repton humphrey (7 Ergebnisse)

Hardcover. Zustand: Very Good. SPEED John 1551/2-162 (illustrator). 1st Edition. Complete, 20 wonderful illustrations. First Edition, 1808 In half long grain morocco over grey/blue speckled boards, retaining part of the original printed paper label to upper board, gilt title to spine. Internally, title, [4], [1], (ii-x), frontis, [1], 2-41 pp, with a total of 20 aquatint plates & vignettes (including coloured plan, 9 hand coloured, 6 with overslips, 1 with overpage, 1 double page, 1 folding, 2 * sepia wash), all by JC Stadler after Repton, small tear o folding plate, slight creasing to edges of some overslips, light water stain to 1 leaf, other minor, mostly marginal soiling, plates & text leaves watermarked J Whatman 1807, plates dated 1808, book label to fpd (EP John WEstby). Housed in a modern quarter calf over green cloth slipcase. (540*369 mm). (Abbey Scenery 57; Tooley 397. Prideaux 349. Bobins 709). Repton's proposal for the pavilion in the Indian style of architecture, originally published in 1808, was not built due to the Prince Regent's financial difficulties at the time, but his ideas were taken up by John Nash who designed the building we know today in 1815.

Hardcover. Zustand: Very Good. REPTON H. (illustrator). 1st Edition. An exceptional & complete copy, of the Rarest of Repton's Landscape books. This copy ENHANCED by the inclusion of the original pen & brush drawing, signed lower right 'H. Repton' within the original wash border, of plate VIII showing 'the effect of cutting down some chestnut trees in the avenue at Langley' [Langley Park, Kent). [1794]. Oblong, in rebacked quarter paper spine over contemporary blue marbled boards, extremities worn. Internally, additional, signed, original drawing to fpd, half title, [5], (vi-xvi), [1], 2-83 pp, [1], [2] plate list, 16 fine aquatint plates (10 hand coloured and with overslips, including 4 double-page & six uncoloured, all but 2 with overslips), 2 woodcut illustrations in text and 1 printers tailpiece, 1 plate with marginal tear, some foxing, light browning to edges, edges uncut, text leaves watermarked J Whatman. Housed in a custom made 20c half calf over brown cloth, silk lined, clamshell box. (380*285 mm). (Abbey Scenery 388; Tooley 400. Bobins 707). Only 250 copies were printed & Repton refused to issue a second edition although some of the chapters were re-used in 'Observations and Fragments'. Repton was the first person to use the term 'Landscape Gardening', explaining in the introduction to this highly important and influential work that /the art can only be advanced and perfected by the united powers of the landscape painter and the practical gardener'.

No date on title page but leaves watermarked "1808 (?) Whatman, Turkey Mill". Folio, approximately 480 x 340 mm, 19 x 13 inches, slightly trimmed. Pages: [iv], x, 1-41. Illustrations: all plates dated 1808, sepia frontispiece of the WEST FRONT OF THE PAVILION, indicating a first issue, reprints were coloured (see Abbey page 40); full page coloured plate of FLORA CHERISHING WINTER; full page coloured plate of a GENERAL GROUND PLAN; half page coloured plate showing VIEW OF THE STABLE FRONT WITH MOVABLE FLAP; uncoloured vignette of Residence overlooking river; full page coloured plate VIEW OF THE DOME WITH MOVABLE FLAP; uncoloured vignette headpiece to Principles of Pressure; uncoloured vignette tailpiece for Colonnade; uncoloured vignette tailpiece to Buttress; uncoloured vignette tailpiece to Rocky Island; uncoloured vignette tailpiece to Specimens of Columns; sepia vignette of Dining Room; uncoloured vignette tailpiece to Indian architecture details; vignette coloured plate of DINING ROOM; coloured double page folding plate for THE GENERAL VIEW FROM THE PAVILION with 2 movable flaps; full page coloured plate for DESIGN FOR AN ORANGERIE with 2 movable flaps; full page coloured plate to THE PHEASANTRY; coloured vignette tailpiece View from the proposed private apartment; full page coloured plate of the WEST FRONT OF THE PAVILION TOWARDS GARDEN with movable flap; coloured long folding plate to NORTH FRONT TOWARDS THE PARADE with movable flap. Rebound in modern half green morocco, gilt lettering and decoration to spine, green matching cloth boards with dividing gilt decoration, new thick white endpapers. LACKS 1 FLAP FROM LAST LONG PLATE, many small repairs to margins of plates, small repair to blank side of outer edge of frontispiece, General Plan has loss of text on outer margin due to trimming, not affecting image, small repair to blank side of View of Stable, strengthening the flap joint, 3 repairs to blank side of flap of View of the Dome, not affecting image, small repairs to the margins of General View, just slightly affecting image, flap hinges repaired to the Orangerie and Private Apartment, several repairs to blank side of long folding plate, 1 page of text and the plate showing the Dome have a brown spot in lower margin not affecting image, 1 plate has small pale stain to sky, the large folding plate has some foxing in the sky, some creasing to part of top margin, the plates with flaps soiled in the margins, occasional small closed tears repaired, old ink name to top of title page, slight pale offset from several plates to text, a little dusty in places plus a few other minor faults. A good copy only, priced to reflect condition. See: R. V Tooley, English Books with Colour Plates 1790-1860, page 318, our copy has all the plates called for in Tooley but placed in a different order; J. R. Abbey, Scenery of Great Britain and Ireland in Aquatint and Lithography 1770-1860, page 40, No, 55 & 57. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

