Boilly, Signed (23 results)

Paperback or Softback. Condition: New. Catalogue de Lettres Autographes d'�crivains, d'Artistes Et de Savants: Du Cabinet de Feu M. Julien-L�opold Boilly. Book.

Condition: guter Zustand. Boilly, Louis Léopold (nach). Qu'elle est Gentille (Wie nett sie ist).Um 1790. Farbkupferstich / Punktstich. Originale Künstlergrafik, von Jacques Bonnefoy, nach Louis Léopold Boilly. 38 x 27 cm (Blatt), 27,9 x 23,7 cm (Darstellung).Blatt bis auf den Plattenrand beschnitten und verso mit Montageresten. Im unteren Rand leicht knickspurig. Guter bis mäßig guter Zustand.Jacques Bonnefoy (1750 Arras - 1815). Französischer Kupferstecher, tätig in Paris.Louis Léopold Boilly (1761 La Bassée bei Lille - 1845 Paris). Französischer Maler und Lithograf. Sohn des Holzbildhauers Arnould Boilly. Seit 1779 Schüler von Dominique Doncre. 1785 nach Paris übergesiedelt, erlanget er schnell Bekanntheit als Porträt- und Genremaler. 1791 nahm Boilly erstmals am Salon teil.Albrecht von Haller (1708 Bern - 1777 Bern). Schweizer Schweizer Arzt, Naturforscher und Dichter. In der Platte rechts unten signiert: Bonnefoy sculp.t. Unterhalb der Darstellung betitelt.

Paris, J. [L.] Boilly, 1822. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French physicist and mathematician Claude-Louis Mathieu (1783-1875). He ".began his career as an engineer. He worked with the Bureau des Longitudes and tried to determine the distance of the stars. Awarded the Lalande Prize twice, in 1808 and 1815". (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait. The caption states the date of Mathieu's birth and the year (1817) in which he was elected as a member of the Institut. Uncut. With in the lower right corner a small, oval blindstamp, "Galerie Vivienne Bénard". Damp stain in the upper left corner, well outside the printed area; scattered foxing; a few weak marginal creases and a short tear in the right margin; otherwise very good.

Paris, J. [L.] Boilly, 1820. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French chemist and pharmacist Louis Nicolas Vauquelin FRS (1763-1829). He was the discoverer of two elements: chromium and beryllium. The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower left margin of the portrait and dated 1820. The caption states the date of his birth and the year (1795) in which Vauquelin was elected as a member of the Institut. Uncut. With in the lower right corner a small, oval blindstamp, 'Galerie Vivienne Bénard'. Scattered mild foxing; a damp-stain in the top-left corner, some soling, denting, and marginal fraying, as well as a short tear in the top edge; otherwise good.

Karikatur. Kolorierte Lithographie Von François Séraphin Delpech, Louis-Léopold Boilly. 17,5 x 17,3 cm (Darstellung ) / 36,7 x 26,9 cm (Blatt) / 50,0 x 32,5. - Unterhalb der Darstellung mittig betitelt. Vom Künstler in der Vorlage rechts unten signiert. Sowie mit den Angaben links unten "I. lith. de Delpech" versehen. - Das Blatt zeigt eine humoristische Portraitdarstellungeines geschickten Barbiers und seinem angsterfülltem Kunden. - In einem Passepartout aus Karton montiert. Leicht gebräunt. Lichtrand. Linke Kante unbeschnitten. Insgesamt in einem gutem Erhaltungszustand. - - (1778 Paris - 1825 Paris). Französischer Kunstkritiker, Zeichner und Lithograph. Besonders bekannt geworden für seine Porträts aus der Zeit der Französischen Revolution und des Premier Empire. Besaß die zu seiner Zeit berühmteste Imprimerie in Paris, in der er sowohl eigene Werke als auch nach Vorlagen anderer Künstler lithographierte.

2 lettres autographes signées 5 pp. 1/2 In-8 et in-12 fin du XIXe-début du XXe une lettre légèrement poussiéreuse sur un bord Dans cette lettre, le sculpteur René de Saint-Marceaux explique à son correspondant qu'il ne sait ce qu'est devenu l'un de ses plâtres : « Ma statue de Boilly n'a pas été montrée et je ne sais ce qu'est devenu le plâtre primitif qui du reste avait reçu beaucoup de modifications avant d'être exécuté en marbre. Je me souviens seulement qu'il a été transporté à Versailles d'où il n'est pas revenu. » L'artiste profite de cette occasion pour dire son désir de voir le marbre exposé : « Si la chose n'était pas impossible, j'aurais été heureux de voir figurer le marbre à votre exposition car je n'ai jamais montré cette figure à Paris. » La seconde lettre prévient de son absence à un dîner. Sculpteur, il alterne les sujets religieux, les allégories et les bustes. Il reçoit de nombreuses commandes officielles, notamment pour des portraits honorifiques et des monuments.

