van spaendonck gerard (17 Ergebnisse)

Maarssen, Garry Schartzs, [1980]. 224 pp. Ills (some col.). Orig. softcover (pictorial wrappers). 4to. - Some shelfwear.

Maarssen, Gary Schwartz, [etc.], 1988. 224 pp. Col. & b./w. ills. Orig. hardcover (pictorial boards). 4to.

Zustand: Good. 1st thus. Cloth spined boards, VG. 15pp text & 16 colour plates, 16 sepia illustrations, endpapers rather foxed, edges of the boards rubbed & bumped, the plates ( made & printed by K G Lohse of Frankfurt ) in fine order. A selection of 16 of the finest plates from Spaendonck's 'Fleurs Dessinees D'Apres Nature', which was published c 1800. Blunt describes the images as '[they] may well lay claim to being the finest set of engravings of flowers ever made'. Van Spaendonck was Professor of Flower Painting at the Jardin des Plantes in Paris, where he was a teacher of & major influence on Pierre Redouté. Spaendonck's watercolours were brilliantly interpreted in stipple by P F Le Grand. A copy of the original work ( with 21 of the original 24 plates ) made £15,400 in 1987 at the De Belder sale. Nissen 1879. 1550 grams.

Maarssen, Gary Swartz/'s-Gravenhage, SDU, 1980. 29,5 x 24 cm. Groot formaat paperback. Met illustraties in kleur en z/w. 222 pag. [Art / Dutch artist [Nederlandse Kunstenaars] ].

A fine colour printed illustration of a Solomons Seal from one of the rarest of the great flower books, by Gerard van Spaendonck (1746-1822), a proponent of the Dutch school of floral painting. After his arrival in Paris in 1770, he introduced new elements such as elaborate vases and rich fabrics to embellish his sophisticated compositions, and singlehandedly transformed the genre of flower painting in France (Tongiorgi Tomasi). In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.The book [Fleurs Dessinées d'Après Nature.],was originally published in 6 parts with 4 plates, all parts in printed paper wrappers. The engravings were originally printed in black as well as in colour.In fair condition. This flowerprint is both a truthful rendering of nature and a masterful artwork.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 21a; on the book cf.: Blunt, pp. 197-200; Dunthorne 1938; Nissen, BBI 1879. In passepartout. Stipple engraved plate, printed in colour à la poupée and finished by hand, of a Solomons Seal showing a branch with flowers and leaves. Not signed.

A fine colour printed illustration of a Sweet Mock-orange or English Dogwood from one of the rarest of the great flower books, by Gerard van Spaendonck (1746-1822), a proponent of the Dutch school of floral painting. After his arrival in Paris in 1770, he introduced new elements such as elaborate vases and rich fabrics to embellish his sophisticated compositions, and singlehandedly transformed the genre of flower painting in France (Tongiorgi Tomasi). In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.The book [Fleurs Dessinées d'Après Nature.],was originally published in 6 parts with 4 plates, all parts in printed paper wrappers. The engravings were originally printed in black as well as in colour.Worn and heavily retouched by hand. In fair condition. This flowerprint is both a truthful rendering of nature and a masterful artwork.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 17; on the book cf.: Blunt, pp. 197-200; Dunthorne 1938; Nissen, BBI 1879. In passepartout. Stipple engraved plate, printed in colour à la poupée and finished by hand, of a Sweet Mock-orange or English Dogwood showing six clusters of flowers of which one is out of flower, signed 'P.F. Le Grand sculp.'.

Magnificent illustration of a Calendula officinalis, commonly known as a pot marigold, printed in colour and delicately finished by hand. This flowering plant is probably native to southern Europe, but also found further north in Europe and elsewhere in warm temperate regions. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. He singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.A few minor spots and a couple minor restorations along the extremities, otherwise in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 13a; for the series: Blunt, pp. 175-176; Hunt 673 note; cf. An Oak Spring flora 58, 92 etc. In passepartout. Stipple engraving on unwatermarked wove paper (56 x 36.5 cm), printed in colour à la poupée and finished by hand, of a Calendula officinalis showing two branches with seven flowers and buds in various stages, signed "P.F. Le Grand sculp.".

