COSTUME PARISIEN Coiffures ornée de gaze-velours.. (1872) Paris 1820. Beau col. ancien. Very good condition. 175 x 120 mm. (#11796)

15 €

¤ From Costume Parisien (1797-1839).
Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

COSTUME PARISIEN Chapeau de velours plein.. (2047) Paris 1822. Beau col. ancien. Very good condition. 175 x 120 mm. (#11795)

15 €

¤ From Costume Parisien (1797-1839).
Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

COSTUME PARISIEN Coiffures orn&eaes d'un fichu.. (2420) Paris 1826. Beau col. ancien. Very good condition. 175 x 120 mm. (#12062)

15 €

¤ From Costume Parisien (1797-1839).
Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

COSTUME PARISIEN Coiffures ornées de cordons.. (2461) Paris 1826. Beau col. ancien. Very good condition. 175 x 120 mm. (#12061)

15 €

¤ From Costume Parisien (1797-1839).
Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

COSTUME PARISIEN Chapeau de moire.. (2500) Paris 1827. Beau col. ancien. Very good condition. 175 x 120 mm. (#12060)

15 €

¤ From Costume Parisien (1797-1839).
Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

RIDGWAY,J. Strawberry (Plate 7) London 1827. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm. (#8860)

30 €

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1827.

RIDGWAY,J. Apple (Plate 84) London 1829. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm. (#8856)

30 €

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1829.

RIDGWAY,J. Prume (Plate 148) London 1830. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm. (#8858)

30 €

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1830.

RIDGWAY,J. Prume (Plate 150) London 1830. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm. (#8857)

30 €

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1830.

RIDGWAY,J. Cherries (Plate 127) London 1830. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm. (#8861)

30 €

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1830.

MORDANT DE LAUNAY,J.C.M. Ardsia solanacea. Paris 1814-27. Col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm. (#11811)

50 €

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..".
From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Aster Calendulaefolias. Paris 1814-27. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm. (#12055)

60 €

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..".
From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Chorizema ilicifolia. Paris 1814-27. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm. (#12059)

60 €

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..".
From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Dillwinia Lanceolata. Paris 1814-27. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm. (#12057)

60 €

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..".
From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Kaempferia longa. Paris 1814-27. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm. (#11810)

60 €

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..".
From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Linaria genistifolia. Paris 1814-27. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm. (#12058)

60 €

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..". From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils. The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.