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CANAL, Giovanni Antonio, "Il Canaletto" (artiste) et BRUSTOLON Giambattista (graveur).Livre Rare Book

[BAROQUE ARCHITECTURE OF THE NETHERLANDS].Biblio.com

Speculum Zelandiae dat is Een Beschryvinge ofte Afbeelding der Steden Ambachts-Heerlijckheden Castelen Ridderlijcke Hofsteden Huysen en Gebouwen gelegen inde Eylanden en de Graeflijckeyt van Zeelandt.

NYBF15Amsterdam Nicolas Visscher 1660.Large folio 535 x 358 mm of 9 double-pages with 36 engravings bound in 18th century paperboards.Complete copy printed on large paper in sumptuous contemporary colouring of the baroque atlas of the Netherlands. In the last 60 years auction records mention only 2 copies of the standard issue one from the first edition of 1657 the other one from the present edition of 1660. A third copy which was incomplete was sold in 1987.The present compilation contains 36 engravings printed by groups of 4 on the recto of double folios that illustrate baroque architecture of the Netherlands in the middle of the 17th century.The prints not only depict towns canals ports village scenes mains monuments but also precarious housing return from the market hunting scenes sailing castles churches convents wind mills as well as ornamental gardens the whole entirely enhanced with warm contemporary colouring.Hollstein Schut 32; Hollstein Publ. Clae Claesz Visscher I 7The present copy printed on large-paper is the only one recorded from this de luxe edition. In the posterior editions the Ottens ones for instance engravings were cut and presented separately and so printed in a 4to format.The Visscher family is famous in the history of printing Atlases in the Netherlands in the 17th century. Nicolas Visscher I the editor of the present atlas was born in Amsterdam in 1618. Only son of Claes Jansz Visscher he got married in 1643. When his father died in 1652 he carried on the activity and settled in the Kalverstraat in Amsterdam until his passing in 1679. Français Amsterdam Nicolas Visscher 1660.Grand in-folio de 9 double-pages regroupant 36 estampes cartonnage du XVIIIè siècle.535 x 358 mm.Exemplaire complet imprimé sur grand papier en somptueux coloris de l'époque de l'Atlas baroque des pays bas.Depuis 60 ans le répertoire des ventes publiques ne mentionne que 2 exemplaires en tirage normal l'un de la première édition de 1657 l'autre de la présente édition de 1660 un troisième incomplet fut vendu en 1987.Ce recueil présente 36 estampes gravées groupées par 4 vues imprimées au recto d'un double folio -illustrant l'architecture baroque des Pays Bas au milieu du XVIIè siècle.Sont dessinés et peints avec bonheur les villes canaux ports scènes villageoises les principaux monuments mais aussi l'habitat précaire le retour du marché les scènes de chasse la navigation les châteaux églises couvents moulins ainsi que les jardins d'agrément le tout rehaussé en chaleureux coloris de l'époque. Hollstein Schut 32 ; Hollstein Publ. Clae Claesz Visscher I 7Le présent exemplaire imprimé sur grand papier est le seul répertorié dans ce tirage de luxe. Dans les éditions postérieures par exemple les éditions Ottens les gravures furent coupées et présentées séparément et donc imprimées au format in-4.La famille Visscherest célèbre dans l'histoire de l'imprimerie des Atlas aux Pays Bas au XVIIè siècle. Nicolas Visscher I l'éditeur du présent atlas est né à Amsterdam en 1618. Fils unique de Claes Jansz Visscher il se maria en 1643. A la mort de son père en 1652 il poursuivit l'activité et s'établit sur la Kalverstraat jusqu'à sa mort survenue en 1679. hardcover

LIBRAIRIE CAMILLE SOURGET · France59 000,00 €

DUGOURC, Jean-Démosthène.Livre Rare Book

Recueil de dessins et aquarelles originaux Recueil de dessins originaux de Dugourc, l'un des grands ornemanistes français à la veille de la Révolution.

