Bernard Picart, Signed (19 results)

Paperback. Condition: Like New. Limited Signed First Edition. #81/364, signed by the author on the colophon. This small book, 15 pages, was hand set in Palatino and printed on Curtis rag paper, illustrations are from the 1725 engraving of Bernard Picart. In fine condition. Whiteman (1914-1995) was an archivist and historian of ethnic and minority history in Philadelphia All orders packed with care, most dust jackets protected by Brodart sleeve, independent bookseller since 2011. Signed by Author.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Dennis Chamberlin (Author photo); John Updike (Jacket design); Bernard Picart (illustrator). 1st Edition. First printing of the stated first edition. Signed by John Updike directly on the title-page. Book with faint tanning to top edge, else fine; dust jacket with faint creasing to spine ends and corners, else fine. A lovely copy. Signed by Author(s).

1. Original-Kupferstich von und nach Bernard Picart (in der Platte signiert) auf rückseitig unbedrucktem Büttenblatt mit dekorativ abgesetztem Plattenrand, bildliche Darstellung ca. 15 x 21 cm, Blattgröße ca. 20 x 24 cm, am oberen Plattenrand mit Bütten des Zeit sauber hinterlegt, sehr gut erhalten, seltenes und schönes Blatt 2100 gr.

Very rare first and only edition of a collection of engraved vignettes by Bernard Picart (1673-1733) that were used as illustrations in the 1729 edition of Nicolas Boileau-Despréaux, Oeuvres, The Hague, Pierre Gosse & Jean Neaulme (Lewine, p. 73). For the present edition Picart engraved new plates with the same designs. The lavish vignettes are all signed and dated 1728 on the plate and include a portrait of Erasmus, the coat of arms of the Princess of Wales, the coat of arms of Grandmaster de Wignacourt, a portrait of Louis XIV of France, the coat of arms of Guillaume de Lamoignon (1617-1677) and theatrical and allegorical scenes. The first 8 text pages provide information about the scenes in the vignettes.The present print album is very scarce, we traced only two copies: in the Rijksmuseum and at the University of Glasgow.Bookplate of the famous collector Jean Furstenberg on front paste-down. Front hinge broken. Minor foxing. Otherwise in good condition.l Rijksmuseum RP-P-OB-51.977; WorldCat (1 copy); not in Lewin, cf. Lewine, p. 73, for the Boileau-Despréaux vignettes. Contemporary blind-tooled mottled calf, gold-tooled spine, gold-tooled turn-ins. With 25 engraved vignettes and 2 engraved initials on 25 leaves. Pages: 8 pp., [25] ll.

Condition: Near Fine. 225 x 365 mm. Hand-colored copper engraving signed: "Inventé et dessiné par B. Picart, 1713. Gravé par vander Gouwen." Bernard Picart (1673-1733) was a well regarded engraver, initially taught by his father and later by Le Brun and Jouvenet. Successful by the time he was sixteen, he later moved to Amsterdam where he was much sought after by printers for plates and ornamental engravings, especially on religious and mythological themes in addition to portraits, much of which can be seen in this print taken from the French historian Isaac de Larrey's "Histoire d'Angleterre" (Rotterdam, 1713); Part of: Frontispiece to the third or fourth volume. De Larrey's portrait is at the upper left in an oval carried by Fame, who is playing a trumpet. In the background is London, to the left England (in the image of a Queen sitting with a Lion), and with the history being transcribed by History and a winged figure; at the lower left, Time trying to eat the pages of a book while winged figures are wrestling them away. A near fine copy, light toning, a few minor edge tears well away from image (hinged at top in mat).

A lion and a lioness resting on the ground, the lioness chained. Numbered on the bottom right: '5.', lettered on the bottom left: 'A.' and signed: 'B. Picart sculp.'. Plate belonging to the series 'Recueil de Lions' published in Amsterdam in 1729 l Etching on paper with small margins; plate mark: 122 x 175 mm, total: 130 x 185 mm; traces of previous mounting on the verso, very nice impression, small damage on the very external margin on the bottom left.

30x19 cm., bis auf 3 mm Rand beschnitten, kleiner roter Sammlerstempel unten im Blatt, schabkunst Blatt sous Passapartout. Aus: Bernard Picart, Impostures innocentes, ou Recueil d'Estampes d'apres divers . In der Platte unten signiert: "Académie dessinée et Gravée par B. Picart.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Benezit, vol. 6, p. 655 ?il fut le représentant le plus remarquable de la gravure hollandaise du premier tiers du XVIIIè siècle.

