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Edité par Paris, Daumont/Basset ca. 1780., 1780
Vendeur : Antiquariat Steffen Völkel GmbH, Seubersdorf, Allemagne
Art / Affiche / Gravure
Original altkolorierter Kupferstich von ca. 1780. -- Blatt-Maße: ca. 49 x 33 cm. -- im Außenrand teils leicht fleckig, mit kleinem Randeinriss, sonst gut erhalten. || Original old colored engraving from c. 1780. -- partly slightly stained on the outer margin, with minor marginal tear, otherwise in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! - No copy! - No reprint! Sprache: Französisch Gewicht in Gramm: 1550.
Edité par Paris, Basset ca. 1780., 1780
Vendeur : Antiquariat Steffen Völkel GmbH, Seubersdorf, Allemagne
Art / Affiche / Gravure
Original altkolorierter Kupferstich von ca. 1780. -- Blatt-Maße: ca. 31,5 x 41 cm. -- gut erhalten. || Original old colored engraving from c. 1780. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! - No copy! - No reprint! Sprache: Französisch Gewicht in Gramm: 20.
Edité par Paris, Huquie fils ca. 1780., 1780
Vendeur : Antiquariat Steffen Völkel GmbH, Seubersdorf, Allemagne
Art / Affiche / Gravure
Original altkolorierter Kupferstich von ca. 1780. -- Blatt-Maße: ca. 34 x 50 cm. -- gut erhalten. || Original old colored engraving from c. 1780. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! - No copy! - No reprint! Sprache: Französisch Gewicht in Gramm: 20.
Vendeur : Librairie de l'Amateur, Strasbourg, France
Membre d'association : ILAB
S.l., s.e., s.d. (vers 1750) ; 36,5 x 48,5 cm, 1 feuillet, petites déchirures dans les marges partiellement empoussiérées, une trace de pliure au coin supérieur droit. Vue d'optique, eau-forte rehaussée à l'aquarelle. En bas à gauche : "XX N° 2" ; titre manuscrit en miroir dans la marge supérieure : Vue de Bellin. Coloris d'époque, Bon état général hormis les petits défauts signalés. 1750.
Edité par Paris, Daumont/Basset ca. 1780., 1780
Vendeur : Antiquariat Steffen Völkel GmbH, Seubersdorf, Allemagne
Art / Affiche / Gravure
Original altkolorierter Kupferstich von ca. 1780. -- Blatt-Maße: ca. 44 x 31 cm. -- gut erhalten. || Original old colored engraving from c. 1780. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! - No copy! - No reprint! Sprache: Französisch Gewicht in Gramm: 1550.
Edité par Paris, Daumont/Basset ca. 1780., 1780
Vendeur : Antiquariat Steffen Völkel GmbH, Seubersdorf, Allemagne
Art / Affiche / Gravure
Original altkolorierter Kupferstich von ca. 1780. -- Blatt-Maße: ca. 44 x 30 cm. -- gut erhalten. || Original old colored engraving from c. 1780. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! - No copy! - No reprint! Sprache: Französisch Gewicht in Gramm: 1550.
Edité par A Paris , chez Basset le jeune rue S. Jaques au coin de la R. des Mathurins à Ste. Genevieve, XVIIIe siècle,
Vendeur : Librairie Historique F. Teissèdre, PARIS, France
Membre d'association : ILAB
28 x 43 cm (feuille), Frottée. Petit manque à la feuille dans le coin inférieur gauche n'atteignant pas la composition. Gravure rehaussée en couleurs figurant entre réalité et imaginaire, les jardins de plaisance de l'Axarienne à Saint Pétersbourg en Russie. Titre en miroir, numérotée 44. Dans la seconde moitié du XVIIIème siècle, quatre centres principaux se partagent l?impression des vues d?optique : Paris, Londres,Bassano et Augsbourg. Notre épreuve a été produite à Ausbourg au regard du lieu d'activité de Georg Balthasar Probst. Cet imprimeur édite certaines vues d'optique avec un titre traduit en français, anglais, italien et allemand dans l'espoir de vendre ses productions dans plusieurs pays. En effet, la vue d?optique fait dès le XVIIIème siècle l?objet d?un marché dans toute l?Europe. On voit ainsi des imprimeurs et marchands d?estampes collaborer en vue d?une commercialisation partagée. Pouvant être observée à travers une lunette convexe, les vues d'optiques permettaient aux amateurs de voyage et du Grand Tour d'obtenir une image en trois dimensions de l'image figurée. Par l?entremise des Hollandais, le spectacle d?optique s?exporte en Chine et au Japon, où l?on commence également à produire des vues. Au Japon, on évoque la boîte d?optique comme la « boîte hollandaise » et la vue d?optique comme une « image flottante ».