Paris, J. [L.] Boilly, 1823. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French physicist and chemist Pierre Louis Dulong FRS (1785-1838). "He is remembered today largely for the law of Dulong and Petit, although he was much-lauded by his contemporaries for his studies into the elasticity of steam, conduction of heat, and specific heats of gases. He worked most extensively on the specific heat capacity and the expansion and refractive indices of gases. He collaborated several times with fellow scientist Alexis Petit, the co-creator of the Dulong-Petit law. Dulong also discovered the dangerously sensitive nitrogen trichloride in 1811, losing three fingers and an eye in the process. The fact that Dulong kept the accident a secret meant that Humphry Davy's investigation of the compound had the same unfortunate consequence, although Davy's injuries were less severe. "In addition to his accomplishments in chemistry, Dulong has been hailed as an interdisciplinary expert. His contemporaries in the Royal Society of London acknowledged his 'command of almost every department of physical science'. In 1815, Dulong collaborated for the first time with Alexis Petit, in publishing a paper on heat expansion. The two would continue to collaborate, researching the specific heats of metals. In 1819, Dulong and Petit showed that the mass heat capacity of metallic elements are inversely proportional to their atomic masses, this being now known as the Dulong-Petit law. This law, though largely discredited in modern times, helped develop the periodic table and, more broadly, the examination of atomic masses" (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower left margin of the portrait. The caption states the date of his birth and the year (1823) when Dulong was elected as a member of the Institut. Uncut. With in the upper left margin a rather vague damp-stain; scattered foxing throughout, some marginal creasing, and in lower right corner a small, oval blindstamp, 'Galerie Vivienne Bénard'. Some light creasing and denting in the right margin; otherwise very good.

Paris, J. [L.] Boilly, 1820. Engraved, tinted broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French mineralogist and chemist René Just Haüy (1743-1822), commonly known as Abbé Haüy after he became a Roman Catholic priest and was made an honorary canon of Notre Dame in Paris. Due to his innovative work on crystal structure and his four-volume Traité de Minéralogie (1801), he is often, and rightfully, referred to as the 'Father of Modern Crystallography'. During the French revolution he also helped to establish the metric system, Haüy is also known for his observations on pyroelectricity (he detected pyroelectricity in calamine, an oxide of zinc, as early as 1785) and studied the polarization of light (see, e.g., Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower left margin of the portrait. The caption states the date of Haüy's birth and the year (1795) in which he was elected as a member of the Institut. Uncut. Scattered, mild foxing; some denting and creasing, mainly in the margins; left edge with two short tears, the tinted surface a bit unevenly toned; otherwise very good.

Paris, J. [L.] Boilly, 1820. Engraved, tinted broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French physicist, inventor and balloonist Jacques Alexandre César Charles (1746-1823). "Charles and the Robert brothers launched the world's first hydrogen-filled gas balloon in August 1783; then in December 1783, Charles and his co-pilot Nicolas-Louis Robert ascended to a height of about 1,800 feet (550 m) in a piloted gas balloon. Their pioneering use of hydrogen for lift led to this type of gas balloon being named a Charlière (as opposed to the hot-air Montgolfière). Charles's law, describing how gases tend to expand when heated, was formulated by Joseph Louis Gay-Lussac in 1802, but he credited it to unpublished work by Charles"(Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. This portrait shows Charles at a fairly young age. Signed by the artist in the lower right margin of the portrait and dated 1820. The caption states the date of his birth and the years when Charles was elected as a member of the Académie (1795). Uncut. Scattered light foxing; several small dents and weak creases - mostly in the right margin; otherwise very good.

Paris, J. [L.] Boilly, 1820. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French chemist Claude Louis Berthollet (1748-1822). He became vice president of the French Senate in 1804 and is known for his scientific contributions to theory of chemical equilibria via the mechanism of reverse chemical reactions, and for his contribution to modern chemical nomenclature. On a practical basis, Berthollet was the first to demonstrate the bleaching action of chlorine gas, and was first to develop a solution of sodium hypochlorite as a modern bleaching agent. Interestingly, he has a small mollusc named after him (Rissoina bertholleti, from the Red Sea), which suggests that he was interested in zoology, too. The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower left margin of the portrait and dated 1820. The caption states the date of his birth and the years when Berthollet was elected as a member of the Académie, and the Institut. Uncut. With in the lower left corner a small, oval blindstamp, 'Galerie Vivienne Bénard'. Some light creasing and denting in the right margin; otherwise very good.

