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Search criteria: Keywords = "19.Jahrhundert"

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Queen's College Cork - Original Matriculation Card for the Faculty of Arts - Class of Anatomy and Physiology. [Anatomy and Physiology] Queen's College Cork. Original Matriculation Card for the Faculty of Arts - Class of Anatomy and Physiology. Printed in Cork, Queen's College, 1870. 12,2 cm x 9,3 cm. 1 page. Original cardboard with beautiful 19th century type font. Excellent condition with only minor signs of external wear. Very rare original matriculation card of the 1870's for Cork University / Queen's College.

Keywords: 19.Jahrhundert, 19th Century, Carte d'immatriculation , Cork University, County Cork, Matriculation Card

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30,--  Order
Queen's College Cork - Original Matriculation Card for the Faculty of Medicine - Class of Anatomy and Physiology. [Anatomy and Physiology] Queen's College Cork. Original Matriculation Card for the Faculty of Medicine - Class of Anatomy and Physiology. Printed in Cork, Queen's College, 1870. 12,2 cm x 9,3 cm. 1 page. Original cardboard with beautiful 19th century type font. Excellent condition with only minor signs of external wear. Very rare original matriculation card of the 1870's for Cork University / Queen's College.

Keywords: 19.Jahrhundert, 19th Century, Carte d'immatriculation , Cork University, County Cork, Matriculation Card

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30,--  Order
Queen's College Cork - Original Matriculation Card for the Faculty of Medicine - Class of Practical Anatomy. [Anatomy] Queen's College Cork. Original Matriculation Card for the Faculty of Medicine - Class of Practical Anatomy. Printed in Cork, Queen's College, 1870. 12,2 cm x 9,3 cm. 1 page. Original cardboard with beautiful 19th century type font. Excellent condition with only minor signs of external wear. Very rare original matriculation card of the 1870's for Cork University / Queen's College.

Keywords: 19.Jahrhundert, 19th Century, Carte d'immatriculation , Cork University, County Cork, Matriculation Card

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30,--  Order
The Artist. Anonymus. The Artist. German, 1839. Original colour lithograph depicting a playful and satirical approach of a painter to his work. 47 x 38,5 cm. Excellent condition of this early lithograph - in old, original hand-colouring.

Wonderful example of a very accomplished work using the still young technique of lithography. Playing with all sorts of clichées of artists and their approaches, centering the pastime of the usuccessful artist against the seriousness of the craft. The year 1683 on the easel surely a clue to deciphering the meaning of this image, we were not able to do so. Whoever solves the puzzle, receives 20% discount on the price of this artwork.

Keywords: 19.Jahrhundert, 19th Century, Art, Decorative Original Graphic, History of Art, Kunst, Kunstgeschichte, Lithograph, Lithographie, Original Art, Original Lithograph

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680,--  Order
Great Australian Landscape Paintings. Australian Art Library. Great Australian Landscape Paintings. Selected by the Editors of the Australian Art Library. Melbourne, Lansdowne Press, 1973. 26cm x 33cm. 72 pages with 48 colour plates. Original Hardcover with original dustjacket. Excellent condition with only minor signs of wear.

Includes for example: John Eyre/ Joseph Lycett/ John Skinner Prout/ John Glover/ Conrad Martens/ Nicholas Chevalier/ Edward Roper/ Louis Buvelot/ Charles Conder/ Tom Roberts/ William Charles Pigeunit/ Sydney Long/ Julian Ashton/ Arthur Streeton/ Hans Heysen/ Elioth Gruner/ Frederick McCubbin/ Emanuel Phillips Fox/ Tom Roberts/Russell Drysdale/ Ray Cooke/ Lloyd Rees/ Fred Williams/ John Perceval/

Keywords: 19.Jahrhundert, 19th Century, 20.Jahrhundert, 20th century, Australian Art, Australian Impressionism, Books / Art

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30,--  Order
Caricatures by Max. [Beerbohm, Max] Ashmolean Museum. Caricatures by Max. From the Collection in the Ashmolean Museum. Second Edition. Oxford, University Press, 1963. 12.5cm x 18.5cm. 32 unnumbered pages. Original softcover. Excellent condition with only very minor signs of external wear.

Sir Henry Maximilian "Max" Beerbohm (24 August 1872 – 20 May 1956) was an English essayist, parodist, and caricaturist best known today for his 1911 novel Zuleika Dobson.
In the 1890s, while a student at Oxford University, Beerbohm showed great skill at observant figure sketching. His usual style of single-figure caricatures on formalized groupings, drawn in pen or pencil with delicately applied watercolour tinting, was established by 1896 and flourished until about 1930. In contrast to the heavier artistic style of the Punch tradition, he showed a lightness of touch and simplicity of line. Beerbohm's career as a professional caricaturist began when he was twenty: in 1892 the Strand Magazine published thirty-six of his drawings of ‘Club Types’. Their publication dealt, Beerbohm said, "a great, an almost mortal blow to my modesty".[11] The first public exhibition of his caricatures was as part of a group show at the Fine Art Society in 1896; his first one-man show at the Carfax Gallery in 1901.

