Lose caroline (3 Ergebnisse)

Loose Leaf. Zustand: New. Reproduction. Original title: Faces of important buildings and monuments in Milan German: Gesichter wichtiger Gebäude und Denkmäler in Mailand French: Faces de bâtiments et monuments importants à Milan Spanish: Rostros de edificios y monumentos importantes en Milán High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 18th century (1786). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Oblong folio (332 x 258 mm). 50 hand-coloured aquatint plates printed in grisaille, many heightened in gum arabic, mostly by Caroline Lose after her husband Friedrich, but several by A. Biasioli, D. K. Bonatti, Fumagalli, and others; some plates on paper watermarked "J Whatman 1816". Each with a letterpress text-leaf in Italian. Bound with an ink manuscript facsimile title-page with dedication to Conte Enrico di Bellegarde. Bound to style in green straight-grained morocco gilt. A splendid album of hand-coloured views of Lago di Como, Lago Maggiore, and Lago di Lugano, all in the Lombardy region of Northern Italy. This collection is an example of the Picturesque Journey, a genre in vogue at the beginning of the 19th century, equal parts tourist guidebook and fine art portfolio. The volumes typically comprised plates and extensive descriptive commentary, as if a plein air painter met a local tourist guide. The plates were issued uncoloured and printed in grisaille, but could be coloured by request, as are all 50 plates in this copy. - The plates were prepared in Milan by a married artist couple named Friedrich and Caroline Lose. A native of Görlitz in Saxony, Friedrich Lose studied in Leipzig with Adam Friedrich Oeser (1717-99) before relocating to Paris. His wife Caroline was a student of Moritz Retzsch (1779-1857) and the daughter of the Dresden jurist Seyfried von Schlieben. Friedrich executed his landscapes in watercolour and Caroline carried out the aquatint engravings after them, and they both supervised and participated in the graceful hand-colouring of the plates. - Because these plates were frequently dispersed, albums like this are rare. According to Brunet, the work was first published in 1815, though most copies are dated 1818, and intended to have 50 colour plates. The plates in this copy are numbered up to 56 (skipping 5, 17, 20, 24, 44, 45) and bound out of order, as in the Bobins copy. While some sources have suggested that 60 plates are called for, the actual counts in existing copies offered at auction in the post-war period have invariably been lower, and the Bobins copy has 46 plates only. The present copy, with 50 coloured plates, is matched only by that in the Victoria and Albert Museum (erroneously attributed to Carlo Amoretti), which boasts of 53. - Occasional very light fingerstaining, strictly confined to the blank margins. A magnificent album. - Bobins 1026. Brunet V, 1168. OCLC 77187562. Cf. Nagler VIII, 74f. Thieme/B. XXIII, 402.…

Kein Einband. Zustand: Gut. Stahlstiche, koloriert, auf graues Papier kaschiert. Je ca. 6,5 x 9 cm (Darstellung). - Ansichten: Ponte di Baveno, Isola Madre, Isola Superiore, Isola Bella, Castelli di Canera, Intra, Laveno, St. Carlo Borromeo sul Monte d Arona, Arona, Pallanza, Sesto Calende (wohl von dem Souvenirblatt: Vedute del Lago Maggiore mit einer großen und 12 kleinen Ansichten). - Montiert in Passepartouts, Kauf von Einzelblättern auf Anfrage. - Mitunter angeschmutzt, fleckig. Druckgrafik.…