barbault jean (64 Ergebnisse)

Softcover. Zustand: Bon. Ancien livre de bibliothèque avec équipements. Couverture différente. Edition 2012. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Different cover. Edition 2012. Ammareal gives back up to 15% of this item's net price to charity organizations.

Softcover. Zustand: Très bon. Ancien livre de bibliothèque avec équipements. Edition 2012. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 2012. Ammareal gives back up to 15% of this item's net price to charity organizations.

No jacket. Zustand: Bon. Ancien livre de bibliothèque. Sans jaquette. Couverture différente. Edition 1996. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. No dust jacket. Different cover. Edition 1996. Ammareal gives back up to 15% of this item's net price to charity organizations.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Original publisher's red cloth hardback, gilt title spine and frontcover, large 8vo: xij, 316pp., 16 contributions, figs., graphs., tables, references, list contributors, index. Very fine copy.

Couverture souple. Zustand: Bon état. In-12 broché 27,5 cm. Bon état d'occasion. in-12°.

Couverture souple. Zustand: bon. RO20265611: 1993. In-8. Broché. Etat d'usage, Couv. convenable, Dos plié, Intérieur frais. 270 pages. . . . Classification Dewey : 133.3-Procédés divinatoires, cartomancie.

Zustand: New. In.

Zustand: New. This volume includes essays on topics of current interest in biodiversity research, ranging across evolutionary biology, population and community ecology, and conservation. Each of the three main sections begins with an overview highlighting the major themes to be discussed. Editor(s): Hochberg, Michael E.; Clobert, Jean; Barbault, Robert. Num Pages: 328 pages, line figures, tables. BIC Classification: RBX; RNC; RNKH; RNT. Category: (P) Professional & Vocational. Dimension: 242 x 161 x 23. Weight in Grams: 627. . 1996. Hardback. . . . . Books ship from the US and Ireland.

Zustand: Gut. Stich von oder nach Jean Barbault mit der Darstellung eines Centauren. Kartonpapier mit Lilien-Wasserzeichen in sehr gutem Zustand. Sprache / Language: de 1 Seiten. ca. 19,3 x 21,2 cm.

Softcover. Zustand: Guter Zustand. Dünner orig. Pappeinabnd;23x15;(t60). Buch.

First edition; landscape folio (53 x 68 cm); title in red and black with engraved vignette by Montagu, in total 44 plates, faint waterstain to top margin occasionally creeping into image but not damaging appeal, faint rubbing to crease of title page, no text; contemporary full calf, gilt spine in eight compartments, gilt lettering piece, all edges marbled, spine and extremities a little worn, a very good copy. The atlas volume of Barbault's great set of views of Rome. This work contains impressive views of important churches, places, palaces, fountains and bridges of Renaissance and Baroque Rome. The high quality plates were made by Domenico Montagi and an entire team of engravers. There was a later edition of this work published in 1773 by Bourchard but it lacked the text captions and the quality of the engravings was inferior. Jean Barbault ( 1718-1762) was a French artist working in Rome. He was part of the circle of artists which included Piranesi, Duflos and Legeay and contributed to Piranesi's Vedute di Roma and also collaborated on Antichita romane. His work was extremely successful and though influenced heavily by Piranesi, he is an impressive and energetic topographical artist in his own right. 'Barbault's presentation of views and fragments of ancient sculpture are extraordinarily tactile and appealing' (Millard). Berlin Catalogue 2712; Fowler 37; Millard IV, 14.

Folio 21x15 inches, bound in recent dark calf gilt over marbled boards. Title in red and black with an engraved vignette in bistre, portrait of Pio Sextus in bistre, (ii), 15 pages describing plates 1-91 (as issued) and 94 FINE ENGRAVED PLATES - ALL PRINTED IN BISTRE. Plates complete. The 94 plates contain 200 engravings as in the title. Bibliography Cohen-de Ricci p.112. Scarce title on the Ancients and their Gods and rare to find works with the plates printed entirely in bistre - a brown colour giving the images a warm sepia like tone.

