12 261 résultats
Folio (40 x 30 cm). XII, 328 pp. Ouvrage orné de 525 gravures dont 50 tirees hors textes. Schwerer Orig.-Leinenband mit Deckelillustration (Einband verblasst und berieben, Ecken und Kapitale bestossen). *Vicaire VII, 1185. Schwerer Prachtband mit zahlreichen Illustrationen in Holzschnitt. Der Einband verblasst und mit Alters- und Gebrauchsspuren, Bindung intakt und fest. Innen mit mäßiger Altersbräunung meist an den Seitenränden. Bücher fr
136 pages. Archival black and white photos. Text in Swedish. Book clean and unmarked with light wear. Moderate wear to dust jacket. A quality copy. Book
Cover portrait of Lieutenant-General John J. Pershing, commanding the United States Army in Europe. The victory of Craonne (conclusion). War-time changes in British trade and industry - a record of remarkable achievement. Centerfold photos of American military scenes. America's marvellous mobilisation. Average wear. Unmarked. Book
8vo., First Edition, with a portrait frontispiece, 9 portrait plates, and numerous wood-engraved illustrations and plans (a number full-page) in the text; attractively bound in marbled boards, calf back with five raised bands ruled in gilt, second compartment lettered and ruled in gilt, all other compartments tooled in gilt to a floral design, red top, uncut, marbled endpapers, silk ribbon, a very good, bright, clean copy. A very nice copy of a very scarce work
Hardcover without jacket, very good condition. Text mostly in English, some French. Gilt lettering to front board and spine. Spine is a little cocked and leading corners of boards are faintly bumped. A couple of small and minor marks to boards and light foxing and marks to page block. Previous owner's name penned to FEP. Pages are sound and internally clean, contents are bright and clear throughout. TA Used
(FT) Hardcover, 4to. , 743 pages. In Hebrew and Yiddish. SUBJECT(S) : Jews -- Poland -- Sosnowiec. Holocaust, Jewish (1939-1945) -- Poland Sosnowiec. Sosnowiec (Wojewodztwo Slaskie, Poland) -- Ethnic relations. Other Titles: Sefer Sosnovits un Zaglembyer umgegnt. OCLC lists 7 copies worldwide. Very good condition. (YIZ-5-4) xx
Veduta tratta dalla celebre La Cosmographie Universelle de tout le Monde, traduzione francese della Cosmographia di Sebastian Muenster. A differenza del Muenster, questa opera è pubblicata in una sola edizione, e risulta pertanto molto rara. Le carte incluse sono differenti, e derivano da Ortelius, Braun & Hogenberg oltre che dal Muenster. Alcuni legni sono invece ripresi utilizzando le matrici pubblicate per la prima volta nel 1552 nella Cosmografia di Lione da Guèroult & Balthazar Arnoullet (1517-1556), nel Premier livre des figure set pourtraitz des villes plus illustre set renommées d’Europe, contenente 9 immagini urbane, perlopiù copiate dalla Cosmographia di Sebastian Muenster. Silografia, in buone condizioni. Rara. In 1575, François de Belleforest published a new edition of the Cosmographie Universelle of Münster (Germany). One section of city maps which in this work was reprinted, and this was the case for this map engraved in wood with finesse by Cruche.Woodcut, cut in the right side, in good condition.
Carta geografica tratta dal raro "Atlante Geografico" dell'abate Bartolomeo Borghi (1750-1821), cartografo, incisore ed editore che tra l'altro pubblicò l'atlante del Pazzini Carli in Siena. Incisione in rame, coloritura coeva dei contorni, in ottimo stato di conservazione. A rare map from "Atlante Geografico" of priest Bartolomeo Borghi. Copperplate with original outline colour, in very good condition. Bartolomeo Borghi(1750-1821) was an italian cartographer, engraver and publisher (editor of Atlante Geografico by Pazzini Carli, Siena 1788/1800).
Carta geografica tratta dal raro "Atlante Geografico" dell'abate Bartolomeo Borghi (1750-1821), cartografo, incisore ed editore che tra l'altro pubblicò l'atlante del Pazzini Carli in Siena. Incisione in rame, coloritura coeva dei contorni, in ottimo stato di conservazione. A rare map from "Atlante Geografico" of priest Bartolomeo Borghi. Copperplate with original outline colour, in very good condition. Bartolomeo Borghi(1750-1821) was an italian cartographer, engraver and publisher (editor of Atlante Geografico by Pazzini Carli, Siena 1788/1800).
