havell robert (14 Ergebnisse)

Zustand: New. pp. 166.

Zustand: New. In.

James Audubon (illustrator). Seven vintage postcards 6 X 8 ins. featuring bird species from a Audubon's famous 19th-century work, "Birds of America" series. The cards feature a linen texture and include dedicated sections for a message and stamp, as well as the description of the birds behavior in the pictures. (No writing on any of the seven cards) These were published in 1975 in Minnesota. The first picture is a vintage illustration of Ruffed Grouse (Bonasa umbellus), Plate XLI, originally created between 1827 and 1838 by naturalist John James Audubon. The illustration depicts the male birds drumming with their wings on display in a woodland floor setting. The artwork was drawn from nature by John J. Audubon and engraved, printed, and colored by Robert Havell. The upper postcard details the American Goldfinch, noting its cheerful song and winter plumage that differs from its summer yellow. The lower postcard describes the White-crowned Sparrow, highlighting its habitat in low bushes and Arctic breeding grounds. The American Goldfinch and the White-crowned Sparrow. The print on the left is titled "American Goldfinch" (Fringilla tristis) and is labeled Plate XXXIII. The print on the right is titled "White-crowned Sparrow" (Fringilla leucophrys) and is labeled Plate CXIV. These are lithographic reproductions of "Little Screech Owl" (Plate XCVII) and "Baltimore Oriole" (Plate XII) from John James Audubon's The Birds of America. The print on the left features Little Screech Owls (Strix asio) perched on a Jersey Pine (Pinus inops) branch. The print on the right depicts Baltimore Orioles (Icterus baltimore) interacting with a Tulip Tree (Liriodendron tulipifera). This is a vintage bird illustration print featuring a purple martin on a gourd nest and a red-headed woodpecker on a tree trunk by John James Audubon.

Buch. Zustand: Neu. Neuware - Discover the captivating beauty of 'Floral Illustrations of the Seasons,' a timeless collection showcasing the most beautiful, hardy, and rare herbaceous plants cultivated in the flower garden. M. Roscoe's exquisite botanical art captures the essence of seasonal flowers, meticulously rendered in stunning detail. This volume presents a curated selection of floral illustrations, offering a glimpse into the artistry and horticultural practices of a bygone era. Explore the delicate forms and vibrant colors of each bloom, from spring's first blossoms to autumn's final flourish. A treasure for lovers of botanical art and flower gardens, this book celebrates the enduring appeal of nature's artistry. Immerse yourself in the intricate details of each illustration and appreciate the timeless beauty of these carefully cultivated flowers. 'Floral Illustrations of the Seasons' is a testament to the enduring allure of flowers and their place in art and horticulture.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Paperback. Zustand: Near Fine. William Havell (illustrator). A wonderful collection of twelve bright and colourful views of the river Thames, from the drawings of William Havell, dedicated to the commissioners of the Thames Navigation. Dated using Jisc, from copies held at the University of Oxford library.Views of the River Thames, a facsimile of the original artwork, published here by Charles W. Traylen of Guildford.Originally published in 1812, with a second edition in 1818. This is a facsimile of the second edition. Comprised of twelve views of the Thames from the drawings of English landscape painter, William Havell, known particularly for his watercolours. Collated, complete. Compiled by Robert Havell, another artist from the Havell family, a prominent artistic family which included a number of notable engravers, etchers and painters. This collection was dedicated to the Commissioners of The Thames Navigation, a group who managed the Thames between 1751 and 1866. Among other responsibilities, they were tasked with installing and renovating locks, to ensure the waterway remained safe. Bound in the publisher's pictorial wraps. Externally, lovely, with minor shelf wear and some marks to the rear board. Internally, firmly bound with bright, clean pages. Near Fine. book.

