Drawings Hans Holbein Collection by Holbein Hans (11 results)

Couverture souple. Condition: Bon. 1988, Harcourt Brace Jovanovich. In-8, broché, 147 pages. Reproductions n&b. Bon exemplaire.

Condition: Cloth. Bookplate. Fine in dj. Color frontispiece, 25 text illustrations, 85 plates. 62 pp. text. 1 vols. 4to. Lucas p. 156 Color frontispiece, 25 text illustrations, 85 plates. 62 pp. text. 1 vols. 4to.

Hardcover. Condition: Very Good. Very Good hardcover, red leather spine and corners over marbled boards. Wear to lower edge of covers, some starting separation over cover at lower spine area but not just weak. Gilt edges on all sides. Pictures on request, oversize item will require extra postage.

Quarter Leather. Condition: Very Good. Dust Jacket Condition: None. Holbein, Hans (illustrator). Second Edition. Published in London by John Chamberlaine in 1828, this is the seond edition. The engravings by Bartolozzi were crafted with exquisite skill, and replicate Holbein's originals as near to perfection as one could hope. Folio. An incomplete copy; 47 plates remain of the original 69. ( Each portrait is accompanied by a 1 or 2 page biographical sketch. For a number of the 22 missing plates, the biographical component is absent, as well. While some of those missing are lamentable ( Sir Thomas More, Prince Edward, Philip Melacanthon ) the considerable majority of the most crucial plates are present. There appears little rhyme or reason as to what was is missing. Among those are one of the initial anonymous portraits, The Marchioness of Dorset, John Colet, John Poins, the Lady Ratcliffe, Lady Monteague, Sir Thomas Wyat, Sir George Carew, J. Lord Russell, Lord and Lady Vaux.) Present therefore are Holbein's self portrait, Anne Boleyn, Prince Edward Of Wales, Lord Clinton, Queen Anne of Cleve, Edward VI, Sir Philip and Lady Hobby, Queen Catherine, Thomas, Earl of Surrey, Lord and Lady Rich, Queen Jane Seymour, the Duke and Duchess of Suffolk, etc. A number of the engravings are on a pink tinged paper. A very good copy with some professional restoration; front board reattached, hinges reinforced, repair to the head of the spine ) The binding is one half red morocco - with corners leather as well, and boards marbled to match the endpapers. The front free endpaper has been reattached. While the rear board is quite bright and fresh, the front board is quite worn with an irregular section where the marbling has been rubbed away to display the board underneath. There is some minor edge staining and foxing/spotting to the edges of the plates - not effecting the engravings.

Hardcover. Condition: Very Good. [The Court of Henry VIII: Including a portrait of Queen Anne Boleyn] Folio, 60 cm. Bound in contemporary morocco over pattered boards. 50 pages, 90 chromolithograph plates by Francis Bortolozzi after Holbein: chiefly color portraits. Scattered spotting. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

Condition: Very good. A very good collectable copy and a fine example of British colour pinting of the period. The spine has been rebacked and there is a tissue repair to the gutter at the double page portrait frontis. 82 colour stipple engravings and 2 hand coloured miniature engravings. Most on tinted 'peach' coloured paper with tissue guards. A few of the tissue guards have tears. Condition: Very good. Binding: Hardcover. Silk-covered boards with general wear.

Hardcover. Condition: Very Good. 2nd Edition. 1828. 2nd edition. Folio. Unpaginated. Complete with 84 engraved and coloured full-page portraits, including frontispieces of Holbein and his wife. Handsome binding by Zaehnsdorf of half maroon crushed morocco, A.E.G. Tail edges a little rubbed/scuffed. Lower corners a little bumped. Marbled end papers, former owner's bookplate. Sporadic mild spotting to plates, some dust-soiling to margins. Overall a 'Very Good+' copy. Heavy - additional shipping required.

