mialhe pierre toussaint frédéric (10 Ergebnisse)

Zustand: Wie neu. 1 farbige Titelseite 27 Farbtafeln 4 Pläne und Karten neu und originalverpackt / Modernes Schriftbild / Nachdruck dieser bibliophilen Rarität mit schönen Farbtafeln zu Stadt- und Hafen-Szenen von Havanna, Santiago de Cuba, Nuevitas Bay, Sagua la Grande, Trinidad und mit Szenen aus dem Alltagsleben wie Hahnenkämpfe, Schwammfischer, der Tanz Zapateado, Geflügel-Verkäufer, u.v.m. Sprache: Spanisch Gewicht in Gramm: 1250 36,4 x 25,4 cm, gebundene Ausgabe Faksimile-Reprint der Ausgabe von 1848 Berlin, Storch und Kramer.

Zustand: Good. Handcolored lithograph. Image 24 x 28 cm. Matted and framed. Sheet size likely 35 x 26 cm. Fresh appearing.Gallery sticker verso from Cisneros Gallery, 1316 Madison Ave., NY, NY.OCLC Number: 1038752973Notes: Contiene: 1. Vista de la Habana, tomada desde la entrada del puerto (no. 1).-2. Morro y entrada del puerto de la Habana.-3. Habana, 1a. vista tomada desde Casa Blanca.-4. Habana, 2a. vista tomada desde Casa Blanca.-5. Habana, 3a. vista tomada desde Casa.Description: 30 grabados ; 35 x 26 cm.From the Cuban period of the painter and lithographer from Bordeaux Frédéric Mialhe, who published the first album of lithographical views of the island (1839-1842). These « picturesque » plates are the first reproductions of landscapes and « costumbrista » scenes of any importance in Cuba. In the second half of the 19th century, with the disappeareance of the picturesque albums, lithography turns itself towards the tobacco sector.Frédéric Mialhe arrived in Cuba in 1838 under contract to the printers Real Sociedad Patriótica to record views of the island. Enamored by the richness and exoticism that surrounded him, Mialhe remained in Cuba to produce further work; he also taught drawing at the Liceo Literario y Artístico in Havana. The artist returned to France in 1854.Felipe Poey, the founder of the Museum of Natural History in Havana, often accompanied Mialhe on his painting excursions into the Cuban hinterland and remarked that: "Mialhe carried along a blank book and his admirable pencil, which, they say, drew by itself, though probably helped by Mialhe's fingers and thumb".Mailhe is best known for his series of lithographs Isla de Cuba, Isla de Cuba Pintoresca and Viaje pintoresco por la Isla de Cuba. These magnificent albums of lithographs depicted daily life in Cuba and its capital in the mid-19th century.Refs: Emilio Cueto, Mialhe's Colonial Cuba (Miami, 1994), pp. 1-7, 73-77; Palau 5421, and cf.167989; cf. Sabin 17748 (for the other pirated edition with only 26 plates); cf. G. Sánchez. "Federico Mialhe: diseño biográfico y señalamientos para la estimación de su obra" in Revista de la Biblioteca Nacional (La Habana), año 66, nº 2, 1975.

Zustand: Good. Handcolored lithograph. Image 24 x 28 cm. Matted and framed. Sheet size likely 35 x 26 cm. Fresh appearing.Gallery sticker verso from Cisneros Gallery, 1316 Madison Ave., NY, NY.OCLC Number: 1038752973Notes: Contiene: 1. Vista de la Habana, tomada desde la entrada del puerto (no. 1).-2. Morro y entrada del puerto de la Habana.-3. Habana, 1a. vista tomada desde Casa Blanca.-4. Habana, 2a. vista tomada desde Casa Blanca.-5. Habana, 3a. vista tomada desde Casa.Description: 30 grabados ; 35 x 26 cmFrom the Cuban period of the painter and lithographer from Bordeaux Frédéric Mialhe, who published the first album of lithographical views of the island (1839-1842). These « picturesque » plates are the first reproductions of landscapes and « costumbrista » scenes of any importance in Cuba. In the second half of the 19th century, with the disappeareance of the picturesque albums, lithography turns itself towards the tobacco sector.Frédéric Mialhe arrived in Cuba in 1838 under contract to the printers Real Sociedad Patriótica to record views of the island. Enamored by the richness and exoticism that surrounded him, Mialhe remained in Cuba to produce further work; he also taught drawing at the Liceo Literario y Artístico in Havana. The artist returned to France in 1854.Felipe Poey, the founder of the Museum of Natural History in Havana, often accompanied Mialhe on his painting excursions into the Cuban hinterland and remarked that: "Mialhe carried along a blank book and his admirable pencil, which, they say, drew by itself, though probably helped by Mialhe's fingers and thumb".Mailhe is best known for his series of lithographs Isla de Cuba, Isla de Cuba Pintoresca and Viaje pintoresco por la Isla de Cuba. These magnificent albums of lithographs depicted daily life in Cuba and its capital in the mid-19th century.Refs: Emilio Cueto, Mialhe's Colonial Cuba (Miami, 1994), pp. 1-7, 73-77; Palau 5421, and cf.167989; cf. Sabin 17748 (for the other pirated edition with only 26 plates); cf. G. Sánchez. "Federico Mialhe: diseño biográfico y señalamientos para la estimación de su obra" in Revista de la Biblioteca Nacional (La Habana), año 66, nº 2, 1975.

