Resultados de búsqueda: Títulos que empiezan por F de Sebra Prints

1790. Etching with aquatint. 90mm by 77mm (platemark). 'FT Talma, Chirurgien Dentiste du Roi d'Angleterre' Michel-Francois Talma (1733-1806) was born in in Paris. In the 1760s he moved to London, and from 1770 to 1780 he practised as a dentist in Cavendish Street, London, and remained in the city for the remainder of his career. His son became a well-known actor.False-mounted. Very rare.

1650. Line engraving. mm by mm (platemark) 560mm by 440mm (frame). Pope Alexander VII (1599 -1667), born Fabio Chigi, was Pope from 7 April 1655, until his death. Alexander took a keen personal interest in his urban and architectural projects and made notes of these in his diaries. His projects in Rome included: the church and piazza at Santa Maria della Pace; the Via del Corso, Piazza Colonna and associated buildings; reworking of the Porta del Popolo, the Piazza del Popolo and Santa Maria del Popolo; Piazza San Pietro, the Scala Regia and interior embellishments in the Vatican Palace and St Peters; Sant'Andrea al Quirinale; part of the Palazzo del Quirinale; the obelisk and elephant in Piazza della Minerva. Anselmus van Hulle was a Flemish portrait painter and Paulus Pontius, an eminent Flemish engraver. CONDITION : Faint foxing at the edges of the platemark.

1755. Etching with engraving. 315mm by 570mm (platemark) 460mm by 700mm (sheet). From Scelta di architetture antiche e moderne della città di Firenze, a work published in three volumes in 1755. Ferdinand Ruggieri was an Italian architect, among the protagonists of the Baroque period in Florence. The Palazzo Pitti is a large Renaissance palace located on the south side of the Arno River near Ponte Vecchio. Its original structure dates from 1458. In the 1530s the Medici family acquired it. It was eventually given to the Italian people by King Victor Emmanuel and was converted into a (now) famous art museum. Although Ruggieri credits Brunelleschi as being the architect, it is now thought that Brunelleschi's student, Luca Fancelli, was the main architect.Central vertical fold as issued.

1874. Steel-engraving. 175mm by 125mm (image) 200mm by 270mm (sheet). From 'Australia' by Edwin Carton Booth. Prout was an English artist who emigrated to Sydney in 1840.Several marks and soiling in margins, which could be matted out.

1870. Steel-engraving. 170mm by 250mm (image) 320mm by 435mm (sheet). Merry wives of Windsor. Act I. Scene 1. From Virtue's 'Shakespeare Gallery', originally an album of steel-engravings depicting scenes from Shakespeare. Faint foxing in the margins.

1790. Copper-line engraving. 230mm by 172mm (sheet). From 'Raccolta di ... Stampe, che rappresentano figure ed abiti di varie nazioni, etc' in 3 parts, 1783-91, by Teodoro Viero (1740 - 1819) who was an engraver and publisher in Venice. Trimmed to image.

1801. Copper-line engraving. 170mm by 130mm (platemark). From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Latham was the leading English ornithologist of his day and was significant in publishing images and descriptions of Australian birds.Laid paper.Library stamp on reverse.

1783. Copper-line engraving. 170mm by 130mm (platemark). From John Latham's 'General Synopsis of Birds' 1781-1785, and its Supplements. Latham was the leading English ornithologist of his day and was significant in publishing images and descriptions of Australian birds.Laid paper.Library stamp on reverse. Very faint off-setting.

1835. Watercolour. 140mm by 180mm (sheet). A Victorian watercolour on embossed card after the John Latham engraving of the New Zealand fan-tailed flycatcher. The embossed card is marked 'Dobbs'.Titled 'Fan-tailed Flycatcher' in ink below the image and on reverse. A couple of small marks. Remains of hinges on reverse.

1805. Soft ground etching. 225mm by 300mm (platemark). Etching from Pyne's series 'Microcosm: or, a picturesque delineation of the arts, agriculture, manufacturers, &c. of Great Britain'. Very faint crease, exaggerated in the scan.

Chromolithograph, circa 1895. 240mm by 310mm (sheet). German late 19th century chromolithograph. Central vertical fold as issued. CONDITION : A couple of faint spots lower right corner.

1920. Etching. 255mm by 365mm (platemark). Signed in pencil below the image by the artist. A view of St Pauls from the south side of the Thames.Farrell was a Scottish etcher specializing in architectural etchings. He was the Official Artist with the 51st Highlanders 1914-1918. Acid burn from previous mount.

1740. Copper-line engraving. 565mm by 440mm (frame). Annia Galeria Faustina, more familiarly referred to as Faustina I (c100 - 140), was a Roman Empress and wife of Roman Emperor Antoninus Pius. From "Delle Antiche Statue Greche e Romane..., "a collection of ancient Greek and Roman statues found in Venice by Antonio Maria Zanetti the elder (1680-1757). As the librarian of San Marco, Zanetti was a collector, connoisseur, and artist.Framed in fine quality black frame with cream mount with gilt lines. Original descriptive text in Latin on the reverse.One mark at the top right of the image.

1740. Copper-line engraving. 565mm by 440mm (frame). Annia Galeria Faustina, more familiarly referred to as Faustina I (c100 - 140), was a Roman Empress and wife of Roman Emperor Antoninus Pius. From "Delle Antiche Statue Greche e Romane..., "a collection of ancient Greek and Roman statues found in Venice by Antonio Maria Zanetti the elder (1680-1757). As the librarian of San Marco, Zanetti was a collector, connoisseur, and artist.Framed in fine quality black frame with cream mount with gilt lines. Original descriptive text in Latin on the reverse.

1853. Wood-engraving. 405mm by 270mm (sheet). 'The Female Emigrant's Home at Hatton Garden, the Chief Room' and 'Cabin of "The Madsgascar" and Female Emigrants' 'Two engravings illustrative of the departure of the thirtieth party of Female Emigrants, sent out by the Fund for promoting female emigration from want and misery in London, to happiness and plenty in Australia.'A few foxing spots. Unrelated text on the reverse.

1817. Copper-line engraving. 445mm by 305mm (platemark). From Jacques-Julien Houtou de La Billardiere's (1755-1834) 'Atlas du Voyage a la recherche de la Perouse', published in Paris, 1817 edition.

1817. Copper-line engraving. 305mm by 450mm (platemark). Depicts a man and woman of the Beaupre Island (New Caledonia). From Jacques-Julien Houtou de La Billardiere's (1755-1834) 'Atlas du Voyage a la recherche de la Perouse', published in Paris, 1817 edition.A few light marks, mainly in margins.

1817. Copper-line engraving. 310mm by 450mm (platemark). The Friendly Islands (Tonga) were known as such because of the congenial reception accorded to Captain James Cook on his first visit there in 1773. From Jacques-Julien Houtou de La Billardiere's (1755-1834) 'Atlas du Voyage a la recherche de la Perouse', published in Paris, 1817 edition.

1817. Copper-line engraving. 440mm by 300mm (platemark). From Jacques-Julien Houtou de La Billardiere's (1755-1834) 'Atlas du Voyage a la recherche de la Perouse', published in Paris, 1817 edition. Very faint mark lower right corner, just outside image area, within the platemark.

1878. Chromolithograph. 300mm by 430mm (sheet). From 'La Brique Ordinaire', by J Lacroux, 1878. A series of fine illustrations of French designs for brick buildings.