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Acquaforte, 1932, esemplare unico terminato ad acquarello. Lastra 130x220 mm. Firmata e datata in lastra 1932. Titolo autografo a matita in basso a sinistra dove riportata l’iscrizione “unica a colori”. Firma a matita in basso a destra “Luigi Bartolini”. Un esemplare unico della stampa viene descritto in diversi repertori (vedi bibliografia sotto) e riprodotto ne Gli esemplari unici o rari (Casini editore, Roma 1952). Il presente esemplare sarebbe dunque l’unico terminato a colori da Bartolini. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Magnifica prova, con margini, in ottime condizioni. Il presente esemplare proviene dalla mostra di Bartolini presso la Galleria d’Arte Moderna Viotti di Torino, tenutasi il 22 febbraio 1969. Viene allegata la targhetta della galleria. Etching, 1932, unique example finished in watercolor. 130x220 mm plate. Signed and dated on plate 1932. Autograph title in pencil at lower left where inscribed "unique in color". Signature in pencil at lower right "Luigi Bartolini". A unique example of the print is described in several repertories and is reproduced in (Casini editore, Roma 1952). The present example would therefore be the only one finished in color by Bartolini. Magnificent proof, with margins, in excellent condition. The present example comes from Bartolini's exhibition at the Galleria d'Arte Moderna Viotti in Turin, on February 22, 1969. The gallery plaque is enclosed. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolin... Gli esemplari unici o rari, Casini editore, Roma 1952; C.A. Petrucci, Le incisioni di Luigi Bartolini, Calcografia Nazionale Roma (1951), n. 379 (e.u.); G. Ronci, Le incisioni di Luigi Bartolini, Calcografia Nazionale Roma (1962), n. 379 (e.u.); C. Barsan
Bulino, 1600 circa, firmata in lastra nell’immagine, in basso a destra: “Joannes Muller. fecit”, at left: “Harmannus Muller. excud. Amstelodamj”. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame ed applicata su antico supporto del XIX secolo, tracce di usura nella parte inferiore, nel complesso in buono stato di conservazione. Questa incisione, anche se per ragioni stilistiche strettamente legata a Spranger, dev’essere stata disegnata dallo stesso Muller. Il disegno di questa stampa, firmato "JMuller fecit", è attribuito da Bartsch (III, p. 284, n. 64) a Spranger. Obheruber (cfr. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), ha evidenziato l'inesattezza di quest’attribuzione. Bibliografia Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10. Engraving, 1600 circa, signed below in the image, at right: “Joannes Muller. fecit”; at left “Harmannus Muller. excud. Amstelodamj”. A fine impression, printed with tone on contemporary laid paper, trimmed to the borderline and pasted on 19th Century mounting, good condition. This print, though stylistically closely related to Spranger, must have been designed by Muller himself. The drawing for this print, signed “JMuller fecit”, is attributed by Bartsch (III, p. 284, n. 64) to Spranger. Obheruber (cf. Die Stilistiche Entwicklung im Werk Bartholomaeus Spranger, p. 294 n. 93), has pointed out the inaccuracy of the attribution to Spranger. Literature Bartsch, III.286.64; The New Hollstein, II, p. p.177, 64 II/IV; Filedt Kok (Print Quarterly, september 1994) pp. 250 -251; Hollstein, XIV, 10.
Modern brown boards. 64mo (2x3, miniature), [8]+252+[14] pages. In Latin. Divided into 37 chapters, (oratios), each with its own heading in large type with decorated initial letter. Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition. Ferraris first book was a Syriac Lexicon, and he also published a series of Orationstreatises on Rhetoric which emphasized good Latin usage. His last publication was a book on Sienese saints. (illustratedgarden.org) OCLC: 797749225, OCLC-Worldcat lists only 8 copies of any early editions worldwide, none in North America. Title page is illustrated, showing a woman holding a rose. Very slight corner rounding, bit of spotting, period 2-word notation on title page, paper and binding remain very nice, about Very Good Condition Overall. Very Rare (AC-22-3)
Acquaforte e punta secca, 1924. Misure della lastra 85x130 mm. Prova d’autore, firmata a matita in basso “L. Bartolini”. Esemplare rifilato al rame ed applicato su cartoncino coevo. Perfetto stato di conservazione. All’incisione, databile al 1924-25 come altre opere analoghe dell’artista, Bartolini assegnerà poi il titolo definitivo di Tre donne alla fontana. Un’esemplare dell’opera definitiva è passato in asta a Berna nel novembre del 2007: https://www.mutualart.com/Artwork/Tre-donne-alla-fontana/591860B3A0845475 Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Rara. Etching and drypoint, 1924. Plate size 85x130 mm. Artist's proof, signed in pencil at the bottom "L. Bartolini". Example trimmed to copper and applied on contempoary paperboard. Excellent state of preservation. Rare. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his 'Modi', published by Edizioni del Cavallino in 1938, was censured by Al...
Bulino, circa 1614, in basso a sinistra: David Vinckboons Inventor in basso a destra: Joan londerseel Schulptor /ICVisscher excudebat. Nel margine inferiore, tra le due firme, versi in latino dal Secondo libro di Samuele (11, 1), dove è narrata la vicenda di Betsabea e il re Davide. Da un soggetto di David Vinckboons, edito da Claes Visscher. In un giardino, Betsabea riceve la lettera di Davide presso una fontana. In lontananza un castello, in primo piano uno stagno e vari animali ai margini del bosco. Magnifica prova, finemente acquerellata da mano contemporanea, impressa su carta vergata coeva, in eccellente stato di conservazione. L’eccelsa qualità della coloritura a mano distingue e impreziosisce questo esemplare dalle prove in bianco e nero. Engraving, circa 1614, signed lower left: David Vinckboons Inventor Lower right: Joan londerseel Schulptor /IC (entwined) Visscher excudebat. In the lower margin, Latin verses related to the second book of Samuel, where the story of Bathsheba and King David is narrated. After a subject by David Vinckboons. Claes Visscher as publisher. In a richly landscaped castle garden, Bathsheba receives David's letter by a fountain. In the distance a castle, in the foreground a pond and various animals near the forest edge. Magnificent proof, splendid contemporary hand-colouring, printed on contemporary laid paper, with margins, usual trace of central vertical fold, in very good condition. The excellent quality of the colouring significantly distinguishes and enhances these examples from those in black and white. Hollstein Dutch 6_; Hollstein Dutch 7-3(3).