LCS-17663Un recueil témoignant de l’imagination créative de l’artiste, inventeur de talent du néo-classicisme et dont l’influence dans l’art décoratif serait de première importance à la veille de la Révolution. 6 dessins ou aquarelles de format in-folio, sous maries-louises bleues, regroupés dans une boite-étui en demi-maroquin rouge signée Devauchelle. -Projet de fauteuil en cabriolet vu de trois quarts. Aquarelle, plume et encore noire. 245 x 320 mm. Signé en bas à gauche à la plume « J.D. Dugourc. Inv. Del. Paris », vers 1790. Fauteuil en cabriolet au dossier ovale décoré d’une lionne dans un semis de fleurs. Les accotoirs, dégagés du dossier, sont recouverts d’un motif de palmette, comme le coussin. -Projet de fauteuil de profil et de chaise de face. Plume et encre noire sur papier calque collé sur le support en deux morceaux. 197 x 330 mm. Titre « Fauteuil et chaise pour salle à manger », vers 1790. La chaise décorée d’une lionne est assortie au fauteuil et reprend les mêmes motifs. -Projet de feu à griffons. Pierre noire. Titre « Idées de Bronzes ». 190 x 255 mm. Le feu est orné de deux griffons médaillés, séparés par un autel de feu. Sur l’autel, les initiales des prénoms du Comte de Provence, à qui ces feux étaient destinés. -Projet de girandole à cinq branches. Plume et encre noire sur papier calque collé sur le support. Titre « 24, girandolle ». 225 x 145 mm. Girandole à cinq branches portées par deux grotesques dont le corps terminé en volute est posé sur un socle aux pieds en sabre. Ces figures sont reliées entre elles par des pendeloques de cristal. -Projet de lit à la duchesse. Plume et encre noire, rehaussée de lavis brun et de gouache blanche sur papier calque collé sur le support. Titre « Lit à la duchesse ». 510 x 308 mm. Couronnement décoré de plumets et de petits amours. -Projet de trône. Plume, encre noire et lavis gris. Un aigle, ailes étendues figure au-dessus de l’impériale, un brin de laurier au bec et le pied sur la foudre. Deux pans de rideaux retenus par des trophées tombent de chaque côté du trône aux piétements en forme de sabres courbes entrecroisés ; deux hérons buvant dans une coupe décorent le dossier du trône.

Librairie Camille Sourget · Paris, France55 000,00 €

ARCHITECTURE. Vredeman de Vries Jan 1527 ca. 1607; Dietterlin Wendel ca. 1550 1599; Floris de Vriendt Cornelius II before 15ABAA

A magnificent profusely illustrated sammelband consisting mainly of more than 300 large engraved and etched plates comprising several major architectural treatises - including the masterpiece of the mannerist architecture Wendel Dietterlin and three important suites by Vredeman de Vries- augmented with an additional three rare series of plates of architectural elements and ornaments.

