1845 engraver (20 risultati)

See his entry in the Oxford DNB. The letter is addressed from the house of Frederick Goodall (also see ODNB), which at other times was occupied by Laurence Alma Tadema and James Murray. 2pp, 12mo. On the first leaf of a bifolium. In good condition, lightly aged. Addressed to 'My dear Mrs. Calkin' and signed 'Frank Holl'. Twenty-six lines of text in a hurried hand. He thanks her for her 'kind trouble - & for the rifle which my model called for and brought with him this morning'. He is sorry that her son George has been injured. 'When he returns, would he kindly let know if I can have his bayonet in sheath & straps & if so, I would send for them'. He 'heard from Guilford this afternoon - I am glad to say - my father [the engraver Francis Holl (1815-1884)] is progressing & I think we may look forward to his sure recovery - altho I fear it will be a long time of it'.

Condizione: Good. 4pp. 15 x 23.6cm. Rare. Provenance: Fond de l'Imprimerie STERN 47 passage des Panoramas à Paris.Le Graveur Stern ou Stern Graveur est une société française d'imprimerie et de gravure fondée à Paris en 1834 dans le passage des Panoramas, bien connu pour ses gravures de haute qualité dont : les menus de repas de la haute société, les titres de bourse, les boutons de manchettes, les médailles, les billets de Banque, les cartes de visites et autres passeports diplomatiques. Graveur imprimeur à Paris, Stern Graveur, atelier spécialisé dans la gravure de papier à lettre, invitations, faire-part, monogrammes, chevalières armoriées, cartes de voeux.La Maison Stern et Aumoitte a été fondée en 1836 par Monsieur Aumoitte qui s'associe à un jeune graveur, Moïse Stern. Cette association dure jusqu'à la fin des années 1850 puis Moïse Stern reprend la Maison. L'ex-libris de la Maison Stern devient un grand « S » dans lequel se loge un lion dressé, la patte antérieure reposant sur le monogramme « MS » entrelacé. Une main brandissant un outil de graveur et deux pièces d'armure, un gant et le casque complètent la composition. En 1867 et en 1889, la Maison Stern se voit décerner la Médaille d'Or lors de ces deux expositions universelles. Par la suite Moïse Stern sera occasionnellement membre du jury qui décerne cette médaille. Dans les années 1890, M.Stern associe son fils René à l'entreprise qui prend le nom de Stern et fils. René Stern reprend la boutique à son compte en 1904. Parmi ses prestigieux clients, la Maison Stern a eu l'honneur de compter l'Elysée pour ses menus et ses invitations, les ambassades, la noblesse et les grandes entreprises françaises et étrangères. Chacun participe depuis longtemps au renom de la Maison. Depuis, les générations se sont succédé avec, aujourd'hui, une volonté très forte de conserver et valoriser un savoir-faire et des techniques qui tendent à disparaître.Engraver and printer in Paris, Stern Graveur, was a workshop specializing in the engraving of letterheads, invitations, announcements, monograms, heraldic signet rings, and greeting cards. The Maison Stern et Aumoitte was founded in 1836 by Mr. Aumoitte, who partnered with a young engraver, Moïse Stern. T.his partnership lasted until the late 1850s, when Moïse Stern took over the company. The Maison Stern bookplate became a large "S" containing a rearing lion, its foreleg resting on the intertwined monogram "MS." A hand brandishing an engraver's tool and two pieces of armor, a glove, and a helmet, complete the composition. In 1867 and 1889, the Maison Stern was awarded the Gold Medal at these two World's Fairs. Moïse Stern would later occasionally serve as a member of the jury that awarded this medal. In the 1890s, Mr. Stern brought his son René into the business, which took the name Stern et fils. René Stern took over the shop in 1904. Among its prestigious clients, Maison Stern has had the honor of counting the Élysée Palace for its menus and invitations, embassies, the nobility, and major French and foreign companies. Each has long contributed to the Maison's reputation.

Condizione: Good. Steel engraving on wove paper. 31 x 21 cm. (image); 37.3 x 25.3 cm. (sheet). Very Good. Light specks of foxing in the margins.

1st edition, ca 1837. Unpaginated, though 42 pages of text. Engraved t.p. & 9 inserted steel engravings, tissue guards. 8vo. 9-7/8" x 6-1/2" General wear & soiling to binding. Some foxing. Book label of Charlotte Roadley. Owner blindstamp to rfep. Very Good. Original publisher's brown muslin cloth binding with gilt stamped title & ornamental frame to front board.

