866-68. Gold was discovered in Beechworth, Victoria in 1852, and shortly thereafter along the Ovens River. In the same year, Austrian-born von Guerard arrived in Victoria, Australia, determined to try his luck on the goldfields. Like many, he failed as a miner, but he did produce numerous studies of goldfields life, including this image depicting men working on a sluice. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 14 x 20" on paper 19 1/2 x 26". Archivally cleaned and backed, some minor marginal splits repaired. Color tastefully enhanced. Libraries Australia ID 7744587.

Print. From Eugene von Guérard's Australian Landscapes 1866-68. A panoramic view taken from a hill looking down towards the lake, farmland surrounding it. The lake is a large coastal lagoon just south of Woollongong, 100 km south of Sydney. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 14 x 20 1/2" on paper 18 x 24 1/2". Archivally cleaned and backed, color tastefully enhanced. nOT ON TROVE (?).

Print. From Eugene von Guérard's Australian Landscapes 1866-68. Two horsemen are approaching a punt to cross the Goulbourn. A boat in the foreground holds two fishermen. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 14 x 20 1/4" on paper 18 x 24 1/2". Archivally cleaned and backed, color tastefully enhanced. Two small marginal cracks repaired. Not recorded on Trove.

Print. Plate XVI from Eugene von Guérard's Australian Landscapes 1866-68. The location is now named Budj Bim and is a dormant volcano near Macarthur in southwestern Victoria, Australia. The volcanic history of this part of Victoria is remarkable, and the quarried black volcanic rock is seen throughout buildings & walls. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 13 x 19" on paper 18 x 24 1/2". Archivally cleaned and backed, color tastefully enhanced. Libraries Australia ID 7744685.

Print. Plate VII from Eugene von Guérard's Australian Landscapes 1866-68. A stunning view oin the Blue Mountains, N.S.W. Originally named The Weatherboard, the town was Jamisons Valley in 1815. In July 1867, the first railway journey to the Blue Mountains traveled through to Weatherboard Station, where the train terminated. In 1879, the village took its name from the nearby waterfalls, which had been named for William Charles Wentworth, one of the men that headed the exploration to cross the mountains in 1813 and a friend of John Jamison. Two men with a rifle are overlooking the falls. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 13 x 19 1/2" on paper 18 x 24 1/2". Archivally cleaned and backed, color tastefully enhanced. Libraries Australia ID 7744602.

Print. Plate XV from Eugene von Guérard's Australian Landscapes 1866-68. American Creek, Mt. Kembla. Trees pictured include cabbage trees, bangalow palms and flame trees. Timbermen are working in the foreground to fell the huge trees. Von Guerard describes the scene thus: This sylvan scene is situated at a distance of little more than ten miles from Wollongong, near the junction of a little stream upon which some prosaic devotee of the bottle has bestowed the dishonouring appellation of the Brandy and Water Creek, with the American Creek, and at the foot of a noble range of mountains. With the lofty bangalow palm, the cabbage palm, the gigantic wild fig-tree, the fire tree (otherwise known as the blaze tree) with its vividly scarlet blossoms, are intermingled the nettle tree, the rose-wood, the sassafras, the white-wood, the wild rose, numerous varieties of the fern tree, and parasites innumerable the whole being woven together into one dense and almost impenetrable mass of foliage. Unfortunately the progress of settlement is necessitating the destruction of some of these magnificent forests, which in many instances clothe a rich chocolate soil of especial value to the farmer. At the time this view was sketched, numerous fires had been kindled by the wood-cutters, and the stately giants were rapidly falling before the pitiless axe of the hardy pioneers of civilization. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 14 1/4 x 20 3/4" on paper 25 x 18 3/4". Archivally cleaned and backed, repairing some marginal splits, including one that would be visible when matted. Color tastefully enhanced. Libraries Australia ID 774462.