16044011Antwerp Nuremberg and elsewhere:: various printers 1557- 1604. Large folio:. 40 x 31.3 cm. Bound in 17th c. stiff vellum boards soiled small defects to the corners and hinges. The contents are in overall excellent condition with only minor flaws a few damp-stains -mainly mild and almost always outside of the plate- occ. light soiling a handful of plates with light wash to give the impression of diaphanous clothing over nude female figures; plate 122 in the third work with a small portion neatly excised. The central portion of the German title page see below in the first work was neatly excised at an early date and replaced in manuscript with a title in French. The four divisional titles in the third work have the same kind of alteration. Provenance: Charles Alexandre de CroÃ¿ 1574â€“1624 whose armorial bookplate has been pasted to the verso of first title page.This is a rare survival of a popular form of bespoke composite album the contents selected by and intended for use by as the title of Vredeman's "Architectura" states working architects masons stonecutters carpenters other artisans and amateurs "Personne qui cultive un art une science pour son plaisir sans en faire profession". These types of composite albums although widely used eventually became extremely rare â€“ quite likely because they were so widely used; for they did not go into libraries but into the workshops of architects and decorators where they were copied and recopied worn out and in the end discarded. This album a fortunate survivor was assembled for Charles Alexandre de CroÃ¿ 1574â€“1624 Marquis of HavrÃ© Count of Fontenoy Knight of the Golden Fleece from the Habsburg Netherlands. Murdered in 1624. Charles Alexandre had a distinguished military and diplomatic career. He fought in the Siege of Amiens 1597 led an elite cavalry in the Siege of Ostend 1602 and in the 1620s at the outbreak of the Thirty Years War served with the Imperial army in the Battle of White Mountain. Shortly after his retirement in 1624 he was shot dead through a window of his house in Brussels. Charles Alexandre whose interest in contemporary architecture is attested by his extensive renovation and expansion of HavrÃ© castle ChÃ¢teau d'HavrÃ© in Mons Belgium where he welcomed Rubens in 1622.1. Vredeman de Vries Jan 1527- ca. 1607Architectura Ou art de bastir des Antiques tirÃ© de Vitruve: qui sont cincq ordres de colonnes don't l'on peut tirer toutes sortes de bastimens selon l'usance et coustume de chascun pays: utile Ã tous Architects Massons Tailleurs de pierre Menuisiers et Ã tous amateurs de l'Architecture. Mis en Lumiere par Iean Vredeman dict Vriese.Antwerp: Andreas Bacx for Cornelis de Jode 1597Large folio: 40 x 31.3 cm. Etched title page 5 unsigned lvs. of text in French 23 etched plates in their first and only state numbered in Roman in the plate. Without the dedication text leaf not found in all copies.THE RARE SECOND FRENCH EDITION of this suite of architectural plates etched by the brothers Jan act. 1551-1606 and Lucas van Doetecum 1510-1570 after drawings by Jan Vredeman de Vries. This edition was published by Andreas Bacx for Cornelis de Jode successor to Gerard de Jode who produced the first French edition in 1577. The original publisher and date appear on the etched title; the 1597 imprint appears on the fifth text leaf. This copy lacks the dedication leaf present in a minority of copies lacking for example in the V&A and BM Lyon copies. While the text of this edition is in French the etched title page that was used was that of the 1581 German edition See Holstein. The text of the divisional title pages of the Dietterlin see 4. below have also been replaced by manuscript French versions by the owner or compiler of this sammelband.The plates represent the five orders: Tuscan 5 plates numbered 1-5 Doric 7 plates numbered 6-12 Ionic 4 plates numbered 13-16 Corinthian 6 plates numbered 17-22 and Composite 1 plate numbered 23. The accompanying text one leaf describing each order was translated from the first German 1577 by Theodore Kemp of Antwerp. Before and during the time that Vredeman produced work for Hieronymus Cock he also worked with the publisher of this work Gerard to Jode with whom he began his association in 1555.Each chapter deals with a different order. In each section there are five plates showing columns with various decorative embellishments followed by examples of building faÃ§ades. "Foremost among sixteenth-century Netherlandish author-artists was Vredeman de Vriesâ€”an engraver architect and painter of prodigious imagination and talent. Born in the Friesland town of Leeuwarden he first studied painting with Reijer Griesten before assisting Coecke van Aelst on the decoration of triumphal arches built for the entry of the future emperor Philip II into Antwerp in 1549. Work on these designs laid the foundation for Vredeman's