Superbly bound in 3/4 wine morocco spine and leather tips with marbled paper-covered boards (lightly scuffed and worn) bordered in gilt rules. While the spine leather is bright and lustrous, there is some scuffing and wear to the leather corner tips and wear to the top and bottom edges of the boards. Measuring 14" x 11" wide, this volume is a substantial folio with 5 raised bands on the spine which is gloriously decorated with gilt tooling and a black morocco label stamped in gold: "Holbein s Court of Henry VIII." All of the edges are brightly gilded. With all 84 hand-colored portraits present, in glorious subtle shades and each protected by a tissue guard. With the frontispiece portraits of Holbien and his wife free of foxing and virtually no foxing to any of the plates. Overall, a very handsome example of this binding embracing the splendid portraits of Holbein. Hans Holbein the Younger (1497 1543) was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century.[7] He also produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder, an accomplished painter of the Late Gothic school.Holbein was born in Augsburg but worked mainly in Basel as a young artist. At first, he painted murals and religious works, and designed stained glass windows and illustrations for books from the printer Johann Froben. He also painted an occasional portrait, making his international mark with portraits of humanist Desiderius Erasmus of Rotterdam. When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance humanism. The result was a combined aesthetic uniquely his own. Holbein travelled to England in 1526 in search of work with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built a high reputation. He returned to Basel for four years, then resumed his career in England in 1532 under the patronage of Anne Boleyn and Thomas Cromwell. By 1535, he was King's Painter to Henry VIII of England. In this role, he produced portraits and festive decorations, as well as designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a record of the court in the years when Henry was asserting his supremacy over the Church of England.Holbein's art was prized from early in his career. French poet and reformer Nicholas Bourbon (the elder) dubbed him "the Apelles of our time", a typical accolade at the time.[8] Holbein has also been described as a great "one-off" in art history since he founded no school.[9] Some of his work was lost after his death, but much was collected and he was recognized among the great portrait masters by the 19th century. Recent exhibitions have also highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes. Holbein's art has sometimes been called realist, since he drew and painted with a rare precision. His portraits were renowned in their time for their likeness, and it is through his eyes that many famous figures of his day are pictured today, such as Erasmus and More. He was never content with outward appearance, however; he embedded layers of symbolism, allusion, and paradox in his art, to the lasting fascination of scholars. In the view of art historian Ellis Waterhouse, his portraiture "remains unsurpassed for sureness and economy of statement, penetration into character, and a combined richness and purity of style. (Wikipedia) First Edition with title page date of 1828 and no subsequent printings listed.

Hardcover. Condition: Very Good. First Edition. Folio, 56 x 44 cm. 1st ed, published between 1792-1800. Rebound in moroccan leather over finely marbled boards. 92 stipple-engraved, color plates, some mounted, some on pink paper. The first work is complete with 84 portraits on 83 plates. Additionally, includes The Court of Francis II, also by Holbein, often bound together (8 additional color plates). All edges gilt. Perforated library stamp on title. Portraits of Hans Holbein and his wife trimmed at bottom edge. According to the Ray, "This Magnificent Work Is Surely The Finest Early Example Of English Color Printing." "In every way a splendid book, the colour printing reproducing with extraordinary fidelity the original designs . No copies were issued to the public until the stock was acquired many years later by Messrs. Bohn, who added them as a Supplement to copies of the earlier work." Abbey, Life 205 & 206; Ray English 19; Brunet III, 259-260 ('ouvrage magnifique'); Lewine pp. 243-4; Lowndes p. 405. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