Edition : First Edition. , Contemporary paper boards with recent half green morocco, expertly rebacked in matching style. Gilt rules on upper and lower. Spine with 5 raised bands. Bands with decorative gilt rolls. Decorative gilt fillet and motifs in compartments. Title in gilt on red label in 2. All edges red. , Text in French.2 large folios in uniform binding. Rome Ancienne: (512x372 mm); Rome Moderne: (504x377 mm).Jean Barbault (1718 ? 1762) was a French painter, etcher and printmaker, who worked in Rome for most of his life. He is noted for paintings and etchings of Roman monuments and antiquities which were published in the two volumes here. In Rome he became a disciple of Piranesi.Rome Ancienne describes the monuments depicted in the corresponding plates; ?in these descriptions, Barbault not only references the work of historians like Pliny the Elder and Bernard de Montfaucon, but also other artists? renderings of the same monuments, particularly those by Giovanni Battista Piranesi. Barbault had previously worked with Piranesi, contributing to 14 plates to Piranesi?s Antichità Romane (1756), and the two artists worked with the same publisher, Bouchard et Gravier.? He was thus one of the ?few official collaborators? of Piranesi, who feared Barbault would become his rival ?pasticheur.?Rome Moderne was published posthumously, with plates designed by Barbault and mostly engraved by the artists Montagu, Giraud, and Freicenet. The plates are accompanied with detailed descriptions addressing the building?s construction, its history and founder, construction sequence, and artists involved with decorating the structures. , Size : Folio, Chapters with ornamental initials. Rome Moderne with 66 engravings in total, including 44 plates designed by Barbault, all double-page. Rome Ancienne with 128 engravings, including 73 numbered plates, 29 of which are full-page engravings. All engravings designed by Barbault and most sculpted by him as well; some sculpted by Dominico Montagu. Dedication to Jean François Joseph de Rochechouart, a French Roman Catholic cardinal of the 18th century. , Ex-Libris Edward Francis Searles., References : Berlin Catalogue 2712; Millard IV, 14, Rome Ancienne: Blank (2). Half title. Blank. Title. Blank. Dedication (2). Preface (vii ? viii). Blank. P. 1 ? 88. Table (P. 89 ? 90). Blank (2). Rome Moderne: Blank (2). Half title. Blank. Title. Blank. Advertisement. Printer?s Note. P. 1 ? 69. Table (P. 71 ? 72). Blank (2). Fine examples. Some wear to boards. Scattered worming to some margins. Interior and plates clean and crisp.

Original full brown mottled calf boards. Coat of arms in gilt on upper and back boards. Six raised bands in seven compartments, densely gilted with elaborate design. Gilt lettering in 2. Blue and white paste-in and free endpapers with intricate floral pattern. All edges red and cut. , Ex-Libris Rudolph von Guttman (1880?1966). Guttman?s armorial bookplate on paste-in free endpaper featuring coat of arms with motto, ?Semper Progediens? (?always progressing?). Guttman, a Jewish banker and art collector, was forced to sell much of his collection at the start of the second world war. (From the Seattle Art Museum Libraries.); additional bookplate featuring 16th century print of two men holding hammer and sword. Dated 1574. Name not legible. Jean Barbault (1718?1762) was a French painter, etcher and printmaker, who worked in Rome for most of his life. He is noted for paintings and etchings of Roman monuments and antiquities which were published in two volumes. Here we only have the volume on ancient Rome. , Size : Large Folio (520x370mm), Text in French.Containing 90 pages about the monuments, reliefs, and sculptures of ancient Rome with 128 plates, engraved by both Barbault himself and Dominico Montagu. , Ex-Libris Rudolph von Guttman., P. 1 ? 90. Blank. Half title. Blank. Title. Dedication. Preface (vii ? viii). P. 1 ? 87. Blank. Plates (24). Table (89 ? 90). Blank. A fine example. Plates are clean and crisp. Some wear to boards, spine, and edges.

No binding. 390 x 530 mm., printed on thick paper in good condition. A view of the Palazzo Mattei in Rome is found in Jean Barbault's 'Les Plus Beaux Edifices de Rome Moderne'. Olschki states that the views of Barbault occupy an honourable place in the iconography of Rome. There are several figures in the image helping to bring it to life. Barbault studied in Paris before settling in Rome. He entered Rome at the time Piranesi was active and worked with him as well as becomming a rival. Barbault contributed figures to fourteen plates by Piranesi in volumes 2 and 3 of the 'Antichita Romane', 1754. There were not many collaborators. Seven years later Barbault's own collection of views on ancient Rome was published. In both this and the posthumously published 'Les Plus Beaux Edifices de Rome Moderne' (1763) from which this plate is drawn, Barbault drew on several views from Piranesi's earlier work. In the views of "modern" Rome, Barbault is, inevitably, close to Piranesi's contemporary views. Berlin Cat. 2712; Brunet I 546; Fowler 37; Olschki 16397.

No binding. 390 x 530 mm., light waterstain at upper centre fold, not offensive, printed on thick paper in good condition. This fabulous view of the Spanish Steps in Rome is found in Jean Barbault's 'Les Plus Beaux Edifices de Rome Moderne'. Olschki states that the views of Barbault occupy an honourable place in the iconography of Rome. There are several figures in the image helping to bring it to life. Barbault studied in Paris before settling in Rome. He entered Rome at the time Piranesi was active and worked with him as well as becomming a rival. Barbault contributed figures to fourteen plates by Piranesi in volumes 2 and 3 of the 'Antichita Romane', 1754. There were not many collaborators. Seven years later Barbault's own collection of views on ancient Rome was published. In both this and the posthumously published 'Les Plus Beaux Edifices de Rome Moderne' (1763) from which this plate is drawn, Barbault drew on several views from Piranesi's earlier work. In the views of "modern" Rome, Barbault is, inevitably, close to Piranesi's contemporary views. Berlin Cat. 2712; Brunet I 546; Fowler 37; Olschki 16397.

