rabel daniel (45 Ergebnisse)

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

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

Zustand: New. In.

Zustand: New. In.

Pp. 191 S. : überw. Ill. ; 32 cm 191 Seiten. Mit zahlreichen Abbildungen. Gebunden mit Schutzumschlag. Sehr guter Zustand. Gewicht über 1 kg. Sprache: Deutsch Gewicht in Gramm: 1391.

Zustand: New. KlappentextrnrnUnlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketc.

Zustand: New.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: very good.

Zustand: New.

Taschenbuch. Zustand: Neu. Neuware.

Couverture rigide. Zustand: Très bon état. In-4 relié 37 cm sur 25. 240 pages. Très bon état d'occasion. Le présent recueil, qui groupe 100 planches colorées, représentant plus de 200 végétaux et 32 insectes, n'a jamais été publié sous sa forme original. L'auteur, Daniel Rabel (1578 v.1637) est un peintre qui s'est llustré dans divers genres. L'éclat et la luminosité des aquarelles originales ont étés parfaitement restitués dans ce superbe reueil, unique témoin d'un des plus anciens "florilèges" conservé à ce jour. in-4°.

Anthèse, 1991 (copyright), 239 p., cartonnage éditeur sous jaquette, environ 37x25cm, jaquette un peu insolée, bon état néanmoins et intérieur bien propre.

Buch. Zustand: Neu. Neuware.

Reliure. Zustand: Très bon. Zustand des Schutzumschlags: Jaquette en bon état. Rabel Daniel (illustrator). 1 volume reliure toilée verte de l'éditeur sous jaquette rempliée illustrée, 239 pages. 100 planches à pleine page en couleurs reproduites d'après les vélins de fleurs manuscrits de la collection de la bibliothèque Nationale de Paris. Chaque planche est légendée en regard. Introduction, planches, les tulipes, table des illustrations, index, bibliographie, notices de l'Abbé Rive. Daniel Rabel, 1578-1637. Très bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request ) Size: in folio (36,5x24,5).

Zustand: Gut. 191 Seiten Schutzumschlag minimal bestoßen und leicht berieben, Seitenränder minimal gebräunt Sprache: Deutsch Gewicht in Gramm: 1445 24x31,5cm Pappeinband mit Schutzumschlag.

Zustand: Gut. 239 S., mit zahlreichen Abbildungen Schutzumschlag mit Randläsuren. Insgesamt gutes und sauberes Exemplar. Sprache: Deutsch Gewicht in Gramm: 2400 Leineneinband, illustrierter Schutzumschlag, ca. 36,8 x 25 cm.

Milan, 1991. 239 pp. 100 col.plts. Cloth,d/j.

No binding. Copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. In excellent condition. 321 by 214mm (12¾ by 8½ inches). 321 by 214mm (12¾ by 8½ inches).

No binding. Copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. In excellent condition. 330 by 220mm (13 by 8¾ inches). 330 by 220mm (13 by 8¾ inches).

No binding. Copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. In excellent condition. 337 by 218mm (13¼ by 8½ inches). 337 by 218mm (13¼ by 8½ inches).

No binding. Copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. A small mending in the paper, some stains or spots within the blank area of the image. In good to very good condition. 330 by 216mm (13 by 8½ inches).

No binding. 13 x 8.5 inches, modern gouache coloured copperplate engraving. Plate 67. The 'Theatrum Florae' by Daniel Rabel (1578-1637) was printed in Paris in 1622 by Nicolas de Mathoniere. Published anonymously, it was an immediate success, and further editions were printed in 1627 and 1633. It was only in the third edition that the name of the author, Daniel Rabel, finally appeared. Confirmation of his authorship can be found in an album of botanical paintings signed by Rabel and now in the Bibliotheque Nationale; it contains drawings that formed the basis for some of the engravings in 'Theatrum Florae'. Rabel was a man of many talents; a painter, engraver, portraitist, designer of theatre sets for ballets, creator of garden ornaments and plant-beds, engineer, and finally painter, as he signed himself in the album. However, although Rabel was responsible for the preparatory drawings, it is not certain that he executed the engravings. Rabel was born in Paris; his father, Jean, was also a painter. Rabel seems to have been the very first artist of natural subjects to enjoy the patronage of Gaston, duc d'Orleans, a younger brother of Louis XIII. This prince took a lively interest in the natural sciences and in the cultivation of flowers, pastimes he indulged in the splendid gardens of his chateau at Blois. Paintings on natural themes became fashionable in France during this period in large part due to his encouragement. Gaston commissioned Rabel to paint several vellums that came to form the original nucleus of the celebrated royal collection of botanical paintings today conserved in the Museum National d'Histoire Naturelle, Paris, a collection to which Nicolas Robert also contributed a few decades later. Active though he was in many different areas, Rabel's fame rests on his botanical and floral paintings, which inspired eulogies from many of his contemporaries. Rabel also designed the titlepage and frontispiece, with their sophisticated allegorical imagery. Blunt (1950) pp. 107-08; cf. (1958) Hunt 212; Nissen BBI (1966) 1575; 'Oak Spring Flora' (1997) pp. 69-73.