Pagina contenente la veduta fantastica della città tratta dal Supplementum chronicarum orbis ab initio mundi.Giacomo Filippo di Bergamo (1434-1520), della famiglia Foresti, fu eremita agostiniano ed autore anche del Confessionale e del De claris mulieribus.La sua cronaca fu stampata per la prima volta nel 1483 a Venezia e successivamente aggiornata più volte; complessivamente sono conosciute sei edizioni incunabolo e sei stampate nel ‘500, di cui l’ultima nel 1553. La prima edizione in italiano è stampata a Venezia nel 1535, e da questa è tratta questa pagina.Xilografia, in ottimo stato di conservazione. An imaginary view of the city, from the Supplementum chronicarum orbis ab initio mundi.Giacomo Filippo di Bergamo (1434-1520), of the Foresti family, was an Augustin hermit and author of Confessionale and De claris mulieribus. His works have been published for the fist time in Venice in 1483.The first Italian edition, from which the present example is taken, was published in 1535. Woodcut, fine later hand colour, good condition.
FIRST EDITION of this "insider's" view of 12 major world cities, written with verve by a major travel writer. ASSOCIATION COPY, with a long, warm, and indeed somewhat flirtatious SIGNED presentation inscription from the author to feminist leader GLORIA STEINEM, dated March, 1969. Large 8vo. Publisher's cloth. FINE AND BRIGHT IN A FINE DJ.
Hardcover, 8vo, lvi, 300 pages, 23 cm. Contents: Introduction: The manuscripts of the Collatio; title and plan of the work; purpose of the Collatio; date and place of composition; authorship. SUBJECT (S) : Jewish law -- Sources. Roman law -- Sources. Hyamson (1863-1949) was a rabbi and scholar. Hyamson was born in Suwalki, Lithuania, and was taken to England at the age of five. He received his Jewish education at Jews College, London, where he was ordained in 1882, and his secular education at the University of London. He was rabbi of congregations in England and Wales, dayyan of the United Synagogue, 190211, and acting chief rabbi of England, 191113. The following year he went to New York to become rabbi of Congregation Orach Chayim. He taught the codes of Jewish law at the Jewish Theological Seminary, 19151940. Hyamson published Oral Law and Other Sermons; Mosaicarum et Romanarum Legum Collatio, critically edited with introduction, apograph, translation, and notes; and Sabbath and Festival Addresses. He translated into English Maimonides Mishneh Torah book 1 and book 2 and Hovot ha-Levavot of Bahya ibn Paquda. Combating calendar reform and attacks on kosher slaughtering are his works The Proposed Reform of Calendar, the Blank Day Device in Proposed Plan for Calendar Reform; and The Jewish Method of Slaughtering Animals from the Point of View of Humanity. Hyamson was president of the League for Safeguarding the Fixity of the Sabbath; chairman of the Milah Board of the New York Jewish Community; vice president of the Jewish Conciliation Court of America; president of the New York Board of Jewish Ministers and chairman of the Jewish Academy of Arts and Sciences. As a teacher at the Seminary, Hyamson was especially appreciated for his exact translations of difficult technical terms in the codes and for his broad experience as a dayyan, which enabled him to illustrate the application of halakhot (Klein in EJ, 2007) . Hinge repair. Light wear to cover edges and binding. Otherwise, very good condition. (Heb-15A-17)
Hardcover, 8vo, lvi, 300 pages, 23 cm. Contents: Introduction: The manuscripts of the Collatio; title and plan of the work; purpose of the Collatio; date and place of composition; authorship. SUBJECT (S) : Jewish law -- Sources. Roman law -- Sources. Hyamson (1863-1949) was a rabbi and scholar. Hyamson was born in Suwalki, Lithuania, and was taken to England at the age of five. He received his Jewish education at Jews College, London, where he was ordained in 1882, and his secular education at the University of London. He was rabbi of congregations in England and Wales, dayyan of the United Synagogue, 190211, and acting chief rabbi of England, 191113. The following year he went to New York to become rabbi of Congregation Orach Chayim. He taught the codes of Jewish law at the Jewish Theological Seminary, 19151940. Hyamson published Oral Law and Other Sermons; Mosaicarum et Romanarum Legum Collatio, critically edited with introduction, apograph, translation, and notes; and Sabbath and Festival Addresses. He translated into English