nicholas chevalier (14 risultati)

Soft cover. Condizione: As New. Batik, Nicholas R (illustratore). Lovely, like new copy.

Paperback. Condizione: Very Good. Batik, Nicholas R (illustratore). ***Please Read*** Signed Copy - No marks on text - My shelf location - k-25-d*.

Paperback. Condizione: Very Good. Batik, Nicholas R (illustratore). Understanding Your Mind, Mood, and Hormone Cycle This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .

Paperback. Condizione: Very Good. Batik, Nicholas R (illustratore). Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

Soft cover. Condizione: Very Good. Batik, Nicholas R (illustratore). Has some light general reading/shelfwear - otherwise this is a clean, tight copy. Quick dispatch from the UK. Book.

oblong imperial octavo red cloth boards with gilt lettering 116pp illus VG+ in VG+ slipcase.

Paperback. Condizione: Brand New. Batik, Nicholas R (illustratore). 1st edition. 258 pages. 11.00x8.50x0.61 inches. In Stock.

Hardcover. Condizione: Poor. 1st Edition. Histoire De Guillaume III. Roy D'Angleterre, D'Ecosse, De France, Et D'Irlande, Prince D'Orange, &c. Contenant ses Actions les plus memorables, depuis sa Naissance jusques à son Elevation sur le Trône, & ce qui s'est passé depuis jusques à l'entiere Reduction du Royaume d'Irlande. Par Medailles, Inscriptions, Arcs de Triomphe, & autres monuments Publics, Recueillis par N. Chevalier, A Amsterdam, n.p. 1692, FIRST EDITION! Vignette Title, 12 full page engravings plus portrait vignettes, decorative headpieces and initials, 3/4 vellum, 12.5 x 8 , folio. In poor condition. As is. Binding broken between pages 168-9, cording also split. Hand marbled boards are heavily worn with soiling, rubbing, small spots ink. Spine desiccated and chipped. Vellum is soiled. Binding exposed. Old hand notations and bookseller notations on front pastedown and flyleaf. Front hinge cracked. Interior typically age-toned with areas of more moderate foxing. Some finger soiling throughout. Free of known markings. Binding shaken, but intact. Pages 178-182 attached by one piece of cording only - fragile. Pages 3-6 loose. Leaf containing pages 57/8 re-attached to binding, edges chipped and soiled. Binding is fragile. Please see photos and ask questions, if any, before purchasing. Nicholas Chevalier (1661-1720) was a publisher, book seller, printer (and engraver?) and medallist in Amsterdam and Utrecht. Born in the French town of Sedan. Like many Huguenots, he left France after the Revocation of the Edict of Nantes (1685) and settled the same year in Amsterdam where he acquired the status of burgher for his activities as a book seller and publisher. He was also a reknown antiquarian and medalist. He worked and published books in Amsterdam until 1703. He is then recorded in Utrecht in 1704, where as a resident, he obtained the right to print medals. He returned to Amsterdam in 1717 and died in the city in 1720. Full-page etchings by Romeyn de Hooghe (1645-1708), an important and prolific late Dutch Baroque engraver and caricaturist in the 17th century. He was skilled as an etcher, draughtsman, painter, sculptor and medalist. He is best known for political caricatures of Louis XIV and propagandistic prints supporting William of Orange. During his career, de Hooghe produced over 3500 prints. He also illustrated books, and his illustrations can be found in some of the most important texts of his period. Illustration of 120 copper engraved medals by Adriaen Schoonebeeck in the text. 120 finely engraved text illustrations by Adriaen Schoonebeek (1656-1705) represent the obverses and reverses of commemorative medals and coins struck in honor of the monarch. First edition of one of the most attractive late 17th century numismatic books: a survey of events and accomplishments in the life of William Prince of Orange, elected King William III of England in 1688. RAREE1692DRSK - 10/22 FORN-SHELF-0473-BB-2412-HKREV324.