He was influenced by French cartoonists such as "Sem" (fr:Georges Goursat) and "Caran d'Ache" (Emmanuel Poir). Beerbohm was hailed by The Times in 1913 as "the greatest of English comic artists", by Bernard Berenson as "the English Goya", and by Edmund Wilson as "the greatest... portrayer of personalities — in the history of art".

Usually inept with hands and feet, Beerbohm excelled in heads and with dandified male costume of a period whose elegance became a source of nostalgic inspiration. His collections of caricatures included Caricatures of Twenty-five Gentlemen (1896), The Poets' Corner (1904), Fifty Caricatures (1913) and Rossetti and His Circle (1922). His caricatures were published widely in the fashionable magazines of the time, and his works were exhibited regularly in London at the Carfax Gallery (1901–8) and Leicester Galleries (1911–57). At his Rapallo home he drew and wrote infrequently and decorated books in his library. These were sold at auction by Sotheby's of London on 12 and 13 December 1960 following the death of his second wife and literary executor Elisabeth Jungmann.
His Rapallo caricatures were mostly of late Victorian and Edwardian political, literary and theatrical personalities. The court of Edward VII had a special place as a subject for affectionate ridicule. Many of Beerbohm's later caricatures were of himself.

Major collections of Beerbohm's caricatures are to be found in the Ashmolean Museum, Oxford; the Tate collection; the Victoria and Albert Museum; Charterhouse School; the Clark Library, University of California; and the Lilly Library, University of Indiana; depositories of both caricatures and archival material include Merton College Library, Oxford; the Harry Ransom Center, University of Texas at Austin; the Robert H. Taylor collection, Princeton University Library; the Houghton Library, Harvard University; and the privately owned Mark Samuels Lasner collection. (Wikipedia)

Keywords: 19.Jahrhundert, 19th Century, 20. Jahrhundert, 20th century, Books / Art, Caricature, Karikatur

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30,--  Order
Anonymus. Palm House Conservatory - Botanical Garden in Belfast. Belfast - Anonymus. Palm House Conservatory - Botanical Garden in Belfast. Belfast, c. 1880. Original 19th century Gouache with title in ink mounted separately. 15 cm high x 19 cm wide. Excellent condition of this beautiful original artwork showing the spectacular 19th century Palm House with surroundings.

The gardens opened in 1828 as the private Royal Belfast Botanical Gardens. It continued as a private park for many years, only opening to members of the public on Sundays prior to 1895. Then it became a public park in 1895 when the Belfast Corporation bought the gardens from the Belfast Botanical and Horticultural Society. The Belfast Corporation was the predecessor of Belfast City Council, the present owner.

The gardens' most notable feature is the Palm House conservatory. The foundation stone was laid by the Marquess of Donegall in 1839 and work was completed in 1840. It is one of the earliest examples of a curvilinear cast iron glasshouses in the world. Designed by Charles Lanyon and built by Richard Turner, Belfast's Palm House predates the glasshouses at Kew and the Irish National Botanic Gardens at Glasnevin. Turner went on to build both of these glasshouses. The Palm House consists of two wings, the cool wing and the tropical wing which contains the dome. Lanyon altered his original plans to increase the height of the dome, allowing for much taller plants. In the past these have included an 11 metre tall Globe Spear Lily. The lily, which is native to Australia, finally bloomed in March 2005 after a 23 year wait. The Palm House also features a 400 year old Xanthorrhoea .

Gouache, also spelled guache, is a type of paint consisting of pigment, a binding agent (usually gum arabic), and sometimes added inert material, designed to be used in an opaque method. It also refers to paintings that use this opaque method. The name derives from the Italian guazzo. Gouache differs from watercolor in that the particles are larger, the ratio of pigment to water is much higher, and an additional, inert, white pigment such as chalk is also present. This makes gouache heavier and more opaque, with greater reflective qualities. (Wikipedia).