Bulino, datato in lastra 1597. Sulla cornice ovale: ‘BARTHOLOMAEUS SPRANGER, S. CAES. M. PICTOR CELEBERRIMUS’. Nel cartiglio in basso: ‘NATURAE OMNIPARENTI / PRAESTANTISSIMI EIUS AEMULI IMAGINEM,/INVIDIA GEMENTE/D D/IOANNES AB ACH.S.ITEM/CAES. M. PICTOR / An o 1597’ Nel margine inferior, al centro ‘In perpetuam amici memoriam Joan Mullerus grato lubentique animo aeri incidebat / F.de Wit excudit’. Ritratto di Bartholomeus Spranger (1546-1611) in cornice ovale, affiancato da due putti con trombe, uno scudo, una lancia e un elmo. Il ritratto ovale è basato su un modello (probabilmente un dipinto) di Hans von Aachen. Entrambi gli artisti dedicano esplicitamente la stampa in amicizia a Spranger. Durante questo periodo Jan Muller diventò il principale incisore dei disegni di Spranger, il famoso pittore di corte di Praga, ed è intorno a questo period che ha produsse dieci incisioni, la maggior parte di un formato abbastanza grande, basati sui disegni del celebre pittore. Spranger inviava i suoi disegni ad Amsterdam e un certo numero di di prove di stampa esistenti rivelano che questi furono inviati a Praga per la correzione. Muller probabilmente non incontrò Spranger fino alla visita di quest'ultimo nei Paesi Bassi nel 1602. Si può supporre che Hans von Aachen (1552 - 1615), un altro pittore alla corte di Praga, abbia inviato il ritratto di Spranger (sia esso dipinto o disegnato) affinché Muller lo utilizzasse come modello per la sua incisione; la cornice, tuttavia, fu disegnata da Muller stesso. Il disegno tracciato da Muller per la cornice, con un disegno inziale per il ritratto attaccato all'interno, è conservato ad Amsterdam ( Rijkprentenkabinet), ed è possibile seguire con precisione la realizzazione della stampa attraverso ogni fase successiva: prima venne inciso il volto nella lastra, poi il resto della figura, dopo di che la cornice e infine la decorazione. Bellissima prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, in ottimo stato di conservazione. Engraving, dated on plate 1597.On the frame: ‘BARTHOLOMAEUS SPRANGER, S. CAES. M. PICTOR CELEBERRIMUS’ Inscribed on the bottom, on cartouche: ‘NATURAE OMNIPARENTI / PRAESTANTISSIMI EIUS AEMULI IMAGINEM,/INVIDIA GEMENTE/D D/IOANNES AB ACH.S.ITEM/CAES. M. PICTOR / An o 1597’ inscribed on the bottom: ‘In perpetuam amici memoriam Joan Mullerus grato lubentique animo aeri incidebat / F.de Wit excudit’. Bust portrait of Bartholomeus Spranger (1546-1611) in oval frame, flanked by two putti with trumpets, a shield, spear and a helmet. “The oval portrait is based on a model (probably a painting) by Hans von Aachen. Both artists explicitly dedicate the print in friendship to Spranger. During this period Jan Muller had become the chief engraver of the designs by Spranger, the famous court painter of Prague, and it was around now he produced ten engravings, most of a fairly large format, after his designs. Spranger sent his drawn designs to Amsterdam and a number of extant proof impressions reveal that these were sent to Prague for correction. Muller probably did not meet Spranger until the latter’s visit to the Netherlands in 1602. It can be assumed that Hans von Aachen (1552 – 1615), another painter at the Prague court, sent Spranger’s portrait (whether painted or drawn) for Muller to use as a model for his print; the frame, however, was designed by Muller himself. Muller’s traced design for the frame, with the initial design for the portrait engraving attached inside, has been preserved (Amsterdam, Rijkprentenkabinet), and it is possible to follow the making of the print precisely through each successive stage: first the face was engraved in the plate, then the rest of the figure, after which the frame and finally the circumscription were engraved.” F. Kok, Artists Portrayed by Their Friends: Goltzius and His Circle, in Netherlands Quarterly for the History of Art,Vol. 24, pp. 167-168. A fine example printed on contemporary laid paper, trimmed to the platemark, in good condition. Le Blanc, 69; F. Kok, Artists Portrayed by Their Friends: Goltzius and His Circle, in Netherlands Quarterly for the History of Art,Vol. 24, pp. 167-168.
Very Good Turkish, Ottoman (1500-1928) Original boards over handsome brown spine with gilt decorations in European style. A contemporary label on the front board has a manuscript title of book. Large roy. 8vo. (25 x 17 cm). In Ottoman script (Old Turkish with Arabic letters). [10], 225, [1] p. Early Bulaq imprint, a highly rare translation of the French biography of Catherine the Great by Marquis Jean-Henri Castéra, who was a French diplomat, and traveler, who gathered much of the original information while on diplomatic service in Saint Petersburg, titled "Vie de Catherine II, Impératrice de Russie" [i.e. The life of Catharine II, Empress of Russia], published in two volumes in Paris in 1797. Castera's book "The History of the Reigns of Peter III and Catharine II of Russia" gave detailed biographical information about Catherine the Great, Empress of Russia, including the events during the First and Second Russo-Turkish Wars of 1768-1774 and 1787-1792 under her reign, which saw and resulted in some of the worst Turkish defeats in history. The first edition of this book printed in Bulaq as well, but in 1828 [AH 1244], which has 160 pages. This is the second enlarged edition which was annotated by Sadullah Said Amedi, (1759-1831), who was a Turkish poet, later Divân kâtibi [i.e. Imperial court clerk], and "Tabhane-i Misrî Bas Musahhihi" [i.e. The chief editor of Egyptian printing house], appointed by Kavalali Mehmed Ali Pasha, (1769-1849), the Ottoman governor of Egypt. A short introductory text on the colophon like: "Moskov diyarinda mukim bulunan Kastra [Castera] nam Fransa elçisinin Moskov Devleti hakkinda cem' ettigi tarihin tercümesidir. Bundan akdem Devlet-i Aliyye'de Divan tercümani olup Rum hadisesi zuhurunda Burusa'ya nefy olunan Yakovaki nam sahis bazi rical-i Devlet-i Aliyye talebiyle tercüme etmistir. Tarih-i merkum Devlet-i mesfûrenin ahvâl ve ahbâr ve kavânîni mefsedet-medârini hâvî ve kâffe-i düvel hususen Devlet-i Âliyye-i ebed-müddet hakkinda olan muamelât-i politikiyyesini muhtevî bir kitab-i ibretnümâ oldugu mütalâsina nigâh-endâz-i ragbet ve iltifat olan erbâb-i basirete asikâr ve hüveydâ olacagi bî-reyb ü meradir". According to this text, this book was translated by Yakovaki Argiropoulo Efendi, (1774-1850), who was the Sultan's envoy in Vienna in the late 18th century, later a respectable dragoman of the fleet and the interpreter of Divan-i Hümâyûn, and translator of earlier books titled 'Ucalet al-Cografya' and 'Cedid Atlas' as well, upon the request of the Turkish Imperial authorities. Only one copy is located in OCLC 643670610.; and several copies are in 951557955.; Özege 10359.
