baalbec von roberts david (10 Ergebnisse)

Softcover. Zustand: Very Good. 1997. Â'The Gateway of the Great Temple BaalbecÂ' by David Roberts RA, Royal Academy of Arts, POSTER. Image size 350 x 295 mm, some creases from handling and storage, in very good condition and will be mailed to you in a stout tube. Not 1970 but had to put this to avoid Amazon's ISBN mismatch Why on Amazon do most sellers not describe their actual book? Buy with confidence and support a genuine Independent Bricks & Mortar Real Bookshop. We are Maynard & Bradley CAMBO & PBFA(now lapsed) members here in Leicester City Centre. Size: 500 x 400 mm. Item Type: Modern Print. Quantity Available: 1. Shipped Weight: Under 1 kilogram. Category: Art & Design; Lithos & Prints; Britain/UK; 1990s; Pictures of this item not already displayed here available upon request. Inventory No: 52241.

Litho print, 320 x 250mm inc margins. G/Vg.

Litho print, 320 x 250mm inc margins. G/Vg.

Litho print, 320 x 250mm inc margins. G/Vg.

50 x 32.5 cm. Original hand-coloured lithograph from the Subscribers' Edition (250 copies), mounted onto later card. Old small inconspicuous tear without loss at lower right corner of image, otherwise in very good condition. Roberts was the first independent, professional British artist to travel so extensively in the Near East. His tour in 1838-9 produced 272 sketches, a panorama of Cairo and three full sketchbooks, enough material to "serve me for the rest of my life" (Roberts, eastern journal, 28 Jan 1839). Over the next decade he made "a series of intire new drawings" for the large coloured lithographs executed by Louis Haghe for The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia, which was originally published by subscription, 1842-9. No publication before this had presented so comprehensive a series of views of the monuments, landscape, and people of the Near East. "Robert's Holy Land was one of the most important and elaborate ventures of nineteenth-century publishing, and it was the apotheosis of the tinted lithograph" (Abbey, Travel). These lithographs were originally published in twenty parts, most parts containing six plates, the price for each part with coloured plates (the most expensive state) being 3 guineas. Yesterday and Today: The Holy Land, 117.

unbound. HAGHE, Louis (illustrator). View. Color lithograph. Sheet measures 7 7/8" x 11 1/4" From Roberts's octavo edition of "Views in the Holy Land.Egypt and Nubia." Born in Scotland, Roberts (1796-1864) gained renown as a landscape artist from documenting his extensive travels through Spain and the Near and Middle East. His most well known work, "Views in the Holy Land.Egypt and Nubia" illustrates Roberts' trip in 1838-39. The subsequent publication was issued in 41 parts between 1842 and 1849. This magnificent set was a collaborative project between Roberts and the skilled printer Louis Haghe (1806-1885) and is recognized as one of the most important lithographic works of the 19th century.

Veduta generale delle rovine dei templi.

No Binding. Zustand: Fine. David Roberts (illustrator). First Edition. Original duotone lithograph from the FOLIO 1st edition. Lithographed by Louis Haghe. Published by F.G.Moon, London, 1844. Full page (vertical). Size of image: 36,5 x 52 cm ( = 14,2 x 20,4 inch) + margins. .UNTRIMMED FULL MARGINS. .Very clean and FINE condition with excellent imprint. ONE OF ROBERTS' MOST FAMOUS AND DESIRED LITHOGRAPHS. Rare!

Zustand: Very Good. Title page to volume 2 of the folio sized David Roberts 3 volumes work on the Holy Land. , Image Size : , Platemark Size : , Paper Size : 600x415 (mm), 23.62x16.34 (Inches), Hand Colored, Lithograph.

The Prints of David Roberts:Part 1 - The PrinterLouis Haghe (1806-1885) was one of the msot skillful exponents of the tinted lithograph who became a leading reproductive lithographer in England and on the Continent. Haghe's reputation as a lithographer was primarily based upon topographical views, of which Twyman notes "his most important work of this kind, the translation of Roberts' sketches of the Holy Land, represents the culmination of his art".Part 2 - The Publication of Roberts' Holy Land and EgyptRoberts first sketched in his journals "on the spot" the vaious subjects which, on returning to London, he transcribed into finished paintings and watercolors. These then formed the basis of the lithographs drawn and printed by Louis Haghe. It is interesting to note that in some instances Roberts' original drawings were twice or three times the size of the published print, which indicated the skill of Haghe and his assistants in transferring Roberts' designs onto lithographic stones.Part 3 - A Genesis of Roberts' PrintsDavid Roberts fulfilled a boyhood dream by visiting the East and recording what he saw there; by August 1838 he had resolved to "visit the Holy Land, and make drawings of the scenes of sacred history and the antiquities of Egypt". By this time Roberts had already established himself as a successful topographical artist and published his set of Spanish scenery as tinted lithographs, Picturesque Sketches in Spain, 1837. Eventually he would be elected to the prestigious Royal Academy on the strength of his topographical paintings.Part 4 - The PlatesRoberts' Holy Land and Egypt project has been called "the most ambitious work ever published in England with lithographic plates" (according to Micheal Twyman). Its production involved over 600 lithographic stones used over an eight to nine year period. It is generally agreed the lithographers Day & Haghe were the most efficient for such large scale work, while Louis Haghe himself was a master lithographer.The plate formats strongly influenced their presentation as prints: large full-page and small half-page vignettes representing what Roberts intended to be the difference between finished drawings and sketches. roberts was a good judge of accurate transposition of his watercolors and sketches into lithography.Today historians regard Roberts' Holy Land and Egypt as the last link between the established artist and topographical lithography. Since Roberts' prints were the most costly publishing venture in Britain at the time, undertaken by a publisher "on his own responsibility", Roberts sighed on its completion: " . thank God . that with being blessed with health and backed by my ever esteemed friend Louis Haghe I may also say the most satisfactory."References:Micheal Twyman, Lithography, 1800-1850, London, 1970Katherine Sim, David Roberts, London 1984J.R. Abbey, Travel in aquatint and lithograph 1770-1860, Nos. 272, 385James Ballantine, The Life of David Roberts, Edinburgh, 1866Helen Guiterman, David Roberts, London 1978Barbican Art Gallery (catalogue), David Roberts, London, 1986British Library (BS), Image Size : 344x501 (mm), 13.5x19.75 (Inches), Platemark Size : , Paper Size : 375x541 (mm), 14.75x21.25 (Inches), Hand Colored, Lithograph Good Condition; margins extended.