No binding. 13 x 8.5 inches, modern gouache coloured copperplate engraving. Plate 65. The 'Theatrum Florae' by Daniel Rabel (1578-1637) was printed in Paris in 1622 by Nicolas de Mathoniere. Published anonymously, it was an immediate success, and further editions were printed in 1627 and 1633. It was only in the third edition that the name of the author, Daniel Rabel, finally appeared. Confirmation of his authorship can be found in an album of botanical paintings signed by Rabel and now in the Bibliotheque Nationale; it contains drawings that formed the basis for some of the engravings in 'Theatrum Florae'. Rabel was a man of many talents; a painter, engraver, portraitist, designer of theatre sets for ballets, creator of garden ornaments and plant-beds, engineer, and finally painter, as he signed himself in the album. However, although Rabel was responsible for the preparatory drawings, it is not certain that he executed the engravings. Rabel was born in Paris; his father, Jean, was also a painter. Rabel seems to have been the very first artist of natural subjects to enjoy the patronage of Gaston, duc d'Orleans, a younger brother of Louis XIII. This prince took a lively interest in the natural sciences and in the cultivation of flowers, pastimes he indulged in the splendid gardens of his chateau at Blois. Paintings on natural themes became fashionable in France during this period in large part due to his encouragement. Gaston commissioned Rabel to paint several vellums that came to form the original nucleus of the celebrated royal collection of botanical paintings today conserved in the Museum National d'Histoire Naturelle, Paris, a collection to which Nicolas Robert also contributed a few decades later. Active though he was in many different areas, Rabel's fame rests on his botanical and floral paintings, which inspired eulogies from many of his contemporaries. Rabel also designed the titlepage and frontispiece, with their sophisticated allegorical imagery. Blunt (1950) pp. 107-08; cf. (1958) Hunt 212; Nissen BBI (1966) 1575; 'Oak Spring Flora' (1997) pp. 69-73.

No binding. 13 x 8.5 inches, modern gouache coloured copperplate engraving. Plate 12. The 'Theatrum Florae' by Daniel Rabel (1578-1637) was printed in Paris in 1622 by Nicolas de Mathoniere. Published anonymously, it was an immediate success, and further editions were printed in 1627 and 1633. It was only in the third edition that the name of the author, Daniel Rabel, finally appeared. Confirmation of his authorship can be found in an album of botanical paintings signed by Rabel and now in the Bibliotheque Nationale; it contains drawings that formed the basis for some of the engravings in 'Theatrum Florae'. Rabel was a man of many talents; a painter, engraver, portraitist, designer of theatre sets for ballets, creator of garden ornaments and plant-beds, engineer, and finally painter, as he signed himself in the album. However, although Rabel was responsible for the preparatory drawings, it is not certain that he executed the engravings. Rabel was born in Paris; his father, Jean, was also a painter. Rabel seems to have been the very first artist of natural subjects to enjoy the patronage of Gaston, duc d'Orleans, a younger brother of Louis XIII. This prince took a lively interest in the natural sciences and in the cultivation of flowers, pastimes he indulged in the splendid gardens of his chateau at Blois. Paintings on natural themes became fashionable in France during this period in large part due to his encouragement. Gaston commissioned Rabel to paint several vellums that came to form the original nucleus of the celebrated royal collection of botanical paintings today conserved in the Museum National d'Histoire Naturelle, Paris, a collection to which Nicolas Robert also contributed a few decades later. Active though he was in many different areas, Rabel's fame rests on his botanical and floral paintings, which inspired eulogies from many of his contemporaries. Rabel also designed the titlepage and frontispiece, with their sophisticated allegorical imagery. Blunt (1950) pp. 107-08; cf. (1958) Hunt 212; Nissen BBI (1966) 1575; 'Oak Spring Flora' (1997) pp. 69-73.

