simon henri thomassin (11 risultati)

Kupferstich-Portrait von ca. 1720 -- Bild-Maße: ca. 34 x 23 cm. -- im Rand mit Wurmspuren, leicht fleckig, sonst gut erhalten. || copper engraved portrait from c. 1720. -- slightly stained, with wormholes on the margin, otherwise in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 1550.

Schönes original Kupferstich-Portrait aus dem 18. Jh. -- Blattformat: ca.25x18 cm. Platte: ca. 15 x 11 cm. -- gut erhalten. || Original copper engraved portrait from the 18th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Schönes original Kupferstich-Portrait aus dem 18. Jh. -- Blattformat: ca.25x18 cm. Platte: ca. 15 x 11 cm. -- gut erhalten. || Original copper engraved portrait from the 18th century. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch Gewicht in Gramm: 10.

Original Kupferstich-Portrait mit schöner Barock-Umrahmung. -- Bild-Maße: ca. 18,5 x 13,5 cm. -- gut erhalten. || Original engraved portrait with beautiful baroque framing. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 10.

Schönes original Kupferstich-Portrait von ca. 1750. -- Blattformat: ca.25x18 cm. Platte: ca. 12 x 8,5 cm. -- gut erhalten. || Original copper engraved portrait from c. 1750. -- in good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 10.

schönes Original Kupferstich-Portrait aus dem 18. Jahrhundert - Blatt-Format: ca. 15,5 x 25 cm | This is an original engraving from circa 1750. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 10.

No binding. Condizione: Very good. First. WATTEAU'S RARE GALANTE ETCHINGS, EX-COLL. MAX MACHANEK AND JACQUES LEVY. Thomassin, [ca. 1709-1710]. First edition, first state. Etched-engraved title-page and seven etched-engraved plates (variable, ca. 4 15/16" x 3 1/4", 125mm x 82mm). Unbound. Lightly tanned, with mild foxing. Two plates sometime folded in half vertically. Traces of mounts to the verso of the title and to each plate along the top and right edges. Ink ownership mark (a stylized shield with three circles above?) to the title-page. Purple ink ownership stamp of Max Machanek verso to the title and to each plate, with an earlier graphite numeration (R-D.#, viz. Robert-Dumesnil) above. Presented in an envelope with a manuscript copy of Dacier & Vuaflart 44. (Jean-)Antoine Watteau (Vatteau, as here; 1684-1721) was a French painter who epitomized the "galante" style, bridging baroque and rococo. Watteau's vast mythological canvases bear the impression of theatre and its world of gesture that developed from Marie de' Medici's introduction of Italian comedy to the French. Born in Valenciennes, he became identified with Paris. There, the sophistication of the Académie was such that it created a new genre -- the fête galante or cheerful party -- to grant him admission in 1717. It is in the years prior to his full membership in the Académie that he worked with the engraver Henri-Simon Thomassin (1687-1741) to promulgate his drawings via a group of seven eaux fortes (etchings; an "eau forte" being a mordant or biting acid) finished with engraving ("terminer au burin"). The title is difficult to render into English ("figures of fashions" is misleading); perhaps "fashionable types" conveys the sense better. The mid-XIXc multi-volume Peintre-Graveur français by Alexandre-Pierre-François Robert-Dumesnil was long the authority on the subject, and that is what the earliest marking owner has used for his graphite numbering (suggesting that the plates have long been disbound, perhaps even never bound) Four plates of man and three of women are titled thus (our set in its first state, which Robert-Dumesnil classes as "extrêmement rare" even in 1836, without indications of artist of engraver on each plate): 1. L'Homme accoudé 2. Le Promeneur vu de face 3. L'Homme appuyé 4. Le Promeneur vu de profil 5. La Femme marchant à gauche 6. La Femme marchant au fond 7. La Femme assise. The work was followed with Figures françoises & comiques with 12 additional plates; an eighth figured plate -- not by Watteau -- is sometimes lumped in with later states of the present work. Eventually Watteau's etchings would be gathered posthumously from 1735, which is naturally derivative of these individual lifetime publications. Dacier and Vuaflart in their four-volume Jean de Jullienne et les graveurs de Watteau au XVIII (1921-1929) date the work to 1709-1710, noting that "le premier graveur de Watteau, c'est Watteau lui-même, avec les eaux-fortes reproduisant les dessins des Figures de modes (un titre & 7 figures)" (II.111). Their nomenclature differs slightly. Max Machanek (1831-1893) was a German-born iron-monger and industrialist working in Marienthal who was eventually elected to the Moravian Provincial Assembly. He was, more germanely to the present work, a major print-collector, and his holdings (some 2,700 lots) were sold at auction by Amsler & Ruthardt in Berlin in 1891 (23 November and following); the present work does not seem to be among the lots. Jacques Levy (1905-1980) was a steady collector of books from around 1940 until his death, with particular focus on travel and the East. Born in Istanbul, he spent most of his life in New York, where the Central Park West home he shared with his wife, the artist Margot Semac, was entirely subsumed by his book collection. The present volume was lot 361 in the Sotheby's New York sale of his library, 20 April 2012. Cohen-de Ricci 3052; Dacier & Vuaflart III.41, 44, 46, 47, 49-52; Lipperheide 1120; Robert-Dumesnil II pp. 184-186, nos. 1-7.