classical development as it brought him into contact with the publisher of various editions of Vitruvius and Serlio and with a circle of artists that included the architect Florisâ€¦"Through his contact with this Antwerp circle Vredeman began to study seriously the writings of Vitruvius and Serlio and expand his classical horizons. Political instability however continually interrupted his career. After marrying he moved to Antwerp in 1561 but was forced to flee the city for reasons of religious persecution. His life then became unsettled. He lived in Aachen Liege and Antwerp once again before moving to WolfenbÃ¼ttel in 1585. He next settled in Hamburg worked as a painter in Gdansk Danzig for the Polish court and later in Prague for Emperor Rudolf II. In the last decade of his life he returned to the Netherlands and lived in Amsterdam and The Hague. Throughout his wanderings and work as a decorative painter he continued to publish his increasingly famous engravings. Over thirty-three years between 1555 and 1587 he produced twenty-seven volumes consisting of 483 etched engravings. He remained active in fact until his death around 1606. His work in this field altogether eclipsed his paintings and few architectural commissions."The themes of Vredeman were extremely varied as well as always being elaborate and complex in character. In his 'Architectura oder Bauung der Antiquen aus dem Vitruvius' Vredeman came close to producing what might be called a column book. He acknowledged his architectural masters to be Vitruvius Serlio and the French theorist Jacques Androuet du Cerceau. Vredeman however was not content simply to adopt the classical orders as presented by other European masters but rather he sought to adapt them to the different national and climatic conditions of the North indeed to invest them with northern European ornamentation of his own creation."Millard III Northern European BooksHollstein Dutch & Flemish XLVIII 408-431Bound with:Vredeman de Vries' First Two Architectural Publications â€“ Published by Volcxken Diericx Hieronymus Cock's Widow2. Vredeman de Vries Jan 1527- ca. 1607Das Erst Buch Gemacht Auff de Zvvey Colommen Dorica und Ionica sampt iren podien bases cornicen capitelen architraben phrisen und coro- namenten eyn jede inn drey manieren gezieret und getailet zu mehrer zierd und schone Gezogen auss dem berumpten Architecten Vitruuio Sampt noch anderen zierden dazu dienlich den Malern Bildhavvern Stainmetzern Schreinern Glazmaler und sunst allen liebhabern den selben zu gutenAntwerp: Volcxken Diericx ca. 1578-1581And3. Das ander Buech Gemacht auff die zvvay Colonnen Corinthia und Composita sampt jren podien basen cornicen capitellen architraben phrisen und coronamenten: Iede inn vier manieren ghezieret und getailet zu mehrer zierd und schoene. Gezogen auÃŸ den berumpten Architecten Vitruuio Sampt noch anderen zierden dar zu dienlich den Malern Bildhavvern Stainmet- zen Schreinren Glaesern und sunst allen Liebhabren zu gutem.Antwerp: Volcxken Diericx ca. 1578-1581 Folio: 40 etched plates: 18 in the first volume in 3 sequences of 6 and 22 in the second. Without title pages see below. All plates in both series in first state.Two complete suites of plates without letterpress title-pages The titles above are taken from the first editions of 1565. The two editions of "Das Erst Buch" published by Cock's widow Volcxken Diericx in 1578 and 1581 were issued without title pages. And although her editions of "Das ander Buech" did have title pages these are often absent in extant copies where both works are found together. There is the possibility that these plates are from Cock's earlier editions but less likely.The plates in the first volume are marked A through S; some are signed in the plate by Cock. They depict architectural details floral elements grotesques etc. of columns Doric and Ionic in the first set Composite and Corinthian in the second bases and entablatures. These series mark the elevation of Vredeman the draftsman to the prominence heretofore enjoyed by his publishers Cock and Jode in his print projects.Two books by Jan Vredeman de Vries containing a great many etchings of columns and their details but without explanatory text preceded the 1577 book on architecture. In 1565 'Den Eersten Boeck' dealing with the Doric and Ionic orders came out at Hieronymus Cock's publishing house in Antwerp. 