in-4to oblong, 28 planches en chromolithographie (page de titre incluse) avec légendes en espagnol + 1 carte dépl. de l?ile + 1 plan de la ?Havane, rousseurs surtout dans les marges, reliure en toile rouge d?origine, plat devant avec titre doré dans un décor pressé à froid, dos restauré. Das berühmteste Ansichtenwerk Cubas Mitte des 19. Jahrhunderts. Der ursprünglich aus Bordeaux stammende Mialhe war Schüler von Francois Edouard Picot (s. Benezit 7,382). Er wanderte nach Cuba aus, wo er als Lehrer an der Kunstakademie wirkte. Daneben veröffentlichte er 3 Ansichtenwerke mit Veduten und Szenen aus dem Volksleben, die schnell populär wurden und etliche Nachahmer fanden, so z.B. Bernardo May.An attractive album of 28 Cuban views of daily life in the mid-19th century, with views of the countryside, local sights, street views, and a panorama of Havana. These views appeared first in Louis Marquier?s series Viaje pintoresco al rededor de la Isla de Cuba (Havana: 1847- 1848) with lithographs by Pierre Mialhe. Bernardo May copied these and issued them between 1851 and 1853 when a plagiarism suit was brought. As the result of the lawsuit, May issued the present chromolithographed versions. Original red cloth with gilt title, stains on first cover, spine renewed, plates with thumbling and stains in the white margins mainly. In all a very good, complete copy with the folded map of the island and a town plan of Havanna.Please notify before visiting to see a book. Prices are excl. VAT/TVA (only Switzerland) & postage. Palau 167989. - Sabin 17748.

Hardcover. Zustand: Very Good. Oblong 4to., (9 4/8 x 13 4/8 inches). Chromolithographic title-page heightened in gold, 27 numbered chromolithographic plates, with elaborate borders and captions in Spanish, all mounted on guards (some occasionally heavy spotting, one or two plates loose, minor marginal soiling) and two folding maps. Original blue cloth gilt (quite rubbed, extremities scuffed). Provenance: Contemporary Havana ownership inscription on the front free endpaper. A reissue of Bernardo May's pirated edition of views from Frederic Mialhe's lithographs for the series "Viage pintoresco al rededor de la Isla de Cuba" printed by Louis Marquier Havana, ca 1848 and sold by them in competition with Mialhe's originals at less than half the price. These magnificent and lively views include images of the entrance to the port of Havana, several fine perspectives of the city itself, local landmarks such as the Plaza de Armas, Puertas de Monserrate, Teatro de Tacon y Parte del Paseo de Jsabel II, Fuente de la Jndia en el Paseo de Jsabel II, Almeda de Paula, the church of Mayor y de Ermita del Buen Viaje, the city of Matanzas, the entrance to the port of Santiago, Trinidad, and local trades and pastimes including a bull fight. In 1853 both Mialhe and Marquier had unsuccessfully sued May for breach of copyright and demanded "the sequestration of the May-plagiarized albums, notification to the press to stop advertisements of said views, and 20,000 pesos as damages". May denied plagiarism on the grounds that ". after all, ladies in carriages, street sellers, churches, monuments, and landscapes were all there in full view to any artist who cared to paint them". The maps of Cuba and Havana were also copied from an 1847 map by Jose M. de la Torre. Following the failed lawsuit May reissued this volume in 1855. Sabin 17748; Palau 5421; 167989 (note); Cueto, Mialhe's Colonial Cuba, pp.1-7, 73-77. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department.

