73.596 risultati
1959rif. KNY10029806Derzhbudizdat USSR, 1959. Hardcover. Language: Ukrainian. Condition: good. Defects: rubbing (corners). Black-and-white illustrations. The photos show the actual copy offered. Ships from Ukraine by Nova Post with tracking after receipt of payment (bank transfer or PayPal); delivery time 12–28 business days including customs clearance. Shipping for this book (up to 1 kg): Netherlands €24.70, Belgium €29.60, Germany €19.90, France €29.10, Austria €29.10, Switzerland €46.00; other countries on request. The exact amount is confirmed when we accept your order. The parcel is sent from outside the EU/UK/Switzerland. Import VAT on books (e.g. Netherlands 9 %, Germany 7 %, Belgium 6 %, France 5.5 %, Switzerland 2.6 %, UK 0 %) and a customs handling fee of the carrier may be charged to the buyer on delivery; they are not included in the price. Antiquarian book (1959). Export from Ukraine of books older than 50 years may require a cultural-goods export certificate; we obtain it before shipping, which can add several weeks. Please ask before ordering if you need a firm delivery date. Consumers in the EU have the statutory 14-day right of withdrawal (see the seller terms). If the book does not match the description or is damaged in transit, please contact us right after receipt.
rif. 8588Eau-forte originale en couleurs avec rehauts, 1766. Format 390x260mm à la cuvette 490x340mm avec marges A Paris chez Jacques Chereau.Belle épreuve
rif. 8589Eau-forte originale en couleurs, du XVIIIème siècle. A Paris chez Daumont 420x260mm à la cuvette et 520x320mm avec marges
Gebonden, Hardcover met stofomslag compleet. 159 pagina's met prachtige illustraties in kleur. Foto's van Eric Valenne vuurtorens als inspiratiebron.
rif. 55905, P Uitgeverij 1999, 1999 Hardcover, 62 pagina's, met tekeningen en poezie, Nederlands, in zeer goede staat !. met opdracht ! ISBN 9789073214705.
rif. 69924, Elsevier, 1986 Linnen band met stofomslag, 368 pagina's, 26 x 18,5 cm, NL. *prima staat. ISBN 9069820048.
rif. 65543, Brepols - Ecole Pratique des Hautes Etudes, 2020 Paperback, 282 pages, Size:156 x 234 mm, Illustrations:4 b/w, 17 col., Languages: French, Spanish, Italian. ISBN 9782503592794.
1824rif. ST17496-014Zurich: by the author and Henry Fuessli and Comp 1824-25. FIRST EDITION. 445 x 325 mm. 17 1/2 x 12 3/4". 26 leaves of descriptive text. Lacking title page and dedication.Commentary by art historian Johann Jacob Horner. Modern tan half morocco over olive green buckram raised bands spine panels with gilt ornament red morocco label. 24 FINE AQUATINT VIEWS COLORED BY A CONTEMPORARY HAND. Brunet III 357. Text pages variably foxed from a little to very but somehow THE LOVELY PLATES IN FINE CLEAN CONDITION--fresh and bright with pleasing coloring in an unworn sympathetic binding. This is a rare complete colored set of Hüber's famed views of Pompeii much sought-after by armchair travellers after excavations uncovered that urban time capsule in the late 18th century. The German-born Hüber 1787-1871 settled in Naples in his early 20s studying landscape painting with Dutch émigré painter Jacob Philipp Hackert 1737-1807 who was known for his lush scenes often featuring ruins. His arrival in the region coincided with the occupation of Naples by the French who accelerated the excavations underway at Pomepii which had been buried by the eruption of Vesuvius in 79 A.D. The rapid burial of the city in volcanic ash had captured a moment in time and the opportunity to see a well-preserved example of life in the ancient Roman Empire caught in medias res drew eager travellers on the Grand Tour of the Continent. Hüber's well-executed views often picture these tourists and their contemporary dress contrasts sharply with the classical ruins. Lord Napier in his "Notes on Modern Painting at Naples" 1855 credits Hüber for introducing the use of watercolors to the meticulously drawn landscapes then being produced. This innovation is displayed in the hand-colored plates here which were also issued in uncolored state. Napier was correct to appreciate the value of adding colors which increases both the drama of the views and the pleasure of the viewer. Because the attractive sets with color were often broken up complete volumes of the colored plates are rarely seen for sale: we could trace just three such copies sold at auction as listed in RBH and ABPC the two best ones were the Feltrinelli copy which sold for $14330 in 2001 and the Donaueschingen copy fetching $13750 in 2014. Ours does not have the distinguished provenance attached to those copies and it lacks two preliminary leaves but the text is present and most important the lovely colored plates are in fine condition. by the author and Henry Fuessli and Comp unknown books