Very Good Arabic Original full brown morocco with traditional flap. Traditional shemses (mytical sun) embossing on boards. Large roy. 8vo. (25 x 17 cm). In Arabic. [9], 562 p. Hegira 1251 = Gregorian 1835. "A supercommentary to Ibrâhîm ibn Muh?ammad al-H?alabî (1549-)'s shorter commentary (entitled Ghunyat al-mustamlî) on Sadîd al-Dîn al-Kâshgharî (13th century)'s treatise on Muhammadan ceremonial law entitled Munyat al-musallî.". Extremely rare. Brockelmann: History of the Arabic Written Tradition Supplement, Vol. 1: Islamic literature in Arabic, Vol. 2: Post-Classical period.; 52. Sadid al-Din Al-Kashgari, seventh century., pp. 682.; Not printed copy in OCLC for Bulaq Edition, for digital register, OCLC 945200709.
1st edition. Modern boards. 64mo (2x4, miniature), [26]+ 384 pages. In Latin. Engraved title page, illustrated, with portrait medallion: "vatis amatoris iulia sculpta manu." Author's portrait on leaf 10. Each work has divisional title page. Johannes Secundus (also Janus Secundus or Jean Second) (1511-1536), was a an erotic New Latin poet of Dutch nationality....Secundus was a prolific writer, and in his short life he produced several books of elegies on his lovers Julia and Neaera, epigrams, odes, verse epistles and epithalamia, as well as some prose writings (epistles and itineraria)....Secundus situates his poetry, stylistically as well as thematically, firmly with the Neo-Catullan tradition. Variations on the central theme include: imagery of natural fertility; the 'arithmetic' of kissing; kisses as nourishment or cure; kisses that wound or bring death; and the exchange of souls through kissing. Secundus also introduces elements of Neo-Platonism and Petrarchism into his poems (wikipedia). Subjects: Latin poetry, Medieval and modern -- Early works to 1800. Epigrams, Latin. OCLC: 781619207. Spelling and date error on spine. Includes second identical title page with inscription dated 1686. Pen marks on a few pages and period owners notation on rear blank end paper. Touch of edgewear to first title page and to background margin of portrait on leaf 10. Good+ Condition Overall. Nice copy. (AC-22-2)
Acquaforte su ferro, 1579 circa. Primo stato di due, avanti la numerazione. Pubblicata nel Catalogus gloriae mundi, di Barthélemy de Chasseneuz (ca. 1480-1541) – noto anche con la forma latinizzata del nome Bartholomaeus Cassaneus, edito Francoforte nel 1579 da Sigmund Feyerabend. La tavola raffigura un re seduto su un trono che tiene uno scettro sullo sfondo centrale, a sinistra uno scriba, ai lati della stanza i consiglieri del re, soldati in piedi in primo piano. Inserita in una cornice ovale, gli angoli riempiti con motivi ornamentali. Il Catalogus gloriae mundi, tipico prodotto dell’enciclopedismo rinascimentale, opera umanistica e giuridica, si incentrava sull’onore, problema per definizione interdisciplinare e di vastissimo successo nella pubblicistica cinquecentesca. Ma nel saggio di Chasseneuz il concetto di onore divenne addirittura la griglia di una vera e propria enciclopedia di tutto il creato. In dodici libri l’intera esperienza secolare e celeste si condensava compatta, ritrovando intorno all’onore il proprio archetipico motivo d’ordine: I. considerazioni generali sull’onore II. onori e ordini dell’uomo e della donna in generale III. onori e ordini degli spiriti celesti e infernali IV. onori e ordini degli ecclesiastici V. onori e ordini dei Principi VI. onori e ordini degli ufficiali del sacro palazzo VII. onori e ordini dei magistrati e di tutti gli ufficiali di giustizia VIII. onori e ordini dei nobili IX. onori e ordini dei militari X. onori e ordini delle scienze e dei letterati XI. onori e ordini dei plebei e degli artigiani XII. onori e ordini di pietre, vegetali, animali e di tutti i rimanenti esseri, celesti e terrestri. Di famiglia borghese, Bathélemy de Chasseneuz studiò diritto alle Università di Dole, Poitiers, Bologna, Torino e Pavia. Dopo l’occupazione del Ducato di Milano da parte di Carlo VIII vi svolse incarichi giudiziari, conseguì nel 1502 il dottorato in utroque ed accompagnò Charles d’Amboise nella sua spedizione contro Bologna. Esercitò poi l’avvocatura ad Autun, divenendo avvocato del Re e baglivo dell’abbazia di Saint Martin d’Autun. Consigliere nel parlamento di Digione dal 1525, nel parlamento di Parigi dal 1531, fu presidente in quello di Aix dal 1532. Morì nel 1541. Di lui rimangono a stampa una raccolta di pareri legali, i commentari sulle consuetudini del Ducato di Borgogna e, appunto, il Catalogo della gloria del mondo. La prima edizione dell’opera fu pubblicata nel 1529. Nel 1579 Sigmund Feyerabend, tipografo di Francoforte, decise di pubblicare una nuova edizione dell’opera, arricchita dalle illustrazioni realizzate ad hoc da Jost Amman allo scopo di rendere più facilmente comprensibili le teorie del giurista e valorizzare maggiormente l’opera. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, tracce di colla al verso, per il resto in ottimo stato di conservazione. Bibliografia The New Hollstein, Part VI.87.144.23.i, p. 87. Etching on iron, 1579, unlettered. First state, of two, before the numbering 6 added lower right in the plate. The plate depicts a king sitting on a throne holding a sceptre in centre background, on the left a scribe, on either side of the room the king's advisors, soldiers standing in the foreground. Set in an oval frame, the corners filled with strapwork ornaments. A fine impression, printed on contemporary laid paper, trimmed to the paltemark, very good condition. Printed in Catalogus Gloriae Mundi by Barthélemy de Chasseneuz, printed in 1579, Frankfurt - Sigmund Feyerabend. Barthélemy de Chasseneuz (1480–1541) was a lawyer, and he was neither a narrow-minded one nor a bad one – quite the opposite. He had attended French and Italian universities and had been the student of some of the most famous teachers of his time. The talented legal scholar had acquired experience at the court of the duke of Milan