Paris, J. [L.] Boilly, 1821. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French geographer, cartographer, and dean of the Faculty of Letters of the Paris University, Jean-Denis Barbié, known as Barbié du Bocage (1760-1825). Coming from a bourgeois family from Normandy, orphan of an architect and engraver father from the age of nine, he studied at the Mazarin college and worked for some time in the study of a prosecutor where he had been directed his mother who intended him for the bar, before becoming, in 1777, the only pupil of Jean-Baptiste Bourguignon d'Anville (1697-1782), the King's first geographer, member of the Académie des Inscriptions and Belles-Lettres, and the Royal Academy of Sciences. In 1786, Barbié du Bocage enriched M. d'Anville's authoritative world map with new discoveries, mainly by French expeditions. The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait. The caption states the date of Barbié's birth and the year (1806) in which he was elected as a member of the Institut. Uncut. With in the lower right corner a small, oval blindstamp, 'Galerie Vivienne Bénard'. Scattered, mild foxing; some slight abrasion to the margins; otherwise very good.

Paris, J. [L.] Boilly, 1821. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French mathematician Siméon Denis Poisson (1781-1840). Poisson '.worked on statistics, complex analysis, partial differential equations, the calculus of variations, analytical mechanics, electricity and magnetism, thermodynamics, elasticity, and fluid mechanics. Moreover, he predicted the Poisson spot in his attempt to disprove the wave theory of Augustin-Jean Fresnel, which was later confirmed. As a teacher of mathematics Poisson is said to have been extraordinarily successful, as might have been expected from his early promise as a répétiteur at the École Polytechnique. As a scientific worker, his productivity has rarely if ever been equalled. Notwithstanding his many official duties, he found time to publish more than three hundred works, several of them extensive treatises, and many of them memoirs dealing with the most abstruse branches of pure mathematics, applied mathematics, mathematical physics, and rational mechanics. (Arago attributed to him the quote, "Life is good for only two things: doing mathematics and teaching it")' (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait and dated 1821. The caption states the date of Poisson's birth and the year (1812) in which he was elected as a member of the Institut. Uncut. With in the lower right corner a small, oval blind-stamp, "Galerie Vivienne Bénard". Scattered, very mild foxing; a few weak marginal creases; otherwise very good.

Paris, J. [L.] Boilly, [1822]. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French anatomist and physiologist François Magendie (1783-1855). He was "considered a pioneer of experimental physiology. He is known for describing the foramen of Magendie. There is also a Magendie sign, a downward and inward rotation of the eye due to a lesion in the cerebellum. Magendie was a faculty at the College of France, holding the Chair of Medicine from 1830 to 1855. In 1816 he published his Précis élementaire de Physiologie which described an experiment first illustrating the concept of empty calories: 'I took a dog of three years old, fat, and in good health, and put it to feed upon sugar alone.It expired the 32nd day of the experiment.' His most important contribution to science was also his most disputed. Contemporaneous to Sir Charles Bell, Magendie conducted a number of experiments on the nervous system, in particular verifying the differentiation between sensory and motor nerves in the spinal cord, the so-called Bell-Magendie law. This led to an intense rivalry, with the British claiming that Bell published his discoveries first and that Magendie stole his experiments. The intensity of this scientific rivalry perhaps can only be compared to that between Isaac Newton and Robert Hooke. Magendie was also a notorious vivisector, shocking even many of his contemporaries with the live dissections that he performed at public lectures in physiology. Richard Martin, an Irish MP, in introducing his famous bill banning animal cruelty in the United Kingdom, described Magendie's public dissection of a greyhound, in which the beast was nailed down ear and paw, half the nerves of its face dissected then left overnight for further dissection, calling Magendie a 'disgrace to Society.' There was a belief among British physicians, even those who defended animal experimentation, that Magendie purposely subjected his experimental animals to needless torture. A Quaker once visited him, questioning him about vivisection; according to Anne Fagot-Largeault's inaugural lesson at the College of France, he responded with much patience, argumenting the reasons of animal experimentation. Besides drawing sharp criticism from contemporaries in both Britain and France, Magendie's methods were later criticized by, among others, Charles Darwin and Thomas Henry Huxley. Colin White credits to Magendie the earliest version of the phrase "Lies, damned lies, and statistics". While arguing against using blood-letting to treat fever, and confronted with statistical numbers he believed to be manufactured, Magendie stated: "Thus the alteration of the truth which is already manifesting itself in the progressive form of lying and perjury, offers us, in the superlative, the statistics." (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower left margin of the portrait. The caption states the date of his birth and the years when Magendie was elected as a member of the Académie (Medical section). Uncut. With in the lower right corner a small, oval blindstamp, 'Galerie Vivienne Bénard'. Scattered light foxing; several creases, and a short tear in the bottom margin; otherwise very good.