1824rif. ST17496-014Zurich: by the author and Henry Fuessli and Comp 1824-25. FIRST EDITION. 445 x 325 mm. 17 1/2 x 12 3/4". 26 leaves of descriptive text. Lacking title page and dedication.Commentary by art historian Johann Jacob Horner. Modern tan half morocco over olive green buckram raised bands spine panels with gilt ornament red morocco label. 24 FINE AQUATINT VIEWS COLORED BY A CONTEMPORARY HAND. Brunet III 357. Text pages variably foxed from a little to very but somehow THE LOVELY PLATES IN FINE CLEAN CONDITION--fresh and bright with pleasing coloring in an unworn sympathetic binding. This is a rare complete colored set of Hüber's famed views of Pompeii much sought-after by armchair travellers after excavations uncovered that urban time capsule in the late 18th century. The German-born Hüber 1787-1871 settled in Naples in his early 20s studying landscape painting with Dutch émigré painter Jacob Philipp Hackert 1737-1807 who was known for his lush scenes often featuring ruins. His arrival in the region coincided with the occupation of Naples by the French who accelerated the excavations underway at Pomepii which had been buried by the eruption of Vesuvius in 79 A.D. The rapid burial of the city in volcanic ash had captured a moment in time and the opportunity to see a well-preserved example of life in the ancient Roman Empire caught in medias res drew eager travellers on the Grand Tour of the Continent. Hüber's well-executed views often picture these tourists and their contemporary dress contrasts sharply with the classical ruins. Lord Napier in his "Notes on Modern Painting at Naples" 1855 credits Hüber for introducing the use of watercolors to the meticulously drawn landscapes then being produced. This innovation is displayed in the hand-colored plates here which were also issued in uncolored state. Napier was correct to appreciate the value of adding colors which increases both the drama of the views and the pleasure of the viewer. Because the attractive sets with color were often broken up complete volumes of the colored plates are rarely seen for sale: we could trace just three such copies sold at auction as listed in RBH and ABPC the two best ones were the Feltrinelli copy which sold for $14330 in 2001 and the Donaueschingen copy fetching $13750 in 2014. Ours does not have the distinguished provenance attached to those copies and it lacks two preliminary leaves but the text is present and most important the lovely colored plates are in fine condition. by the author and Henry Fuessli and Comp unknown
1835rif. 002814London: H. Fisher R. Fisher et P. Jackson 1835. Hardcover. Very Good. Allom Thomas. 3 volumes each with 76 pages of text and 36 leaves of plates: added engraved title page in vol. 1 frontispieces in vol. 2 and vol. 3 215 total engraved views on 108 plates; 29 cm. Contemporary linen with a diagonal embossed pattern; originally a dark purple but now faded especially the spines which are now a light brown. Leather spine labels with gilt-tooled decoration and title: Westmorland Cumberland Durham et Nordhumberland." All page edges speckled. Pale pink endpapers. Bound with tissue-guards which have been removed. Vol. 1 added engraved title page contains English title: Westmorland Cumberland Durham & Northumberland Illustrated from original drawings by Thomas Allom &c. with Historical & Topographical Descriptions by Thomas Rose Fisher Son & Co. London 1833. No date of publication but plates are dated 1832-1835. Text in French; captions on plates in English. Originally published in English as Fisher's Picturesque Illustrations of Great Britain and Ireland: The Fourth Series Comprising the Splendid Lake Scenery Seats &c. of Westmorland Cumberland Durham & Northumberland. A beautiful collection of English views. In Very Good Condition: slightly cocked; ends of spine rubbed with minor loss; corners rubbed and bumped; spines are faded; lacking one corner of spine label on vol. 1; otherwise labels are intact; occasional foxing primarily along fore-edges of plate leaves; otherwise clean and bright. A heavy set; for international shipping it will have to be sent by priority international. H. Fisher, R. Fisher, et P. Jackson hardcover
1998Alain de Gourcuff Editeur 198, in/4 à l'italienne, reliure éditeur, dans un étui en couleurs, 109 pages. Reproductions en couleurs, les aquarelles reproduites dans cet ouvrage proviennent du recueil du Petit Trianon conservé à la biblioteca Estense de Modéne, Italie., photographie par Gianni Roncaglia.
