sabatier lithographer (5 Ergebnisse)

Zustand: Good. Small folio. 25.,5 x 34.6 cm. Contemporary gilt roan. Title page by Victor Adam and 38 plates with 2 lithographs per page on rag paper by Adam and others. Light foxing. Very rare. Nont in OCLC.Inventaire du fonds français après 1800. Tome premier, Abbéma-Beaumont ([Reprod. en fac-sim.]) / Bibliothèque nationale, Département des estampes ; par Jean Laran, 1930.________________________________________Extract 1 : La Variété, nouveau recueil de croquis par divers artistes, chez Aumont et chez Tilt, 1831 : 1e Lon, n° 3, Le Bac, Le taureau échappé.Album de lithographies comportant de sujets divers. Paysages, bateaux, animaux sauvages, métiers et scènes animés.Superbes tirages en lithographie, le tout sur beau papier.Titré et 38 planches superbement imprimées par la Maitre de la lithographie, LEMERCIER.Volume in-folio, reliure du temps en maroquin, vieux rouge.

Zustand: Good. Folio. 62 x 43cm. Original qtr. morocco and red boards. Cracks in upper and lower corners of front cover. Moderate foxing. Handcolored lithographs.Extract: Includes pages 29-48, chapters entitled Belad-Bescharah and La Province d'Akka; and plates 23, 25, 26, 27, 35, 37, 38, 39, 40, 41, 43, 45, 46, 47, 51, 53.National Library of Israel no. 990021882430205171 (incomplete);Blackmer 1723; OCLC Number: 80527329.Van de Velde was a Dutch naval lieutenant and surveyor who visited the Levant in 1851 and 1852, publishing this work on Lebanon, Syria and modern Israel.VAN DE VELDE (C.-W.-M.). [Le Pays d'Israël. Collection de cent vues prises d'après nature dans la Syrie et la Palestine. Paris, Renouard 1857]. in-folio 45 x 62 cm. 1/2 chagrin rouge, titre et faux-nerfs à froid (Rel. d'époque). Fragment de ce très beau livre sur Israël, la Syrie et la Palestine, relié à l'époque sans page de titre. Il contient 20 pp. de texte et 16 lithographies couleurs (sur 100). Rousseurs dans quelques marge.Expertise by Roger ROQUES - 06.12.15.30.68 - - 2 rue du Périgord - 31000 TOULOUSE.

Lithograph with one tint stone and finely hand-coloured, 40.1 x 56.1 cm; 44.9 x 58.9 cm (sheet), four sealed marginal tears (two affecting the caption), no loss to the image, old paper adhesions to the verso, the image in very good condition. Fine lithograph showing the entrance to the Black Sea from Schranz's celebrated series of views. This is the first from a series of eight which formed a full panorama depicting the entire length of the Bosphorus. Born into a family of much-travelled artists, Joseph Schranz (1803-circa 1866) made his name in Ottoman Istanbul on the eve of the Crimean War with finely detailed, atmospheric panoramas of the Bosphorus. Admired by the Palace and by a new breed of intrepid tourist, he even trained a generation of Turkish artists to observe nature. Yet Schranz's life in Turkey is an almost total mystery and his known works are rare. Schranz owed much to "the princely magnificence" of the publisher Missirié, proprietor of the Hôtel d'Angleterre in the Pera district of Constantinople and an "intelligent and generous enthusiast for the arts". Missirié financed the lithography of the work in Paris by Léon Jean-Baptiste Sabatier (c1827-87), "one of the most justly celebrated artists in this genre". The views of the Bosphorus from Yu?a Tepe (Giant's Grave or Mont Géant) and the surrounding area, including the bay of Beykoz and Hünkâr ?skelesi, were favoured by Schranz, not least for their significance during the Crimean War as well as for their commercial value. (See Briony Llewellyn, "Celebrating 200 Years of Schranz"; Giovanni Bonello (ed), FPM, Malta, 2017). Atabey 1103; Weber II 1154; Blackmer 1504. This item is held off-site. Please note there may be a few days delay while it is brought into our shop for viewing or mailing to you. Thank you for your understanding.

Lithograph with one tint stone and finely hand-coloured, 40.1 x 54 cm; 45.9 x 58.2 cm (sheet), small sealed tear affecting the lower edge only, in very good condition. Fine lithograph showing the Bosphorus from Mont Géant (Yu?a Tepe from Schranz's celebrated series of views. This is the first from a series of eight which formed a full panorama depicting the entire length of the Bosphorus. Born into a family of much-travelled artists, Joseph Schranz (1803-circa 1866) made his name in Ottoman Istanbul on the eve of the Crimean War with finely detailed, atmospheric panoramas of the Bosphorus. Admired by the Palace and by a new breed of intrepid tourist, he even trained a generation of Turkish artists to observe nature. Yet Schranz's life in Turkey is an almost total mystery and his known works are rare. Schranz owed much to "the princely magnificence" of the publisher Missirié, proprietor of the Hôtel d'Angleterre in the Pera district of Constantinople and an "intelligent and generous enthusiast for the arts". Missirié financed the lithography of the work in Paris by Léon Jean-Baptiste Sabatier (c1827-87), "one of the most justly celebrated artists in this genre". The views of the Bosphorus from Yu?a Tepe (Giant's Grave or Mont Géant) and the surrounding area, including the bay of Beykoz and Hünkâr ?skelesi, were favoured by Schranz, not least for their significance during the Crimean War as well as their commercial value. (See Briony Llewellyn, "Celebrating 200 Years of Schranz"; Giovanni Bonello (ed), FPM, Malta, 2017). Atabey 1103; Weber II 1154; Blackmer 1504. This item is held off-site. Please note there may be a few days delay while it is brought into our shop for viewing or mailing to you. Thank you for your understanding.

Lithograph with one tint stone and finely hand-coloured, 40 x 54.8cm; 45.5 x 58.7 cm (sheet), in very good condition. Fine lithograph showing the sea of Marmara from Schranz's celebrated series of views. This is from a series of eight which formed a full panorama depicting the entire length of the Bosphorus. Born into a family of much-travelled artists, Joseph Schranz (1803-circa 1866) made his name in Ottoman Istanbul on the eve of the Crimean War with finely detailed, atmospheric panoramas of the Bosphorus. Admired by the Palace and by a new breed of intrepid tourist, he even trained a generation of Turkish artists to observe nature. Yet Schranz's life in Turkey is an almost total mystery and his known works are rare. Schranz owed much to "the princely magnificence" of the publisher Missirié, proprietor of the Hôtel d'Angleterre in the Pera district of Constantinople and an "intelligent and generous enthusiast for the arts". Missirié financed the lithography of the work in Paris by Léon Jean-Baptiste Sabatier (c1827-87), "one of the most justly celebrated artists in this genre". The views of the Bosphorus from Yu?a Tepe (Giant's Grave or Mont Géant) and the surrounding area, including the bay of Beykoz and Hünkâr ?skelesi, were favoured by Schranz, not least for their significance during the Crimean War as well as their commercial value. (See Briony Llewellyn, "Celebrating 200 Years of Schranz"; Giovanni Bonello (ed), FPM, Malta, 2017). Atabey 1103; Weber II 1154; Blackmer 1504. This item is held off-site. Please note there may be a few days delay while it is brought into our shop for viewing or mailing to you. Thank you for your understanding.