John gendall (14 résultats)

Loose Leaf. Etat : New. Reproduction. Original title: Paris, Le Pont-au-Change German: Paris, Le Pont-au-Change French: Paris, Le Pont-au-Changement Spanish: París, Le Pont-au-Change High-quality fine-art reproduction based on an original work from the Artic. Creation period: 19th century (n.d.). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No. …

Loose Leaf. Etat : New. Reproduction. Original title: Mausoleum, at Trentham (the Seat of the Marquis of Stratford) German: Mausoleum, in Trentham (der Sitz des Marquis von Stratford) French: Mausolée, à Trentham (le siège du marquis de Stratford) Spanish: Mausoleo, en Trentham (el asiento del marqués de Stratford) High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 19th century (1824). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.…

Etat : good. Has a sturdy binding with some shelf wear. May have some markings or highlighting. Used copies may not include access codes or Cd's. Slight bending may be present.

Etat : NEW.

hardcover. Etat : Fine. New and shrinkwrapped, however there is a small bump to top corner Shipped from the UK within 2 business days of order being placed.

Etat : New. New- Great shape. hardcover New 2022.

Etat : Neuf.

Hardcover. Etat : Brand New. 223 pages. 10.25x8.25x1.00 inches. In Stock.

Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. 1st Edition. [1st edition, 1st printing] ; viii, 112 p. plates (part in color) map (on lining paper) 22 cm. ; LCCN: 47-8157 ; OCLC: 2021904 ; LC: DA890.E3; Dewey: 941.445 ; light blue cloth with black lettering, in color pictorial dustjacket ; Contents: The Castle -- Holyrood -- The mediaeval city -- Old Town -- Old Town and Canongate -- New Town and Augustan Age -- Modern times. ; clipped corner, front endpaper ; name on flyleaf ; remainds of label on front cover dustjacket . Book.…

Hand-coloured aquatint. Very good condition apart from some light soiling and a skillfully repaired 5/8" tear in the top margin. Top margin trimmed to within platemark. A scenic view of Scotland's capital, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The city continued to prosper during the Enlightenment, although its Parliament ceased to exist when the Act of Union was instituted in 1707. During this period, Edinburgh underwent a significant architectural expansion, and the beautiful Georgian buildings, which characterize the city, were erected. Situated west of the city centre, Craigleith was Edinburgh's chief quarry, which supplied the sandstone used in the construction of Edinburgh's buildings in the 18th and 19th centuries. Born in Devon, John Gendall moved to London in 1811 at the behest of Sir John Soane, who introduced him to the prolific print-publisher and bookseller Rudolph Ackermann. He worked for Ackermann for several years, conducting various experiments in the art of lithography and contributing numerous illustrations to the firm's various publications and topographical series. A number of his sketches and watercolour drawings were engraved and published as aquatints by the draughtsman Thomas Sutherland. Gendall continued to paint landscapes (mostly of Devonshire) after leaving Ackermann's employment, and he regularly exhibited his works at the Royal Academy until 1863. Cf. Benezit, Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 13, p. 375; cf. Dictionary of National Biography.…

Hand-coloured aquatint. Very good condition apart from a skillfully repaired 3/4" tear in the right margin, a few tiny pinholes at the corners of the sheet, and some light soiling in the margins. Trimmed to within platemark on all sides. A scenic view of Scotland's capital as seen from the city's main thoroughfare, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The city continued to prosper during the Enlightenment, although its Parliament ceased to exist when the Act of Union was instituted in 1707. During this period, Edinburgh underwent a significant architectural expansion, and the beautiful Georgian buildings, which characterize the city, were erected. Born in Devon, John Gendall moved to London in 1811 at the behest of Sir John Soane, who introduced him to the prolific print-publisher and bookseller Rudolph Ackermann. He worked for Ackermann for several years, conducting various experiments in the art of lithography and contributing numerous illustrations to the firm's various publications and topographical series. A number of his sketches and watercolour drawings were engraved and published as aquatints by the draughtsman Thomas Sutherland. Gendall continued to paint landscapes (mostly of Devonshire) after leaving Ackermann's employment, and he regularly exhibited his works at the Royal Academy until 1863. Cf. Benezit, Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 13, p. 375; cf. Dictionary of National Biography.…