Zustand: Good. 4to. 55 pp. Soft Cover. Very Good. Light chipping on Front Cover. Color Plates.Provenance: From the estate of Gerald Nordland (1927-2019). Nordland was a museum director, art critic, educator and author.Dean of the Chouinard Art Institute (1960-64), Director of the San Francisco Museum of Art (now SFMoMA) (1966-73), Milwaukee Art Museum (1977-85), and the UCLA Wight Art Gallery (1973-1977). He is the author of over 60 publications, including books on Lachaise, Nakian, Diebenkorn and Frank Lloyd Wright.

Leather Bound. Zustand: Very Good. All corners bumped, edgewear, surface soiling, rubbing to seams - see image. Previous owner's amorial bookplate on inside front cover. ; Scarce copy at this price. "This was one of a number of books that had been inspired by William Stukeley's work on Stonehenge, which had brought Druids and ancient Britons to the forefront of the romantic imagination. The figures are shown wearing the ornaments and weapons that antiquaries were discovering and publishing in the Society of Antiquaries' journal Archaeologia and elsewhere. Bronze swords and rapiers, as well as torcs, socketed axes, and gold lunulae and brooches all appear in these imagined recreations of life in ancient Britain." "Colored aquatints engraved by R. Havell after drawings by C. H. Smith. Imprint on each plate: London, R. Havell, 1815. Each plate has at the bottom a small colored engraving of an archaeological objectAdded illus. On title page, in aquatint, as are all of the plates." [worldcat] Heavy and oversized book. ; Folio 13" - 23" tall; 59 pages.

Vellum. Zustand: Very Good Indeed. James Pollard; Robert Havell; C. Cooper Henderson; C. B. Newhouse; Thomas Rowlandson; H. Alken (illustrator). A beautiful deluxe edition of Thomas Cross' fascinating memoir about his life working as a stage coachman in the nineteenth century, illustrated with beautiful hand-coloured aquatint plates. A deluxe edition of this work, limited to only fifty copies, of which this is numbered twenty-eight. In a quarter vellum binding. Complete in two volumes. This deluxe edition contains each plate in duplicate, with both a hand-coloured aquatint copy and a monochrome copy of each plate. Volume I illustrated with a hand-coloured aquatint frontispiece, a monochrome frontispiece, twenty-one hand-coloured aquatint plates, twenty monochrome plates, and two in-text woodcuts. Collated, bound without the additional monochrome plate for plate 17, facing page 215, with the hand-coloured aquatint plate present only. Otherwise, work is complete. Volume II illustrated with a hand-coloured aquatint frontispiece, a monochrome frontispiece, twenty hand-coloured aquatint plates, and twenty-one monochrome plates. Collated, bound without the hand-coloured aquatint plate for plate 18 facing page 186, with the monochrome plate present only. Otherwise, work is complete. An interesting memoir about the era of horse drawn stage coaches being used for travel, written by Thomas Cross. As a stage coachman, Cross was able to observe his contemporaries in a different light, whilst they were travelling. As a result, this work offers a fascinating insight into the people and society of the nineteenth century. Illustrated by James Pollard, Robert Havell, C. Cooper Henderson, C. B. Newhouse, Thomas Rowlandson, and H. Alken. In the original publisher's quarter vellum binding with paper to the boards. Externally, generally smart. Marks to the boards and spines. Light discolouration to the boards and spines. Minor bumping to the extremities. Small amount of lifting to the paper to the rear joint of Volume I, and a small amount of lifting to the extremities of the volumes. Endpapers are a little age-toned. Internally, generally firmly bound. Pages are bright and clean, with a small amount of age-toning to the pages facing the plates. Tissue guard for the frontispiece of Volume I is torn. Very Good Indeed. book.