Attractive illustration of a Quercus robur, commonly known as pedunculate oak or English oak (native to most of Europe), printed in colour and delicately finished by hand. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. He singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté. Some small restored tears in the left margin and another small restoration in the right margin, and two old folds in the lower right corner, but the print itself is still very good.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 2; for the series: Blunt, pp. 175-176; Hunt 673 note; cf. An Oak Spring flora 58, 92 etc. In passepartout. Stipple engraving on unwatermarked wove paper (56 x 36.5 cm), printed in colour à la poupée and finished by hand, of a Quercus robur including two acorns, an empty shell and two buds, signed "P.F. Le Grand sculp.".

Magnificent illustration of a Paeonia officinalis, commonly known as the common peony, printed in colour and delicately finished by hand. This colourful flowering plant is native to France, Switzerland and Italy. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. He singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté. A couple minor spots and some faint foxing in the lower left corner, otherwise in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 14a; for the series: Blunt, pp. 175-176; Hunt 673 note; cf. An Oak Spring flora 58, 92 etc. Framed (67 x 50 cm). Stipple engraving on unwatermarked wove paper (56 x 36.5 cm), printed in colour à la poupée and finished by hand, of a Paeonia officinalis showing two branches with one flower each, signed "Carrée sculp.".

A fine colour printed illustration of a Common Foxglove from one of the rarest of the great flower books, by Gerard van Spaendonck (1746-1822), a proponent of the Dutch school of floral painting. After his arrival in Paris in 1770, he introduced new elements such as elaborate vases and rich fabrics to embellish his sophisticated compositions, and singlehandedly transformed the genre of flower painting in France (Tongiorgi Tomasi). In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.The book [Fleurs Dessinées d'Après Nature.],was originally published in 6 parts with 4 plates, all parts in printed paper wrappers. The engravings were originally printed in black as well as in colour.In very good condition. This flowerprint is both a truthful rendering of nature and a masterful artwork.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 5; on the book cf.: Blunt, pp. 197-200; Dunthorne 1938; Nissen, BBI 1879. In passepartout. Stipple engraved plate, printed in colour à la poupée and finished by hand, of a Common Foxglove. With on a sidebranch flowers in various stages, one cut branch and a green shoot, signed 'P.F. Le Grand sculp.'.

Magnificent illustration of an ear of corn with leaves, printed in colour and delicately finished by hand. Maize is a cereal grain first domesticated by indigenous peoples in southern Mexico and has become a staple food in many parts of the world. The present print comes from a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, entitled Fleurs dessinées d'après nature, which contains "twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts, each with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. He singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.Minor restoration to the foot margin and some other minor blemishes also in the margins, all along the edges and covered by the passepartout. The illustration itself is in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 12; for the series: Blunt, pp. 175-176; Dunthorne 1938; Hunt 673 note; Nissen, BBI 1879. In a passepartout. Stipple engraving on unwatermarked wove paper (54 x 39 cm), printed in colour à la poupée and finished by hand, of an ear of corn, with 6 leaves and part of the stalk, on a stone wall, signed "P.F. Le Grand sculp.".

A fine colour printed illustration of a Common Hyacinth, Garden Hyacinth or Dutch Hyacinth from one of the rarest of the great flower books, by Gerard van Spaendonck (1746-1822), a proponent of the Dutch school of floral painting. After his arrival in Paris in 1770, he introduced new elements such as elaborate vases and rich fabrics to embellish his sophisticated compositions, and singlehandedly transformed the genre of flower painting in France (Tongiorgi Tomasi). In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.The book [Fleurs Dessinées d'Après Nature.],was originally published in 6 parts with 4 plates, all parts in printed paper wrappers. The engravings were originally printed in black as well as in colour.In very good condition. This flowerprint is both a truthful rendering of nature and a masterful artwork.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 19; on the book cf.: Blunt, pp. 197-200; Dunthorne 1938; Nissen, BBI 1879. Framed. Stipple engraved plate, printed in colour à la poupée and finished by hand, of a Common Hyacinth, Garden Hyacinth or Dutch Hyacinth with at the left a blue hyacinth without leaves, right a lilac hyacinth with leaves. Signed 'P.F. Le Grand sculp.'.