18591 vol. in-4 reliure de l'époque pleine percaline marron, Berthiault, Ad. Mame et Cie, Tours, A. Fontaine, Paris, 1859, titre, 25 feuillets et 25 planches Etat moyen (reliure abîmée et faible, une annotation en garde, belle fraîcheur intérieure). Prix en l'état Français
18591 vol. in-4 reliure de l'époque pleine percaline bleue, Berthiault, Imprimeur en taille-douce de la maison Ad. Mame et Cie, Tours, A. Fontaine, Paris, 1859, titre, 25 feuillets, 25 planches et 1 f. (liste des planches) : [ Contient : ] La douane à Londres - Somerset-House à Londres - La Tour de Londres - Le Pont de Londres - Eglise Saint-Paul - Portsmouth - Vue générale de Nîmes - Place de la Belle-Croix (Nîmes) - La Porte de France (Nîmes) - Le Pont du Gard - La cathédrale de Nîmes - Les Arènes (Nîmes) - Vue de Grenade - Place Saint-Marc (Venise) - Vue générale de Berne - Berne - Le pont de Berne - La tour Saint-Christophe (Berne) - Cathédrale de Berne - Trente - Pont de Trente - Porte Saint-Laurent - Le Ponte-Alto (Trente) - Inspruck - Le Martinsberg, près d'Inspruck Etat très satisfaisant (reliure frottée, belle fraîcheur intérieure) Français
1787rif. ST17496-043Rome: Bouchard et Gravier 1787. 525 x 375 mm. 20 3/4 x 14 3/4". Near contemporary half calf over marbled boards smooth spine divided by gilt rules into panels with blind-stamped centerpiece red morocco label hinges reinforced with buckram marbled endpapers and edges. Engraved vignette on title page and 99 COPPER-ENGRAVINGS ON 60 PLATES. A 1911 letter from the editor of "Hobbies" magazine in response to a previous owner's questions about the contents of this volume laid in at front. The plate numbered 92 with an 18th century cemetery scene pasted to the verso; rear flyleaf with two engravings pasted on. Cicognara 3595; Brunet I 646. Spine label partly missing front joint cracked from tail edge to midpoint head and tail of spine chipped boards a bit chafed and with a drizzle of white paint to front cover but the binding still solid. Occasional mild marginal foxing or finger smudges but an excellent copy internally fresh and clean throughout and with pleasing impressions of engravings. Not an external beauty as is often the case with architectural tomes but quite attractive inside. This is a collection of beautifully engraved plates drawn from the work of a painter and engraver who made engravings for Piranesi's 1748 "Varie vedute di Roma antica e moderna" and collaborated with him on the majestic "Le antichità Romane" 1756. Inspired by his work with the master Barbault drew and engraved his own series of Roman views issued in "Les plus beau monumens de Rome ancienne" 1761 and "Recueil de divers monumens anciens" 1770. The plates in the present volume are drawn from those works. Barbault's picturesque scenes are characterized by a sense of romantic decay: in some the landscape is open and generally free from human intrusion the once-grand ruins rising proudly from the encroaching vegetation. One has the sense of being among the first to stumble across these hidden wonders. In others the artist juxtaposes temple remains with the shed of a contemporary farmer a humbling contrast between past grandeur and present poverty. Jean Barbault 1718-62 had studied painting in Paris with John Restout II before receiving a scholarship from the Académie des Beaux-Arts for travel to Rome in 1721. Once there he stayed building a career as engraver and establishing himself with Piranesi and his circle. Bouchard et Gravier unknown books
1787rif. ST17496-043Rome: Bouchard et Gravier 1787. 525 x 375 mm. 20 3/4 x 14 3/4". Near contemporary half calf over marbled boards smooth spine divided by gilt rules into panels with blind-stamped centerpiece red morocco label hinges reinforced with buckram marbled endpapers and edges. Engraved vignette on title page and 99 COPPER-ENGRAVINGS ON 60 PLATES. A 1911 letter from the editor of "Hobbies" magazine in response to a previous owner's questions about the contents of this volume laid in at front. The plate numbered 92 with an 18th century cemetery scene pasted to the verso; rear flyleaf with two engravings pasted on. Cicognara 3595; Brunet I 646. Spine label partly missing front joint cracked from tail edge to midpoint head and tail of spine chipped boards a bit chafed and with a drizzle of white paint to front cover but the binding still solid. Occasional mild marginal foxing or finger smudges but an excellent copy internally fresh and clean throughout and with pleasing impressions of engravings. Not an external beauty as is often the case with architectural tomes but quite attractive inside. This is a collection of beautifully engraved plates drawn from the work of a painter and engraver who made engravings for Piranesi's 1748 "Varie vedute di Roma antica e moderna" and collaborated with him on the majestic "Le antichità Romane" 1756. Inspired by his work with the master Barbault drew and engraved his own series of Roman views issued in "Les plus beau monumens de Rome ancienne" 1761 and "Recueil de divers monumens anciens" 1770. The plates in the present volume are drawn from those works. Barbault's picturesque scenes are characterized by a sense of romantic decay: in some the landscape is open and generally free from human intrusion the once-grand ruins rising proudly from the encroaching vegetation. One has the sense of being among the first to stumble across these hidden wonders. In others the artist juxtaposes temple remains with the shed of a contemporary farmer a humbling contrast between past grandeur and present poverty. Jean Barbault 1718-62 had studied painting in Paris with John Restout II before receiving a scholarship from the Académie des Beaux-Arts for travel to Rome in 1721. Once there he stayed building a career as engraver and establishing himself with Piranesi and his circle. Bouchard et Gravier unknown
rif. 0757-Bo.J. Radierung, Roulette und Kaltnadel, 1773, auf Bütten mit undeutl. Wasserzeichen. 25,9:35,2 cm. Literatur: Andresen 15, III (von III); Le Blanc 72; Perez 69, III (von III), mit Monogramm und Datum in der Platte, Wappen und Dedikation ausgeschliffen. - Sehr guter, gleichmäßiger Abdruck mit schmalem Rand um die Plattenkante, fleckig und mit einigen Knickfalten.