Vendeur : Librairie de l'Amateur, Strasbourg, France
Membre d'association : ILAB
Paris, Chez Basset, s.d. (vers 1775) ; 31,3 x 42,7 cm, 1 feuillet, petite brunissure dans la marge inférieure, sans atteinte au texte ou à l'image. Vue d'optique, eau-forte rehaussée à l'aquarelle. En haut à droite: "N.° 162". Titre en miroir dans la marge supérieure : "Vue de la place Dauphine de Paris". Coloris d'époque, bel état. 1775.
Vendeur : Librairie de l'Amateur, Strasbourg, France
Membre d'association : ILAB
S.l., s.e., s.d. (vers 1750) ; 35,7 x 50 cm, 1 feuillet, minimes déchirures dans les marges, sans atteinte au texte ou à l'image. Vue d'optique, eau-forte rehaussée à l'aquarelle. En-bas à gauche : "E4" ; titre manuscrit en miroir dans la marge supérieure : Église Saint-Pierre à Vienne. Coloris d'époque, bel état. 1750.
Edité par Chereau, Paris
Vendeur : Librairie Seigneur, VOINGT, France
Art / Affiche / Gravure Edition originale
En feuille. Etat : Bon. édition originale.
Date d'édition : 1750
Vendeur : Librairie Jeanne Laffitte, Marseille, France
Membre d'association : ILAB
Format 260 x 400 mm, avec marges 340 x 480 mm. A l'adresse chez Daumont, Paris. Daumas, 111.
Date d'édition : 1750
Vendeur : Librairie Jeanne Laffitte, Marseille, France
Membre d'association : ILAB
Format 260 x 400 mm, avec marges 340 x 480 mm. A l'adresse chez Daumont, Paris. Daumas, 110.
Date d'édition : 1750
Vendeur : Librairie Jeanne Laffitte, Marseille, France
Membre d'association : ILAB
Format 260 x 400 mm, avec marges 340 x 480 mm. Petites taches dans l'angle supérieur droit. Texte latin et espagnol : "Prospectus Comeatus Marseilliensis - Vista del Passeo de la ciudad de Marsella". Paris. Daumas, 110.
Vendeur : Antiquariaat Wim de Goeij, Kalmthout, ANTW, Belgique
Membre d'association : ILAB
S.l.s.d. (end 18th century, early 19th century) engraved print with contemporary handcolouring (Guckkastenblatt), print size 26,5 x 41.5 cm, paper size; 29 x 43 cm, fine print without stains or any damage, in contemporary hand colouring. Contains an engraved number in the upper right corner (13). Interior view of the Vatican library.
Vendeur : Librairie de l'Amateur, Strasbourg, France
Membre d'association : ILAB
Paris, Chez J. Chereau, s.d. (vers 1770) ; 36 x 49 cm, 1 feuillet, minimes déchirures dans les marges, sans atteinte au texte ou à l'image. Vue d'optique, eau-forte rehaussée à l'aquarelle. Titre manuscrit en miroir dans la marge supérieure : Hôtel de Ville à Oxford. Coloris d'époque, bel état. 1770.
Vendeur : Librairie de l'Amateur, Strasbourg, France
Membre d'association : ILAB
Paris, Chez Basset, s.d. (vers 1763) ; 31,5 x 47,7 cm, 1 feuillet. Vue d'optique, eau-forte rehaussée à l'aquarelle. En haut à droite: "N.° 61" ; titre manuscrit en miroir dans la marge supérieure : Vue d'un Feu d'artifice tiré à Paris. Feu d'artifice tiré pour célébrer le Traité de Paris (1763), qui mettait fin à la guerre de Sept Ans. Coloris d'époque, bel état. 1763.
Edité par Parischez Daumont. c., 1760
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Art / Affiche / Gravure
Original hand-coloured landscape engraving 26 x 40 cm (overall sheet size 32 x 49.5 cm.). Margins slightly dampstained and frayed at extremities. Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced.
Date d'édition : 1750
Vendeur : Librairie Jeanne Laffitte, Marseille, France
Membre d'association : ILAB
Format 260 x 400 mm, avec marges 340 x 480 mm. Sans adresse d'éditeur ou de graveur. Daumas, 119.
Date d'édition : 1750
Vendeur : Librairie Jeanne Laffitte, Marseille, France
Membre d'association : ILAB
Format 220 x 365 mm, avec marges 320 x 460 mm. A l'adresse chez J. Chereau, Paris.