and even at the court of the Pope himself. And yet, he returned to his home country in 1506 where he took up high offices. As his contemporaries, Barthélemy de Chasseneuz was convinced that everything on earth had a precise order. He believed that any kind of dispute arose solely from the fact that humankind was unaware of the exact structure of this order. It was obvious that the King of France was of higher status than a juggler. But what about the King of France and the King of Aragon? Who of them was of higher status? Being a good lawyer, Chasseneuz sat down and studied the sources. He wrote more than 1,000 pages setting out which office held which rank based on all theological, philosophical and legal sources available to him – from the hierarchy of the Heavens to the social ranks of humankind and to animate and inanimate nature. In 1529, this book was published for the first time. Chasseneuz’ book was of huge importance to all those who had to deal with issues of ceremonial protocol. All princes and city councillors had enough money to afford an expensive book. That’s why, at some point during the 70s of the 16th century, Sigmund Feyerabend from Frankfurt decided to publish a new edition of Chasseneuz’ work. He did not simply reprint the first edition, instead, he hired the famous book illustrator Jost Amman to transform Barthélemy de Chasseneuz’ theoretical considerations into impressive – and easily understandable – copper engravings. Bibliografia The New Hollstein, Part VI.87.144.23.i, p. 87.
Acquaforte. Lastra mm 118x152, foglio 160x222 mm. Firma a matita a sinistra Luigi Bart. Titolo a matita in basso a sinistra non ben leggibile. Possiamo ipotizzare Invadenza. L’incisione non è catalogata in nessuno dei numerosi repertori sull’artista da noi consultati; è notorio che la catalogazione delle opere di Bartolini non è ancora completa. Bellissima prova, impressa su carta coeva, piccolo strappo perfettamente restaurato nella parte superiore, leggera abrasione al verso, per il resto in ottimo stato di conservazione. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Etching. Plate mm 118x152, sheet 160x222 mm. Signature in pencil on the left Luigi Bart. Title in pencil at lower left not well readable. We can assume Invadenza. This work is not catalogued in any of the several repertories we consulted about the artist; it is well known that the cataloguing of Bartolini's works is not yet complete. Beautiful proof, printed on contemporary paper, small tear perfectly restored in the upper part, light abrasion on the back, otherwise in excellent condition. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political su...
Bulino, 1593, monogrammata in lastra, nell’immagine in basso a destra “HG Jnve.” Numerata 5, in basso a sinistra. Stato unico. Eccellente esemplare, impresso su carta vergata coeva, rifilato ai margini, qualche spellatura al verso, in ottimo stato di conservazione.L’incisione appartiene a una serie di quattordici dedicata ai Vizi Capitali e alle Virtù. L’invidia è raffigurata dentro una nicchia, nelle sembianze di una vecchia megera nell’atto di mangiare un cuore, mentre nella mano sinistra tiene dei serpenti. Nei due alnoli superiori, i suoi attributi, il serpente e il caneSotto l’immagine, due versi in latino che definiscono il Vizio: “Invidia asperius nihil est, nec acerbius usquani/Tabificum pravis malum et exitiale venenum F.E[stius]”. Engraving, 1593, signed on plate, in the image lower right “HG Inve”, numbered 5 at lower left. Only state.Excellent example, printed on contemporary laid paper, trimmed at margins, some scratch on verso, in very good condition.In this print, which comes from a series of fourteen engravings, representing the Seven Capital Vices and Virtues, Envy is shown as an old hag eating a heart, inside a niche adorned with two shields that represent her two main attributes, the snake and the dog.Under the image, the following latin inscription: “Invidia asperius nihil est, nec acerbius usquani/Tabificum pravis malum et exitiale venenum F.E[stius]”. Hollstein 154
PLEASE NOTE: This is a heavily-worn former library copy with the usual markings. Dust jacket not included. Binding very tender - could let go at any moment, thus we offer this book AS IS. Now the good news: x, 709 pages. Index. Glossary. Profusely illustrated in black and white and color. "The subject, though approached from the viewpoint of forty years of Esquire Magazine fashion coverage, represents far more than that in its totality. The result, obviously, is to tell you more than you could conceivably care to find out, at least at one sitting, about any one of the many aspects of twentieth-century fashions for men." - Arnold Gingrich. This books is "also a social history, for the clothes men wear tell us not only a lot about the men who wear them but a lot too about the climate of the time in which they live: the social, economic and political conditions that influence the way a man dresses. This, then, is a lavishly illustrated encyclopedia that, in seminarrative style, covers in detail every item of apparel worn by the American man of this century while exploring the society of which his clothes are a reflection. Also considers luggage and leather goods, the styling and care of the hair, and toiletries. Each category of apparel is covered chronologically, decade by decade. Also takes readers behind the scenes, to the mills where the fabrics are made and to the plants where the clothes made from these fabrics are manufactured. Every step of every process is described in detail. Since this book deals with eight decades of fashion, it offers the reader a uniquely panoramic view of men's fashions in the twentieth century" - Introduction. Despite its major deficiencies, a worthy reference copy of this treasured fashion reference. Book