Paris, J. [L.] Boilly, 1820. Engraved, tinted broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French botanist Réné Louiche Desfontaines (1752-1833). "Desfontaines in 1773 went to Paris to study medicine. His interest in botany originated from lectures at the Jardin des Plantes given by Louis Guillaume Lemonnier. He excelled in his new interest and was elected to the French Academy of Sciences. He was also a member of the Académie Nationale de Médecine. Desfontaines spent two years in Tunisia and Algeria, returning with a large collection of plants. He wrote Flora Atlantica (1798-1799), which included 300 genera new to science. In addition, he worked also on ornithology, and presented the findings of his expeditions to Africa for one of the Memoires de L'Académie Royale des Sciences. Although the Mémoire corresponds to the year 1787, it was not published until 1789 by L'Imprimerie Royal as part of the Histoire de L'Académie Royale de Sciences. The convulsions of the French Revolution may have made the access to the text so scarce that in 1880 the ornithologist Alfred Newton republished the original text under the title Desfontaines's Mémoire sur quelques nouvelles espèces d'oiseaux des côtes de Barbarie on behalf of the Willughby Society of London. In 1786, he was appointed professor of botany at the Jardin des Plantes, replacing Lemonnier. He later became director of the Muséum National d'Histoire Naturelle, was one of the founders of the Institut de France, president of the Academy of Sciences, and elected to the Légion d'honneur. During the French Revolution he was appointed to the Commission Temporaire des Arts where he shaped a new vision of Natural History. Desfontaines established a herbarium, known as the Flora Atlantica, which has 1480 specimens and contains many type specimens for Mediterranean species. It was left to the City of Paris after his death. The genera Desfontainia and Fontanesia are named for this author" (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait and dated 1820. The caption states the date of his birth and the years when Desfontaines was elected as a member of the Académie (1782). Uncut. Right upper corner creased and soiled, several smaller, mostly marginal creases and dents; very small, insignificant burn mark in the figure, otherwise very good. Chevalier, A. (1939). La Vie et l'Oeuvre de René Desfontaines. Fondateur de l'herbier du Muséum. La Carrière d'un savant sous la révolution.

Paris, J. [L.] Boilly, [1822]. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French physicist and mathematician André-Marie Ampère (1775-1836). He '.was one of the founders of the science of classical electromagnetism, which he referred to as "electrodynamics". He is also the inventor of numerous applications, such as the solenoid (a term coined by him) and the electrical telegraph. As an autodidact, Ampère was a member of the French Academy of Sciences and professor at the École Polytechnique and the Collège de France. The SI unit of measurement of electric current, the ampere, is named after him' (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait. The caption states the date of Ampère's birth and the year (1814) in which he was elected as a member of the Institut. Uncut. With in the lower right corner a small, oval blind-stamp, 'Galerie Vivienne Bénard'. Scattered, minimal, very mild foxing; a few weak marginal creases; the edges a bit toned, frayed, and chipped; otherwise very good.

Paris, J. [L.] Boilly, 1821. Engraved, tinted broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French zoologist (principally entomologist) Pierre André Latreille (1762- 1833). "Having trained as a Roman Catholic priest before the French Revolution, Latreille was imprisoned, and only regained his freedom after recognising a rare beetle species he found in the prison, Necrobia ruficollis. He published his first important work in 1796 (Précis des caractères génériques des insectes), and was eventually employed by the Muséum National d'Histoire Naturelle. His foresighted work on arthropod systematics and taxonomy gained him respect and accolades, including being asked to write the volume on arthropods for George Cuvier's monumental work, Le Règne Animal, the only part not by Cuvier himself. Latreille was considered the foremost entomologist of his time, and was described by one of his pupils as 'the prince of entomologists'. Although Latreille named many species, his primary interest was in describing genera. He introduced the concept of the "type species", a species to which the name of a genus is firmly attached. Similarly, he favoured the method of naming families after one of the constituent genera, rather than some defining feature of the group, implicitly designating a type genus for the family" (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower right margin of the portrait and dated 1821. The caption states the date of Latreille's birth and the year (1814) when he was elected as a member of the Institut. Uncut. Creasing to the top right corner; scattered, mostly marginal foxing, two short tears in left margin; otherwise very good.

