REPTON, HUMPHREY (16 résultats)

Soft cover. Etat : Fine. UK trade paperback reprint, 2012 Forgotten Books. The book is in fine condition with no creasing to the spine or covers. Illustrated.

Hardcover. Etat : Fair. No Jacket. 1st Edition. Hardbound, no dust jacket. 1st edition. Boards show wear & bumping. Inner front hinge slightly cracked, but holding. Offsetting from publishers. Glue to end papers. Paper paste on title on spine, otherwise very good.

Ex-library, 7" x 9", original edition; covers are good to good+(wear to corner tips, spine label soiled and overall wear; pockets and slips roughly removed) closed text side shows signs of being opened; text is good to good+; stamps are in page margins - overall light wear and use; text and illustrations are clear; XXIII, 252 pgs, with XXII plates of which plates 42 and 46 are missing; 28 diagrams within the text; some overlays illustrating before and after; 1lb 12 oz. Book.

Hardcover. Etat : Good. green gold cloth facsimile, no markings, some light surface wear, not a print on demand.

Hardcover. Etat : Very Good. Plates, Illustrations In Text (illustrateur). Xii, 252 Pp. Brown Cloth Spine With Paper Label; Boards. First Printing, 1907 Of This High Quality Reprint, Probably The First American Edition. Light Usage, Slight Damp Staining To Spine Label, Former Owners' Names Dated 1914 And 1952.

Paper Over Boards/Cloth Spine. Etat : Very Good +. No Jacket. Spine ends, corners and spine paste down label show swear, but very ledgeable. Two front corners are lightly bumped. Nane and date in ink on front end paper. Paper has toned slightly. Contents are tight and clean. 252 pages. Books are normally mailed within 24 hours.

Hardcover. Etat : Very Good. Etat de la jaquette : Fair. 1st Edition. The book is in very good condition, some very mild shelfwear; wrapper is unevenly faded with some shelfwear and a 15mm closed tear to top edge.

REPTON, Humphrey. Observations on the Theory and Practice of Landscape Gardening. [Oxford: Phaidon Press Limited, 1980]. 4to. Facsimile of the 1802 ed. [10],222,[2]pp. Portrait frontis., illus., plates. Orig. period-style speckled calf-backed cloth, gilt-ruled raised spine bands, brown morocco spine label, marbled boards, T.e.g., housed in cloth slipcase. Fine. Tooley 399. One of 443 numbered copies. Repton was the successor to "Capability" Brown as the architect of the grounds and gardens of the late 18th century British gentry. He was known for his making watercolor drawings of his proposals of the grounds he proposed to improve for his clients.

Limited edition of 445 copies. This is copy #401 of an edition of 445. Quarto (10 7/8" x 13 3/8"), bound in quarter mottled calf and brown cloth. Slipcase in brown cloth over boards. Top edge gilt. Raised bands with a gilt device in each panel. Dark brown leather title label. 222pp. with frontispiece portrait and 38 plates, including a map and plans. Many plates in color with tissue guards. Folding view in color. Some mechanical. This is a facsimile reprint of the 1803 edition by Britain's first professional landscape gardener. Very good. some faint spots on the slipcase.

London: Baselisk Press, 1976. Folio and oblong 8vo.; 4 vols.; attractively bound in quarter red morocco gilt over marbled boards, housed in original cloth box; a limited and numbered edition of 515 sets, a fine set. A sumptuous facsimile edition comprising the first published edition of the surviving Red Books; Anthony House, Cornwall; Attingham Park, Shropshire and Sheringham Hall, Norfolk, with an explanatory volume by Edward Malins containing recent photographs by Eric de Mare. Repton's drawings are meticulously reproduced in collotype and printed on wove paper to imitate, as closely as possible, the original Whatman stock.