Acquaforte e puntasecca, circa 1900. Titolo a matita in basso e firma autografa in basso a destra “C. Biseo”. Magnifica prova, impressa con inchiostro verde su carta coeva, tracce di antica inquadratura, per il resto in eccellente stato di conservazione. Marcelle Renée Lancelot, coniugata Croce (Parigi, 26 gennaio 1854 – ca 1946), è stata una pittrice, scultrice e medaglista francese naturalizzata italiana. In seguito al matrimonio con lo scultore Leonardo Croce, prese la nazionalità italiana, cambiando il nome in Marcella. Visse per diversi anni a Roma, a partire dal 1895. Oltre alla pittura e alla scultura, si dedicò anche fin da giovane alla professione di medaglista. Cesare Biseo pittore, acquarellista e incisore, nasce a Roma, ove il padre, Gian Battista, valente pittore accademico di Brescia, si era da poco trasferito essendo stato chiamato a decorare il castello di Bracciano. Riceve dunque dal padre i primi insegnamenti artistici e, a seguito del genitore, trascorre da giovane un lungo periodo a Parigi. Nel 1869, in occasione dell’inaugurazione del Canale di Suez, il Kedivé d’Egitto lo chiama a decorare prima il suo palazzo in Alessandria e poi il Teatro dell’Opera al Cairo. Innamoratosi dell’Africa la visita più volte e nel 1875 con Edmondo De Amicis e il pittore Stefano Ussi fa parte della prima missione italiana in Marocco. Ne trae diversi albi di schizzi, che utilizza per illustrare, insieme ad Ussi, il libro di De Amicis, Marocco, edito nel 1877 dalla casa editrice Treves di Milano. Nello stesso anno accompagna De Amicis a Costantinopoli, illustrando poi l’omonimo libro dello scrittore pubblicato nel ’78 sempre dalla Treves. Il grande successo di entrambe le edizioni consacra Biseo “orientalista”, spingendolo ad intensificare la produzione di oli ed acquarelli a soggetto arabo. Intanto nel 1875, assieme a E. Roesler Franz e N. Cipriani, fonda a Roma la Società degli Acquerellisti, di cui diviene presidente nel 1881. La vena orientalista, infatti, non gli aveva fatto dimenticare la passione per i paesaggi della Campagna Romana, ritratti con grande fedeltà ed originali tagli di luce (“l’ardito effetto di sole”), evolvendo dall’originario gusto classico verso soluzioni sempre più veriste. Lo troviamo anche tra i soci fondatori del Gruppo dei XXV della Campagna romana, ove Pascarella gli affibbia il nomignolo di “cariate” per i suoi trascorsi egiziani. Ebbe lo studio a via Margutta e fu, come le foto di Oreste Sgambati stanno a dimostrare, un frequentatore assiduo del Caffè Greco, dove fu soprannominato “professorissimo” per la sua maestria a biliardo. Oltre agli affreschi ed alle decorazioni degli esordi, dipinge ugualmente bene ad olio e all’acquarello. Si è inoltre dedicato con successo all’acquaforte, come dimostrano le sue bellissime illustrazioni di libri. Il presente ritratto di Marcella Lancelot Croce, confrontando le biografie dei due artisti, risale al periodo tra il 1895 e il 1909, tra l'arrivo della pittrice a Roma e la scomparsa di Biseo. Opera non descritta da nessuno dei repertori consultati. Molto rara. Etching and drypoint, circa 1900. Title in pencil at bottom and autograph signature at bottom right "C. Biseo". Magnificent example, impressed in green ink on coeval paper, traces of old framing, otherwise in excellent condition. Marcelle Renée Lancelot (Paris, January 26, 1854 - ca 1946) was a French painter, sculptor and medallist naturalized Italian. Following her marriage to the sculptor Leonardo Croce, she took Italian nationality, changing her name to Marcella. She lived for several years in Rome, starting in 1895. In addition to painting and sculpture, she devoted herself to the profession of medallist since she was young. The present portrait of Marcella Lancelot Croce, comparing the biographies of the two artists, dates from the period between 1895 and 1909, between the painter's arrival in Rome and Biseo's death. Work not described by any of the repertories consulted. Very rare. Cesare Biseo painter, watercolorist and engraver, was born in Rome, where his father, Gian Battista, a talented academic painter from Brescia, had recently moved to decorate the castle of Bracciano. Receives therefore from the father the first artistic teachings and, following the parent, spends as a young man a long period in Paris. In 1869, on the occasion of the inauguration of the Suez Canal, the Kedivé of Egypt called him to decorate first his palace in Alexandria and then the Opera House in Cairo. Having fallen in love with Africa, he visited it several times and in 1875 with Edmondo De Amicis and the painter Stefano Ussi was part of the first Italian mission to Morocco. It draws several albums of sketches, which used to illustrate, along with Ussi, the book of De Amicis, Morocco, published in 1877 by the publisher Treves in Milan. In the same year accompanies De Amicis in Constantinople, then illustrating the homonymous book of the writer published in '78 always by Treves. The great success of both editions consecrates Biseo "orientalist", pushing him to intensify the production of oils and watercolors to Arab subject. Meanwhile in 1875, along with E. Roesler Franz and N. Cipriani, founded in Rome the Society of Watercolorists, of which he became president in 1881. The orientalist vein, in fact, had not made him forget the passion for the landscapes of the Roman countryside, portrayed with great fidelity and original cuts of light ("the bold effect of the sun"), evolving from the original classical taste towards more and more realistic solutions. We also find him among the founding members of the Group of XXV of the Roman Countryside, where Pascarella gives him the nickname of "cariate" for his Egyptian past. He had a studio in Via Margutta and was, as the photos of Oreste Sgambati demonstrate, a frequent visitor to the Caffè Greco, where he was nicknamed "professorissimo" for his mastery at billiards. In addition to the frescoes and decorations of the early days, he painted equally well in oil and watercolor. He also devoted himself successfully to etching, as evidenced by his beautiful book illustrations.
