After 1910 (13 results)

Condition: Very Good. Hard back binding in contemporary marble paper covered boards, paper ticket to the black cloth spine. 12mo. 6'' x 4ĵ''. Contains 187 [i] printed pages of Czech text. Tanning to the page edges, old Booksellers stamp to the title page and in Very Good sound condition. Member of the P.B.F.A. CZECHOSLOVAKIA.

Original Bleistift-Zeichnungen (Vor- und Rückseite) von Jean-Baptiste Francois Arnaud-Durbec (1827-1910) aus dem 19. Jh. Nach einer Zeichnung von François Gérard. -- Maße: ca. 20 x 15 cm. -- gut erhalten. || Die auf dem zweiten Photo abgebildete Biographie ist nicht Teil des Angebots. || Original pencil drawings (recto and verso) by Jean-Baptiste Francois Arnaud-Durbec (1827-1910) from the 19th century. After a painting/drawing by François Gérard. -- in very good condition. || The attached picture of the biography of the artist is not included with the listing. || Jean Baptiste François Arnaud-Durbec (Marseille, 1827 - Paris, 1910), known as Arnaud-Durbec, was a French painter from the city of Marseille. Faced with the need to provide for his family, Arnaud-Durbec, the oldest of a numerous family, decides to quit his classical studies and becomes an apprentice in a academy where interior decoration was taught. The skills he learned during his apprenticeship will be highly important in his development as an artist. He later enrolls in the École des Beaux-Arts in Marseille, first under the direction of the Augustin Aubert (1781-1857), later unter the painter Émile Loubon (1809-1863). Loubon directs him to start working on various side projects votive offerings, decorations for cafés, church paintings, portraits, lithographs. Upon spending some time in Marignane, he gets sick from malaria and is confined to bed, in a serious condition, for three months. After surviving the disease, he returns to Marseille, where he executes paintings for the Church of Estaque. He later paints and decorates parts of the Église Saint Pierre in Avignon, as well. In 1868, he leaves for Paris, where his career truly takes off. After the Franco-Prussian War in 1870, Arnaud-Durbec meets Félix Philippoteaux (1815-1884), under whose command, together with a group of Parisian artists, he works on the Panorama du siege de Paris (1870-71). Arnaud-Durbec was also a member the Paris Commune. He is later commissioned to do the decoration of the hunting hall in the Neudeck Castle. Further works on commission follow, as Arnaud-Durbec's reputation grows; he works in various theaters, including Montpellier, and does part of the central dome of the Exposition Universelle of 1881, as well as the hall dedicated to the establishment known as Menus-Plaisirs du Roi. Arnaud-Durbec died in Paris in 1910, ending a long and fruitful career. // 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.

8'' x 4'' down to 1½''. Single-sided bookmark for Peggy Duff's 'Left, Left, Left' with C.N.D. device. Member of the P.B.F.A. BOOKMARKS.

Original Zeichnung von Jean-Baptiste Francois Arnaud-Durbec (1827-1910) aus dem 19. Jh. -- Auf Papier montiert. -- Bild-Maße: ca. 16 x 13,5 cm. -- leicht fleckig, sonst gut erhalten. || Die auf dem zweiten Photo abgebildete Biographie ist nicht Teil des Angebots. || Original drawing by Jean-Baptiste Francois Arnaud-Durbec (1827-1910) from the 19th century. -- Mounted on paper. -- with some staining, otherwise in very good condition. || The attached picture of the biography of the artist is not included with the listing. || Jean Baptiste François Arnaud-Durbec (Marseille, 1827 - Paris, 1910), known as Arnaud-Durbec, was a French painter from the city of Marseille. Faced with the need to provide for his family, Arnaud-Durbec, the oldest of a numerous family, decides to quit his classical studies and becomes an apprentice in a academy where interior decoration was taught. The skills he learned during his apprenticeship will be highly important in his development as an artist. He later enrolls in the École des Beaux-Arts in Marseille, first under the direction of the Augustin Aubert (1781-1857), later unter the painter Émile Loubon (1809-1863). Loubon directs him to start working on various side projects votive offerings, decorations for cafés, church paintings, portraits, lithographs. Upon spending some time in Marignane, he gets sick from malaria and is confined to bed, in a serious condition, for three months. After surviving the disease, he returns to Marseille, where he executes paintings for the Church of Estaque. He later paints and decorates parts of the Église Saint Pierre in Avignon, as well. In 1868, he leaves for Paris, where his career truly takes off. After the Franco-Prussian War in 1870, Arnaud-Durbec meets Félix Philippoteaux (1815-1884), under whose command, together with a group of Parisian artists, he works on the Panorama du siege de Paris (1870-71). Arnaud-Durbec was also a member the Paris Commune. He is later commissioned to do the decoration of the hunting hall in the Neudeck Castle. Further works on commission follow, as Arnaud-Durbec's reputation grows; he works in various theaters, including Montpellier, and does part of the central dome of the Exposition Universelle of 1881, as well as the hall dedicated to the establishment known as Menus-Plaisirs du Roi. Arnaud-Durbec died in Paris in 1910, ending a long and fruitful career. // 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.

