Dragons (II), 1657
Category: illustration, dessin, drawing, etching, drypoint, aquatint, gouache, watercolor, Zeichnung, Entwurf, disegno, illustrazione
Dragons, 1657
Insectes de Surinam, 1726
‘Admirables, les planches montrent en grandeur nature les insectes du Surinam dans leur environnement naturel mais également les paysages où vivent rongeurs, reptiles et batraciens, et les végétaux représentés sont d’une fascinante minutie. Ainsi que l’explique Sitwell, les fleurs “are drawn with the same delicacy and precision as the insects themselves, and the book may thus legitimately be considered a florilegium also” (Great Flower Books, p. 30). “In the majority of her paintings it is obvious that the moths and butterflies have been her major interest. These are drawn with very great delicacy ; the flowers, lovely though they often are, rarely if ever attain an equal perfection.” (Blunt, cité par Hunt). Quoted from Invaluable
Insectes de Surinam, 1726
Insectes de Surinam, 1726
Merian embarked on the two month voyage to the Dutch colony of Surinam in South America in June 1699, accompanied by her younger daughter Dorothea. The two endured the rigours of the tropical climate for 21 months in their endeavours to discover, collect and record the insect life, as a complement to the Raupenbuch, their work on European insects. Their sketches were first made from life and then painted on vellum. When mother and daughter left the colony in June, 1701 they were ‘loaded with rolled vellum paintings, brandied butterflies, bottles with crocodiles and snakes, lizards’ eggs, bulbs, chrysalises that had not yet opened, and many round boxes full of pressed insects for sale’ (Kurt Wettengl, ed., Maria Sibylla Merian 1647-1717, Ostfildern, 1998, pp. 180-81). Work on the Metamorphosis continued in Amsterdam until the publication of the first edition in 1705 with 60 plates, depicting the insects life-size. Merian’s early training as a botanical artist is evident in the fine depiction of the plants on which the insects feed and breed. As Sitwell states, these ‘are drawn with the same delicacy and precision as the insects themselves, and the book may thus legitimately be considered a florilegium also’ (Great Flower Books p. 30). Further editions of the work followed in 1719, 1726, and 1730, containing not only the original 60 plates but 12 additional engravings of reptiles, amphibians and marsupials, originally intended for a projected second volume. Quoted from Christie’s
Dead leaves, 1948
Laure Albin-Guillot :: Feuilles mortes, 1948, tirage au charbon. Illustration pour les Préludes de Claude Debussy. La page est composée de deux parties: à gauche se trouvent dessinées les notes introductives et le titre du Prélude illustré; à droite, le tirage au charbon illustratif est maintenu dans des fentes par ses quatre coins. Cet ensemble constitue la treizième des 23 illustrations du port-folio intitulé ‘Illustrations pour les Préludes de Claude Debussy’. Au recto, à l’intérieur de la page double, à gauche, portée calligraphiée avec la mention “Lent et mélancolique”; au recto, à l’intérieur de la page double, à gauche, titre calligraphié: “Feuilles mortes”; au recto, en bas à droite, sur le tirage, signature manuscrite: “Laure Albin Guillot”. | Dead leaves, 1948, charcoal print Illustration for the Preludes by Claude Debussy. The page is made up of two parts: on the left are the introductory notes and the title of the illustrated Prelude; on the right, the illustrative charcoal print is held in slots by its four corners. This set constitutes the thirteenth of the 23 illustrations in the portfolio entitled Illustrations pour les Préludes by Claude Debussy. On verso, inside the double page, on the left, handwritten: “Slow and melancholy”; on verso, inside the double page, on the left, handwritten title: “Dead leaves”; on verso, bottom right, on the print, handwritten signature: “Laure Albin Guillot”. | src Musée Français de la Photographie
Préludes de Claude Debussy
Trees at Night, 1926
Trees at Night, 1926
Trees at Night, 1926
un regard oblique 