No binding. 13 x 8.5 inches, modern gouache coloured copperplate engraving. Plate 59. The 'Theatrum Florae' by Daniel Rabel (1578-1637) was printed in Paris in 1622 by Nicolas de Mathoniere. Published anonymously, it was an immediate success, and further editions were printed in 1627 and 1633. It was only in the third edition that the name of the author, Daniel Rabel, finally appeared. Confirmation of his authorship can be found in an album of botanical paintings signed by Rabel and now in the Bibliotheque Nationale; it contains drawings that formed the basis for some of the engravings in 'Theatrum Florae'. Rabel was a man of many talents; a painter, engraver, portraitist, designer of theatre sets for ballets, creator of garden ornaments and plant-beds, engineer, and finally painter, as he signed himself in the album. However, although Rabel was responsible for the preparatory drawings, it is not certain that he executed the engravings. Rabel was born in Paris; his father, Jean, was also a painter. Rabel seems to have been the very first artist of natural subjects to enjoy the patronage of Gaston, duc d'Orleans, a younger brother of Louis XIII. This prince took a lively interest in the natural sciences and in the cultivation of flowers, pastimes he indulged in the splendid gardens of his chateau at Blois. Paintings on natural themes became fashionable in France during this period in large part due to his encouragement. Gaston commissioned Rabel to paint several vellums that came to form the original nucleus of the celebrated royal collection of botanical paintings today conserved in the Museum National d'Histoire Naturelle, Paris, a collection to which Nicolas Robert also contributed a few decades later. Active though he was in many different areas, Rabel's fame rests on his botanical and floral paintings, which inspired eulogies from many of his contemporaries. Rabel also designed the titlepage and frontispiece, with their sophisticated allegorical imagery. Blunt (1950) pp. 107-08; cf. (1958) Hunt 212; Nissen BBI (1966) 1575; 'Oak Spring Flora' (1997) pp. 69-73.

Original antique copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. Daniel Rabel (1578 - 3 January 1637) was a Renaissance French painter, engraver, miniaturist, botanist and natural history illustrator. He was the son of Jean Rabel (15451603) who was official artist at the court of Henri III. Rabel was first employed as a portrait painter by Marie de Medicis, the second wife of Henry IV of France. He served as Engineer in Ordinary for the King for the provinces of Brie and Champagne.In 1612 he became official artist to Duke of Nevers. In 1618 he moved to Saint-Germain-des-Prés, where he painted "Suite de fleurs" and "Ballet de la douairière de Bilbao". He also painted landscapes in oil, as well as hunting scenes. About 1631 he was appointed official artist to Gaston, Duke of Orléans, Henri IV's third son. He went to Paris, commissioned by Louis XIII to paint a portrait of his betrothed, Anne of Austria.The "Theatrum Florae" was originally published in Paris in 1622, with later editions in 1627 and 1633, and was a collection of botanical illustrations of 69 of the most striking plants then available, and which Rabel had been commissioned to paint for Gaston of Orléans. Other artists later added their work, notably Nicolas Robert (1614-1685). The plates eventually numbered over 6000 and are kept in the Muséum national d'histoire naturelle in Paris. There is some doubt among scholars as to whether Rabel engraved the original 69 plates, as none of them is signed and his name only appears on the title of the third edition. By the end of the 1700s they were generally assumed to have been done by Emanuel Sweert.From 1617 until his death in 1637, Rabel was a set designer for theatres and for ballets de cour, and designed ballet costumes. He made deliberate use of a sixteenth-century tradition of the grotesque in the creation of his exaggerated comic figures, and the extreme facial distortions he uses, such as 'grotesquely swollen and disjointed necks, protruding chins, exaggerated hooked and drooping noses, and glaring, squinting eyes'. These owe a lot to the grotesque caricatures by the German artist Hans Weiditz, and the printmakers Peter Flötner and Erhard Schön. In turn, Rabel's work influenced Inigo Jones, as well as other European artists of the period. Rabel was banished to Blois by Cardinal Mazarin. Here he founded the first botanical garden of the province and imported many species from the Antilles through his doctor, Brunyer. He died in Paris, but his descendants continued to live in Blois.His widow, Anthoinette Guibourg, married Jacques de Bellville, a friend of the family and the King's ballet master and choreographer.Among other things, he created an illuminated Bible and published a book on the arms of Germany. Like his father, Jean Rabel, he did work for the astronomer Nicolas de Peiresc, a pupil of Galileo's, and is thought to have produced the first important map of the moon, a year before his death. In 1633 Peiresc wrote to Rabel and asked him to do drawings of some antique vases.The Bibliothèque nationale de France holds the originals of his "Recueil de cent fleurs et insectes". (Wikipedia) Plate 62 In excellent condition. 34 x 22,4 cm (13.5 x 8,75 inches). 34 x 22,4 cm (13.5 x 8,75 inches).