Acquaforte e puntasecca, 1882, da un soggetto di Théodore Rousseau. Impressione con firma autografa di Bracquemond; in basso a destra, timbro a secco della Printseller Association. Magnifica prova, del sesto stato su sei descritto da Beraldi, impressa su carta Cina, in eccellente stato di conservazione. Il dipinto di Rousseau da cui proviene l'acquaforte è Coucher de soleil : ou, Un abreuvoir ( ca. 1850-55 ), che è apparso all'asta da Sotheby's . New York, 17 febbraio 1993, lotto n. 12, intitolato Coucher de soleil dans les landes prés de Begaar e che oggi si trova in una collezione privata. Il quadro di Rousseau fu il primo dipinto dell'importante maestro acquistato dalla neonata galleria Arnold & Tripp, che aveva aperto nel gennaio 1881: fu acquistato da Georges Petit, esperto di Vente Hartmanna, per 20.000 franchi il 16 maggio 1881, e venduto il giorno seguente per 26.000 franchi al collezionista portoghese Pedro Eugenio Daupias. Arnold & Tripp, dopo aver acquistato e subito venduto il quadro Coucher de soleil, decisero di chiedere a Bracquemond di realizzare una lastra da cui ricavare delle copie da vendere. Questo indica che la galleria aveva mantenuto i diritti di riproduzione del dipinto, o almeno aveva un accordo con il proprietario in tal senso. L'identificazione del quadro da cui proviene l'acquaforte è quindi particolarmente interessante perché Bracquemond non fu incaricato di produrre un'incisione per promuovere la vendita del quadro, che la galleria aveva già venduto a Daupias nel maggio 1881. Piuttosto, come era comune con le incisioni, si rivolgeva al suo particolare mercato di collezionisti, sicuramente interessati ad avere un'incisione da un dipinto che era diventato parte di una famosa collezione di Lisbona, e che non avrebbero più potuto ammirare a Parigi. La scoperta del contratto stipulato tra la galleria parigina Arnold & Tripp e il pittore e incisore Felix Bracquemond è un fatto recente. Il contratto fa parte di un gruppo di sette lettere, contenute nel carteggio Arnold & Tripp, che illustrano tutti gli aspetti dell'affare, dal contratto formale del luglio 1881, alle varie fasi delle prove, fino alla lastra finale da presentare al Salone parigino del 1882. Per un’approfondimento sul tema, si rimanda al saggio di Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in “Getty Research Journal”, n. 10 (2018), pp. 207-224). Già nel contratto Bracquemond fa riferimento a sei stati della lastra, poi descritti da Henri Beraldi (cfr. Les Graveurs du XIXe siècle s…, t. 3, pp. 109-110). Etching and drypoint, 1882, inscribed beneath the image lower left B lower Publie par Arnold et Tripp. & Rue St Georges a Paris. In the image, lower right TH. R After a painting by Théodore Rousseau. Example in the sixth finale state, with the signature and the publisher’s address lower centre. Etched by Félix Bracquemond (1833–1914). Impression signed by Bracquemond, in pencil. Printsellers' Association's blind stamp at lower left. The painting from which the etching comes is Coucher de soleil : ou, Un abreuvoir ( ca. 1850-55 ), which appeared at auction at Sotheby's . New York , 17 February 1993 , lot no . 12 , titled Coucher de soleil dans les landes prés de Begaar and which today is held in a private collection. The Rousseau painting was the first painting by the important master purchased by the newborn gallery Arnold & Tripp gallery, which had opened in January 1881. The painting was bought from Georges Petit for 20,000 francs od 16 May 1881, and sold the following day for 26,000 francs to the Portuguese collector Pedro Eugenio Daupias. Arnold & Tripp, after having purchased and immediately sold the painting Coucher de soleil , decided to ask Bracquemond to produce a plate from which to derive copies to sell . This indicates that Arnold & Tripp had retained the reproduction rights for the painting , or at least had an agreement with the owner to that effect. The identification of the painting from which the etching comes is therefore particularly interesting because Bracquemond was not contracted to produce an engraving in order to promote the sale of the painting, which the gallery had already sold to Daupias in May 1881. Rather, as was common with artists' etchings, it was aimed at its own particular market of collector, surely interesting in having an engraving of a painting that had become part of a famous collection in Lisbon, and which they would no longer be able to admire in Paris. Recently, in the archives of the Getty Research Institute was discovered a contract between the Parisian gallery Arnold & Tripp and the painter and etcher Felix Bracquemond (1833-1914) in order to realize a plate after a painting by Théodore Rousseau. The contract is part of a group of seven letters, contained in the Arnold & Tripp correspondance, that illustrate all the aspects of the deal, from the formal contract in July 1881 , to the various phases of the proofs, toward the final plate to be presented at the Parisian Salon of 1882. (cfr. Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in Getty Research Journal, n. 10 (2018), pp. 207-224). H. Beraldi, tome 3, pp. 109 - 110; Paolo Serafini, An Inside View of the Print Market in Paris (1881) A Contract between Félix Bracquemond and the Arnold & Tripp Gallery to Realize a Plate after Théodore Rousseau, in “Getty Research Journal”, n. 10 (2018)
in testa al front.: Biblioteca del Senato del Regno (vol. I); Biblioteca del Senato della Repubblica (voll. II-VIII) - vol. I A-B (Tipografia del Senato 1943); vol. II C-E (Tipografia del Senato 1950); vol. III F-K (Leo S. Olschki Editore 1955); vol. IV L-M (Leo S. Olschki Editore 1958); vol. V N-Q (Leo S. Olschki Editore 1960); vol. VI R (Leo S. Olschki Editore 1963); vol. VII S (Leo S. Olschki Editore 1990); vol. VIII T-U (Leo S. Olschki Editore 1999) - otto volumi in 4°, bross. edit con titoli a due colori - numerose tavole in b.n. anche con velina protettiva
IN 4 OBLONG. CART [MOY]. 4 PP. 49 H-T EN NOIR DONT 1 DOUBLE PAGE. [BE]
Acquaforte su lastra di zinco, misure: mm 103 x 190; foglio mm 375x 505. In basso a destra timbro a secco «Centenario Gio. Fattori 1925». Lastra conservata presso il Gabinetto Disegni e Stampe degli Uffizi. Esemplare appartenente alla tiratura Benaglia, eseguita in occasione del centenario dalla nascita di Giovanni Fattori nel 1925, quando Giovanni Malesci (nominato dal Maestro suo erede universale) decise di dare alle stampe 164 lastre (per un totale di 166 fogli, perchè due incise anche sul verso) tra le 178 ritrovate nello studio di Fattori stesso. Così furono eseguite 2 tirature da 50 esemplari presso l’editore Benaglia di Firenze, a seguito delle quali le matrici furono donate al Gabinetto dei Disegni e delle Stampe degli Uffizi. Bellissima impressione stampata su carta con filigrana "Corona merlata sulla scritta UMBRIA / ITALIA" e filigrana "Ovale con lettere CPO". Ampi margini intonsi, ottima conservazione. Pittore e incisore. Viene soprattutto ricordato come uno dei principali esponenti del movimento dei Macchiaioli e come artista di spicco nel panorama ottocentesco, nonché come prolifico incisore dal segno vivace e del tutto personale. Fattori