Hardcover. Oblong 4to., (6 3/8 x 9 6/8 inches). Additional engraved title-page with fine vignette of Point Gellibrand, 41 steel engraved plates on heavy stock all with ORIGINAL HAND-COLOUR HEIGHTENED WITH GUM ARABIC, interleaved with pages of descriptive text (last plate with vertical crease, some offsetting of plates onto text, one or two pale stains, some light toning). Original maroon morocco, gilt, all edges gilt (extremities a bit scuffed). Provenance: from the library of Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 335 RARE COLOURED COPY. The very successful first series, after drawings by Gill, was published in 1857, and this the much rarer second series was designed as a companion volume. As Gill had since moved to Sydney, and was in decline, this second volume included the work of a number of other artists as well, including the celebrated Nicholas Chevalier, who is credited on the title-page vignette, all other plates are unsigned. This is an important historical record of Victorian Victoria in Australia, including detailed images of prominent and important buildings such as Banks, the Melbourne Club, hospitals, schools, the Bridge over the Yarra, and many river views. Gill emigrated to Australia with his family in 1839, by 1852 he had arrived at the Victorian gold diggings, "and in the next twenty years produced drawings of Victoria and New South Wales, many published as lithographs. Evidence of visits to New South Wales in 1856 and 1861 exists in the form of lithographs of scenes in that colony in those years. Twenty-four lithographed sketches by Gill, 'Victoria Gold Diggings and Diggers As They Are', were published in Melbourne and London in 1853; moreover, most of the illustrations in 'The Gold-Finder of Australia; How He Went, How He Fared, And How He Made His Fortune' (London, 1853), said to have been edited but probably actually written by John Sherer, were taken from the book. In the 1850s Gill had a studio in Collins Street, Melbourne, over the premises of James J. Blundell & Co., booksellers and publishers. 'Victoria Illustrated', a book of steel engravings, not engraved by Gill but after his drawings, was published in Australia in 1857, and the colour lithographs in Edward Wilson's 'Rambles at the Antipodes' (London, 1859) are after Gill's drawings. Gill's 'Scenery in and Around Sydney' (1856) appeared in two parts, each including six 'lithographic sketches'. Several editions were published of 'The Australian Sketchbook' by S. T. G., a portfolio of lithographed views, mostly of rural life. In 1869 he was commissioned by the trustees of the Melbourne Public Library to do forty sketches of the Victorian goldfields during 1852-53" (Australian Dictionary of Biography online). Chevalier emigrated from Russia to Australia in 1855, and while illustrating for Punch and exhibiting his watercolours introduced chromolithography Victoria "where it became an important and flourishing art. He exhibited some of his delicately painted water- colours in December 1856 at the exhibition in Melbourne from which sprang the Society of Fine Arts. As an oil painter he was less successful, although his oil, 'The Buffalo Ranges', was selected as the best painting by a resident Victorian in an exhibition sponsored by the government in 1864. It was bought for £200, the first Australian painting obtained for the new National Gallery of Victoria. He continued to paint in oil and water-colour, often travelling about the countryside. His rather grandiose works in the style of the later Romantics were then popular, but his skilled technique, attention to detail and prolific output did not produce great painting. Although he had opportunities to observe much of interest, his over-conventionalized works lacked the atmosphere and inspiration of some contemporaries; probably his influence and importance as a personality were greater than his ability as an artist" (Australian Dictionary of Biography online).Ferguson, 9924b; Wantrup, 261. Cata.

5 Porchester Terrace, 6 March 1872. Uncommon. Nicholas Chevalier (1828 1902), Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and water-colour. He also designed a fountain which was erected in the royal grounds at Osborne, and two of his paintings were hung at the Academy in 1852. Further study in painting followed at Rome. In late 1854 Chevalier sailed from London to Australia on board the 'Swallow' to join his father and brother, and arrived in Melbourne on 25 December. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromo-lithography. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon and India. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh.

3pp., 4to. 33 lines. Bifolium. In fair condition, on aged and creased paper. Solliciting a subscription, 'pour une Souscription pour l'Erection d'une Statue en Bronze dure dans l'Eglise de notre dame de Myans, que je suis charge de Recuiller par l'archeveque de chambery e t par le Cure de la '. He continues by describing his plans and pressing for a meeting. From the Wiseman papers.

First edition. Folio (32 x 21cm). 'It is likely that this book was privately printed for the hobbyist and coin-collector Chevalier.'- Landwehr. 'In this work every public act of the reign of K. William III. is finely engraved by Roman de Hooghe.'- Lowndes. pp.[xii],232. With a vignette title, an additional engraved title, dedicatory plate, 12 full-page plates by Romeyn De Hooghe & very many engravings on the letterpress of coins and medals, plus some fine engraved head-pieces. One leaf with a small area of blank magin loss, some occasional light foxing, but otherwise a clean & pleasant copy bound in contemporary Dutch vellum with some light soiling. Vg. [Lipsius 79; Landwehr De Hooghe 81; Brunet I, 1838; Pollen 281; Lowndes 436; Hazlitt IV, 74; Watt 220p; Davies & Keeler 524].

Manuscript in ink, recto of single octavo sheet of writing paper (180 x 115 mm), dated July 1st 1879, addressed to Mrs. Kayser, discussing the difficulty in obtaining tickets for the Royal Academy Conversazione; signed at foot 'Yours very faithfully, N. Chevalier'; fine. Nicholas Chevalier (1828-1902) is considered one of the most important artists active in Australasia during the gold rush period. The son of a Swiss father and Russian mother, he arrived in Victoria from London in early 1855. Working initially as a commercial artist for the Melbourne Punch and later the Illustrated Australian News, he went on to produce an important corpus of landscape paintings of regional Victoria and New Zealand, before returning to England in 1869 as the official artist on board the Duke of Edinburgh's yacht, Galatea. His painting Buffalo Ranges (1864) was the first Australian work to enter the collection of the National Gallery of Victoria.

Manuscript in ink on single octavo sheet, 180 x 110 mm, dated 5 April 1877, addressed to Thomas Hedderwick, Liberal M.P., discussing a commissioned painting which Chevalier has completed for his neighbours at 9 Porchester Terrace, London (Chevalier's residence at this time was at 5 Porchester Terrace), signed at the foot 'Yours, much obliged, N. Chevalier', original fold line, some very pale foxing towards the upper edge but essentially in fine condition. 'My dear Mr. Hedderwick, I have to thank you very sincerely for the excellent quotation you were good enough to improvise for my picture. I have sent it for the R.A. Catalogue and hope the Authorities will appreciate it as much as do the inmates of 9 Porchester Terrace.' Nicholas Chevalier is considered one of the most important artists active in Australasia during the gold rush period. The son of a Swiss father and Russian mother, he arrived in Victoria from London in early 1855. Working initially as a commercial artist for the Melbourne Punch and later the Illustrated Australian News, he went on to produce an important corpus of landscape paintings of regional Victoria and New Zealand, before returning to England in 1869 as the official artist on board the Duke of Edinburgh's yacht, the Galatea. His painting Buffalo Ranges (1864) was the first Australian work to enter the collection of the National Gallery of Victoria.