huquier (25 Ergebnisse)

Zustand: New. In.

Zustand: New. In.

Kartoniert / Broschiert. Zustand: New.

Zustand: New.

No Binding. Zustand: Near Fine. Engraving (illustrator). First Edition. A Large Engraving By Huquier After Oudry, 1/8" Margin At Left, 1/4" Top And Right, 3/4" At Bottom. Oudry Creditedn With Design; Full Title In Caps Below, With Three Lines Of Text Describing This Scene From La Fontaine, With Publishers Information Below [A Paris Che Huquier Viv A Vis Le Grand Chatelet Avec Privilege Du Roy]. Jean-Baptiste Oudry (1686 - 1755) Was A French Rococo Painter, Engraver, And Tapestry Designer. He Is Particularly Well Known For His Naturalistic Pictures Of Animals And His Hunt Pieces Depicting Game. Gabriel Huquier (1695-1772) Was An Entrepreneurial French Draughtsman, Engraver, Printmaker, Publisher, And Art Collector, Who Became A Pivotal Figure In The Production Of French 18Th-Century Ornamental Etchings And Engravings.

Couverture rigide. Zustand: Très bon. Edition originale. Cartonnage du début du dix-neuvième siècle en papier dominoté (orné d'un décor de palmettes bleues). Tranches rouges. Un volume in Folio (310x240 mm), Titre gravé et 10 planches numérotées. Édition originale rare et complète. "Edme Bouchardon (1698-1762) était célèbré de son temps comme un artiste d'exception; "il faut que Bouchardon ait été un grand homme", déclara le collectionneur Pierre Jean Mariette, "car il a joui de toute sa réputation pendant sa vie". En qualité de sculpteur, il était surnommé "le nouveau Phidias", équivalent moderne du plus grand des artistes de,la Grèce antique ; en qualité de dessinateur, il était jugé l'un des meilleurs d'Europe. La considération des historiens de l'art n'a pas changé aujourd'hui, Bouchardon étant toujours tenu pour l'un des artistes les plus créatifs et les plus fascinants du XVIIIème siècle français, celui qui joua un rôle décisif dans la transition entre le rocaille et le néoclassicisme." Cette citation est issue de la préface du catalogue de l'exposition "Edme Bouchardon (1698-1762), une idée du beau", qui s'est déroulée en 2016, au musée du Louvre, et rédigée par M. J.-L. Martinez (Président-directeur du musée du Louvre) et M. T. Potts (directeur du J. Paul Getty Museum). Elle illustre parfaitement le génie de l'artiste, que l'on retrouve dans ce recueil de gravures, cité dans la chronologie des ?uvres de l'artiste, dans le catalogue de l'exposition du Louvre (p. 415). Les gravures représentent le dieu de la Musique et de l'Amour Apollon, suivi de ses muses Calliope, Clio, Erato, Thalie, Melpomène, Terpsicore, Euterpe, Polimnie et Uranie. Le génie de l'artiste s'illustre, ici, avec des compositions équilibrées, le détail du rendu des drapés, la vigueur mais aussi la douceur des figures. Elles mettent parfaitement en évidence le style néoclassique et la manière de Bouchardon, en tant que sculpteur. Ce recueil de gravures montre aussi son intérêt pour la diffusion de ses ?uvres, avec la collaboration de l'éditeur et graveur Gabriel Huquier. Ce dernier, graveur et éditeur (1695-1772) spécialisé dans les estampes, est celui qui a gravé et qui a publié le plus grand nombre d'estampes d'après des dessins de Bouchardon, plus d'une centaine. Les gravures n'étaient pas destinées à la réalisation de sculptures, mais étaient des dessins destinés à un public divers comme les artistes, les amateurs d'art et le collectionneurs (comme M. Gabriel Bernard de Rieux, cité sur la page de titre). References : Bruand et Hébert 1970 [455-456]. ________________________________________________________________ ___________________ ______________________________ENGLISH_DESCRIPTION : Beginning of the nineteenth century marbled paper hard cover. Folio (310x240 mm), engreved title and10 numbered plates. Rare and complete first edition. "Edme Bouchardon (1698-1762) was celebrated in his time as an exceptional artist," Bouchardon must have been a great man, "said the collector Pierre Jean Mariette," because he enjoyed all his reputation during his life." As a sculptor, he was nicknamed "the new Phidias", the modern equivalent of the greatest artist of ancient Greece, and as a draftsman he was considered one of the best in Europe. Historians of art have not changed today, Bouchardon being still considered one of the most creative and fascinating artists of the 18th century French, the one who played a decisive role in the transition from rockery to neoclassicism. " This quote comes from the preface of the catalog of the exhibition "Edme Bouchardon (1698-1762), une idée du beau", which took place in 2016, at the Louvre, and was written by Mr. J-L. Martinez ( President and director of the Louvre) and Mr.T. Potts (director of the J. Paul Getty Museum). It perfectly illustrates the genius of the artist. This collection of engravings, is cited in the chronology of the artist's works, in the catalog of the Louvre exhibition (p. 415). The engravings represent the god of Music and Love Apollo, followed by his muses Calliope, Clio, Erato, Thalia, Melpomene, Terpsicore, Euterpe, Polimnia and Urania. The genius of the artist is illustrated, here, with balanced compositions, the detail of the draperies, the vigor but also the softness of the figures. They perfectly illustrate Neoclassical style and Bouchardon's maner, as a sculptor. This collection of engravings also shows his interest in the diffusion of his works, with the collaboration of the publisher and engraver Gabriel Huquier. He was an engraver and publisher (1695-1772) specializing in prints. He is the one who engraved and published the greatest number of prints from Bouchardon's drawings, more than a hundred. The engravings were not intended for the making of sculptures, but were drawings intended for a diverse audience such as artists, amateurs and collectors (as Mr. Gabriel Bernard de Rieux, cited on the title page). Very fine copy. References : Bruand et Hébert 1970 [455-456]. 262g.