FIRST EDITION. Large 4to. (35 x 28 cm.) pp. xii+238+[1, list of plates and errata].Bound by Carrs of Glasgow with their ticket in blind and gilt-stamped black morocco, pink endpapers, a.e.g. Complete with all 53 illustrations by H. Repton as called for in the List of Plates (Abbey calls for 43 plates) comprising: 24 hand-coloured aquatint plates, of which 3 double-page, and also of which 10 with overslips (1 plate with 2 overslips, for a grand total of 11 overslips); 5 tinted aquatint plates, of which 1 with an overslip; 13 uncoloured aquatint plates, of which 3 with overslips; 9 uncoloured aquatint vignettes, of which 2 with overslips; 2 wood-engraved vignettes. An additional full-page uncoloured wood-engraved plan (of Longleat, not called for) is present at p.122, as usual. The full page colour plate of The Work House at p.227 supplied from another copy. Numerous woodcuts in the text not listed. Extremities of binding lightly rubbed, occasional trivial blemish to contents, generally a very good copy in a handsome binding. First edition of Repton's last treatise on landscape gardening, written together with his architect son. Fragments is illustrated in the familiar Repton manner, with overslips used to show the changed landscape before and after his improvements. (Abbey Scenery, 391; Tooley, 398).

12mo, pp. viii, [iv], 297, [1] blank, [1] errata; complete with half title; first leaf of text badly torn but without loss; an uncut copy, in contemporary pasteboards, with new calf spine, and one new free endpaper. First and only edition. This collection of 33 essays was, as the preface says, originally intended as a periodical work, but when it was submitted to the booksellers the authors were informed that this was not the way to publish it, because immediately on publication each essay would be 'hash'd, or minc'd, if not served up entire, in the daily papers like a Maintenon Cutlet'. The book is largely by Humphrey Repton (1752-1818), later to find fame as a landscape gardener and influential taste-maker at this time, he was still ambitious to be known as a literary writer, and among the other contributors was Anna Seward. One of her essays is number 25, 'On the Clarissa of Richardson and Fielding's Tom Jones': this seems to have been written to counter an essay in Richard Cumberland's Observer, which she felt exalted Tom Jones over Clarissa, even though 'men eminent for piety, wisdom, and virtue have recommended Richardson's Clarissa from the pulpit'. Provenance. Early inscription on half title of Tho. Beck.

First edition. First edition. 16, 222, [2]pp. Stipple-engraved portrait of the author by W. Holl after S. Shelley and 27 engraved or aquatint plates (including 12 hand-coloured, 12 with overslips, 1 folding, 1 double-page), numerous engraved, wood-engraved or aquatint vignettes and illustrations (including 2 with overslips). Uncut. 1 vols. 4to (14 x 11-3/8 inches). Rejecting the formalism of his predecessor Lancelot Brown, Repton adopted a more natural and varied style of ornamentation which has been described as combining "artistical knowledge.with good taste and good sense." Compiled chiefly from the his Red Books -- bespoke manuscript productions produced for each client with watercolor drawings of the ground with his proposed altertations as overalys -- and illustrated with facsimiles of his original sketches, Repton's Observations is important as a record of his work and his views as a landscape gardener. No man did more to change the shape of the English countryside. Extraordinarily rare in the original boards. Abbey Scenery 390; Tooley, p. 209; Henrey I, p. 546 Original pink paper boards, upper board lettered and with a wide Greek key border, expertly rebacked and retipped to style. Repair at fore-edge of the frontispiece portrait 16, 222, [2]pp. Stipple-engraved portrait of the author by W. Holl after S. Shelley and 27 engraved or aquatint plates (including 12 hand-coloured, 12 with overslips, 1 folding, 1 double-page), numerous engraved, wood-engraved or aquatint vignettes and illustrations (including 2 with overslips). Uncut. 1 vols. 4to (14 x 11-3/8 inches).

London: Baselisk Press, 1976. Folio and oblong 8vo.; 4 vols.; attractively bound in quarter red morocco gilt over marbled boards, housed in original cloth box; a limited and numbered edition of 515 sets, a fine set. A sumptuous facsimile edition comprising the first published edition of the surviving Red Books; Anthony House, Cornwall; Attingham Park, Shropshire and Sheringham Hall, Norfolk, with an explanatory volume by Edward Malins containing recent photographs by Eric de Mare. Repton's drawings are meticulously reproduced in collotype and printed on wove paper to imitate, as closely as possible, the original Whatman stock.