HOLBEIN, Hans; CHAMBERLAINE, John (illustrator). artist]. CHAMBERLAINE, John. Imitations of Original Drawings by Hans Holbein, in the Collection of His Majesty, for the Portraits of Illustrious Persons of the Court of Henry VIII. With biographical tracts. Published by John Chamberlaine, Keeper of the King's Drawings and Medals, and F.S.A. London: W. Bulmer & Co., 1792. First edition of Chamberlaine's magnificent volume of 86 color stipple-engraved plates, rarely found complete. Large folio (21 1/4 x 16 1/2 inches; 540 x 415 mm). Complete with the 80 listed plates (all of which are mounted), frontispiece portraits of Holbein and Holbein's wife, and a third frontis of a group portrait, two hand-colored miniatures and an additional plate of Henry Howard, Earl of Surry, engraved by Scriven. An impressive collection of full-page engravings after Holbein's legendary portraits of Jane Seymour, Anne Boleyn, Sir Thomas More, a young Edward VI, Anne of Cleves, and other court figures, with frontispiece portraits of Holbein and his wife. Of the listed plates, all but four portraits are engraved by the great Bartolozzi. In total, eighty-two plates are in color with four on lavender paper, sixty-three on pink, thirteen on white/buff), inclusive of one sheet with double portrait of Henry and Charles Brandon finished by hand. With one leaf of publisher's advertisements. 19th-century full red morocco, rebacked with original spine laid down. Boards elaborately stamped with floral devices and with thirteen gilt rules. Spines elaborately stamped in blind and gilt, lettered in gilt. With one-inch gilt dentelles. All edges gilt. Green coated endpapers. Plates exceptionally bright and clean, with only very minor instances of foxing. Most foxing is to leaves and not engravings. Title-page with 11/2-inch x 1/2 piece torn from fore-edge and a 2-inch closed tear at fore-edge, neither affecting text. Many of the plates are a somewhat wrinkled. The plate of Lord Clinton with a small tear to the pink paper, not affecting engraving. Occasional marginal closed tears, professionally repaired. Binding a bit rubbed and bumped. Overall a very good copy of a magnificent work. German artist Hans Holbein the Younger ranks "as one of the best portrait-painters in the world. He combined artistic beauty and precision of technical execution with extraordinary truth to nature and power of interpretation of character." Holbein, born in 1497, first "arrived in England in the 18th year of the reign of Henry VIII. Sir Thomas More was then Chancellor of the Exchequer, and Warham. was Archbishop of Canterbury. Through them Holbein obtained easy access to the leading men of the court," painting portraits of Moore, Warham and many others before returning home. He journeyed back to England in 1532, where, by 1536, he was in service as "'the king's painter' and in that year he painted the new queen, Jane Seymour." In 1539, as a New Year's gift to the king, "he gave 'a table of the pictour of the prince's grace,' possibly the portrait of the infant Edward VI at Hanover. His portrait of Anne of Cleves (perhaps the one now in the Louvre) was sufficiently attractive to decide the king in her favour" (DNB). The majestic portraiture of Holbein, who died in London in 1543, "remains unsurpassed for sureness and economy of statement, penetration into character, and a combined richness and purity of style" (Waterhouse). At the end of the 18th century, John Chamberlaine, in the court of George III, sought to bring together a work to pay tribute to Holbein's magnificent artistry. There had been previous unsuccessful attempts to publish the portraits in engraved reproductions, such as a 1792 volume containing 33 plates of poor quality, titled The Court of Henry the Eighth. Yet Chamberlain succeeded where others failed, for as the king's Keeper of the Drawings, he assembled, in this Imitations of Original Drawings by Hans Holbein, 84 splendid color stipple-engraved full-page portraits of Edward VI, Anne Boleyn, Thomas More, Jane Seymour, the Archbishop of Canterbury, Anne of Cleves, and other major figures of the age. "One of the most magnificent books that we have ever seen, and, whether we consider the genius of the painter or the talents of the engravers, reflects high honor on the age and nation which produced it" (London Monthly Review). Sir Walter Scott praised it as "a collection which at once satisfies the imagination and the understanding, showing us. how the most distinguished of our ancestors looked, moved and dressed, and. how they thought, acted, lived, and died" (Allibone, 1120). Color-inked on the plates, these intricate stipple-engraved portraits comprise "inestimable examples of English color printing at its best" (Joan Friedman). "This magnificent work is surely the finest early example of English color printing. The reduced reissue of 1812, reprinted in 1828, gives no idea of the book's quality" (Ray English 19). "In every way a splendid book" (Abbey Life 205). Initially issued serially in 14 parts from 1792-1800. This volume's 86 beautiful portraits were achieved with techniques that admirably succeed in honoring Holbein's portraiture. The plates were etched or engraved in gray or sepia ink, with additional colored inks applied a la poupee, two hand-colored. Text by Edmund Lodge. (Abbey Life 206). Lowndes 1381. Abbey Life 205, 206. HBS 65216. $15,000.