Bildausschnitt ca. 23,5 x 37 cm. Im typischen Kolorit der Guckkastenbilder angefertigte Ansicht des Sommerpalais Schwarzenberg am Rennweg / Schwarzenbergplatz.- Außerhalb der Darstellung gering fleckig.

Huquier sons (illustrator). 'VUE DE LA COMPAGNIE A DEJEUNER DANS LA ROTONDE (.)''This hand coloured optical print shows a view of a breakfast party in the interior of the Rotunda at Ranelagh Gardens in London. The scene is filled with an air of elegance and sophistication as guests enjoy their meal amidst the stunning architecture and picturesque surroundings. The rotunda, designed by William Jones, stands tall and majestic, its arches creating a sense of grandeur. Tables are beautifully set with fine china and silverware, inviting guests to indulge in a sumptuous feast. A cozy fireplace crackles nearby, providing warmth and adding to the intimate ambiance. Both men and women can be seen engaged in lively conversations while relishing their meals. The atmosphere is one of leisurely enjoyment as people savor delicious food and drink within this enchanting setting. The intricate engravings on display throughout the rotunda's galleries add an artistic touch to the scene. The print was designed to be viewed through special optical boxes with lenses that inverted the image and gave the sense of depth. Made by an anonymous engraver after Huquier sons.Medium: Engraving / hand coloured on hand laid (verge) paper.Sheet size: 48.5 x 33 cm (19.09 x 12.99 inch). Image size: 38.5 x 27 cm. (15.16 x 10.63 inch).ENGLAND-LONDON-RANELAGH GARDENS-ROTUNDA-LUNCH PARTY-ARCHITECTURE | RBOS-T33-LARGEBACKGROUND INFORMATIONThis attractive print was published in Paris, ca 1750. This is an optical print, also called 'vue optique' or 'vue d'optique', which were made to be viewed through a Zograscope, or other devices of convex lens and mirrors, all of which produced an optical illusion of depth.Biography artist: Jacques Gabriel Huquier (fl. 1735-1805) was a publisher of optical prints or vues d'optiques. Condition: good, given age. Wide margin. Brown spots left and lower margin. Smudges in corners. Creases. One tear and paper loss in lower margin restored. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Zustand: Good. (Publisher: Gabriel Huquier) (illustrator). 'Vüe ??de l'Amphithéatre Pour La Promenade Publique, à l'Isle Kamannoi Ostrow sur la Petite Newa (.)''Etching / engraving, hand coloured. on handlaid paper. Sheet size: 41,5 x 28,5 cm. (16,3 x 11,2 inch). Image size: 40 x 27,5 cm. (15,7 x 10,8 inch).Source unknown, to be determined. This is an optical print, also called 'vue optique' or 'vue d'optique', which were made to be viewed through a Zograscope, or other devices of convex lens and mirrors, all of which produced an optical illusion of depth.Made by an anonymous engraver after '(Publisher: Gabriel Huquier)'. Condition: Good, given age. Brownish. Folds left and right. Glued on paper on the reverse. Brown spots. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.Keywords: AMPHITHEATRE-NEWA-SAINT PETERSBURG-NEWA-KAMANNOI OSTROW-RUSSIA-BOATSRBOS-T.21-Large.

Zustand: Good. Hand-colored engraving. 16.5" x 10" Very Good. Mounted on mat board.

(27.5 x 40 cm). Original hand-coloured engraving of Hampton Court Bridge. Some soiling, mainly to verso. Repaired tear to upper left corner. Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced.