Exquisite and detailed drawing by Bernard Picart (1673-1733) of the circumcision of the infant Jesus, beautifully composed and with dramatic lighting. Picart was a celebrated French (Huguenot) artist who came to Amsterdam in 1711, where he lived and worked until his death in 1733. He was a pupil of his father Etienne, and is best remembered for his many book-illustrations. An engraving after the present drawing was published in the Dutch picture Bible Taferelen der voornaamste geschiedenissen van het Oude en Nieuwe Testament (1728).With a diagonal tear at the left edge (2.5 cm), and a few small losses at the left upper corner. Otherwise in good condition.l Cf. Poortman, Bijbel en prent IIa, pp. 137-145 (especially pp. 140-145); Thieme & Becker XXVI, pp. 572-573; Waller p. 254. Tipped onto later paperboard with a painted frame. Washed pen and ink drawing (32.5 x 21.3 cm), signed and dated in the lower left ("B. Picart, 1714").

Paris, 1708. Fine oblong allegorical etching: the agreement between Religion and Philosophy, or between Reason and Faith; Philosophy, personified by a woman crowned with stars, shakes hand with Religion, who stands at the top of some steps, next to the Bible; on the right stand Faith, covered by a veil, and Hope, carrying an anchor and praying; on the left the daughters of Philosophy (Poetry, Geometry, Grammar, Chemistry, Painting, Rhetoric and Music). At bottom signed in the plate 'Inventé et gravé par B. Picart en 1708'. 9,7 x 15,3 cm.*Dimier I, 391, No. 492. Picart did this engraving to accompany a Sorbonne thesis in philosophy that exists now, however, only in manuscript in the Bibliothèque Nationale, Paris. In database British Museum, another, probably later, state surmounts an engraved explanatory text by Prosper Marchand: there the scene and the text are printed from two separate plates on a single sheet. The printmaker Bernard Picart, trained in Paris but worked in the Netherlands 1696-1698, returned to Paris and after the death of his wife and children turned Huguenot, and left definitively for Holland in 1710, settled initially in The Hague, then in 1711 in Amsterdam. - Trimmed inside plate mark. Bright impression on strong paper. Collector's stamp on verso of 'Grossh. Museum zu Schwerin' (Lugt No. 2273).[(5872)].

Condition: sehr guter Zustand. Picart, Bernard. Krieger, in seinen Helm blickend.1734. Mischtechnik / Kupferstich & Radierung, in Schwarz, auf gelblichem Bütten. Originale Künstlergrafik, von Bernard Picart. 29,3 x 20,8 cm (Darstellung / Einfassungslinie), 30,3 x 21,7 cm (Platte), 43,5 x 27 cm (Blatt).Aus: Bernard Picart, Impostures innocentes, ou Recueil d'Estampes d'apres divers Peintres illustres (Amsterdam: Bernard Picart 1734). Sehr guter Erhaltungszustand.Bernard Picart (1673 Paris - 1733 Amsterdam). Französischer Kupferstecher. Erster Unterricht bei seinem Vater Étienne Picart. Später Schüler von Benoît Audran d.Ä. und ab 1689 von Sébastien Le Clerc. Studium an der Académie Royale in Paris (Zeichnung). 1693 erster Kupferstich eines Hermaphroditen nach Nicolas Poussin. 1696 ging er an die Akademie in Antwerpen und 1698 nach Amsterdam, wo er als Buchillustrator tätig war. Rückkehr nach Paris und 1702 Heirat. 1708 Reiser über Schweden 1710 nach Den Haag. Ab 1711 in Amsterdam ansässig. War auch ein hervorragender Porträtstecher. Sein Schüler war Jacob van der Schley. In der Platte unten signiert: Académie dessinée et Gravée par B. Picart. 29,3 x 20,8 cm (Darstellung / Einfassungslinie), 30,3 x 21,7 cm (Platte), 43,5 x 27 cm (Blatt).

On March 5, 1651 St. Anthonis dike broke at Houtewael, near Diemen. Much of Amstelland came under water. Many artists have depicted this breakthrough. In the picture he extreme violence with which he water invaded the territory. Signed and dated lower left: B. Picart sculp. di. 1728, above right: Tom: II. Pag: 556 l Engraving on laid paper, with margins; platemark: 270 x 355 mm; tot: 347 x 433 mm, folded in the center. tear repeared; some dirt and tears along the margins. On the verso stamp in blue 'Doublet'. PH4N.