Maimonides Mishneh Torah book 1 and book 2 and Hovot ha-Levavot of Bahya ibn Paquda. Combating calendar reform and attacks on kosher slaughtering are his works The Proposed Reform of Calendar, the Blank Day Device in Proposed Plan for Calendar Reform; and The Jewish Method of Slaughtering Animals from the Point of View of Humanity. Hyamson was president of the League for Safeguarding the Fixity of the Sabbath; chairman of the Milah Board of the New York Jewish Community; vice president of the Jewish Conciliation Court of America; president of the New York Board of Jewish Ministers and chairman of the Jewish Academy of Arts and Sciences. As a teacher at the Seminary, Hyamson was especially appreciated for his exact translations of difficult technical terms in the codes and for his broad experience as a dayyan, which enabled him to illustrate the application of halakhot (Klein in EJ, 2007) . Spine repair. Pieces missing to endpaper and flyleaf. Text in very good condition. (Heb-15A-17A)
PARIS, Firmin-Didot et Cie - 1893 - 1 fort volume in-folio - Reliure 1/2 chagrin rouge janséniste à coins - Dos à nerfs -- Plats ornés d'hermine -Tête dorée -.Couverture et dos conservés - Préface de M. Roger de Beauvoir - Ouvrage illustré de 300 gravures dans le texte et 50 en couleurs d'après les dessins de l'auteur - XVI-300 pages+ Table- quelques rousseurs, 1 page déchirée, mais complète - Très bel ouvrage
Tavola tratta dalla Cosmographiae Universalis, edizione in latino, Basilea, seconda metà del XVI secolo.La Cosmographiae Universalis di Sebastian Münster (1488-1552), stampata per la prima volta Basilea nel 1544 dall’editore Heinrich Petri, venne più volte aggiornata e aumentata di nuove carte geografiche e rappresentazioni urbane nelle sue numerose edizioni che arrivano all’inizio del secolo successivo. Münster aveva lavorato a raccogliere informazioni al fine di ottenere un'opera che non deludesse le aspettative e, dopo un'ulteriore pubblicazione in tedesco abbellita da 910 stampe su legno, giunse nel 1550 all'edizione definitiva in latino, illustrata da 970 silografie. Vi furono poi numerose edizioni in diverse lingue, fra cui latino, francese, italiano, inglese e ceco. Dopo la sua morte di Münster (1552), Heinrich Petri prima, e il figlio Sebastian poi, continuarono la pubblicazione dell’opera. La Cosmographia universalis fu uno dei libri più popolari e di successo del XVI secolo, e vide ben 24 edizioni in 100 anni: l'ultima edizione tedesca venne pubblicata nel 1628, molto tempo dopo la morte dell'autore. La Cosmographia conteneva non solo le ultime mappe e vedute di tutte le città più famose, ma anche una serie di notizie enciclopediche di dettagli relative al mondo conosciuto, e sconosciuto. Il particolare successo anche commerciale di quest'opera fu dovuto in parte alle belle incisioni (tra i cui autori si possono citate Hans Holbein il Giovane, Urs Graf, Hans Rudolph Manuel Deutsch, David Kandel). Silografia, in buone condizioni. Plate taken from the Cosmographiae Universalis, Latin edition, Basel, half of the 16th Century. The Cosmographiae Universalis of Sebastian Münster (1488-1552), printed for the first time in Basel in 1544 by the publisher Heinrich Petri, was updated several times and increased with new maps and urban representations in its many editions until the beginning of the next century. Münster had worked to collect information in order to obtain a work that did not disappoint expectations and, after a further publication in German embellished with 910 woodblock prints, arrived in 1550 to the final edition in Latin, illustrated by 970 woodcuts. There were then numerous editions in different languages, including Latin, French, Italian, English and Czech. After his death in Münster (1552), Heinrich Petri first, and then his son Sebastian, continued the publication of the work. The Cosmographia universalis was one of the most popular and successful books of the 16th century, and saw as many as 24 editions in 100 years: the last German edition was published in 1628, long after the author's death. The Cosmographia contained not only the latest maps and views of all the most famous cities, but also a series of encyclopedic details related to the known, and unknown, world. The particular commercial success of this work was due in part to the beautiful engravings (among whose authors can be mentioned Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, David Kandel). Woodcut, in good condition.