Zustand: Good. Rare series of etchings with small scenes of everyday life. Plates are trimmed and pasted into an album. weight: 1.1 lb. Good. 36 etchings with numerous vignettes on each plate. 22x29 cm. Image size16.5x23 cm. 36 leaves. Album with decorative paper covers.

Coloured engraving with view of the city from the sea. Good margins. 14.5 x 11.5".

Technic: Copper print, colorit: original colored, condition: Perfect condition, size (in cm): 26 x 40 cm, Peep-box view of the city of Dresden on the Elbe. View from the new town with Augustus Bridge in the foreground as well as the castle, Hofkirche and Frauenkirche.

Technic: Copper print, colorit: original colored, condition: Perfect condition, size (in cm): 24,5 x 39 cm, Total view of Capetown at the Cape of Good Hope with the towns landmark, the Table Mountain. Decorative offshore ships in the bay.

Technic: Copper print, colorit: original colored, condition: Very good, size (in cm): 23,5 x 40, Representation of the city oif Berlin.

The Grand Tour in eighteenth century virtual reality! Oblong folio (320 by 473mm). 199 engraved vues d'optique (including 5 duplicates), with fine original hand-colour, several prints marked with the collector's mark of a capital 'G' (unidentified) in ink stencil, the first few subjects with a little staining at sheet edges, three sheets trimmed into platemark, rebacked in half calf over original marbled paper boards. Together with: Zograscope, turned mahogany, mirror and lens. A fine collection of vues d'optique, together with their viewing machine, or zograscope. Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced. Vues d'optiques, while conventionally called by the French term, are sometimes referred to in English as 'perspective views', although this term can cause confusion since it also refers to other types of images. Guckkastenblätter or Guckkastenbilder is the German name. They are mostly hand-coloured etchings or engravings designed to be viewed through a convex lens, often mounted with a mirror, so that the viewer saw what appeared to be a three-dimensional image. The viewing machines used to look at vues d'optiques included zograscopes (a turned wood stand holding a lens and a mirror, such as the present example), or enclosed perspective boxes. Vues d'optiques are always horizontal in format. They generally range between 22 and 28cm in height, and between 36 to 42cm in width. They predominantly depict city views with a strong central perspective, like a canal or street stretching towards the horizon, and coloured in bright, simple colours. Underneath the image is a description in one or more languages, and above the image a title is often found printed reversed in French. London was the first city in which vues d'optiques were produced, and the total output from English publishing houses amounted to about 1300 during the years between 1734 and around 1800. The main publishers were Henry Overton, John Bowles, Robert Sayer, Henry Overton II, Carington Bowles, and Laurie and Whittle. It was in Paris, however, that the pastime reached its apex, and a number of publishers produced a total of about 2000 different vues d'optiques during the years between 1740 and 1836. The main publishers in Paris were Balleue, André Basset, Nicolas Beauvais, Carcano, Chapouland, Jacques Chéreau, Jean Baptiste Crépy, Jean-Francois Daumont, Esnauts et Rapilly, Hocquart, Jacques-Gabriel Huquier, Laurent Pierre Lachaussée, Nicolas Langlois, Maillet, Louis Joseph Mondhare and Poilly. About 1200 different vues d'optiques were produced in Augsburg between 1766 and 1828, followed far beyond by about 350 prints produced by the Italian publishing house of Remondini in Bassano between 1764 and 1817. All European publishing houses were in constant competition, but they also cooperated in certain fields. The Augsburg publishers, for example, jointly engaged a painter to travel to various European cities in order to draw the current views. In general, however, vues d'optiques publishers did not hesitate to copy images from many sources, either other vue d'optique publishers or artists who had made images deemed suitable. Chinese subjects in vues d'optiques are uncommon. They were only produced in publishing houses in Augsburg and Paris, and then only in small numbers, even though chinoiseries were highly fashionable at the time. Only 36 subjects in total are known. Niklas Leverenz identifies nine different images published in Paris. It is worth noting, therefore, that the present collection includes some 7 or those 9 subjects. The contents may be summarized as follows: Austria (6); Canada (1); China (7); Cuba (1); Denmark (1); France (84); Georgia (1); Germany (8); Guyana (1); India (3); Indonesia (1); Italy (34); Mexico (1); Morocco (1); the Netherlands (6); Peru (1); Poland (2); Russia (4); Spain (8); Switzerland (1); Turkey (3); UK (16); Vietnam (1); Allegorical (1); Maritime (6). Leverenz, Niklas, 'Vues d'optique with Chinese Subjects', in Print Quarterly, Vol. 31, No. 1, March 2014, pp20-44.