'Das ander Buech' on the Corinthian and composite orders came out the same year."Lombaerde Volcxken Diericx ca. 1525-1600In 1556 Hieronymus Cock and his wife Volcxken Diericx had established what was to become one of the most successful printing houses of the 16th century Aux Quatre Vents. Between 1557 and 1565 the firm published Vredeman's series exclusively and continued to print editions of his works to the end of the century. After Cock's death in 1570 Volcxken Diericx ran the Quatre Vents for thirty more years far longer than her husband and it is to her that we owe the preservation of 1604 of the plates. That she was a central figure is revealed in the firm's slogan: "Let the rooster "Cock" cook what the people "volcx" want.""Diericx jointly ran the business from the outset. Although she is a remarkable figure in the 16th-century cultural history of the Low Countries she has tended to be overshadowed by her husband. Her precise duties are unclear but are likely to have included working in the shop and selling prints as shown in an engraving from 1560. After Cock's death on 3 October 1570 she firmly guided the publishing house for some thirty years through the most turbulent period in Antwerp's history including the sack of the city by Spanish troops in 1576."Jan Van der Stock in Hieronymus Cock: The Renaissance in Print 2013Hollstein Dutch & Flemish XLVII 183-200 & 201-222.Bound with:Architectural Fantasy4. Dietterlin Wendel ca. 1550-1599Architectura de constitutione symetria ac proportione quinuqe columnarum. Nuremberg: Balthasar Caymox 1598Folio: 209 lvs. of 210 lacking the colophon leaf comprising 5 engraved title pages 5 lvs. of text re-margined presumably at the time of binding and 199 etched plates including divisional titles. Plate 6 is repeated. The engraved folio numbers that go up to 209 include the letterpress leaves main title portrait and divisional titles. The verso of the general title re-margined at an early date has an engraved portrait of the author which is usually printed on a separate sheet.ENLARGED SECOND EDITION of both parts. The first part appeared at Stuttgart in 1593 the second at Strasbourg in 1594. The text of this copy is in Latin and French. A German edition appeared in the same year. A complete set these beautiful and fantastic plates by the painter draftsman and architectural theorist Wendel Dietterlin whose achievements include the famed now destroyed ceiling for the upper room of the Lusthaus at Stuttgart."The book is organized around the five orders of architecture primarily expressed in the columns of a building and the entablature architrave frieze cornice which rests upon them. But these orders are also the basis for all other decorative elements of the building and complex sets of rules have been developed around them."It must be emphasized that Dietterlin's orders have only a blurred resemblance to the classical orders based on Vitruvius developed in the Renaissance by Vignola Serlio Palladio and others and propagated in Germany by the Swiss Hans Blum. For Dietterlin the five orders are merely a take-off point or framework for his ungovernable imaginative flights. The weirdest and richest forms are invented the most varied effects of light shade and perspective are introduced; animal and plant ornaments proliferate over the basic architectural elements. Only occasional touches remind the viewer that these are meant to be let us say Doric or Ionic. They are decorations no artisan could ever have realized. They turn into an overwhelming confusing and enchanting play of fantasy. Included are chimneys door frames portals fountains tombs and monuments. The German High Baroque is forcefully anticipated; the magic of the late Gothic style is still conjured up in several plates; some designs are derived from the late Italian Renaissance; some are purely personal phantasies. Some seems as if they were meant for stage designs although of course they are not. A 'Doric' kitchen interior turns into a glutton's nightmare; a 'Tuscan' stove into an elephant; and the door in the concluding plate leads to the triumph of death â€“ the symbolic Finis for the work of a genius who in the words of his dedication considered life miserable and dreary but art as a source of pleasure and grace"PlazekMillard III Northern European Books 29; Avery's Choice 47; See Fowler 105 for a copy also lacking the colophon of the 1598 German edition.Bound withFantastic Grotesques5. Floris de Vriendt Cornelius II before 1514-1575Veelderley niewe inventien van antycksche sepultueren: Diemen nou zeere ghebruvkonde is met noch zeer fraeye grotissen en compertimenten zeer beqwame voer beeltsniders antycksniders schilders en alle constenaers ; libro secundoManuscript title in French: Diverses figures et pourtraicts de grottesques Compartimens et Sepultures antiques usitees au temps present: fort utiles por tous Tailleurs d'images Peinctres etc. Inventees pr C. Floris. Impremees par JÃ©romme Cock Antwerp: Hieronymus Cock 1557Folio: Title with central section pasted over with a piece of paper on which is written a French title and imprint and 15 unnumbered etched plates showing fantastic decorations and funerary monuments. Published by Cock and etched by Jan and Lucas van Doetecum. The book is styled "Libro Secundo" due to the publication a year prior of another set of plates on similar themes.FIRST EDITION