Burnet john r (7 Ergebnisse)

Hardcover. Zustand: Good. No Dust Jacket. 1st Edition. 1ST EDITION WITH A TIPPED IN FAMILY TREE. Hard bound, no dust jacket. Brown cloth boards. Some minor shelf wear, otherwise very good. Rare.

Hardcover. Zustand: Good. No Dust Jacket. 1st Edition. 1ST EDITION WITH A TIPPED IN FAMILY TREE. Hard bound, no dust jacket. Blue cloth boards. Some wear and soiling to boards, otherwise good. Rare.

Hardcover. Zustand: Poor - Cash. No Jacket. Vibrant gold gilt edging that is in great condition. Brown hardcovers with gold gilt borders. Inside covers are a beautiful green and blue marbling. Covers are completely detached from the book. Spine is splitting from book. Pages are very clean and binding is secure. Stock photos may not look exactly like the book.…

Brown Cloth. Zustand: General Wear. No Jacket. Early French Edition. Cloth irregularly faded and stained. Front joint cracked. Translated from the English by P.C. Van Geel. Early example of lithography as a reprint of earlier English Edition. Includes three of Burnet's books on painting which include: DE LA COMPOSITION, LUMIERE ET OMBRE, and DE LA COULEUR. The first two parts with 17 plates and a total of 81 lithographic reporductions of etchings. The third part has eight plates with a total of 26 stone . lithographs and some printed in brilliant colors, others hand-colored. Foxing throughout but plates with minor foxing. Full page frontispiece portrait, signed in the stone. Overall a good copy of this significant work on lithography in French. 145pp. Size: Quarto.…

Cloth. Zustand: Good. First edition. An illustrated collection of fifteen discourses by Sir Joshua Reynolds, with twelve black and white plates. First edition. Sir Joshua Reynolds RA FRS FRSA was an influential 18th-century English painter, specialising in portraits and promoting the 'Grand Style' in painting which depended on idealisation of the imperfect. He was one of the founders and first President of the Royal Academy. King George III appreciated his merits and knighted him in 1769. John Burnet was a Scottish engraver and painter.He engraved copies of paintings of several notable portraits and artists.He also wrote manuals and books on drawing, painting and artists, retiring from public life in 1860. With a bookseller's advert to front pastedown. With previous owner's ink inscriptions dated 13 April 1865 to front pastedown. In a cloth binding. Externally, generally sound but with bumping and wear to extremities and marks to boards. With loss to head of spine. Hinges starting with splits to cloth. Hinges tender. Internally, generally firmly bound although strained in places. With previous owner's ink stamp to front pastedown. Bright but with the odd marginal tidemark and spotting to first few pages and plates and only the odd spot throughout. Good. None (illustrator). book. …

°°° FIRST EDITION, COMPLETE ANNUAL OF THE AS IMPORTANT AS NOWADAYS RARE ARCHITECTURAL MONTHLY; CLOTHBOUND ORIGINAL, Fifth Year in 12 monthly Issues complete: (3) pages 'Index Supplement [Fitfth Volume, January to December 1930], Building, December 1930'; 564 annually counted pages on medium-glossy paper; fully illustrated throughout with photographs of buildings or their details and ground and floor plans; 8 multiple (partly huge) folded plans and views ('Baker Street Station Buildings', 'Builders' Administration', 'New Olympial Hall', 'New Headquarters Martins Bank Liverpool', 'New Midland Bank, new Headquarters, London', 'Liverpool Cathedral Organ Cases', 2x 'Thames House Westmister London', 'New Masonic Peace Memorial, Queen Street, London'). - - Cloth-binding minimally used, last two sheets with short central tear, corners of last page slightly dusty; A BEAUTIFUL COPY.…

Zustand: Good. Large folio. 3/4 red morocco and red roan boards, repaired. 59 x 45 cm.[62] p., [29] pl.; 606 mm. Some foxing. Tissue guards.OCLC Number: 1105189Each plate gives the name of the source-artist and is signed by its engraver. The engravers were H. Le Keux, George T. Doo, W. Bromley, J.H. Watt, E. Goodall, John Pye, William Miller, W. Humphrys, John Burnet, J. Stewart, W. Greatbatch, John H. Robinson, R. Golding, W. Finden and J. Le Keux. Each plate carries the publisher's imprint of John Pye, and the name of the printer, McQueen. The work is dedicated to King William IV by John Burnet, George Cooke, George T. Doo, William Finden, Edward Goodall, John Le Keux, Henry Le Keux, John Pye and John H. Robinson.The title page and plate [10] carry the date of 1840, but all other plates carry an earlier date - 1830 March 1 (nos. 5, 17, 24, 26, 28); 1832 March (1, 9, 11); 1837 March (1) (2, 14, 19, 20, 22, 29); 1834 Sep. 1 (6, 15, 16); 1836 July (1) (12, 13, 21, 25); 1837 July (3, 8, 18, 27); 1839 Aug. (4, 23); 1839 Nov. (7). The idea of publishing a series of engravings after paintings in the National Gallery (which had opened to the public in 1824) originated with John Pye, and was subsidised by John Sheepshanks. Seven instalments appeared by 1840. Pye was a leading advocate of the Royal Academy's opening full Membership to engravers. He had petitioned the Prince Regent for this in 1812; in 1826 he and other leading engravers vowed never to apply for Associateship; in 1836 and 1859 he published pamphlets attacking the Academy. Each plate is accompanied by one leaf of printed explanatory text (in English on the recto, in French on the verso); and each is captioned. They show: [1]'A view of Venice' by Canaletto; [2]'Christ appearing to St. Peter' by Ann. Carracci; [3] 'Silenus' by Ann. Carracci; [4] 'Susanna and the elders' by Lud. Carracci; [5] 'An Italian sea-port' by Claude; [6] 'The marriage-festival of Isaac and Rebecca' by Claude; [7] 'The embarkation of St. Ursula' by Claude; [8] 'A pastoral landscape' by Claude; [9] 'The Annunciation' (in text, ' . appearance of the angel to Hagar') by Claude; [10] 'The Holy Family' by Correggio; [11] 'Evening' by A. Cuyp; [12] 'The market cart' by Gainsborough; [13] 'The watering place' by Gainsborough; [14] 'Spanish peasant boy' by Murillo; [15] 'A landscape with figures representing Abraham preparing for the sacrifice' by Gaspar Poussin; [16] 'A Bacchanalian scene' by N. Poussin; [17] 'The adoration of the shepherds' by Rembrandt; [18] 'The Crucifixion' (in text 'Christ taken down from the Cross') by Rembrandt; [19] 'Portrait of a Jew' by Rembrandt; [20] 'The banished lord' by Reynolds; [21] 'Lord Heathfield' by Reynolds; [22] 'The rape of the Sabines' by Rubens; [23] 'Peace and War' by Rubens; [24] 'Gevartius' by A. Van Dyck; [25] 'The Emperor Theodosius refused admission into the church' by Van Dyck; [26] 'Portrait of Rubens' by Van Dyck; [27] 'The consecration of St Nicolas' by Veronese; [28] 'The village festival' by D. Wilkie; [29] 'Maecenas' villa at Tivoli' by R. Wilson.Ref: A. Dyson, Picture to print: the nineteenth-century engraving trade (1984); C. Fox, 'The engraver's battle for professional recognition in early nineteenth-century London', in London journal, 2 (1976), p.3-31. …