No binding. 13 x 8.5 inches, modern gouache coloured copperplate engraving. Plate 26. The 'Theatrum Florae' by Daniel Rabel (1578-1637) was printed in Paris in 1622 by Nicolas de Mathoniere. Published anonymously, it was an immediate success, and further editions were printed in 1627 and 1633. It was only in the third edition that the name of the author, Daniel Rabel, finally appeared. Confirmation of his authorship can be found in an album of botanical paintings signed by Rabel and now in the Bibliotheque Nationale; it contains drawings that formed the basis for some of the engravings in 'Theatrum Florae'. Rabel was a man of many talents; a painter, engraver, portraitist, designer of theatre sets for ballets, creator of garden ornaments and plant-beds, engineer, and finally painter, as he signed himself in the album. However, although Rabel was responsible for the preparatory drawings, it is not certain that he executed the engravings. Rabel was born in Paris; his father, Jean, was also a painter. Rabel seems to have been the very first artist of natural subjects to enjoy the patronage of Gaston, duc d'Orleans, a younger brother of Louis XIII. This prince took a lively interest in the natural sciences and in the cultivation of flowers, pastimes he indulged in the splendid gardens of his chateau at Blois. Paintings on natural themes became fashionable in France during this period in large part due to his encouragement. Gaston commissioned Rabel to paint several vellums that came to form the original nucleus of the celebrated royal collection of botanical paintings today conserved in the Museum National d'Histoire Naturelle, Paris, a collection to which Nicolas Robert also contributed a few decades later. Active though he was in many different areas, Rabel's fame rests on his botanical and floral paintings, which inspired eulogies from many of his contemporaries. Rabel also designed the titlepage and frontispiece, with their sophisticated allegorical imagery. Blunt (1950) pp. 107-08; cf. (1958) Hunt 212; Nissen BBI (1966) 1575; 'Oak Spring Flora' (1997) pp. 69-73.

No binding. 13 x 8.5 inches, modern gouache coloured copperplate engraving. Plate 68. The 'Theatrum Florae' by Daniel Rabel (1578-1637) was printed in Paris in 1622 by Nicolas de Mathoniere. Published anonymously, it was an immediate success, and further editions were printed in 1627 and 1633. It was only in the third edition that the name of the author, Daniel Rabel, finally appeared. Confirmation of his authorship can be found in an album of botanical paintings signed by Rabel and now in the Bibliotheque Nationale; it contains drawings that formed the basis for some of the engravings in 'Theatrum Florae'. Rabel was a man of many talents; a painter, engraver, portraitist, designer of theatre sets for ballets, creator of garden ornaments and plant-beds, engineer, and finally painter, as he signed himself in the album. However, although Rabel was responsible for the preparatory drawings, it is not certain that he executed the engravings. Rabel was born in Paris; his father, Jean, was also a painter. Rabel seems to have been the very first artist of natural subjects to enjoy the patronage of Gaston, duc d'Orleans, a younger brother of Louis XIII. This prince took a lively interest in the natural sciences and in the cultivation of flowers, pastimes he indulged in the splendid gardens of his chateau at Blois. Paintings on natural themes became fashionable in France during this period in large part due to his encouragement. Gaston commissioned Rabel to paint several vellums that came to form the original nucleus of the celebrated royal collection of botanical paintings today conserved in the Museum National d'Histoire Naturelle, Paris, a collection to which Nicolas Robert also contributed a few decades later. Active though he was in many different areas, Rabel's fame rests on his botanical and floral paintings, which inspired eulogies from many of his contemporaries. Rabel also designed the titlepage and frontispiece, with their sophisticated allegorical imagery. Blunt (1950) pp. 107-08; cf. (1958) Hunt 212; Nissen BBI (1966) 1575; 'Oak Spring Flora' (1997) pp. 69-73.

No binding. Copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. In excellent condition. 320 by 213mm (12½ by 8½ inches).

No binding. Copper engraving, later hand colored. Hand colored copper engraving, published in Paris ca. 1623-27 in the famous flower book 'Theatrum Florae'. Daniel Rabel's flower book is one of the most beautiful sets of engravings of flowers ever published. Some of these fine engraved flower prints are additional ornated with various butterflies and insects. The style of the engraving is very similar to the 'de Bry' flower plates, although Rabel's works is occasionally found to be bound to the works by Maria Sybilla Merian. The flower prints by Daniel Rabel can be regarded as one of the most beautiful and decorative sets of large engravings of flowers ever produced in that period. In excellent condition. 323 by 218mm (12¾ by 8½ inches). 323 by 218mm (12¾ by 8½ inches).