of Cornelis Floris' suite of extraordinary grotesque decorations and designs for tombs. Very fine with just a few light stains. A few of the nude figures have been adorned with delicate diaphanous blouses and floral arrangements in ink.In the 16th century The Netherlands developed its own version of the grotesque characterized by heavy three-dimensional forms. Cornelis Floris pioneered the style in Antwerp inspired by a visit to Rome in 1538. An architect as well as a sculptor Floris populated this superstructure with satyrs caryatids terms and masks. Some of his favorite devices are also visible--string birds with string holes and figures enclosed by straps. In the upper cavity smoke trails from Vulcan's forge."Etched by the brothers Jan act. 1551-1606 and Lucas van Doetecum 1510-1570 after Floris' designs these plates demonstrate the power of the Doetecums' distinctive technique which produced "a smooth gradation of tone varying the weight of lines by both variable biting and the use of Ã©choppe. Their technique chiefly consists in the subjection of etched lines to a rigid system and the supplementing of etching with a larger or smaller amount of burin work. It is very likely that Hieronymus Cock himself had instructed the Van Doetecum brothers because he was the only Netherlandish etcher at the time to make extensive use of variable biting. But the Doetecums' use of the method to produce variation in the weight of a single line is unprecedented. Their technique was especially successful at landscape prints and maps. Their even tightly controlled line also suited their other works such as architectural and ornamental prints."New HollsteinCornelis Floris II or Floris de Vriendt was born in Antwerp and made his name as a designer and sculptor of funerary monuments notably those of King Christian III reigned 1535â€“59 of Denmark in Roskilde Cathedral c. 1568â€“75 that commissioned c.1549 by Duke Albrecht I of Prussia reigned 1525â€“68 for his wife Dorothea with additions for his second wife Anna Maria c.1570 and that for the Duke himself 1569â€“73â€”destroyed the last in the Domkirche KÃ¶nigsberg now Kaliningrad. After a visit to Rome he became the most influential designer of Renaissance and Mannerist ornament in Flanders. Floris designed and made the Rood-screen in Tournai Cathedral 1573â€“4 and the stone tabernacle in the St Leonarduskerk Zoutleeuw 1550â€“2 both in Belgium. His decorative style was much disseminated by de Vries influenced designers in the northern Netherlands and his monuments were made familiar by the engravings published 1557 by Hieronymus Cock c. 1510â€“70. His work was typical of Antwerp Mannerism."New Hollstein Van Doetecum Part I The Antwerp Years 35-50; See Hollstein Dutch & Flemish VI p. 250.Bound with:Gates Portals Furniture6. Vredeman de Vries Jan 1527- ca. 1607; Galle Philippe 1537-1612Differents pourtraicts de menuiserie asÃ§auoir Portaux Bancs Escabelles Tables buffets friezes ou corniches licts-de camp ornaments a pendre l'essuoir a mains fontaines a lauer les mains. Propre aux Menuiziers et autres amateurs de telle science. De l'inuention de Jehan Vredeman dict de Vriese et mis en lumiere par Philippe Galle.Antwerp: ca. 1583Etched title and 16 etched plates of ornate gates portals furniture. Plate 4 in first state of three all others in first and sole state. These plates were engraved and presumably published by the important publisher designer and engraver Philippe Galle.Hollstein Dutch & Flemish Vredeman de Vries XLVIII 491-507Bound with: A Rare Series of Engraved Pilasters7. Munting also Muntinck Heinrich; Munting also Muntinck Adriaen active 1570-1617Etliche zierliche und underscheidliche Termen . gar dientlich vor Schreinwerkren Bilthawren Stainmetzen Glesern und allen Liebhebren der ArchitectureManuscript title in French: Divers beaus termes dresses sur l'ordre des 5. Colonnesâ€¦ Inventez par Henry Munting. Taillez et Imprimez par Adrian Munting. 1604.Amsterdam: Adriaen Munting 160411 plates including title numbered 1-11 all mounted on larger sheets. Title plate 1 within an engraved border signed the printed portion excised and replaced in manuscript. Plates 2-11 show various ornate engaged pilasters with capitals based on the architectural orders. Unlike the Rijksmuseum copy and the set recorded in Hollstein which have 9 plates each this copy has 11 plates the last two of which have human heads or helmets in place of traditional column capitals. Also while the Rijksmuseum copy has "Clement de Jong Excudit" on the first plate ours has "Michiel Colyn Excudit". This is an extremely rare set of prints. The engraver and Goldsmith Adriaen Munting of Groningen was active in Amsterdam between 1570 and 1617.Ornament prints in the Rijksmuseum II: the 17th century 9564-9574; See Hollstein Dutch & Flemish XIV p. 118 suite of 9 plates 'Columns'. various printers, 1557- books