Oblong 4to., (9 4/8 x 13 4/8 inches). Chromolithographic title-page heightened in gold, 27 numbered chromolithographic plates, with elaborate borders and captions in Spanish, all mounted on guards (some marginal soiling and creasing) and two folding maps. Original deluxe binding of green velvet and gold cloth brocade, all edges gilt. Provenance: Near contemporary gift inscription on the recto of the first blank. A reissue in a deluxe binding of Bernardo May's pirated edition of views from Frederic Mialhe's lithographs for the series "Viage pintoresco al rededor de la Isla de Cuba" printed by Louis Marquier Havana, ca 1848 and sold by them in competition with Mialhe's originals at less than half the price. These magnificent and lively views include images of the entrance to the port of Havana, several fine perspectives of the city itself, local landmarks such as the Plaza de Armas, Puertas de Monserrate, Teatro de Tacon y Parte del Paseo de Jsabel II, Fuente de la Jndia en el Paseo de Jsabel II, Almeda de Paula, the church of Mayor y de Ermita del Buen Viaje, the city of Matanzas, the entrance to the port of Santiago, Trinidad, and local trades and pastimes including a bull fight. In 1853 both Mialhe and Marquier had unsuccessfully sued May for breach of copyright and demanded "the sequestration of the May-plagiarized albums, notification to the press to stop advertisements of said views, and 20,000 pesos as damages". May denied plagiarism on the grounds that ". after all, ladies in carriages, street sellers, churches, monuments, and landscapes were all there in full view to any artist who cared to paint them". The maps of Cuba and Havana were also copied from an 1847 map by Jose M. de la Torre. Following the failed lawsuit May reissued this volume in 1855. Sabin 17748; Palau 5421; 167989 (note); Cueto, Mialhe's Colonial Cuba, pp.1-7, 73-77.

Oblong 4to., (9 x 13 inches). Chromolithographic title-page, 27 numbered chromolithographic plates, with elaborate borders and captions in Spanish, all mounted on guards and EXCEPTIONALLY FINE, two folding maps. 19th-century green morocco backed marbled paper boards, vellum corners. A PRISTINE COPY of the reissue of Bernardo May's pirated edition of views from Frederic Mialhe's lithographs for the series "Viage pintoresco al rededor de la Isla de Cuba" printed by Louis Marquier Havana, ca 1848 and sold by them in competition with Mialhe's originals at less than half the price. These magnificent and lively views include images of the entrance to the port of Havana, several fine perspectives of the city itself, local landmarks such as the Plaza de Armas, Puertas de Monserrate, Teatro de Tacon y Parte del Paseo de Jsabel II, Fuente de la Jndia en el Paseo de Jsabel II, Almeda de Paula, the church of Mayor y de Ermita del Buen Viaje, the city of Matanzas, the entrance to the port of Santiago, Trinidad, and local trades and pastimes including a bull fight. In 1853 both Mialhe and Marquier had unsuccessfully sued May for breach of copyright and demanded "the sequestration of the May-plagiarized albums, notification to the press to stop advertisements of said views, and 20,000 pesos as damages". May denied plagiarism on the grounds that ". after all, ladies in carriages, street sellers, churches, monuments, and landscapes were all there in full view to any artist who cared to paint them". The maps of Cuba and Havana were also copied from an 1847 map by Jose M. de la Torre. Following the failed lawsuit May reissued this volume in 1855. Sabin 17748; Palau 5421; 167989 (note); Cueto, Mialhe's Colonial Cuba, pp.1-7, 73-77.

Oblong 4to., (9 4/8 x 13 4/8 inches). Chromolithographed pictorial title-page heightened with gold, 2 folding maps of Cuba and Havana), 27 numbered chromolithographed plates, all with tissue guards (some marginal spotting, small marginal tear in map of Cuba). Original deluxe binding of rose velvet elaborately decorated in gilt, the lower cover with the gilt supra libros of the "Condesa de San Antonio", all edges gilt (unevenly faded, extremities a bit rubbed). Provenance: from the library of Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 233 A reissue in a deluxe binding of Bernardo May's pirated edition of views from Frederic Mialhe's lithographs for the series "Viage pintoresco al rededor de la Isla de Cuba" printed by Louis Marquier Havana, ca 1848 and sold by them in competition with Mialhe's originals at less than half the price. These magnificent and lively views include images of the entrance to the port of Havana, several fine perspectives of the city itself, local landmarks such as the Plaza de Armas, Puertas de Monserrate, Teatro de Tacon y Parte del Paseo de Jsabel II, Fuente de la Jndia en el Paseo de Jsabel II, Almeda de Paula, the church of Mayor y de Ermita del Buen Viaje, the city of Matanzas, the entrance to the port of Santiago, Trinidad, and local trades and pastimes including a bull fight. In 1853 both Mialhe and Marquier had unsuccessfully sued May for breach of copyright and demanded "the sequestration of the May-plagiarized albums, notification to the press to stop advertisements of said views, and 20,000 pesos as damages". May denied plagiarism on the grounds that ". after all, ladies in carriages, street sellers, churches, monuments, and landscapes were all there in full view to any artist who cared to paint them". The maps of Cuba and Havana were also copied from an 1847 map by Jose M. de la Torre. Following the failed lawsuit May reissued this volume in 1855. Sabin 17748; Palau 5421; 167989 (note); Cueto, Mialhe's Colonial Cuba, pp.1-7, 73-77.