First edition of this superlative folio, about which the leading authorities are in full agreement: "in every way a splendid book" (Abbey) and "this magnificent work is surely the finest early example of English colour printing" (Ray). This is a most handsome copy in contemporary red morocco. "During his second stay in England (1532-43), Hans Holbein made a series of drawings of sitters connected with the court of Henry VIII that ranks among his finest achievements. Most of these were discovered as a group pasted into an album in a bureau at Kensington Palace by Queen Caroline in 1728, and the majority are now in the Royal Collection, Windsor" (Oliver et al, p. 168). The album had a chequered history, passing through several royal and noble hands - Charles I swapped it for a single painting by Raphael - before finding its way into the celebrated collection of Thomas Howard, 14th earl of Arundel, who "amassed what stands as the first major British art collection" (British Library). It then returned to royal ownership, a reunion that was recorded in Alexander Browne's Ars Pictoria (1675): "this book has been long a Wanderer, but is now most happily fallen into the King's Collection". It then lay undisturbed until Queen Caroline's discovery. Solicitous of artworks in the royal collections, she had them removed from their binding, individually framed, and hung in her country residence of Richmond Lodge. A native of Florence, Francesco Bartolozzi (1728-1815) had by the early 1760s established himself as one of the finest engravers in Italy. An invitation to London in 1764 led to his employment to make prints after drawings by Guercino which entered the Royal Collection. He became engraver to the king and was a founder member of the Royal Academy. His imprimatur on an engraving was in high demand and he established "a vogue for dotted prints or 'stipples', and this became his characteristic manner" (ODNB). Extensive work for many of the leading London print-sellers followed, for which he employed a large studio to cope with commissions. This led to accusations of shoddy workmanship, about which Bartolozzi was very sensitive; and yet he continued to attract high-level commissions such as the present work, the admirable presswork for which was by the best London printer of the day, William Bulmer. It was published under the auspices of the antiquary John Chamberlaine, Keeper of George III's drawings, with biographical notices provided by Edmund Lodge. Dr Lucy Peltz, Head of Collection Displays (Tudor to Regency) at the National Portrait Gallery, notes a contemporary "patriotic fashion for collecting engraved portraits of illustrious figures" (ODNB entry for Edmund Lodge). "Published in parts during the years 1792 to 1800. the book evidently had a very considerable success, for the plates appear in several states" (Abbey). The present copy includes hand-coloured plates on white paper, pink paper, and trimmed pink paper mounted to white sheets with a double-border in wash. The sitters include Anne Boleyn, Edward VI, Sir Thomas Eliot, Catherine Howard, Sir Thomas More, Jane Seymour, Henry Howard, earl of Surrey, and Sir Thomas Wyatt. Abbey, Life, 205 (the plates accord with Abbey's states 2, 3, and, although not examined by him, possibly 5); Lowndes I p. 405; Ray, The Illustrator and the Book in England from 1790 to 1914, 1991, 19. Lois Oliver et al, "New evidence towards an attribution to Holbein of a drawing in the Victoria and Albert Museum", The Burlington Magazine, Vol. 148, No. 1236, March 2006. Folio (543 x 400 mm). Contemporary red straight-grain morocco gilt, spine with seven pairs of raised bands, gilt lettered direct in second compartment and at foot, each compartment filled with decorative blind tooling, sides with intersecting gilt frames enclosing blind panels comprising interlocking drawer-handle tools and anthemion rolls, 12-point corner rosettes, gilt chain-link edge roll, gilt rope-twist turn-ins, drab bluish green surface-paper endpapers, gilt edges. With 84 colour-printed stipple engravings on 83 sheets, all but four by Francesco Bartolozzi after Holbein, on white or pink paper, some on pink paper mounted on card. Binding professionally refurbished, a few old abrasions to binding, front leaves creased, one mounted plate with repaired closed tear, some foxing to plates on white paper, a few captions shaved, rear free endpaper sympathetically renewed. A handsome copy.