Liber Antiquus · États-Unis55 000,00 $US≈ 46 535,50 €

[PHOTOGRAPHY - ALHAMBRA - ISLAMIC ARCHITECTURE]. LAURENT, Jean (photographer).Biblio.com

Photograph album containing pictures of the Alhambra and its Islamic architectural treasures.

1870ABC_47963Madrid 1870. Contemporary gold- and blind-stamped green leather with the intials "M.L.B." blind-stamped on the front board gold-tooled turn-ins green watered silk endpapers gilt edges. Oblong folio 62 x 46.5 cm. With 72 large size albumen photographic prints with architectural views including numerous views of Spanish and Western Islamic architectural treasures ca. 33.5 x 24.5 cm 3 large composite photographic panoramas the Alhambra and Granada Cordoba and San Sebastian and 5 photographs of people 3 handcoloured photographs of Spanish costumes and 2 portraits of a woman. 58 of the 72 photographs contain the name of photographer title and number of the image in the negative. An exceptional album with fine views of Sevilla Granada Cordoba San Sebastian and many more. The photographer Jean Laurent was born in France but opened a photo studio in Madrid in 1856. In 1858 the Spanish government commissioned him to photograph the construction of the railroad line from Madrid to Alicante. The results were published and exhibited in many places which brought him considerable success. From 1861-68 Laurent held the title of "Fotógrafo de S. M. la Reina" and produced photos of members of the Spanish royal family. His photo studio in Madrid became one of the best-known from his time which allowed him to open gallery in Paris where he exhibited and sold premium-quality prints from his work in Spain. Although he was interested in industrialisation and intended to convey the image of a modern and economically flourishing country his photographs of the more picturesque aspects of Spain became more popular. The present album contains 34 views of Western Islamic architectural structures and a large 4-part folding panorama of the Alhambra and Granada. Furthermore it contains two examples of photographs on leptographic paper a collodio-chloride printing paper which was sold ready to use. Its manufacture was perfected by Laurent in collaboration with Martínez-Sánchez in 1866.With some slight signs of wear around the spine and the corners of the boards the panorama views are mounted on grey cloth which is somewhat foxed not affecting the actual photograph the album leaves are very slightly browned. Overall in very good condition.l Hannavy Encyclopedia of Nineteenth-Century Photography II 829/830. hardcover

Antiquariaat FORUM BV · Pays-Bas35 000,00 €

[ARCHITECTURE - DRAWINGS].Biblio.com

On front wrapper: Dissegno per la fabrica della Libreria Canonicale.

1720653FKG01U79OVerona 1720. Contemporary stiff paper wrappers. Folio 38.5 x 25.5 cm. With 4 architectural drawings 3 double-page ca. 37 x 50 cm at a scale of about 1:60 and 1 loosely inserted full-page 24 x 35 cm at a scale of about 1:107 skillfully drawn in brown ink and several shades of grey watercolour. Two of the double-page drawings are elevations 1 partly in cross-section the other 2 drawings are floor plans each plan with a folding flap tipped on showing the plan of a higher level. The original designs for the alterations to the chapter library at Verona situated in the Church of St. Helena abutting the famous Cathedral of San Zeno the common wall appears in the drawings. The alteration was ordered by Scipione Maffei 1675-1755 and Jacopo Muselli and executed by the architect Lodovico Perini; it was finished in 1726. In 1713 Maffei a leading scholar poet and man of letters had made a remarkable discovery in the library: in its old cupboards he found late-classical and early Christian manuscripts from the 5th to 9th century stored there centuries earlier apparently to protect them against danger of flooding of the river Adige. On the basis of these old manuscripts and helped by the Canon Carlo Carinelli Maffei formulated a completely new and epoch-making theory regarding the development of the Latin script in three variants: the Roman majuscule the minuscule and the cursive hand showing an uninterrupted evolution from Roman Antiquity to the Renaissance. Maffei published the results of his studies in his Istoria diplomatica 1727 and Verona illustrata 1742. The rediscovery of these old manuscripts also resulted in a revival of Patristic studies and many new editions of the works of the Church Fathers.With some faint stains near the fore-edges an one edge of the loosely inserted drawing and a couple rust spots in the paper but still in very good condition. unknown

Antiquariaat FORUM BV · Pays-Bas25 000,00 €

ARCHITECTURE. THEATER DESIGN. Galli Bibiena Giuseppe 1696 1757ABAA

Architetture e prospettive dedicate alla maesta di Carlo Sesto.

