Bartolozzi, FrancescoAntiquariat.de
44 résultats
1795910364CGJohn Chamberlaine, 1795. Farbig gedruckter Punktierstich, Bild 37 x 29,5 cm, Blattgröße 51 x 38,5 cm. [2 Warenabbildungen]
179555774London: Imitations Of Original Drawings By Hans Holbein In The Collection Of His Majesty For The Portraits Of Illustrious Persons Of The Court Of Henry VIII. With Biographical Tracts by John Chamberlaine. 1795. Bartolozzi developed his style to imitate the subtleties of renaissance and baroque chalk drawings and became deservedly famous for his stipple engraving. The portraits in this collection show how effective this technique was in reproducing with such incredible fidelity Holbein's original designs. Accompanied by a biographical tract giving a brief history of Lady Barkley although the portrait was mislabelled in the eighteenth century: it is in fact a portrait of Elizabeth Dauncey b. 1506 daughter of Sir Thomas More. Size: 285 x 420 mm. Stipple engraving. Printed colour. Fine condition. unknown
178055847Basel, Johann Jakob Thurneysen, 1780. 8°. Mit 83 Textholzschnitten nach Holbein. 14 Bll., 396 S., 1 weißes Bl., Etw. späterer HLwd.-Bd. m. goldgepr. Rückentitel.
179654848IMITATIONS OF ORIGINAL DRAWINGS BY HANS HOLBEIN IN THE COLLECTION OF HIS MAJESTY FOR THE PORTRAITS OF ILLUSTRIOUS PERSONS OF THE COURT OF HENRY VIII. WITH BIOGRAPHICAL TRACTS. John Chamberlaine London. 1796. Bartolozzi developed his style to imitate the subtleties of renaissance and baroque chalk drawings and became deservedly famous for his stipple engraving. The portraits in this collection show how effective this technique was in reproducing with such incredible fidelity Holbein's original designs. Accompanied by a biographical tract giving a brief history of Sir John Gage a nobleman in the courts of Henry VIII Edward VI and Mary I. Engraved by BARTOLOZZI Francesco. Stipple engraving. Fine condition. Printed colour. Size: 28 x 38.5 cm. 11 x 15 inches. unknown
177764281Neuchâtel, Samuel Fauche 1777 In-8, plein veau brun, dos à nerfs, filets et fleurons dorés, 14-234-12 pp. Illustré d'un double frontispice, 75 vignettes sur bois dans le texte et de 5 sur 6 planches dépliantes hors-texte d'après Holbein. Coiffe de tête arrachée, mors sup.fendillés, par ailleurs frais.
178033441780 In8 Reliure en plein chagrin noir, 4 faux nerfs, titre frappé d'or, (1) titre, (1) faux titre, Chrétien de Méchel, graveur de « S.A.S Monseigneur l’electeur Palatin » a entrepris ce travail en 1780, date de la destruction du cimetière des innocents à Paris où se trouvait la grande danse des morts, peinte par les frères Limbourg. Gravant d’après les dessins originaux de Hans Holbein, il regroupa ses cuivres dans une édition in Folio en douze planches contenant chacune quatre gravures. Cette édition publiée à Bale à compte d’auteur eut un tirage très restreint. L’imprimeur Simon Rançon, eu l’idée en 1854 de remettre en vente ces gravures originales sous forme d’un In 8 composé des tirages originaux massicotés en quatre parties et montés sur onglets. Cette édition est d’une grande rareté.