1p., 12mo. Good, on lightly-aged paper. Addressed to 'J. Sainsbury Esq'. The letter reads: 'Dear Sir | My friend, Mr Charles Smith, is engaged by Mr. Colborn to engrave the portraits of Sir Hudson Lowe, Madame Bertrand and M. Bertrand - if you could favour him with the loan of either of these prints - he will readily add to your immense collection proof from the plates in return for theh favour.' For more information about Sainsbury, see Leanne Langley's 'Sainsbury's Dictionary, the Royal Academy of Music, and the Rhetoric of Patriotism', in the festschrift for Cyril Ehrlich, 'Music and British Culture 1785-1914' (2000).

The letter is 1p., landscape 12mo. In fair condition, with light signs of age, placed in a windowpane mount in the remains of a leaf from an album. The letter reads: 'Dear Mr Westmacot [no doubt the sculptor Sir Richard Westmacott or his son] - I have a little reunion - on Monday evening 1st Feby - pray come - I am desired by to present you to her especially - that she may invite you to her next Fete'. The engraving is on a 21.5 x 13.5 cm piece of paper. Similarly-mounted as the letter, above it on the same leaf. In fair condition, lightly aged and worn. Depicts a garishly-dressed Stepney in extravagant feathered hat. With facsimile signature. The National Portrait Gallery does not have a copy of this engraving in its collection.

Second Edition. Poor set bound in the original leather. Only one board remains from the three volumes, which is detached but present. Wear and tear (with loss to the spine bands). Text remains well preserved overall; bright and clean. Includes previous owner's inscription. Physical description; three volumes. Subjects; Heber, Reginald (1783-1826) Travel India. Heber, Reginald Bishop of Calcutta. Heber, Reginald (1783-1826) Journeys India. Bishops India ; Biography. Bishops. Manners and customs. Travel. Bishops India ; Biography. India Description and travel. India Social life and customs. India. India Antiquities. India Civilization. India Description and travel. Sri Lanka Description and travel India Description and travel. Sri Lanka Description and travel. Nineteenth century. Journals. Bishops. 4 Kg.

Second Edition. Poor set bound in the original leather. Only one board remains from the three volumes, which is detached but present. Wear and tear (with loss to the spine bands). Text remains well preserved overall; bright and clean. Includes previous owner's inscription. Physical description; three volumes. Subjects; Heber, Reginald (1783-1826) Travel India. Heber, Reginald Bishop of Calcutta. Heber, Reginald (1783-1826) Journeys India. Bishops India ; Biography. Bishops. Manners and customs. Travel. Bishops India ; Biography. India Description and travel. India Social life and customs. India. India Antiquities. India Civilization. India Description and travel. Sri Lanka Description and travel India Description and travel. Sri Lanka Description and travel. Nineteenth century. Journals. Bishops. 2 Kg.

Condizione: Good. 4to. 21 x 17cm. Later half morocco over marbled boards, slightly rubbed, , 24 parts in 1 vol., 50 hand-colored engraved plates, single leaf of letterpress to each part but lacking from last 2 parts, 12 plates with brown wash stain, some foxing, occasional short tear or repair to text, lBobins 1493]. .Pages and plates mounted on hinges.Verso of plates stamped Jose Maria d'Oliveira Junior.Very rare. Not in OCLC; Biblioteca Nacional de Portugal, Cota J. 180 B.Provenance: Livraria Ferin, Lisboa(bookplate): A Livraria Ferin é a segunda livraria mais antiga de Portugal, foi fundada em 1840 e encerrou em Dezembro de 2023. A Ferin, embora se tratasse de uma livraria generalista, era especializada.Description of a different run, erroneously calling the engravings lithographs:Conjunto raro e valioso de estampas dos 5 continentes. A primeira série comporta 48 litografias, duas por fasciculo e a segunda série 52 litografias, também duas por fasciculo. A Biblioteca Nacional de Portugal possui apenas a 1ª série. Cada conjunto de gravuras é acompanhado de um texto explicativo, dez dos quais facsimilados neste volume. As bonitas gravuras são da autoria de Gregório Francisco de Queiroz. Inocêncio, Tomo III, págs. 162/163: "Artista Gravador, natural de Lisboa, n. em 1768. Aprendeu primeiramente o desenho e gravura com Jeronymo de Barros Ferreira (do qual farei menção adiante); recebeu também lições, segundo creio, do insigne Joaquim Carneiro da Silva (V. o artigo competente); e a final aperfeiçoou-se em Londres sob a direção do italiano Bartholozzi, sendo mandado pelo governo áquella cidade, com a pensão annual de 600:000 réis. .Executou numerosíssimas gravuras em diversos géneros, e de merecimento mui desigual, cuja descripção omitto por impropria do meu assumpto. M. em Lisboa a 19 de Março de 1845". Algumas gravuras mais escurecidas. Luxuosa encadernação inteira de pele.