Title page to the Biblia Sacra: Christ, representing the New Testament is standing on the left, while Moses, embodying the Old Testaman stands on the right holding the tables with the ten commandments. The personification of Faith sits in the middle of the composition, surrounded by other putti and personnages. On the bottom left pedestal is a low relief with the cucifixion and on the right the Original Sin. Signed on the bottom left: 'B. Picart invenit et fecit'; title inscribed on a courtain in the center of the composition. Dated and address of publisher at the bottom. l Engraving and etching on laid paper with broad margins; plate mark: 338 x 236 mm, total: 488 x 298 mm.

On March 5, 1651 St. Anthonis dike broke at Houtewael, near Diemen. Much of Amstelland came under water. Many artists have depicted this breakthrough. In the picture he extreme violence with which he water invaded the territory. Signed and dated lower left: B. Picart sculp. di. 1728. On the top right margin: Tom: II. Pag. 556. l Engraving on laid paper, stunning conditions, in passepartout; total: 390 x 486 mm. PH4N.

c. 1695. Large oblong etching and engraving on strong laid paper; the interior of the church, with view of Cardinal Richelieu's tomb: reclining figure of the Cardinal, supported by the female figure of Religion, with the female figure of Science weeping at his feet; two putti holding his coat of arms sitting at his side on the left. Signed underneath in the plate: "F. Girardon invenit et fecit C.P.R. - B. Picart ex marmore delineavit et sculp." With two columns of five lines of Latin dedication to Charles Maurice Le Tellier in lower margin (see below), his arms in center of bottom margin. 34,4 x 37,2 cm.*Nagler XII, 414, No. 119. In database of British Museum. The famous tomb of Armand Jean du Plessis, Cardinal-Duc de Richelieu (1585-1642), French cleric, statesman, patron of arts. The dedication to Charles Maurice le Tellier (1642-1710), archbishop of Reims: "Illustrissimo Ecclesiae Principi Carolo Mauritio Le Tellier . Ectypum sepulchri Richeliani in marmoris visceribus arte mentis et manus inventi, exacti, et in Templo Sorbonico Parisiis erecti anno 1695 . Franciscus Girardon sculptor Regius". The printmaker Bernard Picart, trained in Paris but worked in the Netherlands 1696-1698, returned to Paris and after the death of his wife and children turned Huguenot, and left definitively for Holland in 1710, settled initially in The Hague, then in 1711 in Amsterdam. - Trimmed to plate-mark, outside the border line. Small defect to left upper corner, not touching image. A few brown spots. Collector's stamp on verso of 'Grossh. Museum zu Schwerin' (Lugt No. 2273). [(5980)].

From the 'Tafereel of beschryving van den prachtigen tempel der zang-godinnen.', also known as 'Le Temple des Muses' published in Amsterdam in 1733, containing histories drawn from Greek mythology, written by A.de la Barre de Beaumarchais with plates by Bernard Picart. The plates are all finely engraved and are composed with a central part dedicated to the illustration of the story and a larger one, framing the previous, inhabited with details inspired to the central plate. For the whole book see Booknr. 50936 [LIII, p. 138-139] Iphis was a shepherd who fell in love with the cold hearted Anaxarete. She did not return his love, and treated him so badly that out of desperation the man hung himself in front of her house door. Signed on the lower left corner: 'B. Picart sculp dir.' Lettered in four languages on the bottom: 'IPHIS SE PEND DE DESEDPOIR DE N'AVOIR PU SE FAIRE AIME D'ANAXARETE / Iphis hangs himself in despair that he could not gain Anaxarete / Iphis erhebt sich aus Liebe und Bezweiflung. / Iphis verhangt zich, dewyle hy Anazaretes niet tot liefde konde beweegen'. On the bottom of the engraved frame on the left: 'B. Picart del.' l Engraving on fine laid paper; internal platemark: 248 x 174 mm; external plate: 358 x 254 mm; total: 490 x 312 mm. Two tears, on on the lower margin and one on the right border until the external border of the external frame. PLIT013.