MIALHE, Pierre Toussaint Frederic (1810-1881) - TORRE, Jose de la - MAY, Bernardo. Plano Pintoresco De La Habana con los numeros de las casas [with] Mapa Historica Pintoresco Moderno de la Isle De Cuba. Berlin: B. May y CA, 1853. 2 fine folding tinted lithographed maps (17 6/8 x 22 inches; 18 x 23 inches) each laid down on linen and tipped into original publisher's ochre cloth wallet, gilt and blind (back strip a little fade and chipped at the foot of the spine, corners bumped). Provenance: from the important cartographical library of Warren Heckrotte, his sale, Rare Cartography, Exploration and Voyages, Part III, March 10th, 2016, lot 166 Plano Pintoresco De La Habana con los numeros de las casas B. May y CA. 1853, is a fine and detailed map of Havana, showing the fortified city wall, the streets and lot numbers within and without. The map is surrounded by a series of vignettes of local landmarks, including along the top margin a fine view of Isabel II passing the fountain Fuente de la India, and along the bottom margin a sprawling panorama of Havana from the harbour. Mapa Historica Pintoresco Moderno de la Isle De Cuba, is a fine map of the entire island of Cuba with a table of distances lower left, and surrounded by a series of vignettes of local views and historical events. This scarce pair of maps of Cuba and Havana, surrounded by views and historic scenes of the island, were originally published in Pierre Toussaint Frederic Miahle's (1810-1881) Viaje pintoresco al rededor de la Isla de Cuba, ca 1848, which was subsequently pirated by Bernardo May as Album Pintoresco de la Isla de Cuba in the 1850. In 1853 both Mialhe had unsuccessfully sued May for breach of copyright and demanded "the sequestration of the May-plagiarized albums, notification to the press to stop advertisements of said views, and 20,000 pesos as damages". May denied plagiarism on the grounds that ". after all, ladies in carriages, street sellers, churches, monuments, and landscapes were all there in full view to any artist who cared to paint them". The maps of Cuba and Havana were also copied from an 1847 map by Jose M. de la Torre. Following the failed lawsuit May reissued his volume in 1855. These maps and views evoke the island of Cuba as it flourished in the mid-19th century: a vibrant tropical haven with a splendid capital that served as a center of trade between Europe and the Americas. One of the oldest cities founded by Europeans in the western hemisphere, Havana and all of Cuba had become something of a destination for travelers as well as merchants when these views were made. Scenes show Cuba's ports teeming with the clipper ships and commercial vessels, and the development of one of the oldest New World cities. In 1607, just over a century after Columbus made landfall in Cuba in 1492, Havana became the capital of the island and the front door to the vast Spanish colonial empire. The city was physically untouched by the wars of independence in the latter half of the 18th century, and thus remains the finest surviving Spanish complex in the Americas. Though the face of Cuba has changed considerably, its distinctive vibrancy is depicted vividly in these stunning 19th-century views, which illustrate not only on the island's ports and harbors, but colorful scenes of everyday life and customs. Sabin 17748; Palau 5421; 167989 (note); Cueto, Mialhe's Colonial Cuba, pp.1-7, 73-77.

Oblong 4to., (11 4/8 x 16 4/8 inches). 18 tinted lithographs (some occasionally heavy mostly marginal spotting). Original red roan backed brown cloth (extremities a bit worn). From a series of 30 views originally drawn on stone in Cuba by Mialhe himself, but printed here by Marquier and sold by them for less than half the price of Mialhe's originals. Published in Havana between 1847 and 1848, the prints were sold singly or bound in sets, though not in book form with title-page or other text. Reprinted later during the 1850s in Berlin by Bernardo May as "Album Pintoresco de la Isla de Cuba". Mialhe, a French artist and engraver, arrived in Havana in 1838 under contract to the printing house Real Sociedad Patriotica to document the places, people and customs of colonial Cuba. His "Isla de Cuba pintoresca" was published by them in 1838-1840. This splendid book of views evokes the island of Cuba as it flourished in the mid-19th century, a vibrant tropical haven with a splendid capital that served as a center of trade between Europe and the Americas. One of the oldest cities founded by Europeans in the western hemisphere, Havana and all of Cuba had become something of a destination for travelers as well as merchants when these views were made. Several of the scenes included in this album show Cuba's scenic ports teeming with the clipper ships and commercial vessels, some depicted masterfully in a moonlit setting. The views of Havana are particularly notable, showing the development of one of the oldest New World cities. In 1607, just over a century after Columbus made landfall in Cuba in 1492, Havana became the capital of the island and the front door to the vast Spanish colonial empire. The city was physically untouched by the wars of independence in the latter half of the 18th century, and thus remains the finest surviving Spanish complex in the Americas. Though the face of Cuba has changed considerably, its distinctive vibrancy is depicted vividly in these stunning 19th-century views, which illustrate not only on the island's ports and harbors, but colorful scenes of everyday life and customs.