Keywords: 19.Jahrhundert, 19th Century, Architecture, Belfast, Botanical Garden, Botanischer Garten, Botany, Cast Iron Building, Charles Lanyon, Glasshouse, Gouache, Gouachen, Ireland, Irish Art, Irish Original Art, Original Artwork, Richard Turner

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480,--  Order
Furst - The Decorative Art of Frank Brangwyn. [Brangwyn, Frank] Furst, Herbert. The Decorative Art of Frank Brangwyn. A Study of the Problems of Decoration with Special Reference to the Work of the this Artist by Herbert Furst, Author of 'The Modern Woodcut, etc. Illustrated with 33 Reproductions in colour and 150 in Monochrome. First Edition. London/New York, John Lane The Bodley Head Ltd/Dodd Mead and Company, 1924. 26cm x 34cm. IX, 231 Pages. Original Hardcover. Excellent overall condition with only very minor signs of external wear. Signed (Monogrammed "FB") by Frank Brangwyn on the endpaper. From the library of Margot Fonteyn-photographer and artist Keith Money, with his ownership-signature to the front free endpaper.

Includes for Example: Art as an Organ of Human Life. The Old Spirit in Decoration. The New Spirit in Decoration. Aesthetic Unity and the Aesthetic Unit. Some Practical Problems of Decoration. Brangwyn among his Contemporaries. Brangwyn: The man and the artist. The Decorations for Bing's Hotel. Exhibition rooms: Venice and Leeds. The Royal Exchange. The Skinners Hall. The Canadian Grand Trunk Railway offices. The New Court House Cleveland Ohio. The Carpenters' Hall. The Ghent Exhibition Room and Lloyds Register. The Panama Pacific Exposition. The Chapel of Christ's Hospital School Horsham. St Aidan's Church Leeds. The New parliament Building Winnipeg. The Stations of the Cross Arras and Pretoria. Missouri's New State Capitol. The Picture Gallery Tokyo. The decorations for Selfridge's. Street Decoration. Stained Glass Cartoons. Still Life. Applied Art: General Principles, Rooms and Furniture, Carpets and Tapestry, Metal Work, Jewelry, Embroidery and Fans.


Sir Frank William Brangwyn RA RWS RBA (12 May 1867 – 11 June 1956) was an Anglo-Welsh artist, painter, water colourist, virtuoso engraver and illustrator, and progressive designer.
He was born in Bruges, Belgium, where his father moved after winning a competition organised by the Belgian Guild of St Thomas and St Luke to design a parish church. His forenames were registered as Guillaume François. In 1874 the family moved back to the United Kingdom. In 1896, he married Lucy Ray, who died in 1924. They had no children. He had an affair with Ellen Kate Chesterfield, which produced a son, James Barron Chesterfield-Brangwyn, born 1885 (calculated) in Mevagissey, Cornwall, England. James the son emigrated to Australia in 1909 being sent out to work on a farm in Townsville, Queensland and later moving to Brisbane.

He leased Temple Lodge, 51 Queen Caroline Street, Hammersmith from 1900 to 1937/38 and bought The Jointure, Ditchling, Sussex in 1918. He was knighted in 1941. He died on 11 June 1956 at his home in Sussex.
In 1936 Brangwyn presented Bruges with over 400 works, now in the Arents House Museum. In return the King of Belgium made Brangwyn Grand Officer of the Order of Leopold II, and Bruges made him Citoyen d'Honneur de Bruges (only the third time the award had been given).
Frank Brangwyn received some artistic training, probably from his father, and later from Arthur Heygate Mackmurdo and in the workshops of William Morris, but he was largely an autodidact without a formal artistic education. When, at the age of seventeen, one of his paintings was accepted at the Royal Academy Summer Exhibition, he was strengthened in his conviction to become an artist.

Initially he painted traditional subjects about the sea and life on the seas. His canvas, Funeral At Sea (1890) won a medal of the 3rd class at the 1891 Paris Salon. The limited palette in this painting is typical of his Newlyn period (although he was not officially a Newlyn artist).

By the late 19th century Orientalism had become a favoured theme for many painters. Soon Brangwyn was attracted by the light and the bright colours of these southern countries. He travelled to Istanbul and the Black Sea, working as a deck hand for his passage. He made many paintings and drawings, particularly of Spain, Morocco, Egypt, Turkey. This lightened his palette, a change that initially did not find critical favor. He continued his travels to different parts of Africa, including South Africa.

In 1895, the Parisian art dealer Siegfried Bing commissioned Brangwyn to decorate the exterior of his Galerie L'Art Nouveau, and encouraged Brangwyn into new avenues: murals, tapestry, carpet designs, posters, and designs for stained glass to be produced by Louis Comfort Tiffany. For his austere but decorative designs he was recognized by continental and US critics as a prominent artist, while British critics were puzzled as how to evaluate him.

In 1908 Brangwyn was commissioned to paint the apse of St Aidan's Church, Leeds, but after it was realised that the air pollution would damage the paint, it was agreed he should work in glass mosaic. The mosaic (using Rust's vitreous mosaic) was completed in 1916. It covers the whole apse, and shows the life of St Aidan.