Tavola tratta dalla Cosmographiae Universalis, edizione in tedesco, Basilea, seconda metà del XVI secolo.La Cosmographiae Universalis di Sebastian Münster (1488-1552), stampata per la prima volta Basilea nel 1544 dall’editore Heinrich Petri, venne più volte aggiornata e aumentata di nuove carte geografiche e rappresentazioni urbane nelle sue numerose edizioni che arrivano all’inizio del secolo successivo. Münster aveva lavorato a raccogliere informazioni al fine di ottenere un'opera che non deludesse le aspettative e, dopo un'ulteriore pubblicazione in tedesco abbellita da 910 stampe su legno, giunse nel 1550 all'edizione definitiva in latino, illustrata da 970 silografie. Vi furono poi numerose edizioni in diverse lingue, fra cui latino, francese, italiano, inglese e ceco. Dopo la sua morte di Münster (1552), Heinrich Petri prima, e il figlio Sebastian poi, continuarono la pubblicazione dell’opera. La Cosmographia universalis fu uno dei libri più popolari e di successo del XVI secolo, e vide ben 24 edizioni in 100 anni: l'ultima edizione tedesca venne pubblicata nel 1628, molto tempo dopo la morte dell'autore. La Cosmographia conteneva non solo le ultime mappe e vedute di tutte le città più famose, ma anche una serie di notizie enciclopediche di dettagli relative al mondo conosciuto, e sconosciuto. Il particolare successo anche commerciale di quest'opera fu dovuto in parte alle belle incisioni (tra i cui autori si possono citate Hans Holbein il Giovane, Urs Graf, Hans Rudolph Manuel Deutsch, David Kandel). Silografia, bella coloritura a mano, in buone condizioni. Plate taken from the Cosmographiae Universalis, German edition, Basel, second half of the 16th Century. The Cosmographiae Universalis of Sebastian Münster (1488-1552), printed for the first time in Basel in 1544 by the publisher Heinrich Petri, was updated several times and increased with new maps and urban representations in its many editions until the beginning of the next century. Münster had worked to collect information in order to obtain a work that did not disappoint expectations and, after a further publication in German embellished with 910 woodblock prints, arrived in 1550 to the final edition in Latin, illustrated by 970 woodcuts. There were then numerous editions in different languages, including Latin, French, Italian, English and Czech. After his death in Münster (1552), Heinrich Petri first, and then his son Sebastian, continued the publication of the work. The Cosmographia universalis was one of the most popular and successful books of the 16th century, and saw as many as 24 editions in 100 years: the last German edition was published in 1628, long after the author's death. The Cosmographia contained not only the latest maps and views of all the most famous cities, but also a series of encyclopedic details related to the known, and unknown, world. The particular commercial success of this work was due in part to the beautiful engravings (among whose authors can be mentioned Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch, David Kandel). Woodcut, beautiful hand-coloring, in good condition.
Carta geografica dell'isola, per la prima volta pubblicata nel volume “L’isole Piu Famose Del Mondo Descritte Da Thomaso Porcacchi Da Castiglione Aretino E Intagliate Da Girolamo Porro Padovan” di Tommaso Porcacchi (ca. 1532-1576), umanista e letterato originario di Castiglion Fiorentino.Gli interessi geografici coltivati sin dal Pomponio Mela del 1557 diedero vita nel 1572 al trattato, pubblicato dalla società tra il libraio Simone Galignani e l’incisore padovano Girolamo Porro, che si servirono della tipografia di Giorgio Angelieri (con privilegio di 10 anni concesso il 16 luglio 1572). Secondo Valerio (cfr. Valerio-Spagnolo, Sicilia 1477-1861, La Collezione Spagnolo-Patermo in quattro secoli di Cartografia, 2014, p. 163) il volume sarebbe stampato nell’officina di Domenico e Giovan Battista Guerra. Il volume, in formato in quarto, con dedica di Galignani a don Giovanni d’Austria, presenta le magnifiche tavole calcografiche di Porro (una seconda edizione, cospicuamente accresciuta di testo e tavole, usci nel 1576, poi ancora, postume, nel 1590, 1604, 1605, 1620 e 1686). Nella lettera dedicatoria Porro narra di essere stato il promotore dell’operazione e di aver incaricato Porcacchi di scrivere un libro sulle isole, riservandosene l’illustrazione. Il modello e quello degli “isolari”, sul quale però Porcacchi innesta lo spirito delle corografie antiche, aggiungendo per ciascuna isola una descrizione fisica, storica e culturale. La concezione e molto ampia (sono comprese penisole, grandi isole come l’Inghilterra o interi continenti: l’America Settentrionale), ma nel “Prohemio” Porcacchi fornisce un glossario di termini geografici che testimonia lo sforzo di