Weinmann johann wilhelm (258 risultati)

Condizione: New.

Condizione: New.

No Binding. Condizione: Very Good. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Stain to top left hand corner which would be covered by a mount. Very minor age toning else in very good, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 44.8cm x 40.6cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Original fold lines. Very minor age toning else in near fine, bright, clean condition.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else in very near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else in near fine, bright, clean condition.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else in near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else in near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 43.3cm x 40.6cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Original fold lines. Very minor age toning else in near fine, bright, clean condition.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Remains of tab mark removal to the upper reverse margin. Very minor age toning else in very near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Mezzotint with original hand-colouring. Sheet size: 37.7cm x 24.2cm with good, wide margins to the printed image. Dating from 1737-1745, this is a plate from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else in very near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Set of three mezzotints with original hand-colouring. Sheet sizes: 37.7cm x 24.2cm with good margins to the printed images. Dating from 1737-1745, these are plates from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else all in near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Set of three mounted mezzotints with original hand-colouring. Sheet sizes: 37.7cm x 24.2cm with good margins to the printed images. Mount sizes: 42.8cm x 30.8cm. Dating from 1737-1745, these are plates from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else all in near fine, bright, clean condition. Location: MAP DRAWER B: FS.…

No Binding. Condizione: Near Fine. 1st Edition. Set of five mezzotints with original hand-colouring. Sheet sizes: 37.7cm x 24.2cm with good margins to the printed images. Dating from 1737-1745, these are plates from 'Phytanthoza Iconographia', one of the most important botanical works of the 18th century. The illustrations for this florilegium were by Georg Dionysius Ehret and the engravings by Seuter and Ridinger. It is widely considered to be the first botanical work to use colour engraved prints. Very minor age toning else all in near fine, bright, clean condition.…

Hardcover. 1735-1745. Ränder minimal gebräunt, die Innenseite mit kleinem Ausriß im weißen Rand, unterhalb des Plattenrandes kleine Überklebung (Basters Kers. B.), Plattenrand unten in der Mitte ca. 5 cm eingerissen.

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).…

Condizione: New. Print on Demand pp. 234.

Hardcover. 1735-1745. minimal stockfleckig, oben mit Spuren einer alten Montierung.

Hardcover. 1735-1745. Ränder minimal gebräunt, die Innenseite gerändert.

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).…

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).…

Leather. Condizione: Fair. An extremely scarce eighteenth century index to Johann Wilhelm Weinmann's definitive botanical work, both in Latin and German. An extremely scarce eighteenth century index to Johann Wilhelm Weinmann's definitive botanical work. Indexing the 1737 edition ofPhytanthoza-Iconographiae, the work is written in both German and Latin, with the detail of the text reflecting the breadth and ambition of Weinmann's project. Contains a title page forthe languagesin typography befitting each. As this work is an index, there are none of Weinmann's illustrations present. Rebacked with cloth spine, with cardboards and remnants of the previous leather binding. The boards are heavily worn, with little of the original half-morocco binding left. There is additional chipping and wear to the extremities, the hinges are very tender, and there are several very loose end pages to the front and rear. Internally, the pages are largely firmly bound, although the binding is slightly tender in places. The pages have some age-toning throughout and are foxed and watermarked. Fair. None (illustratore). book.…

Hardcover. Condizione: Very Good. First revised edition. Four volumes. Augsburg: Johann Elias Haid, 1787. Folio (395mm x 258mm). With 4 engraved title-pages heightened in red and gold, and 1,025 hand-colored engraved plates, of which 14 are double-page, after Ehret, Ridinger, Seutter and J.J. Haid. Bound in contemporary calf. On the spine, five raised bands. Rubbed and chipped at the extremities. One of the lettering-pieces to vol. IV perished. Foxed generally. Marginal worming to the first 50 plates of vol. IV. First revised edition. "Printed in color from the original mezzotint plates (finished by hand) from Weinmann's influential masterwork Phytanthoza iconographia (1737-1745) issued without the descriptive text. Rare and valuable record of the plants cultivated in the early 18th century, based on Weinmann's own collection. The high artistic standard of its plates, became an important source for copyists, and appeared in designs for Meissen porcelain. Many are "of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds" (Dunthorne 327, first edition); Nissen 2126 (notes); Pritzel 10139; Stafleu/Cowan 17050." A FULL DESCRIPTION AND SUITE OF PHOTOS WILL BE PRODUCED UPON REQUEST. …

Hardcover. Condizione: Very good. First. First Dutch edition. Nine volumes (four text, five plates). Amsterdam: Zacharias Romberg, 173617391748. Folio (15 ¾" x 10"). Title-pages printed in red and black. Mezzotint allegorical frontispiece of Flora by J.J. Haid after Baumgartner in volume one, portraits of Weinmann and Bieler by Haid after M.C. Hirschman in volumes one and III, all 3 portraits printed in blue, and 1025 mezzotinted and engraved plates printed in color and finished by hand by J.J. Haid, J.E. Ridinger, and B. Seuter (373 plates singed "S" for Seuter, and 273 signed "H" for Haid) after N. Asamin, G.D. Ehret, and others. Bound in contemporary half speckled calf, speckled paper boards. Extremities a little worn. Light marginal waterstain to plates 21-35, title-page of second plate volume loose waterstain from plates 146-234, 326-521, plate 201 browned, title-page to fourth plate volume restored, some color loss to plate 723, small marginal repair to plate 761. (Provenance: Charles Traylen, 1972, $6,1810.) A comprehensive and beautiful record of known 18th-century flowers, fruits, and vegetables. Financed by Weimann, director of the oldest pharmacy in Regensburg, who commissioned amongst other artists the now celebrated Georg Ehret. It was his first major commission, but he was not credited, and only received half of his promised wages, on the grounds that he had only supplied about half of the 1,000 images that Weinman was expecting of him. However, even at this early stage in his career, Ehret's style is easily identified, particularly in various aloes and cacti growing in distinctive pots and urns that is a feature of Ehret's work for his own Plantae et papiliones rariores (1748-1759). The Duidelyke Vertoning. was quite influential. Filippo Arena borrowed heavily from it for his La Natura, e coltura de' fiori (1767-1768), and the Dutch edition in particular was imported to Japan where it "gave rise to a major change in illustrated botanical literature. and led to the productions from 1830 onwards of the illustrated herbal "Honzo Zufu." by Iwasaki Kanen in ninety-six volumes" (Blunt pp. 155-156). Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Many Ehret watercolours were engraved in the works of Dr Christoph Joseph Trew, such as Hortus Nitidissimus (175086) and Plantae selectæ (175073), in which Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists in Holland. Some of his paintings of the exotics were engraved in Linnaeus's Hortus Cliffortianus (1737). Arnold Arboretum p. 738 (with an additional French title-page in vol. I); Brunet II, 704 (sub Dietrichs); Dunthorne 327; Great Flower Books p. 80; Johnston Cleveland 388; Nissen BBI 2126; Pritzel 10140; Stafleu and Cowan 17,050. …