Edité par (deuxième moitié du XVIIIème siècle)
Vendeur : Librairie Historique F. Teissèdre, PARIS, France
Membre d'association : ILAB
25,5 x 41 cm - cadre : 39,5 x 53,5 cm , Cadre moderne en bois et stuc doré. Vue d'optique de la place des Victoires.Eau-forte coloriée.Place ouverte et bâtie à la gloire du roi Louis XIV et de la paix de Nimègue (1678) par François d'Aubusson (1632-1691), duc de La Feuillade, maréchal de France. Inaugurée le 28 Mars 1686. Si le monument central a été détruit lors de la Révolution, les quatre esclaves du piédestal réalisés par Desjardins, figurant sur la gravure, sont aujourd'hui conservés au Louvre.
Edité par (deuxième moitié du XVIIIe siècle)
Vendeur : Librairie Historique F. Teissèdre, PARIS, France
Membre d'association : ILAB
à vue : 25.5 x 42.5 cm - cadre : 39 x 56 cm , Cadre moderne en bois et stuc doré. Salissures. Petits manques au cadre. Eau-forte rehaussée en couleurs. Dans la seconde moitié du XVIIIème siècle, quatre centres principaux se partagent l?impression des vues d?optique : Paris, Londres,Bassano et Augsbourg. Notre épreuve a été produite à Ausbourg au regard du lieu d'activité de Georg Balthasar Probst. Cet imprimeur édite certaines vues d'optique avec un titre traduit en français, anglais, italien et allemand dans l'espoir de vendre ses productions dans plusieurs pays. En effet, la vue d?optique fait dès le XVIIIème siècle l?objet d?un marché dans toute l?Europe. On voit ainsi des imprimeurs et marchands d?estampes collaborer en vue d?une commercialisation partagée. Pouvant être observée à travers une lunette convexe, les vues d'optiques permettaient aux amateurs de voyage et du Grand Tour d'obtenir une image en trois dimensions de l'image figurée. Par l?entremise des Hollandais, le spectacle d?optique s?exporte en Chine et au Japon, où l?on commence également à produire des vues. Au Japon, on évoque la boîte d?optique comme la « boîte hollandaise » et la vue d?optique comme une « image flottante ».
Edité par 18 ème siecle
Vendeur : JOIE DE LIRE, Saint Just d'Avray, France
Art / Affiche / Gravure
Gravure Dimensions encadrée: 36,5 *44,5 cm. Gravure.
Edité par chez Daumont rue St. Martin, Paris, 1760
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Art / Affiche / Gravure
Engraving with original colour. Printed on watermarked laid paper. In excellent condition with the exception of some surface soiling in the upper section of the image. Image size: 8 7/8 x 15 13/16 inches. A wonderful "vue d'optique" of St. Mary's Church in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141.
Date d'édition : 1760
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Art / Affiche / Gravure
Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper, and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141.
Edité par a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257, London and Paris, 1766
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Art / Affiche / Gravure
Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834, which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it (after a fire) to reside at Whitehall. After that, the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141.
Edité par Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques, Paris, 1780
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Art / Affiche / Gravure
Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141.
Edité par LondonPrinted & Sold by Robert Sayer Print & Map seller at the Golden Buck in Fleetstreet. n.d. c., 1760
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Art / Affiche / Gravure
Original hand-coloured copper engraving. 410 x 215 mm. Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced.
Edité par ParisDaumont. c., 1760
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Art / Affiche / Gravure
Overall sheet size 35.5 x 48cm. Plate mark 33 x 43.5cm. Original hand-coloured engraving. Light stain to right edge and slight brown mark to bottom left corner though not affecting the image. Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced.
Edité par LondonPrinted & Sold by Robert Sayer Print & Map seller at the Golden Buck in Fleetstreet. n.d. c., 1760
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Art / Affiche / Gravure
Original hand-coloured copper engraving. 435 x 190 mm. J. Tinney sculp. A prospect of the formal gardens and chateau at the Parc De Sceaux, Paris; figures with dogs to foreground. The château depicted here, demolished during the Revolution, was built by Jean-Baptiste Colbert, the minister of finance to Louis XIV, and purchased by Louis' illegitimate son, the duke of Maine in 1699. His duchesse held court in a salon at Sceaux in the first decades of the eighteenth century. The present château, rebuilt 1856-62 in a Louis XIII style, is now a museum. Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced.
Edité par LondonPrinted & Sold by Rob. Sayer at the Golden Buck opposite Fetter Lane Fleetstreet. n.d. c., 1760
Vendeur : Robert Frew Ltd. ABA ILAB, London, Royaume-Uni
Art / Affiche / Gravure
Original hand-coloured copper engraving. 390 x 235 mm. Publish'd according to Act of Parliament Vues d'optiques, or perspective view prints, were a fashionable entertainment in the elite drawing rooms of the eighteenth century, and also a popular street entertainment at fairs and markets. Publishing houses in London, Paris, Augsburg, and Bassano competed in their production. In total about 5,000 vues d'optiques were produced.