era solito stampare da sé i suoi lavori utilizzando un piccolo torchio, esegue tirature irregolari spesso contraddistinte da una ricerca per gli effetti di chiaroscuro e da un uso sapiente delle velature. Gli esemplari di una stessa lastra sono perciò spesso differenti, più carichi e attenti agli effetti di luce nelle tirature curate dall’autore, meno caldi e più nitidi quelli fatti stampare presso la Calcografia. Il ritratto, i soggetti militari, testimonianza dell’interesse verso i fatti risorgimentali, gli animali della campagna e gli scorci di vita comune sono i soggetti che più lo impegnano. Bibliografia L. Servolini, 177 Acqueforti di Giovanni Fattori, Milano 1982, n. 87; 1983. Etching on zinc plate, size mm 103 x 190; sheet mm 375x 505. Bottom right stamp "Centenario Gio. Fattori 1925". The plate is kept at the Cabinet Drawings and Prints of the Uffizi. Example belonging to the Benaglia issue, made on the occasion of the centenary of the birth of Giovanni Fattori in 1925, when Giovanni Malesci (appointed by the Master as his universal heir) decided to print 164 plates (for a total of 166 sheets, because two of them were also engraved on the reverse) from among the 178 found in Fattori's studio. Thus, two issues of 50 copies were printed by the publisher Benaglia of Florence, and afterwards the plates were donated to the Gabinetto dei Disegni e delle Stampe of the Uffizi. Beautiful impression printed on paper with watermark "Crown embattled on the writing UMBRIA / ITALY" and watermark "Oval with letters CPO", wide margins uncut, mint. Literature L. Servolini, 177 Acqueforti di Giovanni Fattori, Milano 1982, n. 87; 1983.
This is an album of 50 lithographed images in black & white of designs ca.1880 of elaborate storefronts, and doors and other pieces of furniture from stylish shops. Also kiosks, etc, each plate with metric scale that indicates relative dimensions. All designs by the architect A.Sanguineti. Quarto size, 10 1/2" high x 8 1/2" wide. There is a light brown moisture-stain to most plates, down at the lower margin, sometimes affecting the image. The back cover is a brown marbled paper, no front cover. The title-page serves as front cover, although it is hard to tell if this is intentional. The book is covered with a protective mylar jacket. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Acquaforte e bulino, 1650 circa, numerata 11 nell’angolo superiore sinistro. Questa tavola appartiene alla suite di Baccanalia descritte da Robert- Dusmenil (IV, 12-17) il cui frontespizio, inciso da Nicolas Cochin il Vecchio recita “Recueil de diverses Baccanales de Poussin, Chapperon, D’origny et autres”. Tutte le stampe della serie contengono gli indirizzi dei rispettivi editori ma non i nomi dei disegnatori e degli incisori, il che rende difficile attribuire definitivamente le opere ad artisti specifici. Le stampe furono probabilmente pubblicate per la prima volta dagli editori François Langlois, noto come 'il Ciartres' (1589 Chartres - 1647 Parigi), e Philippe Huart (attivo intorno al 1639-1648) e furono seguite da una seconda edizione pubblicata da Pierre Mariette. I disegni per le incisioni potrebbero provenire da Nicolas Chaperon o dallo stesso Dorigny. Sei tavole della suite, benchè prive della firma dell’autore, per ragioni stilistiche, sono riconducibili a Dorigny, autore di un’altra suite di Baccanalia, composta anch’essa da sei lastre, tutte recanti la sua firma (Robert-Dusmenil, IV, 6-11). Incentrate sulle attività di Bacco, Sileno e la loro allegra compagnia, queste due serie di affascinanti composizioni all'acquaforte dimostrano la ricchezza e la destrezza dei poteri di invenzione di Dorigny. In contrasto con la maggior parte delle sue prime interpretazioni delle opere di Vouet e altri, dove spesso usava il bulino per aumentare leggermente la sua vigorosa acquaforte (vedi cat. 102), alcune delle stampe successive di Dorigny, in particolare queste due suite di baccanali, si affidano ancora di più al bulino. Questa tendenza è parallela a un graduale cambiamento nel suo disegno, che rivela una crescente tendenza verso contorni pronunciati e figure più scultoree. Dopo essersi formato per cinque anni sotto Georges Lallemand a Parigi, Michel Dorigny si unisce presto alla cerchia del pittore Simon Vouet, con il quale stringe un'amicizia stretta e duratura. Dorigny divenne in seguito uno dei principali interpreti in campo tipografico dell'opera pittorica di Vouet e fu anche coinvolto come pittore in diversi progetti artistici del maestro. Le sue stampe comprendono opere su temi religiosi e mitologici così come stampe singole e serie su temi dionisiaci. Le suite probabilmente risalgono agli anni ’50 del XVII secolo quando, dopo la morte di Vouet. Bellissima prova, ricca di toni, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233. Etching and engraving, 1650 circa, numbered 11 at lower left. After training for five years under Georges Lallemand in Paris, Michel Dorigny soon joined the circle around the painter, Simon Vouet, with whom he struck up a close and lasting friendship. Dorigny subsequently became one of the main printmaking interpreters of Vouet’s painted oeuvre and was also involved as a painter in several of the master’s artistic projects. His prints include works on religious and mythological themes as well as individual prints and series on Dionysian topics. It is to this latter category that six etchings belong which Dorigny produced together with Nicolas Chaperon and other artists for the series entitled Recueil de diverses Bacchanales (Robert-Dumesnil, vol. IV, p. 254, nos. 12–17). All the prints in the series contain the addresses of the respective publishers but not the names of the designers and engravers, which makes it difficult to definitively ascribe the works to specific artists. The prints were probably first issued by the publishers François Langlois, known as ‘il Ciartres’ (1589 Chartres – 1647 Paris), and Philippe Huart (active around 1639–1648) and were followed by a second edition published by Pierre Mariette. The designs for the etchings may well stem from Nicolas Chaperon or from Dorigny himself. Another suite of six bacchanals (Robert – Dusmenil 6-11) bears on each plate the name of D’Origny as engraver. Both suites probably date to the 1650 when, after Vouet’s death, Dorigny became one of the most important decorative painters in Paris. Focused on the activities of Bacchus, Silenus, and their merry band of associates, these two etched sets of charming compositions demonstrate the wealth and dexterity of Dorigny's powers of invention. In contrast to most of his earlier interpretations of the works of Vouet and others, where he often used engraving to lightly augment his vigorous etching (see cat. 102), some of Dorigny's later prints, espe- cially these two suites of bacchanals, rely even more on engraving. This trend parallels a gradual shift in his draftsmanship, which reveals an increasing tendency towards pronounced contours and more sculptural figures. A fine impression, printed with tone on contemporary laid paper, with margins, very good condition. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233.