17404004Augsburg:: Andreas Pfeffel 1740. FIRST EDITION. Folio:. 39.5 x 30 cm. 5 folding lvs. 1 letterpress leaf 4 engraved lvs. title dedication frontis. and portrait 50 engraved plates divided into 5 series of 10 plates each. Bound in contemporary German quarter vellum with label â€œKupferbuchâ€. The binding has minor wear and there is evidence that these 5 suites of plates were once bound with another work. This is a fine complete copy with only very minor cosmetic blemishes: some light dust soiling to the folds of a few plates scattered finger-soiling to some plate margins blank versos of some plates dusty a few minor marginal tears or marginal creases not affecting the images. Very nice. Bibiena. First edition of this richly illustrated work on architecture and perspective. The finely engraved plates show brilliant baroque compositions for catafalques theatrical scenes a series for the Passion of Christ in elaborate architectural settings and the decoration of the Riding School at Vienna for the marriage of the Archduchess Mariana with Prince Charles of Lorraine. The publication of â€œArchitetture e prospettiveâ€ made a major contribution to the modernization of the theater establishing the so-called â€˜scena ad angoloâ€™ curved backdrops on Europeâ€™s stages. The second son of the Italian architect Ferdinando Galli Bibiena Giuseppe Galli da Bibiena was to become a distinguished artist and designer of elaborate festivals parties funerals open-air theatrical performances and all manner of ceremony for the Habsburg rulers. He proved himself an excellent illusionistic painter with a deep theoretical understanding of perspective. These attributes coupled with an extraordinary imagination allowed Giuseppe to produce innovative often fantastic imagery. Among his early independent works were decorations for the festivities celebrating the birth of Archduke Leopold of Austria 1716 and an imperial wedding in Munich 1722. In 1727 Emperor Charles V appointed Giuseppe to be â€œHis Majesty's First Theatrical Engineerâ€. Galli Bibiena also designed altars and pulpits for churches constructed a decorative arch in Prague and with his younger brother Antonio designed decorations for theaters. After Charles Vâ€™s death Giuseppe served the late monarchâ€™s daughter Maria Theresia. Among his notable achievements in this period Giuseppe transformed the stables at the Hofburg in Vienna into a ballroom for the wedding of Charles Alexander of Lorraine to Marianna of Austria. In 1747 he was commissioned to design Margrave Frederick of Bayreuthâ€™s opera house considered his magnum opus. At the time of his death at Berlin in 1757 Galli Bibiena was in the employ of Peter the Great. â€œArchitetture e prospettiveâ€ dedicated to and with a portrait of Charles V was printed in the year of Emperorâ€™s death and at the height of Galli Bibienaâ€™s career. The work is comprised of five series of plates with ten plates each depicting funerary apparatus religious scenery â€œteatri sacriâ€ and fantastic architectural views. â€œThe range of motifs and views embraces topics that were of great interest at the end of the baroque era such as fantasy-laden reconstructions of classical ruins. In his designs the artist made use of various methods to make the architecture monumental working above all with views from below and cropped sections. In many designs he used the â€˜scena ad angoloâ€™ technique and in others in particular for the depiction of festive decorations for imperial ceremonies he used a central perspective as a dignified formâ€¦ â€œOne of the sets of engravings shows the decoration of the Cavallerizia the riding arena which was transformed in 1744 into a ballroom. The plates were made by Lorenzo Zucchi the engraver at the court of the Elector of Saxony in Dresden. The â€˜theatro sacroâ€™ and the stage decorations for the theater festival to mark the marriage of the future Elector of Saxon Frederick Augustus II are also his work. However most of the copperplates are by the imperial printer Andreas Pfeffel d. 1748â€¦ â€œThe fusion of architecture and decoration in the two-dimensional medium of drawing is characteristic of Giuseppe Galli Bibienaâ€™s designsâ€¦ Giuseppeâ€™s father Ferdinando in his book on architecture had also made an attempt to unite painting and architecture from the point of view of perspective using the special art form of scenography. In â€˜Architettura e Prospettiveâ€™ Galli Bibiena elevated this synthesis of painting architecture and scenography to a form of art in its own right which had its greatest effect in the â€˜stagingâ€™ of architecture in the service of absolutist power.â€ Biermann GrÃ¶nert Jobst and Stewering â€œGiuseppe Galli Bibienaâ€ in â€œArchitectural Theory from the Renaissance to the Presentâ€ p. 156 ff. Fowler 136; Kat. Berlin 4152; not in Millard; not in Vagnetti Andreas Pfeffel, unknown books

Liber Antiquus · États-Unis26 000,00 $US≈ 21 998,60 €

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