weinmann johann wilhelm ehret georg (5 resultados)

Single Sheet. Condición: Very Good+. Georg Dionysius Ehret Ilustrador. First Edition. 12 7/8" by 8 1/2 inches on a a sheet measuring 15 3/4" X 9 3/8". Original hand-colored engraving with mezzotint on hand-made laid paper. From PHYTANTHOZA ICONOGRAPHIA, edited by the pharmacist and botanist Johann Wilhelm Weinmann (1683-1741), published 1737-1745 and referenced on page 151 of Sitwell's GREAT FLOWER BOOKS. More than half of the plates were drawn by Georg Dionysius Ehret, perhaps the most notable botanical illustrator of the 18th century; they were engraved by Bartholomew Seuter, Johann Elias Ridinger, and Johann Jakob Haid. This engraving, like the other plates in this monumental and scarce work, is characterized by a more realistic depiction than was found in earlier herbals. The print is clean and bright, with a few spots of foxing in the image's background as well as several faint smudges limited to the blank margins. Size: Folio - over 12" - 15" tall. Fine Art Print.

Bellissima acquaforte a col. tratta dalla monumentale opera di botanica di Wilhelm Weinmann"Phytanthoza Iconographia", progetto monumentale in otto volumi contenenti più di un migliaio di incisioni dipinte a mano, ritraenti una vasta gamma di fiori e piante provenienti "Ex Quatuor mundi partibus". Weinmann ha prodotto una delle raccolte botaniche più complete e meglio rappresentate a noi note, spaziando dalle piante da giardino ai fiori (in particolare i tulipani), dalle piante tropicali a quelle del deserto, inserite in graziose pentole barocche, dalla frutta esotica alle erbe medicinali. Il risultato è una rara combinazione tra il tradizionale erbario e il libro di fiori che divenne popolare nel periodo barocco. La presente tavola porta in alto il n. 228 e nell'angolo in basso a destra "S".Montata in pregevole cornice in radica.

Bellissima cquaforte a col.tratta dalla monumentale opera di botanica di Wilhelm Weinmann "Phytanthoza Iconographia" progetto monumentale in otto volumi contenenti più di un migliaio di incisioni dipinte a mano, ritraenti una vasta gamma di fiori e piante provenienti "Ex Quatuor mundi partibus". Weinmann ha prodotto una delle raccolte botaniche più complete e meglio rappresentate a noi note, spaziando dalle piante da giardino ai fiori (in particolare i tulipani), dalle piante tropicali a quelle del deserto, inserite in graziose pentole barocche, dalla frutta esotica alle erbe medicinali. Il risultato è una rara combinazione tra il tradizionale erbario e il libro di fiori che divenne popolare nel periodo barocco. La presente tavola porta in alto il n. 115. Montata in pregevole cornice in radica.

Hardcover. Condición: Very Good. 1st Edition. Together 11 volumes. Folio (15 2/8 x 9 6/8 inches). Regensburg text: 4 volumes. Latin and German title-pages in all volumes but the first, printed in red and black. Mezzotint allegorical frontispiece of Flora by J.J. Haid after Baumgartner in volume one, portraits of Weinmann and Bieler by Haid after M.C. Hirschman in volumes one and III, all 3 portraits printed in blue (lacking German title-page and leaf a1 in volume one, minor adhesion of allegorical text to title-page with minor loss to plate, some minor waterstaining in volumes one and IV, some light browning). Contemporary mottled panelled calf, gilt, spines decorated in seven panels with six raised bands, morocco lettering pieces in two, the others decorated with small gilt tools (a bit marked). Atlas: 4 volumes. Vignette title-pages printed in red and black (title-page volume IV creased). 1025 fine engraved plates printed in colours and finished by hand by J.J. Haid, J.E. Ridinger, and B. Seuter (373 plates singed "S" for Seuter, and 273 signed "H" for Haid) after N. Asamin, G.D. Ehret, and others, captions in Latin and German (marginal pink stain affecting first 20 plates, a few plates a bit spotted, minor adhesion of 3 plates to opposite leaf with minor losses to plates 778,892 and 1014). Near contemporary crushed olive morocco decorated uniformly with Regensburg volumes (spines lightly faded to brown, a bit marked). Dutch text: 4 volumes. Vignette title-pages printed in red and black (last three gatherings in volume one browned. Contemporary mottled panelled calf uniformly bound with the Regensburg text volumes (upper joint of volume IV starting, a bit marked). Provenance: The Botanical Library of Michale Kuse, his sale Sotheby's New York, June 20th 2003, lot 28. A COMPLETE SET OF THE FIRST DUTCH EDITION, TEXT AND ATLAS, WITH THE FIRST EDITION OF THE GERMAN TEXT. A comprehensive and beautiful record of known 18th-century flowers, fruits, and vegetables. Financed by Weimann, director of the oldest pharmacy in Regensburg, who commissioned amongst other artists the now celebrated Georg Ehret. It was his first major commission, but he was not credited, and only received half of his promised wages, on the grounds that he had only supplied about half of the 1,000 that Weinman was expecting of him. However, even at this early stage in his career, Ehret's style is easily identified, particularly in various aloes and cacti growing in distinctive pots and urns that is a feature of Ehret's work for his own "Plantae et papiliones rariores" (1748-1759). The "Phytanthoza ." was a very important influential book. Filippo Arena borrowed heavily from it for his "La Natura, e coltura de' fiori" (1767-1768), and the dutch edition was imported to Japan where it "gave rise to a major change in illustrated botanical literature. and led to the productions from 1830 onwards of the illustrated herbal "Honzo Zufu." by Iwasaki Kanen in ninety-six volumes" (Blunt pages 155-156). Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret's "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as 'Hortus Nitidissimus' (1750-86) and 'Plantae selecta'e (1750-73), in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, t. Signed by Author(s).