Hand-coloured aquatint. Very good condition apart from some minor foxing at the top of the image, a bit of light soiling and mild matburn in the margins. Trimmed to within platemark on all sides. A scenic view of Scotland's capital as seen from one of the city's main hills, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The city continued to prosper during the Enlightenment, although its Parliament ceased to exist when the Act of Union was instituted in 1707. During this period, Edinburgh underwent a significant architectural expansion, and the beautiful Georgian buildings, which characterize the city, were erected. Born in Devon, John Gendall moved to London in 1811 at the behest of Sir John Soane, who introduced him to the prolific print-publisher and bookseller Rudolph Ackermann. He worked for Ackermann for several years, conducting various experiments in the art of lithography and contributing numerous illustrations to the firm's various publications and topographical series. A number of his sketches and watercolour drawings were engraved and published as aquatints by the draughtsman Thomas Sutherland. Gendall continued to paint landscapes (mostly of Devonshire) after leaving Ackermann's employment, and he regularly exhibited his works at the Royal Academy until 1863. Cf. Benezit, Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 13, p. 375; cf. Dictionary of National Biography.…

Hand-coloured aquatint. Very good condition apart from some overall light soiling, minor foxing, and mild matburn in the margins. A skillfully repaired 3/4" tear in the top left corner. Trimmed to within platemark on all sides. A scenic view of Scotland's capital, from a set of four prints of Edinburgh. The ancient city of Edinburgh on the east coast of Scotland has a long and eventful history that dates back to the Bronze Age. Perched on top of an elevated volcanic rock, its impressive castle is the city's focal point and was built by King Malcolm III Canmore in the eleventh century. By the late sixteenth century, Edinburgh was a thriving city and was established as the capital Scotland and the chief site of the royal court. Although no longer the royal seat when James VI of Scotland ascended to the English throne in 1603, effectively uniting the crowns of Scotland and England, it retained its own Parliament for many years. The city continued to prosper during the Enlightenment, although its Parliament ceased to exist when the Act of Union was instituted in 1707. During this period, Edinburgh underwent a significant architectural expansion, and the beautiful Georgian buildings, which characterize the city, were erected. Born in Devon, John Gendall moved to London in 1811 at the behest of Sir John Soane, who introduced him to the prolific print-publisher and bookseller Rudolph Ackermann. He worked for Ackermann for several years, conducting various experiments in the art of lithography and contributing numerous illustrations to the firm's various publications and topographical series. A number of his sketches and watercolour drawings were engraved and published as aquatints by the draughtsman Thomas Sutherland. Gendall continued to paint landscapes (mostly of Devonshire) after leaving Ackermann's employment, and he regularly exhibited his works at the Royal Academy until 1863. Cf. Benezit, Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 13, p. 375; cf. Dictionary of National Biography.…

Half Calf. Etat : Very Good. First edition. Scarce, with only two copies listed on OCLC First Search, at Toronto and New South Wales. 8vo. 24 by 14.5 cm. viii, 136, vi, 136 pp. With 146 hand-colored aquatint plates after Westall, Gendall, Shepherd, Stockdale, others. The plates are lovely, both for the beautiful palatial buildings depicted and the execution of the prints -- the fineness of the artwork, and quality of the hand-coloring. Tooley 13. This is a very extensive documentation of the stately homes of England -- besides the justifiably famous mansions such as Woburn Abbey, Belvoir Castle, and Knole are scores of lesser known yet still immensely grand and gracious residences, all painted to great advantage, in uncompromised halcyon settings. Contemporary half calf, marbled boards, marbled endpapers, marbled painting on the fore-edges. Joints starting. Upper spine extremities restored professionally, but still slight loss of gilt decoration on Vol. 1. Some flattened dog-earing of the leaves. Plates generally clean and bright. Light to moderate offsetting of the plates.…