From the 'Tafereel of beschryving van den prachtigen tempel der zang-godinnen.', also known as 'Le Temple des Muses' published in Amsterdam in 1733, containing histories drawn from Greek mythology, written by A.de la Barre de Beaumarchais with plates by Bernard Picart. The plates are all finely engraved and are composed with a central part dedicated to the illustration of the story and a larger one, framing the previous, inhabited with details inspired to the central plate. For the whole book see Booknr. 50936 [XV, p. 37-38] The nymph Clytie, in love with Helios, jealous of his new lover Leucothea, run to the father of the latter telling him of his daughter's affair with the god. Orchamus (this is the name of the father) was so angry that he buried his own daughter alive in the sand. Helios became upset with Clytie and abandoned her definitely. So she stand in solitude in the desert among the rocks for nine days looking at the sun. After those days she was turned into a sunflower. Picart represents the nymph leaning against the rocks, naked, looking towards the sky where her lover Helios is riding his chariot in the clouds. a small putto is mourning together with the nymph who bears already the signs of her metamorphoses: upon her head are blossoming a couple of sun flowers. Signed on the lower left corner: 'B. Picart dir.' Lettered in four languages on the bottom: 'CLYTIE CHANGÉE EN TOURNESOL. / Clytia change'd into a Turnesole / Clytia in eine Sonne-blumme verändert. / Clytia in een Sonne-bloeme verandert '. On the bottom of the engraved frame on the left: 'B. Picart del. 1731' l Engraving on fine laid paper; lily watermark in the center; one plate engraving: platemark: 356 x 258 mm; total: 483 x 307 mm. PLIT013.

From the 'Tafereel of beschryving van den prachtigen tempel der zang-godinnen.', also known as 'Le Temple des Muses' published in Amsterdam in 1733, containing histories drawn from Greek mythology, written by A.de la Barre de Beaumarchais with plates by Bernard Picart. The plates are all finely engraved and are composed with a central part dedicated to the illustration of the story and a larger one, framing the previous, inhabited with details inspired to the central plate. For the whole book see Booknr. 50936 [L, p. 131-133] Penelope waited twenty years for the return of her husband Odysseus, during which she devises various strategies to delay marrying one of the many suitors. She has devised tricks to delay her suitors, one of which was pretending to be weaving a burial shroud for Laertes, Odysseus's father and claiming that she will choose a suitor when she has finished. Picart represents Penelope in the act of destroying the work she had been doing during the day. Signed on the lower left corner: 'B. Picart dir.' Lettered in four languages on the bottom: 'LA TOILE DE PENELOPE / Penelope's web / Das Lucht von Penelope / 't Linnen van Penelope'. On the bottom of the engraved frame on the left: 'B. Picart del.' l Engraving on fine laid paper; platemark: 354 x 254 mm; total: 484 x 306 mm. PLIT013.

From the 'Tafereel of beschryving van den prachtigen tempel der zang-godinnen.', also known as 'Le Temple des Muses' published in Amsterdam in 1733, containing histories drawn from Greek mythology, written by A.de la Barre de Beaumarchais with plates by Bernard Picart. The plates are all finely engraved and are composed with a central part dedicated to the illustration of the story and a larger one, framing the previous, inhabited with details inspired to the central plate. For the whole book see Booknr. 50936 [XVII, p. 41-42] Lycaon was a king of Arcadia. As depicted in the scene Lycaon tested Zeus by serving him the roasted flesh of a guest in order to see whether the god was truly omniscient. In return for these gruesome deeds Zeus turned Lycaon into a wolf and killed all his sons with lightning bolts. In the background in fact are two young men trying to escape a fire, whereas in the foreground Zeus, seated at the table of Lycaon has already turned the protagonist into a wolf. Signed on the lower left corner: 'B. Picart sculp. dir.' Lettered in four languages on the bottom: 'LYCAON TRANSFORMÉ EN LOUP / Lycaon metamorphosed into a Wolf. / Lycaon in ein Wolf verändert./ Lycaon in een Wolf verandert'. On the bottom of the engraved frame on the left: 'B. Picart del. 1731' l Engraving on fine laid paper; internal platemark: 250 x 178 mm; external plate: 358 x 258 mm; total: 487 x 303 mm. small damages on the lower border and some stains on the top border, yet the engraved part is flawless. PLIT013.

Hand coloured prints after Picart. Four plates in two sheets; 1) three personnages with caption below:'; Boerin van den Helder, over Texel. / Visboer vande kleene Vismarkt by de Beurs tot Amsterdam / Amsterdam Viswijf'; above other pesonnages dancing, playing musical instruments and playing cards. 2) below four upper class personnages without caption; above other personnages dancing and playing instruments on a garden; 3) two ladies standing showing their pieces of clothing, titled below: 'Les Manteaux', sheet decorated with trees and other personnages, signed below on the right:'Y. Greve Excudit.'4) Two gentlemen showing their own clothing, titled below:'Habits Ordinaires'. signed below on the left: 'C. amsterdam by Ysack Greve' l Hand coloured engravings with broad margins; two plates per sheet; platemark: ca. 144 x 203 mm; total: 410 x 319 mm. Waller p. 448 Architecture & Design, Costume.