1799P4437London: John Chamberlaine c.1799. Very Good. Notes: A stipple engraving of Anne Cresacre during the late 18th century. <br>Anne Cresacre 1511–77 was the ward of Thomas More who had taken her into his family after the death of her father. In 1527 she was betrothed to More's only son John: the couple married in 1529. This drawing is one of seven fine surviving studies drawn by Holbein for his group portrait of Thomas More's family. Image Size : 383x258 mm 15.08x10.16 Inches Platemark Size : 430x300 mm 16.93x11.81 Inches Paper Size : 543x406 mm 21.38x15.98 Inches Coloring: Printed in Color Medium: Stipple Engraving Categories: Portraits Others; John Chamberlaine unknown
17280760# AUTEUR: Erasme # ILLUSTRATEUR: Holbein # ÉDITEUR: L'honoré François Amsterdam # ANNÉE ÉDITION: 1728 # COUVERTURE: 1/2 basane mouchetée - dos à nerfs très orné - pièce de titre en maroquin rouge - tranches rouges - chiffres et date en queue # DÉTAILS: Petit in 8° relié 2ff (frontispice, titre) + 1ff ( privilège) + 1ff (avertissement) + 6ff ( préface du traducteur) + 4ff ( préface d'Erasme adressée à Thomas Morus, son ami) + frontispice ( Erasme-Morus-Holbein) + 340pp + 10ff ( table). 75 gravures in-t, 6 gravures dépliantes ht. de Holbein. Traduit par Mr Gueudeville, avec les notes de Gérard Listre, les belles figures de Holbein: le tout sur l'original de l'académie de Bâle. Pièce qui représentant au naturel l'HOMME tout défiguré par la SOTISE, lui apprend agréablement à rentrer dans le bon Sens dans la Raison. Nouvelle édition revue avec soin mise dans un meilleur ordre. # PHOTOS visibles sur www.latourinfernal.com
17805688Part One: The Dance of Death including 49 engravings on 14 plates of which the final two are folio: "Triumphus divitiarum" & "Triumphus paupertatis" Part Two: The Passion of Christ comprising 13 folio plates including engraved title. Hinges professionally reinforced; chip to head of spine peripheral foxing and thumbing. Chretian de Mechal hardcover
1781105911781 reliure plein veau havane marbré in-douze (binding full calfskin duodecimo), or estompé sur les 5 nerfs du dos (gilt blurred on the 5 raised bands of the spine) - entre-nerfs à fleuron aux fers spéciaux (between the raised bands specials blocking stamps) - pièce de titre sur fond grenat avec filet or (garnet label of title with gilt line), petites taches d'encre sur les plats (small ink marks on the covers), roulettes sur les coupes - manque de dorure (fillets on the cuts - blurred gilding), toutes tranches rouges (all red edges), marque-page en tissue vert (bookmark in tissue), pages de garde peignées à motif "modèle plume de paon" (painting flyleaf - model plucks peacock), illustrations de Hans Holbein : frontispice - 73 gravures in texte - 1 gravure hors-texte - 6 planches repliées hors texte + orné de bandeaux - lettrines et de culs-de-lampe (frontispiece - 73 engravings in text - 1 full page engraving and 6 folding plates - and illuminated of headpieces and dropped initials and of tailpieces), claires cicatrices de mouillures en marge de tête en fin d'ouvrage (light scars of waterstains on the top margin and the end of book), XXIV+320 pages, 1781 à Amsterdam Chez François L'Honoré,
1798P4402London: John Chamberlaine c.1798. Very Good. Notes: A pair of rare Stipple Engravings based on the self portrait of the famous Dutch painter Hans Holbein and of his wife during the late 18th century. <br>Hans Holbein the Younger c. 1497 – 1543 was a German and Swiss artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century. He also produced religious art satire and Reformation propaganda and made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder an accomplished painter of the Late Gothic school. Image Size : 512x392 mm 20.16x15.43 Inches Platemark Size : Paper Size : 540x403 mm 21.26x15.87 Inches Coloring: Printed in Color Medium: Stipple Engraving Categories: Portraits Others; John Chamberlaine unknown
172845761728 Amsterdam, François l'Honoré, 1728, 11.5x17. Reliure sobre en pleine basane d'époque. Dos à 4 nerfs. Page de titre en rouge et noir. Illustré d'un frontispice, d'un portrait et de 79 gravures dont 6 dépliantes. Privilège en flamand, avertissement, préface, texte et tables en français. Les gravures sont suberbes. Reliure simple mais solide. Envoi de photographies sur demande.