Hand-colored etching and aquatint, 13 ½" x 37 ½" sheet. As pointed out by Stokes (1918) the "Panoramic View of New York Taken From the North River" exists in different states; the present copy was published in the 1840s and unlike earlier editions, it shows a two-funnel steamer, as well as the dome of the Merchants' Exchange on Wall Street. The latter also suggests that Havell drew his view some time after the fire of December 16, 1835 when the first Merchants' Exchange was destroyed; the new building was only completed in 1840. Together with the additional publisher's line, this points towards the identification of the Arader print as the fifth state of the famous cityscape. As for the colorist, it is safe to recognize the hand of Henry Havell - Robert's brother - in the delicate handling of the blues. He lived in New York during the years 1844-45 and is recorded as "printcolourer" (sic) at 7 ½ Bowery. Robert Havell is best known as the formidable engraver of John James Audubon's "Birds of America". As one of the pre-eminent English engravers, his name first appears in connection with the Audubon elephant folios. In 1839 he emigrated to the United States and after an initial stay in Brooklyn, he settled in Ossining and Tarrytown where he perfected his skills in the engraving and aquatinting of city views, as well as in the depiction of landscape scenes. Havell is considered a member of the Hudson River School. Lit. Isaac Newton Phelps Stokes: "The Iconography of Manhattan Island", New York 1915-1928. #10165F.

Hand-colored etching and aquatint, 13 ½" x 37 ½" sheet. Excellent condition. In his discussion of Havell's panoramas of New York, Stokes (1918) suggests that the view from the East River is based on a later drawing than its companion piece. It furthermore seems to have been the product of at least two hands, as the vessels are different from Robert Havell's more eloquent style. They have been attributed to James Fulton Pringle who conceived them as staffage elements lacking the agency of, for instance, the "British Queen" or first transatlantic steamboat in Havell's twin composition of Manhattan. The view from the East River is nevertheless an impressive testament to urban development in the United States and the bourgeois taste in documenting socio-economic growth through high-quality prints. It is thus not surprising that Havell's iconic panorama is a rarity on the market with the Rare Book Hub database recording only two sales in over 70 years. The Metropolitan Museum of Art owns a copy from the collection of Edward W. C. Arnold. In its Spring Bulletin (1988), the museum captures the zeitgeist of the Golden Century of American Printmaking - a description that also applies to Havell's panorama: "The demand for images of buildings, civic events, and broad vistas made this an active period for printmakers of all degrees of competence." Lit. Isaac Newton Phelps Stokes: "The Iconography of Manhattan Island", New York 1915-1928. Metropolitan Museum of Art: "Spring Bulletin", New York 1988. #10165F.

A French version of Havell's Aeronautical View Engraving with aquatint. References in French, without key numbers, in lower margin. A close copy of Havell's 'Aeronautical View.'. Rare. We have only been able to trace four other examples of this print; item 25, a coloured example in a private collection, and the institutional examples held by the Guildhall Library and Westminster Art Collection. Image: 255 by 990mm (10 by 39 inches). Sheet: 315 by 1040mm (12.5 by 41 inches).

A colour version of Havell's Aeronautical View Engraved print with fine contemporary colour, trimmed within platemark, with black wash borders. A close copy of Havell's 'Aeronautical View.' and a trimmed, coloured, example of its French copy.

Etching. Zustand: Very Good. First. London: Robert Havell. Very Good. 1836. First. Etching. Engraving with etching, aquatint and hand-coloring on J Whatman hand-made paper watermarked 1836. Unusually wide, untrimmed margins showing the pulls from the binder's signatures on the left margin and the original gilt to the top edge. "I have found this species of Jay breeding in the State of Maine, where many individuals belonging to it reside the whole year, and where in fact so many as fifteen or twenty may be seen in the course of a day by a diligent person anxious to procure them. In the winter, their numbers are constantly augmented by those which repair to that country from places farther north. They advance to the southward as far as the upper parts of the State of New York. Now, to my eye, the Canada Jay is as elegant in its movements, whether perched or on wing, as any other of our Jays, although its apparel is certainly very homely. It is joyous and lively at all times, even when, pushed by extreme hunger, it approaches the lonely camp of the traveller, with the hope of obtaining a share, however small, of his perhaps scanty fare. John James Audubon; 35 7/8 x 25 7/8; All shipments through USPS insured Priority Mail. .

Partridge shooting near Windsor.Acuatinta original en colores de mediados del Siglo XIX, dibujada y grabada por Havell, artista norteamericano (1800-1899), 21,5 x 30,5 cm. Grabados varios.