Together 8 volumes. Folio (15 x 9 6/8 inches). 4 text volumes: 2 frontispiece mezzotint portraits printed in blue by Haid after Hirschmann of Weinmann and Bieler, frontispiece mezzotint in blue of Allegorical Flora by Haid after Baumgartner. Latin, French and German title-pages to index printed in red and black and bound at beginning of the first text-volume along with a foreword by Albrecht Haller in German, the German and Latin index itself bound in at the end of the last text volume, Latin and German title-pages in other volumes, all printed in red and black, letterpress interleaved with blank leaves, parallel text in double columns and indices in both languages. 4 plate volumes: Exceptionally fine folding engraved and mezzotint plate of Aloe Americana folio Mucronato printed in colours and finished by hand on two joined sheets, signed in ink manuscript by J. Haid and bound in between plates 62 and 63 in volume one, 1024 (of 1025) numbered engraved and mezzotint botanical plates by B. Seuter, J.E. Ridinger and Haid after G.D. Ehret, N. Asamin and others, all printed in colour and finished by hand, 15 of which double-page and folding, plate 982 with folding wing, additional plate from another work tipped in before plate 276 in volume II (without plate 525, pale marginal waterstaining to plates 1-26 and 480-498, waterstaining entering into plate images of 506-524, tiny repairs to versos of plates 90 and 443, plate 702 with tiny area of abrasion affecting the colour, preliminaries to second plate volume repaired along the top margin). Contemporary vellum over paste-board, blue edges, spines lettered in both contemporary and 20th-century manuscript (lightly soiled, extremities a little scuffed). Provenance: with the 19th-century lithographed library label of Friedrich Knapp with inventory number 1115 in manuscript, on the front paste-down of the first text volume, and removed from some others; with the engraved bookplates of Freiherr Ernst von Grunelius, Freifrau Anna von Grunelius née Gräfin von Bernstorff dated 1928, on the front paste-down of each volume; with the small ink library stamp of Dresden Central Art Library on the verso of each plate WITH THE VERY RARE LARGE FOLDING PLATE OF THE 'CENTURY PLANT', Aloe Americana folio Mucronato, so called because of the time it takes to flower (actually between 10 and 60 years, depending on the warmth of its growing location). There are two states of this plate: one is signed 'J.J. Haid f. excud' and appears to be a separately published plate; the other is unsigned, as is this example, but is HERE SIGNED IN MANUSCRIPT BY THE ARTIST. Only one copy of the separate plate and four copies (one incomplete) of Phytanthoza with this extra plate can be traced as selling at auction in the past 35 years. The copies at Royal Botanic Gardens Kew, NHM, BL, Cambridge, Oxford and Wellcome are all without this plate. THE FIRST EDITION OF ONE OF THE EARLIEST WORKS TO USE COLOUR-PRINTING FROM A SINGLE PLATE. The work was issued in parts, and in more than one issue, and the make-up of the preliminary leaves and indices is known to vary between copies. A comprehensive and beautiful record of known 18th-century flowers, fruits, and vegetables. Financed by Weimann, director of the oldest pharmacy in Regensburg, who commissioned amongst other artists the now celebrated Georg Ehret. It was his first major commission, but he was not credited, and only received half of his promised wages, on the grounds that he had only supplied about half of the 1,000 that Weinman was expecting of him. However, even at this early stage in his career, Ehret's style is easily identified, particularly in various aloes and cacti growing in distinctive pots and urns that is a feature of Ehret's work for his own "Plantae et papiliones rariores" (1748-1759). The "Phytanthoza ." was a very important influential book. Filippo Arena borrowed heavily from it for his "La Natura, e coltura de' fiori" (1767-1768), and the dutch edition.