178077640Basle:: Chez Guillaume Haas 1780. First edition. old quarter leather and pebbled boards. Small old ink signature and gilt armorial small bookplate; text leaves foxed; some very slight occasional marginal foxing to the plates which generally are clean unworn and very attractive. Edges of binding worn; scuffs to binding; tight and sound. Folio. 61 engraved plates two double-page. Chez Guillaume Haas, hardcover
178072088Chez Guillaume Haas | Basle 1780-1794 | 31 x 40 cm | 4 parties reliées en un volume
178072088Basle Basel: Chez Guillaume Haas 1780. Fine. Chez Guillaume Haas Basle Basel 1780-1794 31 x 40 cm 4 parties reliées en un volume First edition of these four suites of engravings uncut proofs etched and aquatint in sepia entitled ""The Triumph of Death"" 12 plates containing 4 views each as well as 2 full-page ""The Passion of Our Lord"" frontispiece and 12 plates ""Costumes of men and women of the sixteenth century"" frontispiece and 15 plates including 2 on double page and ""Portraits"" 10 plates. Modern Bradel binding in full pebbled paper smooth spine decorated with a red morocco label. Armorial bookplate of the Taets van Amerongen library remounted on the front pastedown. The first part is preceded by twelve pages of explanation of the plates the other three contain none like the other copies we have been able to consult. The engravings of great delicacy are the work of Chrétien de Méchel after drawings by the German Renaissance master Hans Holbein. Chez Guillaume Haas unknown
17921801220011London: W. Bulmer 1792. First Edition. Hardcover. Very Good. Folio 56 x 44 cm. 1st ed published between 1792-1800. Rebound in moroccan leather over finely marbled boards. 92 stipple-engraved color plates some mounted some on pink paper. The first work is complete with 84 portraits on 83 plates. Additionally includes The Court of Francis II also by Holbein often bound together 8 additional color plates. All edges gilt. Perforated library stamp on title. Portraits of Hans Holbein and his wife trimmed at bottom edge. According to the Ray "This Magnificent Work Is Surely The Finest Early Example Of English Color Printing." "In every way a splendid book the colour printing reproducing with extraordinary fidelity the original designs . No copies were issued to the public until the stock was acquired many years later by Messrs. Bohn who added them as a Supplement to copies of the earlier work." Abbey Life 205 & 206; Ray English 19; Brunet III 259-260 'ouvrage magnifique'; Lewine pp. 243-4; Lowndes p. 405. This is an oversized or heavy book which requires additional postage for international delivery outside the US. London: W. Bulmer hardcover
179265216London: W. Bulmer & Co 1792. HOLBEIN Hans; CHAMBERLAINE John. artist. CHAMBERLAINE John. Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty for the Portraits of Illustrious Persons of the Court of Henry VIII. With biographical tracts. Published by John Chamberlaine Keeper of the King's Drawings and Medals and F.S.A. London: W. Bulmer & Co. 1792.<br> <br> First edition of Chamberlaine's magnificent volume of 86 color stipple-engraved plates rarely found complete. Large folio 21 1/4 x 16 1/2 inches; 540 x 415 mm. Complete with the 80 listed plates all of which are mounted frontispiece portraits of Holbein and Holbein's wife and a third frontis of a group portrait two hand-colored miniatures and an additional plate of Henry Howard Earl of Surry engraved by Scriven. An impressive collection of full-page engravings after Holbein's legendary portraits of Jane Seymour Anne Boleyn Sir Thomas More a young Edward VI Anne of Cleves and other court figures with frontispiece portraits of Holbein and his wife. Of the listed plates all but four portraits are engraved by the great Bartolozzi. In total eighty-two plates are in color with four on lavender paper sixty-three on pink thirteen on white/buff inclusive of one sheet with double portrait of Henry and Charles Brandon finished by hand. With one leaf of publisher's advertisements.<br> <br> 19th-century full red morocco rebacked with original spine laid down. Boards elaborately stamped with floral devices and with thirteen gilt rules. Spines elaborately stamped in blind and gilt lettered in gilt. With one-inch gilt dentelles. All edges gilt. Green coated endpapers. Plates exceptionally bright and clean with only very minor instances of foxing. Most foxing is to leaves and not engravings. Title-page with 11/2-inch x 1/2 piece torn from fore-edge and a 2-inch closed tear at fore-edge neither affecting text. Many of the plates are a somewhat wrinkled. The plate of Lord Clinton with a small tear to the pink paper not affecting engraving. Occasional marginal closed tears professionally repaired. Binding a bit rubbed and bumped. Overall a very good copy of a magnificent work.