Condition: Good. Wood engraving on newsprint. 28 x 40 cm (sheet). Text on verso. Very Good, light surface dirt, some toning in the margin areas.

Condition: Good. Wood engraving on newsprint. 28 x 40 cm (sheet). Text on verso. Very Good, light surface dirt, some toning in the margin areas.

Small 8vo. 1 p. on bifolium. To a friend with New Year wishes, originally enclosing a now lost photograph: "Inclus, mon cher ami, ce que vous m'avez demandé. Tous mes remerciements et mes voeux les meilleurs pour 1911". - Alexandre had his debut at the Théâtre de la Renaissance in Paris in 1879. - Minimally stained.

Hand-coloured lithograph. Image size: 12 3/8 x 16 3/4 inches. A stunning view of the gardens at Westfield House on the Isle of Wight, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Sir Augustus Clifford (1788-1877) built Westfield on the Isle of Wight in the 1830s. The grounds included the terraced sculpture garden that leads to a grand view of the sea. The sculptures and many of the plants came from Italy. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. A stunning night view of the gardens at Eaton Hall, Cheshire, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Designed under the guidance of the Duke of Westminster, the picturesque garden of Eaton Hall, with its geometric parteres, medieval statues of knights and maidens, and Gothic arches, combined elements of the English formal garden with features of the medieval garden, the latter of which complemented the neo-Gothic castle in which the Duke resided. His gardens are pictured here in a dusky light that imbues the scene with an aura of romanticism and theatricality. The dramatic reflection of the moon's brilliant light in the waters of the dragon fountain, emphasizes the fountain's importance as the dominant visual centerpiece of the garden. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. A stunning view of the gardens at Westfield House on the Isle of Wight, from the "The Gardens of England." Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. A stunning view of the gardens at Westfield Halll on the Isle of Wight, from the "The Gardens of England." The Italian-style garden at Shrublands was designed by the Victorian architect Sir Charles Barry with later modifications by William Robinson. It is a prime example of the Italian style of garden design that was popular in England during the early nineteenth century, and which was characterized by the use of decorative edifices, classical architectural elements, and stairways. Published in 1857, The Gardens of England is a series of 24 plates with accompanying text depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

Hand-coloured lithograph. Published in 1857, The Gardens of England is a series of 24 plates depicting the diverse luxuriant gardens of various distinguished English mansions. The mid-nineteenth century was a period during which the traditional aesthetics of garden design underwent a significant change in England, as innovative ideas and concepts were being continually introduced and explored. Brooke's publication embodies the eclectic nature of Victorian garden design and constitutes an important visual survey of the varied styles that were popular among the wealthy and fashionable. Little is known about E. Adveno Brooke, other than that he exhibited at the Royal Academy and British Institution between 1853 and 1864 and his most significant publication was The Gardens of England. Cf. Abbey, Scenery of Great Britain and Ireland, 392; cf. Benezit, Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 2, p. 842.

This is Seymour Haden's etched version of the painting by Thomas Wright of Derby entitled "Edwin the Minstrel". The man in the portrait was actually Sir Francis Seymour Haden's own grandfather. Thomas Haden almost whole-length, seated with his legs crossed, resting his chin on his left hand.3rd state of 5, with cross hatchings on the background, title and date on the top left corner and fading inscriptions at bottom.[NL] Portret van Thomas Haden of Derby op jonge leeftijd, zittend met zijn benen over elkaar, zijn hoofd leunend op zijn hand. Etching and dry needle on paper, wide margins; total: 400 x 283 mm; state III/5; some toning, smudges, some dirt on the margins, traces of previous mountings on verso; clear watermark fleu-de-lis in crowned shield, lettering LVG.