No binding. 390 x 530 mm., printed on thick paper in good condition. This fabulous view of the Piazza Navona in Rome is found in Jean Barbault's 'Les Plus Beaux Edifices de Rome Moderne'. Olschki states that the views of Barbault occupy an honourable place in the iconography of Rome. There are several figures in the image helping to bring it to life. I very recognisable image. Barbault studied in Paris before settling in Rome. He entered Rome at the time Piranesi was active and worked with him as well as becomming a rival. Barbault contributed figures to fourteen plates by Piranesi in volumes 2 and 3 of the 'Antichita Romane', 1754. There were not many collaborators. Seven years later Barbault's own collection of views on ancient Rome was published. In both this and the posthumously published 'Les Plus Beaux Edifices de Rome Moderne' (1763) from which this plate is drawn, Barbault drew on several views from Piranesi's earlier work. In the views of "modern" Rome, Barbault is, inevitably, close to Piranesi's contemporary views. Berlin Cat. 2712; Brunet I 546; Fowler 37; Olschki 16397.

No binding. 390 x 530 mm., light foxmark on the upper edge in the margin, printed on thick paper in good condition. This fabulous view of the Trevi Fountain in Rome is found in Jean Barbault's 'Les Plus Beaux Edifices de Rome Moderne'. Olschki states that the views of Barbault occupy an honourable place in the iconography of Rome. Various street sellers are set up in the foreground. I very recognisable image. Barbault studied in Paris before settling in Rome. He entered Rome at the time Piranesi was active and worked with him as well as becomming a rival. Barbault contributed figures to fourteen plates by Piranesi in volumes 2 and 3 of the 'Antichita Romane', 1754. There were not many collaborators. Seven years later Barbault's own collection of views on ancient Rome was published. In both this and the posthumously published 'Les Plus Beaux Edifices de Rome Moderne' (1763) from which this plate is drawn, Barbault drew on several views from Piranesi's earlier work. In the views of "modern" Rome, Barbault is, inevitably, close to Piranesi's contemporary views. Berlin Cat. 2712; Brunet I 546; Fowler 37; Olschki 16397.

Zustand: ACEPTABLE. Fragmentos de un bajo relieve antiguo representando un casamiento. Plancha 67 de la obra Monuments de Rome Ancienne. Les plus Beaux Monuments de Rome Ancienne ou Recueil de plus Beaux Morceaux de lAntiqué Romaine qui existen encore de Jean Barbault. Formato (cm): 37x26.

Incisione originale eseguita su matrice di rame , lungo il margine inferiore indicazione degli artisti, a sinistra titolo italiano e 5 confronti, dedicatoria e a destra titolo in francese e 5 confronti. Veduta prospettica della piazza Montecitorio , a destra sul fondo porzione di palazzo Chigi. La tavola è dedicata, dagli editori Bouchard e Gravier \"umili servitori \" , al cardinale Flavio Chigi . La trasposizione su lastra è opera di Freicenet, artista francese attivo dal 1760. Il disegno dell`opera spetta a Jean Barbault artista francese , attivo in Italia dove si trasferisce molto presto, a Roma passa gran parte della sua vita . Il foglio in esame è tratto da un `opera di vedutistica romana con 44 tavole a doppia pagina , le bellissime tavole mostrano vedute su Piazza San Pietro, Piazza del Popolo, Piazza Navona, Campidoglio, palazzi, chiese, fontane e altri edifici. Esemplare in buone condizioni conservative, I Edizione .

A grand engraving of the interior of the Papal Basilica of St Paul Outside the Walls in Rome. The Basilica was founded by the Roman Emperor Constantine in the fourth century, over the burial place of St. Paul. It is one of four churches that are the great ancient major basilicas or papal basilicas of Rome. Copper engraving. Hand coloured. Sheet size: 505 x 740 mm Image size: 380 x 570 mm Very good condition. Large margins.

A wonderful engraving of The Emperor Nerva's Forum (public square) in Rome. All Roman Emperors between approx 46 B.C. and 113 A.D. built these Imperial Forum's in Rome. The forums were the centre of the Roman Republic and of the Roman Empire. Copper engraving. Size: 38.5 x 53cm Hand coloured Good condition. Remargined at plate mark. Water stains.

A worthy view of the Roman College, founded in the middle of the sixteenth century by St. Ignatius of Loyola, a Jesuit priest. Copper engraving. Size: 38.5 x 53cm Hand coloured Very good condition. Large margins.

A grand engraving of the Papal Basilica of St Paul Outside the Walls in Rome. The Basilica was founded by the Roman Emperor Constantine in the fourth century, over the burial place of St.Paul. It is one of four churches that are the great ancient major basilicas or papal basilicas of Rome: Copper engraving. Size: 38.5 x 53.cm Hand coloured Very good condition. Large margins.

A wonderful view of the Palazzo Muti in Rome. A large townhouse, together with adjoining palazzo and houses that became the residence in exile of the Stuart dynasty in Rome during the eighteenth century. Copper engraving. Size: 38.5 x 53cm Hand coloured Very good condition. Large margins.

Technic: Copper print, colorit: black/white, condition: Perfect condition, size (in cm): 39 x 52,5 cm, View shows the Piazza San Bernardoden in Rome with a view of the Fontana dell'Acqua Felice, also known as the Moses Fountain. It used to mark the end point of the Acqua Felice aqueduct.