Plans, Elevations, Sections, and Details of the Alhambra.... London: Published for Owen Jones 1842-45. 2 volumes in-folio, nombreuses planches en chromolithographie. Volume I: (1842), 1 f.; titre lithographié en couleurs; titre en noir et rouge; 4 ff.; notice historique, 20 pp. texte français/anglais; 51 planches (2 gravures sur cuivre originales en couleurs, 25 chromolithographies, 20 lithographies en noir et blanc et 2 à double page); Texte en français et en anglais, parfois en Arabe. Vignettes sur bois dans le texte. Les gravures sur cuivre sont imprimées sur papier d'Inde. Volume II: (1845) Titre lithographié en couleurs; titre en noir et rouge; 51 planches (42 chromolithographies et 9 gravures sur cuivre sur papier d'Inde). Demi-maroquin à grands coins vert d'époque, dos à nerfs richement ornés de résilles dorées, pièces de titre de maroquin bordeaux, plats de papier marbré, tranches dorées. Large paper copy of the first edition of this highly detailed and beautifully produced work. The lithographs printed in colour are highly important in their own right as early experimental examples of the chromolithographic process that was to come to dominate colour reproduction for most of the second half of the nineteenth century. These, allied with an excellent text, add an additional and valuable dimension to this work as an important historical record of this Moorish jewel in early 19th Century, at least twenty years before the first detailed photographic records were made. An unusually good copy of a work which, because of its bulk of some 26 kg. is often found in poor condition. It can be described without exaggeration as monumental', not just for its size, but as a milestone in English colour printing being one of the first to use the technique of chromolithography. Furthermore it is monument to the determination of its authors, Jules Goury died of cholera at Granada in 1836 while preparing the original drawings and Owen Jones was faced, on his return to England in 1835, with the complicated task of finding a printer capable of carrying out the work. He finally resolved to set up his own printing press; the colour plates demanded up to seven pressings and nearly nine years of experimentation passed before the work was successfully accomplished. In his employment of flat colours Owen Jones anticipated the works of William Morris the Pre-Raphaelite school of Art, and the Art Nouveau movement in France. (Palau 106 445.. Creswell 357. Abbey Travel 156. Tesoros de España 124).
Plans, Elevations, Sections, and Details of the Alhambra.... London: Published for Owen Jones 1842-45. 2 volumes in-folio, nombreuses planches en chromolithographie. Volume I: (1842), 1 f.; titre lithographié en couleurs; titre en noir et rouge; 4 ff.; notice historique, 20 pp. texte français/anglais; 51 planches (2 gravures sur cuivre originales en couleurs, 25 chromolithographies, 20 lithographies en noir et blanc et 2 à double page); Texte en français et en anglais, parfois en Arabe. Vignettes sur bois dans le texte. Les gravures sur cuivre sont imprimées sur papier d'Inde. Volume II: (1845) Titre lithographié en couleurs; titre en noir et rouge; 51 planches (42 chromolithographies et 9 gravures sur cuivre sur papier d'Inde). Demi-maroquin à grands coins vert d'époque, dos à nerfs richement ornés de résilles dorées, pièces de titre de maroquin bordeaux, plats de papier marbré, tranches dorées. Large paper copy of the first edition of this highly detailed and beautifully produced work. The lithographs printed in colour are highly important in their own right as early experimental examples of the chromolithographic process that was to come to dominate colour reproduction for most of the second half of the nineteenth century. These, allied with an excellent text, add an additional and valuable dimension to this work as an important historical record of this Moorish jewel in early 19th Century, at least twenty years before the first detailed photographic records were made. An unusually good copy of a work which, because of its bulk of some 26 kg. is often found in poor condition. It can be described without exaggeration as monumental', not just for its size, but as a milestone in English colour printing being one of the first to use the technique of chromolithography. Furthermore it is monument to the determination of its authors, Jules Goury died of cholera at Granada in 1836 while preparing the original drawings and Owen Jones was faced, on his return to England in 1835, with the complicated task of finding a printer capable of carrying out the work. He finally resolved to set up his own printing press; the colour plates demanded up to seven pressings and nearly nine years of experimentation passed before the work was successfully accomplished. In his employment of flat colours Owen Jones anticipated the works of William Morris the Pre-Raphaelite school of Art, and the Art Nouveau movement in France. (Palau 106 445.. Creswell 357. Abbey Travel 156. Tesoros de España 124).
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