Condizione: Good. Folio. 32 x 48.2 cm.; half blue contemporary percaline. The historical, ethnological and archaeological atlas is composed of a large folding map, 13 archaeological plates out of 14 (missing no. 13) and 44 plates out of 45 (missing plate 16) numerous watercolor plates (some foxing, some defects of use in the bindings; atlas partly unbound)OCLC Number / Unique Identifier:742725696; Nissen, ZBI 2420 & BBI 1663; Graesse IV, 141. Pankhurst 25. Gay 2653. Wood, p. 430. Wood, C. Vertebrate zoology, | 2420. .In-folio, demi-percaline bleue; L'atlas historique, ethnologique et archéologique est composé d'une grande carte dépliante, de 13 planches d'archéologie sur 14 (manque n°13) et de 44 planches sur 45 (manque pl.16) nombreuses planches aquarellées (quelques rousseurs, quelques défauts d'usage aux reliures, l'atlas historique en partie dérelié).

Condizione: Good. [23] leaves of text and 20 colour engravings each with tissue guard. (4to) 32.5x24 cm (12¾ x 9½") period three-quarter blue morocco and marbled boards, spine gilt, raised bands, all edges gilt. Edges worn, front hinge open; paper a bit toned but overall internally near fine.Henry Vizetelly, Printer and engraver, Gough Square, Fleet Street"Plates engraved by Louis Marvy; after Sir Augustus Wall Callcott, J.M.W. Turner, J. Holland, Francis Danby, Thomas Creswick, William Collins, Richard Redgrave, Frederick Richard Lee, George Cattermole, William James Mu?ller, James Duffield Harding, Peter Nasmyth, Richard Wilson, Edward William Cooke, John Constable, Peter De Wint, David Cox, Thomas Gainsborough, David Roberts, and Clarkson Stanfield. Each plate is followed by a short critique by Thackeray. Thackeray was an old friend of Marvy, a French artist, who took refuge in London after the chaos of 1848. Theodore Taylor's 1864 biography of Thackeray mentions the history of the book: "A fine and skillful landscape painter himself, M. Marvy, while here, as a means of earning a living, made a series of engravings after the works of our English landscape painters. The publishers, however, would not undertake the work without a series of letter-press notices of each picture from Thackeray; and the latter accordingly added some criticisms which are interesting as developing his theory of this kind of art" (p.32). An interesting and quite scarce Thackeray item, very rarely found colored.Abbey, Life in England, no 207 : "The majority of the copies issued were uncoloured.".

Condizione: Good. Etching on wove paper. 21.5 x 14.5 cm (sheet). Very Good.

Condizione: Good. Engraving. 27 x 18 cm (sheet). Very Good, a few, light specks of foxing in the margin areas.

Condizione: Good. Mezzotint on wove paper. 21 x 31.5 cm (sheet). Very Good, sheet slightly toned in the margins.

Condizione: Good. Etching on wove paper. 30.5 x 22 cm (sheet). Very Good, a few light specks of foxing, toning along sheet edges.

The two items are in very good condition, on lightly aged paper. Item One: Secretarial Letter, in French, by 'C Vaublanc', Vincent-Marie Viénot, Count of Vaublanc (1756-1845), 'Le Ministre Secretaire d'Etat de L'Intérieur' [French Minister of the Interior]. Paris, 13 April 1816. He is sending the 'fac simile De la Lettre de notre Infortunée Reine', and in order to dispel any doubts as to authenticity has initialled the foot of the third page. Item Two: Facsimile engraving by Pierre Picquet of Queen Marie-Antoinette celebrated letter to her sister, written on the day of her execution, and dated 'ce 16 8bre. [1793] a 4h ½ du matin'. 3pp., 4to. Bifolium. At foot of third page: 'Gravé par Pre. Picquet. [Engraved by Pierre Picquet.], with Vaublanc's initials 'C. V' in bottom right-hand corner. From the papers of the Pittite Member of Parliament John Blackburne, which also include material relating to the Flight to Varennes.