<br> <br> German artist Hans Holbein the Younger ranks "as one of the best portrait-painters in the world. He combined artistic beauty and precision of technical execution with extraordinary truth to nature and power of interpretation of character." Holbein born in 1497 first "arrived in England in the 18th year of the reign of Henry VIII. Sir Thomas More was then Chancellor of the Exchequer and Warham. was Archbishop of Canterbury. Through them Holbein obtained easy access to the leading men of the court" painting portraits of Moore Warham and many others before returning home. He journeyed back to England in 1532 where by 1536 he was in service as "'the king's painter' and in that year he painted the new queen Jane Seymour." In 1539 as a New Year's gift to the king "he gave 'a table of the pictour of the prince's grace' possibly the portrait of the infant Edward VI at Hanover. His portrait of Anne of Cleves perhaps the one now in the Louvre was sufficiently attractive to decide the king in her favour" DNB. The majestic portraiture of Holbein who died in London in 1543 "remains unsurpassed for sureness and economy of statement penetration into character and a combined richness and purity of style" Waterhouse. At the end of the 18th century John Chamberlaine in the court of George III sought to bring together a work to pay tribute to Holbein's magnificent artistry. There had been previous unsuccessful attempts to publish the portraits in engraved reproductions such as a 1792 volume containing 33 plates of poor quality titled The Court of Henry the Eighth. Yet Chamberlain succeeded where others failed for as the king's Keeper of the Drawings he assembled in this Imitations of Original Drawings by Hans Holbein 84 splendid color stipple-engraved full-page portraits of Edward VI Anne Boleyn Thomas More Jane Seymour the Archbishop of Canterbury Anne of Cleves and other major figures of the age.<br> <br> "One of the most magnificent books that we have ever seen and whether we consider the genius of the painter or the talents of the engravers reflects high honor on the age and nation which produced it" London Monthly Review. Sir Walter Scott praised it as "a collection which at once satisfies the imagination and the understanding showing us. how the most distinguished of our ancestors looked moved and dressed and. how they thought acted lived and died" Allibone 1120. Color-inked on the plates these intricate stipple-engraved portraits comprise "inestimable examples of English color printing at its best" Joan Friedman. "This magnificent work is surely the finest early example of English color printing. The reduced reissue of 1812 reprinted in 1828 gives no idea of the book's quality" Ray English 19. "In every way a splendid book" Abbey Life 205.<br> <br> Initially issued serially in 14 parts from 1792-1800. This volume's 86 beautiful portraits were achieved with techniques that admirably succeed in honoring Holbein's portraiture. The plates were etched or engraved in gray or sepia ink with additional colored inks applied a la poupee two hand-colored. Text by Edmund Lodge. Abbey Life 206.<br> <br> Lowndes 1381. Abbey Life 205 206.<br> <br> HBS 65216.<br> <br> $12500. W. Bulmer & Co unknown
179265216ìThis Magnificent Work Is Surely The Finest Early Example Of English Color Printing." A Majestic Large Folio Volume Of More than 80 Beautiful Color Stipple-Engraved Portraits Of The Court Of Henry VIII HOLBEIN Hans artist. CHAMBERLAINE John. Imitations of Original Drawings by Hans Holbein in the Collection of His Majesty for the Portraits of Illustrious Persons of the Court of Henry VIII. With biographical tracts. Published by John Chamberlaine Keeper of the King's Drawings and Medals and F.S.A. London: W. Bulmer & Co. 1792. First edition of ChamberlaineÃs magnificent volume of 86 color stipple-engraved plates rarely found complete. Large folio 21 1/4 x 16 1/2 inches; 540 x 415 mm. Complete with the 80 listed plates all of which are mounted frontispiece portraits of Holbein and Holbein's wife and a third frontis of a group portrait two hand-colored miniatures and an additional plate of Henry Howard Earl of Surry engraved by Scriven. An impressive collection of full-page engravings after HolbeinÃs legendary portraits of Jane Seymour Anne Boleyn Sir Thomas More a young Edward VI Anne of Cleves and other court figures with frontispiece portraits of Holbein and his wife. Of the listed plates all but four portraits are engraved by the great Bartolozzi. In total eighty-two plates are in color with four on lavender paper sixty-three on pink thirteen on white/buff inclusive of one sheet with double portrait of Henry and Charles Brandon finished by hand. With one leaf of publisher's advertisements. 