Paris, J. [L.] Boilly, 1822. Engraved broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the French polymath (chiefly physicist, astronomer, and mathematician) Pierre-Simon, Marquis de Laplace). His works were ".important to the development of engineering, mathematics, statistics, physics, astronomy, and philosophy. He summarized and extended the work of his predecessors in his five-volume Mécanique céleste (Celestial Mechanics). This work translated the geometric study of classical mechanics to one based on calculus, opening up a broader range of problems. In statistics, the Bayesian interpretation of probability was developed mainly by Laplace. Laplace formulated Laplace's equation, and pioneered the Laplace transform which appears in many branches of mathematical physics, a field that he took a leading role in forming. The Laplacian differential operator, widely used in mathematics, is also named after him. He restated and developed the nebular hypothesis of the origin of the Solar System and was one of the first scientists to suggest an idea similar to that of a black hole. Laplace is regarded as one of the greatest scientists of all time. Sometimes referred to as the French Newton or Newton of France, he has been described as possessing a phenomenal natural mathematical faculty superior to that of almost all of his contemporaries" (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait and dated 1822. The caption states the date of La Place's birth and the years in which he was elected as a member of the Académie and the Institut. Uncut. With in the lower right corner a small, oval blindstamp, "Galerie Vivienne Bénard". Scattered, very mild foxing; a few weak marginal creases; otherwise very good.

Paris, J. [L.] Boilly, 1821. Engraved, tinted broadsheet (36.3 x 27.3 cm). = A rarely-seen portrait of the great French naturalist Jean Baptiste Pierre Antoine de Monet (or Demonet) de Lamarck (1744-1829). "Often known simply as Lamarck, he was an early proponent of the idea that biological evolution occurred and proceeded in accordance with natural laws. Lamarck developed a particular interest in botany, and later, after he published the three-volume work Flore françoise (1778), he gained membership of the French Academy of Sciences in 1779. Lamarck became involved in the Jardin des Plantes and was appointed to the Chair of Botany in 1788. When the French National Assembly founded the Muséum National d'Histoire Naturelle in 1793, he became a professor of zoology. Lamarck began as an essentialist who believed species were unchanging; however, after working on the molluscs of the Paris Basin, he grew convinced that transmutation or change in the nature of a species occurred over time. He set out to develop an explanation, and on 11 May 1800, he presented a lecture at the Muséum national d'histoire naturelle in which he first outlined his newly developing ideas about evolution. In 1801, he published Système des animaux sans vertèbres, a major work on the classification of invertebrates, a term which allegedly he coined. In an 1802 publication, he became one of the first to use the term "biology" in its modern sense. Lamarck continued his work as a premier authority on invertebrate zoology. He is remembered, at least in malacology, as a taxonomist of considerable stature. The modern era generally remembers Lamarck for a theory of inheritance of acquired characteristics, called Lamarckism (inaccurately named after him), soft inheritance, or use/disuse theory, which he described in his 1809 Philosophie zoologique." (Wikipedia). The artist, Julien-Léopold Boilly (1796-1874) was noted for his album of lithographs, Iconographie de l'Institut royal de France ou collection des portraits des Membres composant les quatre académies depuis 1814 jusqu'en 1825 (1820-1825). His portraits are much less stiff and formal than many by his contemporaries. Signed by the artist in the lower margin of the portrait and dated 1821. The caption states the date of Lamarck's birth and the years (1779 and 1795) when he was elected as a member of the Académie and of the Institut. Uncut. Scattered, mostly mild, marginal foxing, some light creasing; otherwise very good.

Condition: 0. Boilly schuf zwischen 1823 und 1828 die Serie 'Les Grimaces', die alte Menschen mit grotesken Gesichtszügen zeigt, hier fünf Herren beim kritischen Beäugen von Münzen und Schmuckstücken.- Im unteren Rand beschnitten, es fehlen der Titel und die Signatur (im Stein) des Lithographen.- Caricature - Professions - Les Antiquaires. Colored lithograph after Louis Leopold Boilly. Circa 1825. signed in the stone. 23.5 x 21.5 cm. Boilly created the series 'Les Grimaces' between 1823 and 1828, which shows old people with grotesque facial features, here five gentlemen critically examining coins and jewelry - Trimmed in the lower margin, missing the title and the signature (in the stone) of the lithographer. Sprache: Deutsch Gewicht in Gramm: 500.