1774rif. 0234-B1774. Radierung, 1774, auf Bütten mit Wasserzeichen. 29:37,4 cm. Literatur: Le Blanc 80; Perez 74, I-III (von III), vor den Veränderungen im Himmel und am Baum rechts sowie vor den rund geschliffenen Ecken. - Sehr guter Abdruck, mit zwei kleinen Randeinrissen oben.
1809rif. 0262-B1809. Radierung, Roulette und Kaltnadel, 1809, auf Velin. 32,5:41,7 cm. Literatur: Le Blanc 79; Perez 139, VI (von VI). - Sehr guter, vollrandiger Abdruck, Einriß im oberen Rand restauriert. - In einer Zeile unter der Darstellung heißt es: ?Dessiné et gravé à l?eau forte par J. J. De Boissieu 1809 à l?age de 73 ans.?
1811rif. 570BGLuzern, Xav. Meyer, 1811. Aquatinta von Franz Hegi nach Aug. Schmid. Bildgrösse: 45 x 58 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, bild
17641 gravure (eau-forte et burin) format visible 67 x 87 cm sous encadrement vitré (format 77 x 97 cm), retirage du tirage daté 1764 Les graveurs Charles-Nicolas Cochin et Jean-Philippe Le Bas transposent la vue peinte par Claude-Joseph Vernet. La série des "Vues des Ports de France" est composée de 15 grands tableaux de Vernet, gravés par Cochin et Le Bas. Très beau tirage moderne, bien encadré (la gravure a lég. glissé, lég. usures au verso du cadre). Pas d'expédition, à retirer sur place. Français
rif. 13182DBo.J. [2 Warenabbildungen] Rutger Christoffel Alberts, geboren 1691, gestorben 1732. Drucker und Buchhändler in Den Haag. Giovanni Giacomo de Rossi
rif. boz_001442Vue d'optique - Gravure - Vue du Château de l'Étang près de Versailles Vue d'optique du Château de l'Étang du coté du Jardin près de Versailles, avec légende. Veue et perspective du Château de l'Étang du coté du Jardin près de Versailles, appartenant à Mr de Chamillart Secrétaire d'État, controlleur général des finances. Gravure sur papier vergé, et recoupée. Noir et blanc. * Dimensions de la feuille : 33,5 x 22,7 cm* État : Gravure avec passepartout, mouillures. Voir photos et description pour plus de détails. Apparues vers 1740, ces estampes étaient spécifiquement conçues pour être visionnées à travers un appareil appelé "zograscope" ou une lanterne magique. * La perspective : Le dessin accentue volontairement les lignes de fuite pour créer une illusion de profondeur saisissante.* L'inversion : Le titre en haut de la gravure est souvent imprimé à l'envers (en miroir) pour apparaître correctement une fois reflété dans le miroir de l'appareil d'optique.* L'usage : Véritable ancêtre de la 3D, elles permettaient aux curieux de l'époque de "voyager" immobile à travers l'Europe et le monde.
rif. 8888P., BAsset (fin XVIIIème). (Petits trous de ver).
rif. 231556A Paris , chez Jombert rue Dauphine, (XVIIIème siècle) 23x 31.5 cm (cuvette) - 29 x 43 cm (feuille),
rif. 230563(deuxième moitié du XVIIIe siècle) à vue : 25.5 x 42.5 cm - cadre : 39 x 56 cm , Cadre moderne en bois et stuc doré. Salissures. Petits manques au cadre.