Pas de couverture. Zustand: Très bon. GRAVURE ANCIENNE 15e VUE D'OPTIQUE NOUVELLE REPRESENTANT LES JUIFS DANS LEUR SYNAGOGUE, CELEBRANTS UNE DE LEURS SOLEMNITES APPELLEE LE PURIM Synagogue portugaise d'Amsterdam, Provinces Unies, deux personnages avec le talith officient tournés vers l'Arche, hommes et femmes discutent et suivent l'office religieux Circa 1760 Gravée par HUQUIER fils rue St Jacques à Paris, aquarellée à la main (Gravure authentique du XVIIIe siècle-original print) Dimensions avec l'encadrement : 46 x 56 cm environ Dimensions de la gravure au coup de planche : 40 x 25,8 cm environ Etat : infimes rousseurs, beau document, superbe estampe (ref-R2110).

Huquier fils., Paris ca. 1750-1800 300 x 445 mm Etching/engraving/watercolour Vue Perspective de la grande rue de Napels; a Paris chés Huquier fils, Graveur, rue St. Jacques, au dessus de celle dea Mathurins, au Cd. St. Remy. Pasted onto cardboard. Black tape surrounding the sides. This is normally done for the illumination of prints, but this is not an illuminated print. Some browned spots in the upper margin. Print slightly discoloured. Good to fair state. Hand coloured optical view of a street in Naples, Italy. The street is lined with large baroque buildings. In the distance the harbour is visible. On the street inhabitants walk around a merchants sell their goods.

Sin Encuadernar. Zustand: Bien. Materia: Bella y decorativa vista óptica del barrio de Greenwich realizada a mediados del siglo XVIII. Londres. Grabado - Jacques Gabriel Huquier. Publicación: París, circa 1760. Técnica: Grabado calcográfico. Iluminado a mano en la época con acuarela. Descripción visual: Grabado que muestra en primer plano el Támesis y centra la composición en la obra de Cristopher Wren (1694-1715), el monumental y barroco Hospital de Greenwich. Texto al pie en francés y texto inverso en el margen superior para su proyección. Medidas: 270 x 430 mm [huella], 350 x 520 mm [papel], 410 x 580 mm [passepartout]. Conservación: Buen estado. Amplios márgenes. LS1.

Kupferstich, ohne Jahr (ca. 1750). Ca. 16,8 x 21,6 cm (Darstellung); ca. 18,8 x 23,6 (Pattengröße); ca. 22,8 x 27,7 cm (Papierformat). Links unterhalb der Darstellung Huquier Sculp. et execudit." und "C. P. R." rechts oben gestochene Nummer 6. Gedruckt auf kräftigem Büttenpapier ohne Wasserzeichen.

Huquier. Les Juifs dans leur Sinagogue, Celebrants une de leurs Solemnites appelle le Purim. A print of the Sephardic Synagogue in Amsterdam. 15e Vue d'Optique Nouvelle. Paris 1740. 15 3/4 x 11 1/2" with margins. Large copper engraving with orig. hand color, lightly sunned.

Zustand: guter Zustand. Radierung, nach Francois Boucher (1703-Paris-1770), auf Bütten mit Wasserzeihen: T DUPVY FIN / AUVERGNE 1742 (Heawood 3306). 24:35,3 cm. Mit Verlagsadresse: A Paris ches (sic!) Buldet, rue de Gesvres. - Die breiten Ränder leicht angeschmutzt. Literatur: Nicht bei Le Blanc; Thieme-Becker XVIII, S. 166. - Vorzüglicher, vollrandiger Abdruck. Bezaubernde Kinderszene des französischen Rokoko, die vier Knaben beim Spielen in einer Landschaft mit Bauernhütte und Schafherde zeigt.

Kolorierte Kupferradierung von Huquier nach Gilles Marie Opppenor (Oppenord) aus "Nouveau Livre De Fontaines Inventée par le Sieur Oppenor", Paris, etwa 1727 - 1737, 18,5x11,5 cm.

Kein Einband. Zustand: Gut. Es handelt sich hierbei um ein originales, altkoloriertes Kupferstich-Guckkastenblatt von Huquier fils um 1760. *** Titel: Vüe Perspective de l'interieur de l'Église Paroissiale de St. Roch de Paris prise dessons les Orguesing *** Gebiet bzw. Ort: Paris *** Kartograph: Verlegt bei Huquier fils *** Jahr: Um 1770 *** Größe des Plattenbereichs: 29 cm x 42 cm *** Technik: Kupferstich Zustand (Perfekt/ Sehr gut/ Gut/ Ordentlich/ Mäßig/ Schlecht): In gutem Erhaltungszustand. Eng beschnitten. *** Bemerkungen: Seltenes, altkoloriertes Guckkastenblatt des Interiors der Pfarrkirche Saint-Roch in Paris. - - - International buyers welcome. If you have any questions, please don't hesitate to ask. --- Auf Wunsch stellen wir Ihnen gerne ein kostenfreies Echtheitszertifikat aus --- If you wish, we will gladly provide a certificate of authenticity free of charge ---.