A nice set of documents relating to the London émigré art scene. A copy of the engraved portrait to which these two items refer, titled 'Louis Joseph de Bourbon, prince de Condé, prince du sang', is BM P&D 1850,0211.17, and carries the information "M.de de Tott pinx.", "F. Bartolozzi RA sculp.", and her details, as publisher: "London Publish'd by M.de de Tott Octo. 1 1802". De Tott's original painting is in the Musée Condé in Paris. See Bartolozzi's entry in the Oxford DNB and the second (1885) edition of Tuer's monograph on him. The two items are attached with a wafer at top inner corner. ONE (signed order by de Tott): On one side of 16.5 x 10.5 slip of laid paper. On reverse, in her hand: 'le Monsieur David Morier / No. 10. Tokenhouse yard / Lothbury -'. In good condition, lightly aged, apart from a clean closed tear made by scissors on opening the wafer, unobtrusively cutting between the 'de' and 'Tott' of her signature. Reads: 'Je prie Monsieur David Morier de vouloir bien remêttre Cent Livres Sterling pour mon Compte, a Mr. G. F. de Queiros, [sic] Eleve de Mr. F. Bartolozzi, qui doit les recevoir au nom de Mr. F. Bartolozzi. pour La moitié du payement de La Gravure qu'il fait, pour moi, du portrait de Mr. Le Pce. de Condé. / Sophie Ernestine Ctesse de Tott'. TWO (receipt signed by de Queiroz): On one side of 20 x 7.5 slip of laid paper, with blind-stamped tax stamp. Only the signature is in de Queiroz' hand. Reads: 'Recd. 16 June 1802 One hundred Pounds on acct. of Madame de Tott for the use of Mr. Fras. Bartolozzi (as Pr annexed Order) / Gregorio Franco. de Queiroz / £100 -'. See Image.

Condizione: Good. Five engravings; proofs on wide margined rag paper watermarked "MBM." 27 x 36cm. sheet size.

Condizione: Good. Engraving. Margins: 12" x 17", Image: 8" x 7". Very Good, mounted.

Print. Hand-colored aquatint engraving by T. Sutherland after W. J. Huggins. Image: (15 1/8 x 25 1/4 inches). Sheet: (18 1/2 x 27 7/8 inches). A beautiful, expansive scene showing the journeys of ships and other sailing vessels toward the Cape of Good Hope. The present image shows Table Bay, a natural bay located on the Atlantic coast of South Africa. Table Bay holds historical significance due to its strategic location and its role in maritime exploration and trade routes. The British East India Company established a refreshment station at Table Bay in 1652, which served as a crucial stopover point for ships traveling between Europe and the East Indies, providing fresh supplies and repairs. In 1795, during the French Revolutionary Wars, the British seized control of the Cape Colony, also known as the Cape of Good Hope, from the Dutch East India Company. The colony was subsequently returned to the Dutch in 1803 but was recaptured by the British in 1806 during the Napoleonic Wars. Lord Charles Henry Somerset, to whom the artist W. J. Huggins dedicated this image, served as the governor of the Cape Colony from 1814 to 1826. Under his term as governor, Somerset played an important role in British expansion into the Eastern Cape. When the British experienced a serious unemployment problem as a result of the Napoleonic Wars, the British government encouraged people to immigrate to the Cape Colony. This period saw one of the largest stages of British settlement in Africa. The present image shows masses of people arriving on ships, sailing toward the sprawling colony which can be seen in the distance. The artist William John Huggins was a renowned British marine painter who gained royal patronage for his artwork. He embarked on a voyage as a seaman between 1812 and 1814, during which he made numerous drawings of ships and landscapes in China and other locations. Settling in Leadenhall Street, London, he established himself as a professional artist, specializing in drawings of ships for the East India Company. Huggins exhibited at the Royal Academy from 1817 onward and at the British Institution for Promoting the Fine Arts from 1825. He became a marine painter to both George IV and William IV, producing notable works such as three large paintings depicting the Battle of Trafalgar. Known for his nautical expertise, Huggins's paintings are esteemed for their portrayal of ships, which were often engraved, as is the case here, further extending their reach and influence. Thomas Sutherland, the engraver, was a skilled aquatint artist, who specialized in hunting, coaching, military, and naval subjects.