19th-century full red morocco rebacked with original spine laid down. Boards elaborately stamped with floral devices and with thirteen gilt rules. Spines elaborately stamped in blind and gilt lettered in gilt. With one-inch gilt dentelles. All edges gilt. Green coated endpapers. Plates exceptionally bright and clean with only very minor instances of foxing. Most foxing is to leaves and not engravings. Title-page with 11/2-inch x 1/2 piece torn from fore-edge and a 2-inch closed tear at fore-edge neither affecting text. Many of the plates are a somewhat wrinkled. The plate of Lord Clinton with a small tear to the pink paper not affecting engraving. Occasional marginal closed tears professionally repaired. Binding a bit rubbed and bumped. Overall a very good copy of a magnificent work. German artist Hans Holbein the Younger ranks ìas one of the best portrait-painters in the world. He combined artistic beauty and precision of technical execution with extraordinary truth to nature and power of interpretation of character.î Holbein born in 1497 first ìarrived in England in the 18th year of the reign of Henry VIII. Sir Thomas More was then Chancellor of the Exchequer and Warham. was Archbishop of Canterbury. Through them Holbein obtained easy access to the leading men of the courtî painting portraits of Moore Warham and many others before returning home. He journeyed back to England in 1532 where by 1536 he was in service as ìëthe kingÃs painterà and in that year he painted the new queen Jane Seymour.î In 1539 as a New YearÃs gift to the king ìhe gave ëa table of the pictour of the princeÃs graceà possibly the portrait of the infant Edward VI at Hanover. His portrait of Anne of Cleves perhaps the one now in the Louvre was sufficiently attractive to decide the king in her favourî DNB. The majestic portraiture of Holbein who died in London in 1543 ìremains unsurpassed for sureness and economy of statement penetration into character and a combined richness and purity of styleî Waterhouse. At the end of the 18th century John Chamberlaine in the court of George III sought to bring together a work to pay tribute to HolbeinÃs magnificent artistry. There had been previous unsuccessful attempts to publish the portraits in engraved reproductions such as a 1792 volume containing 33 plates of poor quality titled The Court of Henry the Eighth. Yet Chamberlain succeeded where others failed for as the kingÃs Keeper of the Drawings he assembled in this Imitations of Original Drawings by Hans Holbein 84 splendid color stipple-engraved full-page portraits of Edward VI Anne Boleyn Thomas More Jane Seymour the Archbishop of Canterbury Anne of Cleves and other major figures of the age. ìOne of the most magnificent books that we have ever seen and whether we consider the genius of the painter or the talents of the engravers reflects high honor on the age and nation which produced itî London Monthly Review. Sir Walter Scott praised it as ìa collection which at once satisfies the imagination and the understanding showing us. how the most distinguished of our ancestors looked moved and dressed and. how they thought acted lived and diedî Allibone 1120. Color-inked on the plates these intricate stipple-engraved portraits comprise ìinestimable examples of English color printing at its bestî Joan Friedman. ìThis magnificent work is surely the finest early example of English color printing. The reduced reissue of 1812 reprinted in 1828 gives no idea of the bookÃs qualityî Ray English 19. ìIn every way a splendid bookî Abbey Life 205. Initially issued serially in 14 parts from 1792-1800.†This volumeÃs 86 beautiful portraits were achieved with techniques that admirably succeed in honoring HolbeinÃs portraiture. The plates were etched or engraved in gray or sepia ink with additional colored inks applied a la poupee two hand-colored. Text by Edmund Lodge. Abbey Life 206. Lowndes 1381. Abbey Life 205 206. HBS 65216. $17500 W. Bulmer & Co. hardcover books