Hardcover. Etat : Good. No date on title page but leaves watermarked "1808 (?) Whatman, Turkey Mill". Folio, approximately 480 x 340 mm, 19 x 13 inches, slightly trimmed. Pages: [iv], x, 1-41. Illustrations: all plates dated 1808, sepia frontispiece of the WEST FRONT OF THE PAVILION, indicating a first issue, reprints were coloured (see Abbey page 40); full page coloured plate of FLORA CHERISHING WINTER; full page coloured plate of a GENERAL GROUND PLAN; half page coloured plate showing VIEW OF THE STABLE FRONT WITH MOVABLE FLAP; uncoloured vignette of Residence overlooking river; full page coloured plate VIEW OF THE DOME WITH MOVABLE FLAP; uncoloured vignette headpiece Principles of Pressure; uncoloured vignette tailpiece Colonnade; uncoloured vignette tailpiece Buttress; uncoloured vignette tailpiece Rocky Island; uncoloured vignette tailpiece Specimens of Columns; sepia vignette of Dining Room; uncoloured vignette tailpiece Indian architecture details; vignette coloured plate of DINING ROOM; coloured double page folding plate THE GENERAL VIEW FROM THE PAVILION with 2 movable flaps; full page coloured plate DESIGN FOR AN ORANGERIE with 2 movable flaps; full page coloured plate THE PHEASANTRY; coloured vignette tailpiece View from the proposed private apartment; full page coloured plate WEST FRONT OF THE PAVILION TOWARDS GARDEN with movable flap; coloured long folding plate NORTH FRONT TOWARDS THE PARADE with movable flap. Rebound in modern half green morocco, gilt lettering and decoration to spine, green matching cloth boards with dividing gilt decoration, new thick white endpapers. LACKS 1 FLAP FROM LAST LONG PLATE, many small repairs to margins of plates, small repair to blank side of outer edge of frontispiece, general plan has loss of text on outer margin due to trimming, not affecting image, small repair to blank side of view of stable strengthening the the flap joint, 3 repairs to blank side of flap of view of the Dome, not affecting image, small repairs to the margins of General View, just slightly affecting image, flap hinges repaired to the Orangerie and Private Apartment, several repairs to blank side of long folding plate, 1 page of text and the plate showing the Dome have a brown spot in lower margin not affecting image, 1 plate has small pale stain to sky, the large folding plate has some foxing in the sky, some creasing to part of top margin, the plates with flaps soiled in the margins, occasional small closed tears repaired, old ink name to top of title page, slight pale offset from several plates to text, a little dusty in places plus a few other minor faults. A good copy only, priced to reflect condition. See: R. V Tooley, English Books with Colour Plates 1790-1860, page 318, our copy has all the plates called for in Tooley but placed in a different order; J. R. Abbey, Scenery of Great Britain and Ireland in Aquatint and Lithography 1770-1860, page 40, No, 55 & 57. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

Hardcover. Etat : Very Good. SPEED John 1551/2-162 (illustrateur). 1st Edition. Complete, 20 wonderful illustrations. First Edition, 1808 In half long grain morocco over grey/blue speckled boards, retaining part of the original printed paper label to upper board, gilt title to spine. Internally, title, [4], [1], (ii-x), frontis, [1], 2-41 pp, with a total of 20 aquatint plates & vignettes (including coloured plan, 9 hand coloured, 6 with overslips, 1 with overpage, 1 double page, 1 folding, 2 * sepia washe), all by JC Stadler after Repton, small tear to folding plate, slight creasing to edges of some overslips, light water stain to 1 leaf, other minor, mostly marginal soiling, plates & text leaves watermarked J Whatman 1807, plates dated 1808, book label to fpd (EP John WEstby). Housed in a modern quarter calf over green cloth slipcase. (540*369 mm). (Abbey Scenery 57; Tooley 397. Prideaux 349). Repton's proposal for the pavilion in the Indian style of architecture, originally published in 1808, was not built due to the Prince Regent's financial difficulties at the time, but his ideas were taken up by John Nash who designed the building we know today in 1815.