Magnificent illustration of an Anemone coronaria, popularly known as Poppy anemone or Spanish marigold, printed in colour and delicately finished by hand. This colourful flowering plant is native to the Mediterranean region and the Arabian Peninsula and is known in Arabic as shaqa'iq An-Nu'man. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.Only a couple minor spots and some faint thumbing, otherwise in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 18; for the series: Blunt, pp. 175-176; Hunt 673 note; cf. An Oak Spring flora 58, 92 etc. In passepartout. Stipple engraving on unwatermarked wove paper (56 x 36.5 cm), printed in colour à la poupée and finished by hand, of a Poppy anemone or Spanish marigold showing six branches with one flower each: three pink-red, two lilac, and one light-green, signed "P.F. Le Grand sculp.".

Magnificent illustration of a Callistephus chinensis, commonly known as China aster and annual aster, printed in colour and delicately finished by hand. This colourful flowering plant is native to China and Korea. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.Only a couple minor spots, some faint thumbing and the lower right corner damaged, otherwise in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 9a; for the series: Blunt, pp. 175-176; Hunt 673 note; cf. An Oak Spring flora 58, 92 etc. In passepartout. Stipple engraving on unwatermarked wove paper (56 x 37.5 cm), printed in colour à la poupée and finished by hand, of a Callistephus chinensis showing three fully opened and two half opened flowers, signed "P.F. Le Grand sculp.".

Magnificent illustration of a Antirrhinum majus, commonly known as snapdragon, printed in colour and delicately finished by hand. This colourful flowering plant is native to the Mediterranean region and the Arabian Peninsula. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. He singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté.A few minor spots, some faint thumbing and a couple minor restorations to the lower margin, otherwise in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 22a; for the series: Blunt, pp. 175-176; DHunt 673 note; cf. An Oak Spring flora 58, 92 etc. In passepartout. Stipple engraving on unwatermarked wove paper (54.5 x 36.5 cm), printed in colour à la poupée and finished by hand, of a Antirrhinum majus showing a branched stem with flowers in various stages, signed "P.F. Le Grand sculp.".

Magnificent illustration of a branch of a Mespilus germanica, printed in colour and delicately finished by hand. This small fruit-bearing tree, commonly known as medlar, is native to southwest Asia and south eastern Europe. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. He singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté. Some faint thumbing and a tiny stain, otherwise in very good condition.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 8; for the series: Blunt, pp. 175-176; Hunt 673 note; cf. An Oak Spring flora 58, 92 etc. In passepartout. Stipple engraving on unwatermarked wove paper (56.5 x 42 cm), printed in colour à la poupée and finished by hand, of a Mespilus germanica, showing a branch with five medlars in various sizes, signed "P.F. Le Grand sculp.".

Magnificent illustration of a Tropaeolum majus, commonly known as the Indian cress and in French as Grande Capucine, printed in colour and delicately finished by hand. This ornamental flowering plant originates in the Andes from Bolivia north to Colombia. It is originally part of a series of flower prints by Gerard van Spaendonck, the only engraved work published during his lifetime, "entitled Fleurs dessinées d'après Nature, which contains twenty-four magnificent drawings, brilliantly interpreted in stipple by P.F. Le Grand and other engravers. These are probably the finest engravings of flowers ever made" (Blunt) and "they are among the most breath-taking series of plates in the [Hunt] library" (Hunt). The series was originally published in 6 parts with 4 plates and available printed in black, printed in colour, or (as in the present case) printed in colour and finished by hand.Gerard van Spaendonck (1746-1822) was a proponent of the Dutch school of floral painting. After his arrival in Paris in 1770, he introduced new elements such as elaborate vases and rich fabrics to embellish his sophisticated compositions, and singlehandedly transformed the genre of flower painting in France, where he managed to unite the realism of the Dutch school with the suave elegance of the French school. In 1780 he became Professeur de Peinture de Fleurs at the Jardin des Plantes. Among his many pupils was Pierre Joseph Redouté. Some waterdamage along the extremities, mostly covered by the passepartout, otherwise very good.l Van Boven & Segal, Gerard & Cornelis van Spaendonck, pp. 178-184, no. 10; for the series: Blunt, pp. 175-176; Dunthorne 1938; Hunt 673 note; Nissen, BBI 1879. In passepartout. Stipple engraving on unwatermarked wove paper (38 x 55.5 cm), printed in colour à la poupée and finished by hand, of a branch of the Tropaeolum majus showing three flowers and six buds in various stages, signed "A.L.X. Chaponnier sculp".