1792160199London: W. Bulmer and Co. Shakespeare Printing-Office 1792-1800. This magnificent work" - Holbein rendered by Bartolozzi First edition of this superlative folio about which the leading authorities are in full agreement: "in every way a splendid book" Abbey and "this magnificent work is surely the finest early example of English colour printing" Ray. This is a most handsome copy in contemporary red morocco. "During his second stay in England 1532-43 Hans Holbein made a series of drawings of sitters connected with the court of Henry VIII that ranks among his finest achievements. Most of these were discovered as a group pasted into an album in a bureau at Kensington Palace by Queen Caroline in 1728 and the majority are now in the Royal Collection Windsor" Oliver et al p. 168. The album had a chequered history passing through several royal and noble hands - Charles I swapped it for a single painting by Raphael - before finding its way into the celebrated collection of Thomas Howard 14th earl of Arundel who "amassed what stands as the first major British art collection" British Library. It then returned to royal ownership a reunion that was recorded in Alexander Browne's Ars Pictoria 1675: "this book has been long a Wanderer but is now most happily fallen into the King's Collection". It then lay undisturbed until Queen Caroline's discovery. Solicitous of artworks in the royal collections she had them removed from their binding individually framed and hung in her country residence of Richmond Lodge. A native of Florence Francesco Bartolozzi 1728-1815 had by the early 1760s established himself as one of the finest engravers in Italy. An invitation to London in 1764 led to his employment to make prints after drawings by Guercino which entered the Royal Collection. He became engraver to the king and was a founder member of the Royal Academy. His imprimatur on an engraving was in high demand and he established "a vogue for dotted prints or 'stipples' and this became his characteristic manner" ODNB. Extensive work for many of the leading London print-sellers followed for which he employed a large studio to cope with commissions. This led to accusations of shoddy workmanship about which Bartolozzi was very sensitive; and yet he continued to attract high-level commissions such as the present work the admirable presswork for which was by the best London printer of the day William Bulmer. It was published under the auspices of the antiquary John Chamberlaine Keeper of George III's drawings with biographical notices provided by Edmund Lodge. Dr Lucy Peltz Head of Collection Displays Tudor to Regency at the National Portrait Gallery notes a contemporary "patriotic fashion for collecting engraved portraits of illustrious figures" ODNB entry for Edmund Lodge. "Published in parts during the years 1792 to 1800. the book evidently had a very considerable success for the plates appear in several states" Abbey. The present copy includes hand-coloured plates on white paper pink paper and trimmed pink paper mounted to white sheets with a double-border in wash. The sitters include Anne Boleyn Edward VI Sir Thomas Eliot Catherine Howard Sir Thomas More Jane Seymour Henry Howard earl of Surrey and Sir Thomas Wyatt. Folio 543 x 400 mm. With 84 colour-printed stipple engravings on 83 sheets all but four by Francesco Bartolozzi after Holbein on white or pink paper some on pink paper mounted on card. Contemporary red straight-grain morocco gilt spine with seven pairs of raised bands gilt lettered direct in second compartment and at foot each compartment filled with decorative blind tooling sides with intersecting gilt frames enclosing blind panels comprising interlocking drawer-handle tools and anthemion rolls 12-point corner rosettes gilt chain-link edge roll gilt rope-twist turn-ins drab bluish green surface-paper endpapers gilt edges. Binding professionally refurbished a few old abrasions to binding front leaves creased one mounted plate with repaired closed tear some foxing to plates on white paper a few captions shaved rear free endpaper sympathetically renewed. A handsome copy. Abbey Life 205 the plates accord with Abbey's states 2 3 and although not examined by him possibly 5; Lowndes I p. 405; Ray The Illustrator and the Book in England from 1790 to 1914 1991 19. Lois Oliver et al "New evidence towards an attribution to Holbein of a drawing in the Victoria and Albert Museum" The Burlington Magazine Vol. 148 No. 1236 March 2006. hardcover