impiegare in maniera corretta la terminologia della disciplina (cfr. Franco Pignatti, Porcacchi Tommaso, in "Dizionario Biografico degli Italiani" - Volume 85, 2016). Nel testo vi sono mappe di isole incise su mezza pagina, compreso il planisfero – riduzione della carta murale di Camocio del 1567 e la “carta da navigare con le rotte e i venti, di derivazione gastaldina. Incisione in rame posta nella parte superiore del foglio che contiene anche la parte descrittiva, in ottimo stato di conservazione. Map taken form “L’isole Piu Famose Del Mondo Descritte Da Thomaso Porcacchi Da Castiglione Aretino E Intagliate Da Girolamo Porro Padovan” by Tommaso Porcacchi (ca. 1532-1576), humanist and scholar from Castiglion Fiorentino. The geographical interests cultivated since Pomponio Mela in 1557 gave life to the treatise published in 1572 by the company between the bookseller Simone Galignani and the Paduan engraver Girolamo Porro, who used the typography of Giorgio Angelieri (with the privilege of 10 years July 1572). The volume, with a dedication by Galignani to Don Giovanni d'Austria, presents the magnificent calcographic plates by Porro (a second edition, conspicuously augmented with text and tables, came out in 1576, then again, posthumously, in 1590, 1604, 1605, 1620 and 1686). In the dedicatory letter Porro tells of having been the promoter of the operation and of having entrusted Porcacchi with writing a book on the islands, reserving the illustration. The model is that of the "isolari", on which however Porcacchi inserts the spirit of ancient chorographies, adding a physical, historical and cultural description for each island. The concept is very broad (including peninsulas, large islands such as England or entire continents: North America), but in the "Prohemio" Porcacchi provides a glossary of geographical terms that testifies to the effort to correctly use the terminology of the discipline (see Franco Pignatti, Porcacchi Tommaso, in "Dizionario Biografico degli Italiani" - Volume 85, 2016). In the text there are maps of islands engraved on half a page, including the planisphere - reduction of the wall map of Camocio of 1567 and the "carta marina”.Copperplate placed at the top of the sheet also including a descriptive part, in very good condition.
PARIS, Lib. de l'Encyclopédie du XIX è siècle - sd. (fin 19è) - complet 12 tomes en 12 volumes brochés ou débrochés - in 8 - Illustrées de 100 planches sur acier NB PP HT - Rousseurs éparses - Environ 370 pages par volume
- Chez Lachaussée, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue de l'Abbaye de Westminster et de l'Eglise Sainte Marguerite à Londres. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Quelques infimes rousseurs, sinon belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Jacques Chereau, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue de l'hôtel des ambassadeurs de Vienne, prise du côté du jardin. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Lachaussée, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue de l'intérieur de l'Abbaye de Westminster. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Daumont, Basset et Lachaussée, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue de la grande rue et de l'église Ste Marie à Londres. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Manque dans la marge inférieure sans atteinte à l'image, sinon belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Bance aîné, Genty et Lecoeur, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue de la Place Navone à Rome. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Basset, Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue de l'Hôtel du Lord Maire à Londres. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
- Chez Basset , Paris [circa 1790], 30,5x48,5cm, une feuille. - Gravure originale. Vue d'optique rehaussée en couleurs à l'aquarelle, représentant une vue du pont de Vienne. Les vues d'optique, également appelées vues, perspectives ou encore "mondo nuovo", sont des gravures très en vogue entre la fin du XVIIIe et le début du XIXe siècle. Elles étaient destinées à être observées à travers un jeu de plusieurs miroirs ou par le moyen d'un Zygrascope, instrument constitué d'un miroir et d'une lentille. Les vues d'optique peuvent être considérées comme les précurseurs des images en trois dimensions et des stéréoscopes qui connurent un vif succès dès le XIXe siècle. Les vues d'optique semblent apparaître dans les années 1740 et sont des divertissements de salon. Le procédé s'est développé d'abord à Paris, puis Londres et enfin en Allemagne et s'attachait à représenter - de manière idéalisée - les plus célèbres panoramas et paysages d'Orient et d'Occident. Belle épreuve aux couleurs très fraîches. [ENGLISH DESCRIPTION ON DEMAND]