"PARISIAN COQUETTES AND THEIR BLACK SERVANT BOY. Oblong engraving, 25.6 x 23.8 cm, with thin margins on all sides. 1cm closed tear to lower margin (affecting caption only), repaired on verso; otherwise a good, if slightly toned copy. Sole state of this beguiling engraving, produced to disseminate Watteau's popular painting of the same subject executed around 1715. The scene depicts two women and two men in almost absurd 'fancy dress', standing around a Black servant boy in green-striped clothes. "For three centuries, there were numerous attempts to identify the subject and the characters represented by Watteau; various authors thought the painting to be either a theatrical scene featuring commedia dell'arte masks, or a group portrait of Watteau's contemporaries. Beginning from the late 20th century, Russian and Western sources accept a theory developed within the Hermitage Museum [where the painting now resides] that holds the painting to be a group portrait of the Comédie-Française players who performed in the playwright Florent Carton Dancourt's play The Three Cousins" (the surprisingly comprehensive Wikipedia page for this painting). Despite the centuries of debate, little discussion seems to have been devoted to the role of the servant-boy in the scene; although he occupies the dead-center, it is not immediately clear what he is gazing at over the balustrade in front of him, nor whether his general presence suggests a quotidian slice of life for the actors around him. Gates Jr. et al. point out that "the painting demotes the black head and the black mask to a lower register, while the four adult white heads eventually find their place on the upper level"; they suggest that the boy is "thought to be trying to secretly slip a message to someone, under cover of the older man's hat and the ledge of the balcony. The legend beneath the engraving refers to women's infidelity to their husbands, in which context the black boy takes on another of his familiar roles, that of messenger boy probably concealing a letter." (p. 92). "The prints were individually announced in the Mercure de France and sold as separate sheets; they were then collected in two volumes that also included prints after Watteau's arabesque drawings . These volumes, known as the Recueil Jullienne, were delivered to subscribers in 1735." (Nicole Parmantier, Watteau, 1684-1721, p. 227). * Dacier & Vuaflart 36 (only state); cf Grasselli et al. (eds.), Watteau, 1684-1721 (National Gallery of Art, 2009); and Gates Jr., Henry Louis et al. (eds.). The Image of the Black in Western Art. Volume III: From the "Age of Discovery" to the Age of Abolition. Part 3: The Eighteenth Century (2011), pp. 92-94".

(1724). Plattenmaß: ca. 49,6 x 58,8 cm, (etwas fleckig/kleine Randeinrisse/direkt am Plattenrand beschnitten)---- Die Tafel zeigt: Lobgesang von Maria - 46 Gramm.

Charles Le Brun (illustratore). '"MOYSES UXOREM ACCIPIT SIPPORAM, FILIAM JETHRO SACERDOTIS MADIAN. EXOD. LIB. 2." AND FRENCH TRANSLATION OF THE SAME TEXT.'Depiction of the marriage of Moses and Zipporah, the daughter of Jethro, in a classical setting. Moses, Zipporah, and several other figures are engaged in a formal ceremony, with Moses holding a staff. The scene is richly detailed, with classical architecture in the background, draped fabrics, and an audience witnessing the event.Made by Simon Henri Thomassin after Charles Le Brun.Medium: Etching and engraving, with stippling on Hand-laid (verge) paper.Sheet size: 32.9 x 28.7 cm (12.95 x 11.3 inch). Image size: 32.9 x 28.7 cm. (12.95 x 11.3 inch).MOSES, ZIPPORAH, MARRIAGE, ENGRAVING, ETCHING, CLASSICAL, SIMON HENRI THOMASSIN, BERNARD PICART, CHARLES LE BRUN | PCO-B8-12BACKGROUND INFORMATIONPublished under the supervision of Bernard Picart, based on the painting by Charles Le Brun.Reference: Le Blanc 30.Biography engraver: Simon Henri Thomassin (1687-1741) was a French engraver known for his precision and detailed work. He worked under the supervision of Bernard Picart, and his engravings are based on the paintings of masters such as Charles Le Brun.Biography artist: Charles Le Brun (1619-1690) was a French painter and art theorist, considered one of the most influential artists of the French Baroque era. He was the chief painter to Louis XIV and director of the Royal Academy of Painting and Sculpture. Condition: very good, given age. Light creasing. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Leather Bound. Condizione: New. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1789-1790 . The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Pages:- 634, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 634 634.