Print. Condición: Otherwise very good condition. Plate 5 in Eugene von Guérard's Australian Landscapes 1866-68. "The bold and romantic headland which bears this title forms one of the most picturesque "bits" of scenery on the Victorian coast. The rocks have been worn into the most grotesque and fantastic shapes by the action of the waves, which rush in, with a majestic sweep, from the Southern Ocean . the artist has indicated the entrance of Port Phillip by the position of the steamer faintly visible in the offing." (NGV). Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 14 1/4x19 1/4" on paper 25 x 18 3/4". Archivally cleaned and backed, repairing some marginal splits, including one that would be visible when matted. Color tastefully enhanced. Libraries Australia ID 7744596.

Print. Condición: Very good overall. From Eugene von Guérard's Australian Landscapes 1866-68. Von Guerard is said to have painted the work "at the entrance to Dobson's Gully in the Dandenong's'. The area was the location where Thomas Dobson made his home and established a timber camp. He called it 'Lightwood Gully', the original name for Ferntree Gully. "His remarkable image of a fern-tree gully in the Dandenong Ranges, some 40 kilometres east of Melbourne, conveys a sense of the landscape as a spiritual sanctuary. Painted on return to the artist's Melbourne studio, Ferntree Gully in the Dandenong Ranges is a work that combines von Guerard's meticulous observation of local plant species with his artiistic interest in compositional arrangement and the creation of a 'mood' particular to this environment. In this case we are privy to the magical world of a bower - an enclosed gully of natural foliage created by towering tree ferns. A pool of light on the forest floor leads us to two male lyrebirds cast in shadow, one withits characteristic tail feathers raised.: Tiom Bonyhady, Australian Colonial Paintings in the Australian National Gallery, Canberra; Australian National Gallery, 1986, p. 171. Color lithograph, signed in the plate, with the oval blind stamp for the publisher Hamel & Ferguson below the title. Image incl. text 14 x 20 1/4" on paper 19 x 24 1/2". Archivally cleaned and backed, color tastefully enhanced.

No Binding. Condición: Very Good. Rare and important lithograph of Mount Loft by one of the most famous and important Australian colonial artists. From Guerard's, Eugene von Guerard's Australian Landscapes. Within an hour s ride of the city of Adelaide, Mount Lofty offers to the tourists an easily accessible elevation of about 2,400 feet, from which he commands a prospect of considerable extent and varied beauty. Eugene von Guerard. Image Size: 465mm x 295mm. (18.3" x 11.6"). Condition: In good condition. Technique: Lithograph printed in colour.

No Binding. Condición: Very Good. Rare and important lithograph of the Waterfall Gully, by one of the most famous and important Australian colonial artists. From Guerard's, Eugene von Guerard's Australian Landscapes. Image Size: 490mm x 317mm. (19.3" x 12.5"). Condition: In good condition. Technique: Lithograph printed in colour.

No Binding. Condición: Very Good. Rare and important lithograph of Hobart, by one of the most famous and important Australian colonial  artists. From Guerard's, Eugene von Guerard's Australian Landscapes. Image Size: 510mm x 320mm. (20" x 12.6"). Condition: In good condition. technique: Lithograph printed in colour.