REPTON, Humphrey (1752-1818) - John Adey (1775-1860) and George Stanley (d.1858). Designs for the Pavilion at Brighton. London: T.Bensley for J.C.Stadler, to be sold by Boydell and Co. and others, 1808 [watermarked 1807]. Folio (20 6/8 x 14 inches). Letterpress title-page and dedication leaf, Prefatory Observations. 20 SUPERB engraved and or aquatint plates of views of the Pavillion and grounds: full-page allegorical uncoloured aquatint, engraved "General Ground Plan" with original hand-colour, one magnificent double-page aquatint and another double-page and folding both with overlips and original hand-colour, full-page aquatint with full overpage with original hand-colour, 2 full-page aquatints with overslips with original hand-colour, full-page aquatint with original hand-colour, full-page aquatint with sepia wash, 2 aquatint vignettes with overslip with original hand-colour, one without overslip, one with sepia wash, and 7 uncoloured, all by Stadler after Repton. Modern half brown limp morocco, cloth, with the contemporary ochre cloth front cover with morocco lettering-piece bound in at the beginning (a bit scuffed). Provenance: With the leather library label of William Foyle (1885-1963), bookseller, on the front paste-down, his sale, Christie's, 13th July 2000, lot 874. First edition, and early issue with watermarks dated 1807, of this extraordinary work illustrating Repton's unused plans for one of Britain's most iconic buildings. "Repton's shift in scaling dramatizes the visual consequences of his plans. In the before flap on tip, the Brighton pavilion appears hidden, isolated, distant--impressions intensified by the tiny person and by the over-writing on the shadowy building. When the flap is raised to reveal the proposed redesign, the space between us and the pavilion has now become intimate and comfortable, filled with well dressed visitors. Repton overreached in several other before/after comparisons, exaggerating the impact of his proposed improvements. In the plan at left, the design of the flap, the pole-people, and the integrated text are all ingenious and delightful--but the integrity of the work is compromised by persistent visual cheating" (Tufte, Visual Explanations, p.17). Repton was deeply flattered by "his most promising commission of all, to refashion the Royal Pavilion at Brighton for the prince of Wales. From the outset of his career Repton had sought royal patronage. When Thomas Sandby died in 1798 he tried unsuccessfully to secure, through his aristocratic contacts, the position of deputy rangership of Windsor Great Park, which Sandby had used to pursue landscaping and architecture. Repton worked on the commission for Brighton Pavilion with three of his sons, John Adey, George Stanley, and Humphry the younger. They chose an Indian style, explicitly modelled on the illustrations in volume 1 of William Daniell's Oriental Scenery (1805), and prepared a sumptuous red book. Repton was again disappointed. His design was not implemented, nor was he paid for his work; moreover, John Nash prepared another design loosely based on Repton's which was eventually built. Repton tried to salvage something from the commission by publishing Designs for the Pavillon [as here] at Brighton (1808)" (Stephen Daniels for DNB). Brighton Pavilion was a departure from Repton's usual restraint, in many ways, and he expected criticism for it, pre-empting the charges in his own "Prefatory Observations" Repton quotes himself from his "An Enquiry into the Changes of Taste in landscape Gardening and Architecture", 1806: ".we are on the eve of some great change in Landscape Gardening and Architecture, in consequence of our having lately become better acquainted with Scenery and Buildings in the interior provinces of India" (page 41), and goes on to elaborate in the current work: "As many parts of this volume may appear to recommend a degree of novelty, to which I have frequently objected in former publications, it will perhaps subject.