11 vols., 8vo., with engraved armorial vignette on titles; attractively and strongly bound in contemporary full tan calf, sides with gilt frame border, backs with five raised bands, second and third compartments with red and black leather labels lettered in gilt, all other compartments richly ruled and tooled in gilt, doublures tooled in blind, all edges marbled, one volume neatly rebacked with old backstrip laid down, six labels (three red and three black) missing (but residual lettering wholly legible in blind), backstrips rather scuffed and age-worn (particularly on sixth volume), joints mildly rubbed (but all bindings entirely sound), else a handsome, internally crisp and spotless extended set in elaborate period binding. This set includes all half-titles, but was bound without the engraved portrait of Johnson often present in first or third volumes. Published in the series 'Oxford English Classics', this edition was supervised by Francis Pearson Walesby (1798-1858), Fellow of Lincoln College and later Professor of Anglo-Saxon at Oxford. The set was originally to comprise nine volumes (see titles); the tenth and eleventh volumes containing the 'Debates' were issued as supplements. Volume one contains Murphy's 'Essay', first published separately in 1792. In volume nine, 'Journey' retains the dates of August 13 ('Lough Ness') and September 20 ('Skye'), but corrects the error about the Macleods. Courtney & Nichol Smith pp.166-7; CBEL II, p.614
Acquaforte,1952. Lastra mm. 148x82. Firma a matita in basso a destra Luigi Bartolini. Dedica a matita in basso “Auguri per il 1954”. Tiratura a 20 esemplari, inserita nelle copie di testa del libro Ombre fra le metope, Schwarz Editore 1953, stampato da Luigi Maestri, Milano. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia https://www.luigibartolini.com/gli_amanti_crucciati_74.html Etching,1952. Plate mm. 148x82. Signature in pencil at lower right Luigi Bartolini. Dedication in pencil at the bottom "Auguri per il 1954". Limited edition of 20 copies, inserted in the leading copies of the book Ombre fra le metope, Schwarz Editore 1953, printed by Luigi Maestri, Milan. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his ...
GRAND IN 4. REL DEMI TOILE [MOY]. ENV 40 PP. 102 PPL EN NOIR. [BE]
119 pp. 179 illustrations, 107 in color. Text in English. Translated from the Italian first edition entitled Gioielli di architetti. "The modern jewelry featured in this unusual and handsome publication was commissioned by collector Cleto Munari from some of the most renowned post-modernist architects of our time. The imagery of their jewelry is a miniaturized architectural journey in itself." - dust jacket. Includes works by: Mario Bellini, Michele De Lucchi, Peter Eisenman, Michael Graves, Hans Hollein, Arata Isozaki, Richard Meier, Alessandro Mendini, Paolo Portoghesi, Peter eShire, Ettore Sottsass, Stanley Tigerman, Oscar Tusquets, Robert Venturi, Lella Vignelli, and Marco Zanini. Architect's stamp and date discreetly appear on page 118, otherwise book virtually as new. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. An excellent copy of this dazzling compilation. Book
Acquaforte, 1875 circa, priva di firma. Stampata su carta cina applicata su supporto coevo. Opera non descritta dai repertori consultati. Telemaco Signorini nasce a Firenze il 18 Agosto del 1835 e, nonostante prediliga gli studi letterari, suo padre, un modesto pittore della corte del Granduca, lo avvia allo studio della pittura e fu lui il suo insegnante. Dopo aver frequentato i corsi di disegno dal nudo all'Accademia di Belle Arti fiorentina, e dopo aver dipinto dal vero con Odorado Borrani e Vincenzo Cabianca, inizia a frequentare il Caffè Michelangelo, accostandosi ai pittori che in quegli anni stavano teorizzando la pittura di macchia, ossia i Macchiaioli. Durante un viaggio a Parigi conosce personalmente l'anziano Camille Corot, interessandosi alla sua pittura di paesaggi e Constant Troyon; tornato a Firenze, con l'amico Diego Martelli, consolida l'amicizia con Silvestro Lega e Odoardo Borrani, insieme ai quali dipinge nei dintorni di Pergentina, divenendo il maggior rappresentante dei Macchiaioli. Bellissima prova, in ottimo stato di conservazione. Dimensioni 114x172 mm, il foglio 239x325 mm. Al verso timbro della collezione di Raffaele Alianello (Lugt 5K). Etching, circa 1875, unsigned. Printed on Chinese paper applied to carboard. Work not described by the repertories consulted. Telemaco Signorini was born in Florence on August 18, 1835 and, although he preferred literary studies, his father, a modest painter of the court of the Grand Duke, initiated him to the study of painting and he was his teacher. After having frequented the courses of drawing from the nude to the academy of Belle Arti fiorentina, and after having painted from the true one with Odorado Borrani and Vincenzo Cabianca, it begins to frequent the Cafe Michelangelo, approaching the painters that in those years were theorizing the painting of stain, that is the Macchiaioli. During a trip to Paris he knows personally the old Camille Corot, being interested in his painting of landscapes and Constant Troyon; returned to Florence, with the friend Diego Martelli, consolidates the friendship with Silvestro Lega and Odoardo Borrani, together with which it paints in the surroundings of Pergentina, becoming the greater representative of the Macchiaioli. Beautiful example, in excellent condition. Size: platemark, 114x172 mm; sheet 239x325 mm. On the verso collection mark of Raffaele Alianello (Lugt 5K).