Illustration. Kolorierte Lithographie, um 1820. Von François Séraphin Delpech, Louis-Léopold Boilly. 36,3 x 24,7 cm (Darstellung / Blatt) / 49,8 x 32,5 cm. - Unterhalb der Darstellung mittig betitelt. Vom Künstler auf der Platte links unten signiert. Sowie mit der Angabe unten rechts "I. lith. de Delpéch". - In der für Boilly typischen Manier zeigt die Darstellung eine junge Mutter mit ihren beiden Töchter, die Jüngere von beiden trägt sie auf ihrem Arm, während die Ältere mit ihr spielen möchte. - Blatt in einem Kartonpassepartout montiert. Leicht gebräunt und lichtrandig. Im Randbereich geringfügig angeschmutzt. Insgesamt gut erhaltenes Blatt. - - (1778 Paris - 1825 Paris). Französischer Kunstkritiker, Zeichner und Lithograph. Besonders bekannt geworden für seine Porträts aus der Zeit der Französischen Revolution und des Premier Empire. Besaß die zu seiner Zeit berühmteste Imprimerie in Paris, in der er sowohl eigene Werke als auch nach Vorlagen anderer Künstler lithographierte.

Karikatur. Kolorierte Lithographie, 1824. Von François Séraphin Delpech, Louis-Léopold Boilly. 36,7 x 26,1 cm (Darstellung / Blatt). - Unterhalb der Darstellung mittig betitelt sowie mit der Nummer "49" darunter beziffert. Vom Künstler auf der Platte rechts unten signiert udn datiert. Sowie mit der Angabe unten links "I. lith. de Delpéch". - In der für Boilly typischen Manier zeigt die Darstellung einen Friseur und sein Modell wie sie sich mit dem Wickeln der Locken abmühen. - Blatt lichtrandig und minimal gebräunt. Dunkler Fleck links unten. Fehlstelle im Papier unten rechts. Insgesamt gut erhaltenes Blatt. - - (1778 Paris - 1825 Paris). Französischer Kunstkritiker, Zeichner und Lithograph. Besonders bekannt geworden für seine Porträts aus der Zeit der Französischen Revolution und des Premier Empire. Besaß die zu seiner Zeit berühmteste Imprimerie in Paris, in der er sowohl eigene Werke als auch nach Vorlagen anderer Künstler lithographierte.

Karikatur. Kolorierte Lithographie, 1824. Von François Séraphin Delpech, Louis-Léopold Boilly. 36,5 x 27,0 cm (Darstellung / Blatt) / 49,9 x 32,6 cm. - Unterhalb der Darstellung mittig betitelt. Vom Künstler auf der Platte rechts unten signiert und datiert. Sowie mit der Angabe unten links "I. lith. de Delpech." - In der für Boilly typischen Manier sind auf dem Blatt drei Kinder, die einem vierten, schlafendem Mädchen einen Schnurrbart aufmalen. - Blatt in einem Kartonpassepartout montiert. Blatt leichtlichtrandig und fleckig. Ränder unbeschnitten. Insgesamt gut erhaltenes Blatt. - - (1778 Paris - 1825 Paris). Französischer Kunstkritiker, Zeichner und Lithograph. Besonders bekannt geworden für seine Porträts aus der Zeit der Französischen Revolution und des Premier Empire. Besaß die zu seiner Zeit berühmteste Imprimerie in Paris, in der er sowohl eigene Werke als auch nach Vorlagen anderer Künstler lithographierte.

Historische Künstlergraphik. Lithografie, um 1830. Von Louis-Léopold Boilly. 21,0 x 18,0 cm (Darstellung ) / 36,0 x 25,5 cm (Blatt). - Unterhalb der Darstellung betitelt "Le baume d' acier". Im Stein signiert "L. Boilly". - Klassische Karikatur von Boilly, in der für den Künstler typischen Bildkomposition. Gesuchtes Sujet im dezentem Kolorit. Beigegeben eine Expertise des Hofladen Antiquariates Ganseforth Düsseldorf. - Rechts unten ausserhalb des Steins ein Wasserfleck. Etwas knitterspurig. Insgesamt ordentlich erhaltenes Blatt. -.