No Binding. Condición: Very Good. Rare and important lithograph of American Creek, Mount Kembla, by one of the most famous and important Australian colonial  artists. From Guerard's, Eugene von Guerard's Australian Landscapes. Wonderful lithograph recording the luxurious rain forest at American Creek, near Wollongong. The trees depicted in the lithograph include; cabbage trees (Cordyline), bangalow palms (Archontophoenix cunninghamiana) and flame trees (Brachychiton acerifolium).  Woodcutters can be seen at work at lower left of the image. Von Guerards, description of the scene; This sylvan scene is situated at a distance of little more than ten miles from Wollongong, near the junction of a little stream upon which some prosaic devotee of the bottle has bestowed the dishonouring appellation of the Brandy and Water Creek, with the American Creek, and at the foot of a noble range of mountains. With the lofty bangalow palm, the cabbage palm, the gigantic wild fig-tree, the fire tree (otherwise known as the blaze tree) with its vividly scarlet blossoms, are intermingled the nettle tree, the rose-wood, the sassafras, the white-wood, the wild rose, numerous varieties of the fern tree, and parasites innumerable the whole being woven together into one dense and almost impenetrable mass of foliage. Unfortunately the progress of settlement is necessitating the destruction of some of these magnificent forests, which in many instances clothe a rich chocolate soil of especial value to the farmer. At the time this view was sketched, numerous fires had been kindled by the wood-cutters, and the stately giants were rapidly falling before the pitiless axe of the hardy pioneers of civilization. Collections: National Gallery of Australia:  LEGACY ID 84854 National Library of Australia:  Bib ID583526 State Library of Victoria: Image Size: 525mm x 335mm. (20.6" x 13.2"). Condition: In good condition.Technique: Lithograph printed in colour.

No Binding. Condición: Very Good. Rare and important lithograph of Lake Illawarra by one of the most famous and important Australian colonial artists. From Guerard's, Eugene von Guerard's Australian Landscapes. This view is taken from a gentle eminence on the northern margin of the Lake, which is in the county of Camden, about sixty miles from Sydney. The outlet of the Lake is visible towards the spectator s left, as is also the coast of the Pacific in the direction of the port of Kiama. Stretching away to the right is the fertile plain of Dapto and the background is formed by the long line and grand form of Mount Pleasant or Burrawang. Eugene von Guerard. Collections: National Gallery of Australia: LEGACY ID 84848 National Gallery of Victoria: Accession Number 2972L-4 National Library of Australia: Bib ID2105830 State Library of Victoria: Accession no: H25829 320mm x 530mm (12.6" x 20.87"). Condition: In good condition. Technique: Lithograph printed in colour.

No Binding. Condición: Very Good. Rare and important lithograph of Sydney Harbour, by one of the most famous and important Australian colonial artists. From Guerard's, Eugene von Guerard's Australian Landscapes. From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist. The miniature Bay of Vaucluse occupies the foreground to the left, and to the right Watsons Bay exhibits its graceful curve. Travelling onwards, the eye rests for a moment upon the Dunbar Lighthouse beyond which, the narrow entrance to Port Jackson is sufficiently well defined while the bold headland which constitutes the rounding point of the entrance to the north harbour, bounds the view in that direction. Somewhat to the right of this rocky barrier, Manly Beach is faintly indicated. The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last. Eugene von Guerard Collections: National Gallery of Australia: LEGACY ID 84869 National Library of Australia: Bib ID583570 State Library of Victoria: Accession no: H25819 Image Size: 490mm x 290mm (19.3" x 11.4"). Condition: In good condition. Technique: Lithograph printed in colour.

