WEIBEL, Samuel (1771-1846):Livre Rare Book
3 121 résultats
réf. 99984aaf1807, 20x29 cm. tiré de ‘Course pittoresque dans l’Oberland Bernois...’ planche signée en bas à gauche ‘S. Weibel 1807,’ encadrement baguette or, verre ancien (24x33 cm),
réf. 99985aaf1807, 20x29 cm. tirée de ‘Course pittoresque dans l’Oberland Bernois...’ planche signée en bas à droite ‘S. Weibel fc.’, encadrement baguette or, verre ancien (24x33 cm),
réf. 104462aafo.J. ca 1850, 32 x 57 cm, Vue avec légende en-dessous, 1 Blatt (45 x 63 cm).
réf. 134653aafs.d. ca. 1820, 16x24 cm (Bild) kol. Orig.-Kupferstich / gravure originale coloriée à la main, Übereck vergoldeter Rahmen (23x32 cm).
1790réf. 27741londres PARIS Wichnyther et basset 1790 une vue d'optique en couleurs, GRAVÉE A L'EAU-FORTE ET AQUARELLE SUR PAPIER DE FORMAT: 39 x 26,5 cm., A Londres Chez Wichnyther et A Paris chez basset Editeur,
réf. 52104Paris c.1760. Original hand-coloured landscape engraving 23 x 42 cm overall sheet size 32 x 49.5 cm. Vues d'optiques or perspective view prints were a fashionable entertainment in the elite drawing rooms of the eighteenth century and also a popular street entertainment at fairs and markets. Publishing houses in London Paris Augsburg and Bassano competed in their production. In total about 5000 vues d'optiques were produced. [Paris c.1760] unknown
réf. 13182DBo.J. [2 Warenabbildungen] Rutger Christoffel Alberts, geboren 1691, gestorben 1732. Drucker und Buchhändler in Den Haag. Giovanni Giacomo de Rossi
1880réf. 54523Solothurn 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
1840réf. 141904Ca. 1840. Format: 14,5 x 19,5 cm. Blattgröße: 28 x 39 cm.
1840réf. 141905Ca. 1840. Format: 21 x 29,5 cm. Blattgröße: 32 x 42,5 cm.
1837réf. 128842Strasbourg (Ohne Jahr. Um 1837). Bildformat ca. 22x30 cm. In schlichtem Holzrahmen. Rahmenformat ca. 37x48 cm (Teils etwas stockfleckig. Unbedruckte Ränder fleckiger u. gering beschädigt).
1750Une vue d'optique de dimensions 48x32 cm; très grandes marges; coloriée à la main. Les marges sont effrangée mais c'estsans importance compte tenu de leurs dimensions. Rare témoignage d'une controverse religieuse qui fait encore parler d'elle. Voir la photo.
réf. 52922Paris: Jacques Chereau. c.1750. Overall sheet size 33.5 x 47cm. Plate mark 27 x 38cm. Original hand-coloured engraving. Small water stain to middle of top margin. Image itself very good. Vues d'optiques or perspective view prints were a fashionable entertainment in the elite drawing rooms of the eighteenth century and also a popular street entertainment at fairs and markets. Publishing houses in London Paris Augsburg and Bassano competed in their production. In total about 5000 vues d'optiques were produced. Paris: Jacques Chereau. [c.1750] unknown
1780réf. 10559Paris: 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
1780réf. 10559Paris: 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 books
1760réf. 27965Augsburg: L'Academic Imperiale des Arts 1760. Print. Otherwise very good condition. A view of Westminster over the water with the bridge and many vessels in the foreground. Fine original hand color. 11.5 x 15.75" some rusted pin holes in the margin where the print was hung. L'Academic Imperiale des Arts unknown
700Cm. 42,5x28 incluso il titolo che appare speculare, al contrario. Incorniciata con passepartout ornato a filetti oro sotto vetro, complessivi cm. 52x39. Piccola usura a alla modanatura della cornice in legno dorato. La "vue d'optique" è una veduta destinata ad essere proiettata con uno speciale apparecchio, (zograscope o « boîte d'optique »). pe rquesto ilo titolo è impresso a senso inverso. Di gran successo poplre dal 1740 all'1800 furono prodotte a Londra, Pqarigi, Augsburg e Bassano del Grappa.
1740Incisione 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..
1740Incisione da matrice in rame (mm.300x400 e margini), abilmente colorata da mano coeva: veduta prospettica animata da numerosi personaggi. Titolo lungo il margine inferiore . 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..
réf. 52112Paris: chez Daumont. c.1760. Original hand-coloured landscape engraving 26 x 40 cm overall sheet size 32 x 49.5 cm. Margins slightly dampstained and frayed at extremities. Vues d'optiques or perspective view prints were a fashionable entertainment in the elite drawing rooms of the eighteenth century and also a popular street entertainment at fairs and markets. Publishing houses in London Paris Augsburg and Bassano competed in their production. In total about 5000 vues d'optiques were produced. Paris: chez Daumont.. [c.1760] unknown
1740Incisione 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..
1740Incisione da matrice in rame (mm. 300x420 e margini), abilmente colorata da mano coeva: veduta prospettica animata da numerosi personaggi. Queste «vues d'optique», dai colori molto vivaci, con cieli azzurri digradanti verso un orizzonte più chiaro, strade e piazze con una prospettiva accentuata, 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..
1770réf. 15059Paris: 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. 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 books
1770réf. 15059Paris: 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. 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
réf. PHO-1302Augsbourg , Académie Impériale des Arts Libéreaux au Négoce commun de l'Académie Impériale d'Empire des Arts Libereaux ,dimension feuille 485x360 et impression 440x315 , verso blanc ,titre en miroir dans la marge supérieure : La Pentecôte a Hierusalem , manque de papier sans atteinte en haut.