First Edition. First Edition. 16, 222, [2]pp. Stipple-engraved portrait of the author by W. Holl after S. Shelley and 27 engraved or aquatint plates (including 12 hand-coloured, 12 with overslips, 1 folding, 1 double-page), numerous engraved, wood-engraved or aquatint vignettes and illustrations (including 2 with overslips). 1 vols. 4to (14 x 11-3/8 inches). Rejecting the formalism of his predecessor Lancelot Brown, Repton adopted a more natural and varied style of ornamentation which has been described as combining "artistical knowledge.with good taste and good sense." Compiled chiefly from the his Red Books -- bespoke manuscript productions produced for each client with watercolor drawings of the ground with his proposed altertations as overalys -- and illustrated with facsimiles of his original sketches, Repton's Observations is important as a record of his work and his views as a landscape gardener. No man did more to change the shape of the English countryside. Abbey Scenery 390; Tooley, p. 209; Henrey I, p. 546. . Provenance: William Browne, Tallentire Hall, Cumberland Antique-style speckled polished calf, flat spine gilt, black morocco lettering piece, original marbled endpapers. Minor foxing to the portrait, minor offsetting as usual to the plates 16, 222, [2]pp. Stipple-engraved portrait of the author by W. Holl after S. Shelley and 27 engraved or aquatint plates (including 12 hand-coloured, 12 with overslips, 1 folding, 1 double-page), numerous engraved, wood-engraved or aquatint vignettes and illustrations (including 2 with overslips). 1 vols. 4to (14 x 11-3/8 inches).

First edition. First edition. 16, 222, [2]pp. Stipple-engraved portrait of the author by W. Holl after S. Shelley and 27 engraved or aquatint plates (including 12 hand-coloured, 12 with overslips, 1 folding, 1 double-page), numerous engraved, wood-engraved or aquatint vignettes and illustrations (including 2 with overslips). Uncut. 1 vols. 4to (14 x 11-3/8 inches). Extraordinary Copy in Original Boards. Rejecting the formalism of his predecessor Lancelot Brown, Repton adopted a more natural and varied style of ornamentation which has been described as combining "artistical knowledge.with good taste and good sense." Compiled chiefly from the his Red Books -- bespoke manuscript productions produced for each client with watercolor drawings of the ground with his proposed altertations as overalys -- and illustrated with facsimiles of his original sketches, Repton's Observations is important as a record of his work and his views as a landscape gardener. No man did more to change the shape of the English countryside. Extraordinarily rare in the original boards. Abbey Scenery 390; Tooley, p. 209; Henrey I, p. 546 Original pink paper boards, upper board lettered and with a wide Greek key border, expertly rebacked and retipped to style. Repair at fore-edge of the frontispiece portrait 16, 222, [2]pp. Stipple-engraved portrait of the author by W. Holl after S. Shelley and 27 engraved or aquatint plates (including 12 hand-coloured, 12 with overslips, 1 folding, 1 double-page), numerous engraved, wood-engraved or aquatint vignettes and illustrations (including 2 with overslips). Uncut. 1 vols. 4to (14 x 11-3/8 inches).

Hardcover. Etat : Very Good. REPTON H. (illustrateur). 1st Edition. An exceptional & complete copy, of the Rarest of Repton's Landscape books. This copy enhanced by the inclusion of the original pen & brush drawing, signed lower right "H. Repton" within the original wash border, of plate VIII showing "the effect of cutting down some chestnut trees in the avenue at Langley [Langley Park, Kent). [1794]. Oblong, in rebacked quarter paper spine over contemporary blue marbled boards, extremities worn. Internally, additional, signed, original drawing to fpd, half title, [5], (vi-xvi), [1], 2-83 pp, [1], [2] plate list, 16 fine aquatint plates (10 hand coloured and with overslips, including 4 double-page & six uncoloured, all but 2 with overslips), 2 woodcut illustrations in text and 1 printers tailpiece, 1 plate with marginal tear, some foxing, light browning to edges, edges uncut, text leaves watermarked J Whatman. Housed in a custom made 20c half calf over brown cloth, silk lined, clamshell box. (380*285 mm). (Abbey Scenery 388; Tooley 400). Only 250 copies were printed & Repton refused to issue a second edition although some of the chapters were re-used in 'Observations and Fragments'. Repton was the first person to use the term 'Landscape Gardening', explaining in the introduction to this highly important and influential work that /the art can only be advanced and perfected by the united powers of the landscape painter and the practical gardener'.