On the evening of 12 September 1871 the colonial artist Eugene von Guérard and his wife Louise were passengers on a train which was involved in a collision as it was returning to Flinders Street from Prahran. Ironically, the accident took place only a short distance from their residence in East Melbourne. The injuries both sustained were deemed significant enough to warrant an out-of-court settlement with the Melbourne & Hobsons Bay United Railway Company for £200 in compensation - a very substantial sum of money. The legal document offered here is a deed of release (probably one of two copies) prepared by the Railway Company's solicitors, Malleson England & Stewart; by signing it, the von Guérards absolved the Company of any further liability and acknowledged receipt of its compensation payout. The deed is signed in full, twice, by both of the von Guérards. Folio bifolium, 385 x 240 mm, manuscript in clerical hand on watermarked wove paper (occupying the first side only); folding to 240 x 100 mm, the front endorsed: 'Release. Eugene von Guerard and wife, and The Melbourne & Hobsons Bay United Railway Company. Dated 17th October 1871. Malleson England and Stewart.'; the document is in fine condition. 'Know all Men by these Presents that We Eugene von Guerard of Gipps Street East Melbourne in the Colony of Victoria, Artist, and Louisa [sic] Guerard his wife, in consideration of two hundred pounds sterling to us in hand paid by the Melbourne and Hobsons Bay United Railway Company incorporated by the Act of Parliament of Victoria Number 270 (the receipt whereof we do and each of us doth hereby acknowledge) do and each of us doth by these presents remise release and for ever discharge the said Melbourne and Hobsons Bay United Railway Company of and from all and all manner of action and actions suit and suits cause and causes of action and suit sum and sums of money accounts trespasses damages wrongs claims and demands whatsoever at Law or in Equity which against the said Railway Company We or either of us ever had now have or which we or our either of us our or either of our heirs executor or administrator hereafter, can shall or may have by reason or in consequence of the injuries sustained by us the said Eugene von Guerard and Louisa [sic] Guerard on the twelfth day of September one thousand eight hundred and seventy one by or from a Collision occuring in the said Company's line of Railway or which may result therefrom or of anything which may hereafter arise in relation thereto or for or upon or by reason of any other matter cause or thing whatsoever In witness whereof we have herewith set our hands and seals the Seventeenth day of October one thousand eight hundred and seventy one. Signed Sealed and delivered by the said Eugene Von Guerard [his full signature, 'Eugene von Guérard'] . Signed Sealed and delivered by the said Louisa [sic] Guerard [her full signature, 'Louise von Guérard'] [witnessed by James Douglas Ramsay, Article Clerk for Robert Ramsay, Solicitor, Melbourne]. Received on the day and year first before written of and from the said Melbourne and Hobsons Bay United Railway Company the sum of two hundred pounds being the consideration money before expressed . [full signatures of 'Eugene von Guérard' and 'Louise vonGuérard]. An account of the train accident was published in The Argus the following day, 13 September 1871: 'A very serious accident happened lastnight about a quarter past 10 o'clock on theMelbourne and Hobson's Bay Railway. Fromwhat can be gathered (for the railway officialsrefuse to give the slightest information), itseems that the 10 o'clocktrainfrom Windsorwas waiting at the usual place, opposite thebottom of Spring-street, for the signal toproceed, when an unattached engine, drivenby a man named Duncan M'Farland, reputedto be a cautious driver, came up behind atfull speed, and ran into the stationary train.The last carriage was a first-class one, full ofpassengers, and so great was the force of thecollision that the carriage was smashed up,the glass windows being shattered, and thedoors broken open, some of them overlapping by nearly six inches. The persons in the carriage were thrown violentlyall in a heap, and many of them sustainedvery serious injuries. Among the occupantsof the carriage were several ladies, who,besides being injured by the concussion, werenearly all in hysterics from extreme fear whenthetrainarrived at the station. The secondcarriage from the end was the smoking-carriage, which was also greatly shattered.There were not many persons in thiscarriage, but one of them, a Volunteer, isreported to have suffered greatly from injuryto the spine. The occupants of the othercarriages were also much shaken, but generallyin a less degree than those in the last twocarriages. The cause of tho collision is atpresent unknown, though it is generally believed to have occurred through there beingno danger light or tail lamp at the end of thetrain.Several persons who were in thetrainstate it as their opinion that thestoppage at tho east side of Swanston-streetlasted fully 10 minutes before the collision occurred. In any case, the occurrence of such an accident in close proximityto the principal station, and with sofew trainsrunning, would indicate grossnegligence on the part of the engine-drivers,or a very defective system of signalling.Most of the injured persons were removed totheir houses, and thus we are unable to giveanything like a full account of the extent ofthe damage done. Only one person, Mrs.Jane Lake, was taken to the hospital, whereit was found that she was suffering from asevere contusion on the left foot, occasionedby being thrown against the seat opposite tothat she was sitting on. Her injuries wereattended to, and she was sent home afterrecovering from the effects of the shakingshe had received. Mr. England, brother ofMr. E. England, of the firm of Malleson,England, and Stewart, was in the last carriage, and was so much injured that it wasa c.