‎Vue‎

‎Vue d’optique‎

‎Vue du parterre du prince de Hambourg, en Allemagne, et d’une partie de la ville.‎

‎Eau-forte du XVIIIème siècle A Paris chez jacques Chereau. 290x420mm à la cuvette et 335x435mm avec la marge‎

Référence libraire : 8659

‎Vue d’optique‎

‎Vue perspective de la première cour du monastère de l’Escurial en Espagne.‎

‎Eau-forte du XVIIIème siècle, en couleurs. 410x262mm à la cuvette et 500x330mm avec la marge. Chez Jacques Chereau Paris.‎

Référence libraire : 8664

‎VUE D'OPTIQUE. LORIENT.-‎

‎Vue de l'entrée du Port de l'Orient.-‎

‎A Paris chez J. Chereau rue St Jacques...N°105. s.d. (XVIII°). Vers 1780. Dimensions de la gravure 422 x 316mm, de la feuille 471 x 326mm. Feuille contrecollée sur papier bleu comme souvent pour les vues d'optique. Marge inférieure très courte, petite tache marginale claire débordant très légèrement sur la gravure, mais bon exemplaire aux coloris soignés, sans rousseurs .‎

Référence libraire : ORD-14675

‎VUE D'OPTIQUE. PARIS. LE LOUVRE.-‎

‎Vue perspective du Sallon de l'Académie Royale de Peinture et de Sculpture du Louvre à Paris.-‎

‎A Paris. Chez Basset. Sans date. XVIII°. Vers 1770. Dimensions de la feuille 456 x 323 mm de la gravure, cuvette comprise: 424 x 298mm. Belle vue aux coloris vifs de l'époque typiques des vues d'optique, présentée sous cache brun bordé de blanc. Excellent état.‎

Référence libraire : ORD-14677

‎VUE D'OPTIQUE. PAYS-BAS.-‎

‎Vue du Front de la Maison dans le Bois de Son Altesse Tercnissime (sic) le Prince d'Orange Stadhouder des Provinces Unies &c &c &c. Dédiée à Son Altesse Serenissime le Prince d'Orange Stadhouder des Provinces Unies.-‎

‎A Paris. Chez Basset. Sans date. XVIII°. Vers 1780. Dimensions de la feuille 500 x 332mm de la gravure cuvette comprise: 400 x 260mm. Belle vue aux coloris vifs de l'époque typiques des vues d'optique, présentée sous cache brun bordé de blanc. Excellent état. (2).‎

Référence libraire : ORD-14679

‎VUE D'OPTIQUE. SCEAUX.-‎

‎Vue du chateau de Sceaux Entre paris et Versailles apartenant a m. le conte deu (sic).-‎

‎Sans mention de graveur, ni d'éditeur. Sans date. Vers 1760. Dimensions de la feuille ca 530 x 350mm (feuille entière découpée irrégulièrement, telle que parue), dimensions de la gravure cuvette comprise: 404 x 275mm. Belle vue aux coloris vifs de l'époque typiques des vues d'optique, présentée sous cache de papier brun. Bords de la feuille réparés sans soucis pour la gravure. Très bel état.‎

Référence libraire : ORD-14681

‎Vue d'Optique.‎

‎Vue de la superbe place St Marc.‎

Référence libraire : 8565

‎Vue d'optique.‎

‎Vue de la Place de Louis XV le Bien Aimez.‎

‎P. Basset.‎

Référence libraire : 8571

‎Vue d'optique -‎

‎Vue d'optique - Vue de la Barriére St.Martin et du bassin du canal de l'Ourcq à la Villette près Paris‎

‎1800 Chez Basset ?, Paris circa 1800, 30,5x48,5cm, une feuille.Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue la Barriére St.Martin et du bassin du canal de l'Ourcq à la Villette près Paris‎

‎tirage tardif,papier XIXe.s. Remise de 20% pour toutes commandes égales ou supérieures à 100 €‎

Référence libraire : 27414

‎Vue d’optique‎

‎Vuë générale de la ville de Venise‎

‎Eau-forte originale en couleurs, du XVIIIème siècle. A Paris chez Daumont 420x260mm à la cuvette et 520x320mm avec marges‎

Référence libraire : 8589

‎Vue d'Optique du dix-huitième siècle‎

‎élévation perspective du portail de l'église paroissiale de St Eustache à Paris‎

‎Vue d'Optique du dix-huitième siècle‎

Référence libraire : vue_opt_047.jpeg

‎VUE D'OPTIQUE‎

‎A View of the Rotunda House & Gardens & c. at Ranelagh: Vüe de l'Exterieur de la Rotonde Maison & Jardins & c. a Ranelagh‎

‎London: Printed for & Sold by Rob. Sayer at the Golden Buck opposite Fetter Lane Fleet Street. & Hen. Overton at the White Horse without Newgate 1751. Engraved by N. Parr after Canaleti. Engraving with original colour. Printed on laid paper. In good condition with the exception of being trimmed within the platemark. Corners are stained. Image size: 9 3/16 x 15 3/16 inches. A beautiful Vue d'Optique of the Rotunda House at Ranelagh. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. Printed for & Sold by Rob. Sayer at the Golden Buck, opposite Fetter Lane, Fleet Street. & Hen. Overton at the White Horse witho unknown‎

Référence libraire : 10664

‎VUE D'OPTIQUE‎

‎LONDON A View of the grand Palace of Westminster. At top in mirrored letters La Grande Place de Vestminster‎

‎London and Paris: a Londres ches Wichnyther A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834 which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it after a fire to reside at Whitehall. After that the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 25 unknown‎

Référence libraire : 18808

‎VUE D'OPTIQUE‎

‎LONDONProspectus majoris via et Ecclesia Sancta maria in Londino: La Grande Rüe et l'Eglise Ste Marie de Londres‎