Other commissions included murals for the Great Hall of the Worshipful Company of Skinners, London (1901–1909), the Panama-Pacific International Exposition, San Francisco, 1915 (now in the Herbst Theatre, Veteran's Building Auditorium, San Francisco), a Lunette for Cuyahoga County Courthouse, Cleveland, Ohio (1911–1915), the Manitoba Legislative Building, Winnipeg (1918–1921), the Chapel, Christ's Hospital School, Horsham (1912–1923), and the Missouri State Capitol, Jefferson City (1915–1925).

Although Brangwyn produced over 80 poster designs during the First World War, he was not an official war artist. His grim poster of a Tommy bayoneting an enemy soldier (“Put Strength in the Final Blow: Buy War Bonds”) caused deep offence in both Britain and Germany. The Kaiser himself is said to have put a price on Brangwyn’s head after seeing the image.

Brangwyn is best known for the British Empire Panels (1925–1932), 16 large works that cover 3,000 sq ft (280 m2). These were originally intended for the Royal Gallery at the House of Lords at Westminster, but the House of Lords refused them because they were "too colourful and lively" for the location. They are now housed in the Brangwyn Hall, Swansea.

In 1925–1926, he served as President of the Royal Birmingham Society of Artists.
Along with Diego Rivera and Josep Maria Sert, he was chosen by John D. Rockefeller, Jr. to decorate the concourse of the RCA Building in New York City (1930–34) with murals. A sequence of large murals on canvas (originally from Horton House, Northamptonshire) is held by the Dunedin Public Art Gallery Dunedin, New Zealand. He was also chosen to decorate the 1st class dining room of the Canadian Pacific liner, RMS Empress of Britain (1930–1931)].

Brangwyn was an artistic jack-of-all-trades. As well as paintings and drawings, he produced designs for stained glass, furniture, ceramics, table glassware, buildings and interiors, was a lithographer and woodcutter and was an illustrator of books. In 1952 Clifford Musgrave estimated that Brangwyn had produced over 12,000 works. He collaborated with Japanese Urushibara Mokuchu on a series of woodblock prints. Brangwyn's mural commissions would cover over 22,000 sq ft (2,000 m2) of canvas, he painted over 1,000 oils, over 660 mixed media works (watercolours, gouache), over 500 etchings, about 400 wood engravings and woodcuts, 280 lithographs, 40 architectural and interior designs, 230 designs for furniture, and 20 stained glass panels and windows.

Towards the end of his life, Brangwyn donated many of his own and other artworks to museums and galleries in Britain and Europe. In 1944, he recovered and secured designs by Frederic Shields for the Chapel of the Ascension built by Herbert Horne, which was destroyed in 1940 during the London Blitz. In 1950, one of his last works provided illustrations for the book Sixty Years of Yachts by Herbert Julyan, a good friend. (Wikipedia)

Keywords: 19.Jahrhundert, 19th Century, 20. Jahrhundert, 20th century, Art, Books / Art, British Art, Catalogue Raissonée, Design, English Art, Wales

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420,--  Order
Brehm, Reisen im Sudan 1847 bis 1852. Brehm, Alfred Edmund. Reisen im Sudan 1847 bis 1852. Herausgegeben, bearbeitet und eingeleitet von Helmut Arndt. Mit 50 zeitgenössischen Darstellungen und 1 Karte. München / Zürich, Droemer Knaur, 1981. 11,5 x 18cm. 411 Seiten. Originale Broschur. Sehr guter Zustand. [Knaur, Band 3654].

"Brehms Tierleben" - wer kennt es nicht! Aber dass sein Verfasser auch Expeditionsabenteuer in Afrika bestand und Reisen im Sudan machte voller Strapazen und Gefahren, von denen er nicht weniger lebendig zu berichten wusste, ist für viele eine echte Entdeckung. Die Erzählkunst des großen Naturforschers, seine exakte Schilderung und genaue Beobachtung besonders von Fauna und Flora, Land und Leuten, machen sein Buch zu einer Kostbarkeit abenteuerlicher Reiseliteratur. [Knaur]

Keywords: 19.Jahrhundert, Abenteuer, Afrika, Reise, Reisebericht, Reiseliteratur, Sudan

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28,--  Order
Henry Bright 1810-1873. A Catalogue of Paintings and Drawings in the Collection of Norwich Castle Museum. [Bright, Henry] Cheetham, Francis W. Henry Bright 1810-1873. A Catalogue of Paintings and Drawings in the Collection of Norwich Castle Museum. Norwich, City of Norwich Museums, 1973. 20.5cm x 25.5cm. XXXI, 51, 40 unnumbered pages of black and white plates with 84 illustrations. Original softcover (Paperback). Very good condition with only minor signs of wear.

Keywords: 19.Jahrhundert, 19th Century, Books / Art, British Art, English Art, Impressionism, Impressionismus, Landscape Painting, Norwich School

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30,--  Order
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