‎Paris: chez Daumont rue St. Martin 1760. Engraving with original colour. Printed on watermarked laid paper. In excellent condition with the exception of some surface soiling in the upper section of the image. Image size: 8 7/8 x 15 13/16 inches. A wonderful "vue d'optique" of St. Mary's Church in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. chez Daumont rue St. Martin unknown‎

Référence libraire : 10384

‎VUE D'OPTIQUE‎

‎Vue du Parc St. James á Londrea‎

‎Paris: Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques 1780. Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton The English Print 1688-1802 140-141. Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques unknown‎

Référence libraire : 10559

‎VUE D'OPTIQUE‎

‎A View of the Rotunda House & Gardens & c. at Ranelagh: Vüe de l'Exterieur de la Rotonde Maison & Jardins & c. a Ranelagh‎

‎London: Printed for & Sold by Rob. Sayer at the Golden Buck opposite Fetter Lane Fleet Street. & Hen. Overton at the White Horse without Newgate 1751. Engraved by N. Parr after Canaleti. Engraving with original colour. Printed on laid paper. In good condition with the exception of being trimmed within the platemark. Corners are stained. Image size: 9 3/16 x 15 3/16 inches. A beautiful Vue d'Optique of the Rotunda House at Ranelagh.<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. Printed for & Sold by Rob. Sayer at the Golden Buck, opposite Fetter Lane, Fleet Street. & Hen. Overton at the White Horse witho unknown books‎

Référence libraire : 10664

‎VUE D'OPTIQUE‎

‎LONDON Prospectus Palatii Regii Somerseti cum Ecclesia S. Mariae Londini: Vista del Palacio Real De Somerset con la Iglesia de Nuestra Señora a Londres‎

‎1760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London.<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. unknown books‎

Référence libraire : 10386

‎VUE D'OPTIQUE‎

‎The Royal Palace of St. James's London next the Park: Le Palais Royale de St. Jacques a Londre du coste du Parc‎

‎London: Printed for Bowles & Carver No. 69 St. Pauls Church Yard 1800. Engraving with beautiful hand-colour. In excellent condition with the exception of tape on the verso of sheet. Image size: 9 3/8 x 15 3/4 inches. Vue d'Optique of the Royal Palace in St. James' Park in London<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. Printed for Bowles & Carver, No. 69 St. Pauls Church Yard unknown books‎

Référence libraire : 10694

‎VUE D'OPTIQUE‎

‎Vué Interieure de la Bourse Royale à Londres‎

‎Paris: Chez Daumont rue St. Martin 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century.<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. Chez Daumont rue St. Martin unknown books‎

Référence libraire : 15059

‎Vue d'optique-Pre-cinema‎

‎Vue et Perspective de la Place Saint Marc a Venise.     ‎

‎Incisione da matrice in rame (mm.210x320 e margini), abilmente colorata da mano coeva: veduta prospettica animata da numerosi personaggi. Titolo  e legenda lungo il margine inferiore. Piccoli difetti ma nel complesso un discreto esemplare molto decorativo. Queste «vues d'optique», dai colori molto vivaci, se opportunamente predisposte con intagli, forature e controffondature, erano presentate al pubblico all'interno di apparecchi ottici semplificati dal pantoscopio, allo zogroscopio, dalla lanterna magica al mondo novo. .  Cfr. Maria Adriana Prolo - Luigi Carluccio. Il Museo Nazionale del Cinema di Torino. 1978, la ricercata prima pubblicazione relativa al nascente Museo della Mole Antonelliana.  C.A. Minici Zotti, Il Mondo Nuovo. Le meraviglie della visione dal '700 alla nascita del Cinema, 1988..‎

‎Vue d'optique-Pre-cinema‎

‎Vue Perspective de l'interieur de l'Eglise de S. Marc a Venise.‎

‎Incisione da matrice in rame (mm. 280x400 e margini), abilmente colorata da mano coeva: veduta prospettica animata da numerosi personaggi. Queste «vues d'optique», dai colori molto vivaci, se opportunamente predisposte con intagli, forature e controffondature, erano presentate al pubblico all'interno di apparecchi ottici semplificati dal pantoscopio, allo zogroscopio, dalla lanterna magica al mondo novo. .  Cfr. Maria Adriana Prolo - Luigi Carluccio. Il Museo Nazionale del Cinema di Torino. 1978, la ricercata prima pubblicazione relativa al nascente Museo della Mole Antonelliana.  C.A. Minici Zotti, Il Mondo Nuovo. Le meraviglie della visione dal '700 alla nascita del Cinema, 1988..‎

‎VUE DES ALPES.‎

‎Vue des Alpes prise au-dessus du Weissenstein pr�s Soleure.‎

‎Solothurn n.d. ca. 1880. Leporello 165 x 148 cm. in orig. clothcovers with ties. Original printed pictorial wrapper on frontboard. Tinted lithography by X. Amiet Solothurn. On foot "Vom Weissenstein aufgenommen". Clean and fine. hardcover‎

Référence libraire : 54523

‎Vue Magazine‎

‎1951: october Issue of Vue Magazine with Cover Photo of Dolores Rosedale & spreads on Magician Bustelli & Irish McCalla & Ordina Maria Luisa Poluzzi‎

‎Worn but Complete Condition. unknown‎

Référence libraire : 55172

‎Vue Magazine‎

‎1955: February issue of Vue Magazine with Cover Photo of Joy Lansing‎

‎Good Condition. unknown‎

Référence libraire : 61606

‎Vue Magazine‎

‎1955: September Vue magazine Ava Gardner color cover Mamie Van Doren‎

‎Very good condition. unknown‎

Référence libraire : 25438