Architecture

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SIRIGATTI, LORENZO.MareMagnum

La pratica di prospettiva. 2 parts. - [FUNDAMENTAL WORK ON PERSPECTIVE]

CASTELLI, FrancescoMareMagnum

Per la facciata del Duomo di Milano

In-4°, 36 cc. nn. (compreso un foglio inserito dopo A3, che esplicita la nota contrassegnata da asterisco alla pagina successiva), 4 piccole illustrazioni nel testo e 6 grandi tavole ripiegate più volte recanti i vari progetti per la facciata incise da Curleto, Agnelli, Cotta, etc. (la tavola della facciata con tre incisioni sovrapposte ripiegate). Legatura in mezza pergamena e carta marmorizzata. Prima edizione di questo memorandum dei maggiori architetti del tempo che si esprimono attorno alla controversa questione della facciata del duomo di Milano, questione generata dall’improvviso cambio da parte di Francesco Maria Richini a Carlo Buzzi come capo della Fabbrica. Dal punto di vista strettamente architettonico il passaggio si esprimeva come un abbandono della scelta in stile “romano” fatta da Richini, sulla scorta dei precedenti progetti pensati da Pellegrino Tibaldi, e una proposizione invece di una soluzione alla “gotica”, preferita dal Buzzi. Bandendo una sorta di straordinario referendum cittadino i Deputati del Capitolo della cattedrale decisero di far incidere i progetti principali di Tibaldi, Richini, e Buzzi (con due alette removibili che mostrano la versione con e senza le torri in facciata), affinché la popolazione di Milano e non solo, potesse esprimere delle valutazioni di merito. A queste tre incisioni se ne aggiunsero poi altre tre che illustrano il progetto di Francesco Castelli, uno studente di pittura e prospettiva che doveva fornire il disegno per l’acquaforte di Tibaldi e che, completamente rapito dal problema della facciata, nel 1648 propose ai Deputati un proprio progetto “gotico”. Questo libro, stampato in seconda edizione nel 1656, riporta una serie di pareri che per essere favorevoli al Castelli fanno supporre che la pubblicazione sia stata promossa dai suoi sostenitori se non da lui stesso. Nel testo sono contenuti i pareri di architetti quali Richini, Buzzi, G.B. Baratteri, Bernini, G.B. Giattini, Sebastiano Rocca Tagliata, Benedetto Giovannelli Orlandi, Pier Paolo Caravaggio il Vecchio, Baldassarre Longhena, Vincenzo Paoli, Guido Antonio Costa, Bartolomeo Avanzini, etc, Salveraglio 196. Il parere di Bernini è l’unico suo testo stampato che si conosca, un documento in forma di lettera interessante quanto fondamentale per la conoscenza di Bernini teorico d’architettura. In-4°, 36 cc. nn. (including a sheet inserted after A3, which specifies the note marked with an asterisk on the next page) 4 small illustrations in the text and 6 large tables folded several times carrying the various projects for the facade engraved by Curleto, Agnelli, cotta, etc. (the facade table with three overlapping engravings folded). Binding in half parchment and marbled paper. First edition of this memorandum of the major architects of the time who express themselves around the controversial issue of the facade of the cathedral of Milan, issue generated by the sudden changing of Francesco Maria to Carlo Buzzi as head of the Fabbrica. From the strictly architectural point of view the passage was expressed as an abandonment of the choice of the “Roman” style made by Richini based on the previous projects designed by Pellegrino Tibaldi, and a proposition instead of a solution to the“gothic”, preferred by Buzzi. With a sort of extraordinary public consultation the Members of the Chapter of the cathedral decided to engrave the main projects of Tibaldi, Richini, and Buzzi (with two removable wings that showed the version with and without the towers on the façade), so that the population of Milan and beyond could make assessments. To these three engravings were added three others that illustrate the project of Francesco Castelli, a student of painting and perspective who was to provide the design for the etching of Tibaldi and, completely absorbed by the problem of the facade, in 1648 proposed to the Deputies his own “gothic”project. This book, printed in the second edition in 1656, contains a series of opinions that, in order to be favourable to Castelli, suggest that the publication was promoted by his supporters if not by himself. The text contains the opinions of architects such as Richini, Buzzi, G.B. Baratteri, Bernini, G.B. Giattini, Sebastiano Rocca Tagliata, Benedetto Giovannelli Orlandi, Pier Paolo Caravaggio il Vecchio, Baldassarre Longhena, Vincenzo Paoli, Guido Antonio Costa, Bartolomeo Avanzini, etc., Salveraglio 196. Bernini’s opinion is the only printed text known of him, a document in the form of an interesting letter as well as fundamental for Bernini’s knowledge of theoretical architecture.

Libreria Antonio Pettini · Roma, IT18 000,00 €

LANGWITH MANUFACTORY, GRANTHAM, LINCS.MareMagnum

Fifteen Plates of Composition Ornaments, Made at Langwith Manufactory, Grantham, Lincolnshire.

Oblong folio (335 x 500 mm), printed on thick laid paper, letterpress title with wood-engraved decorations, approximately 250 illustrations of architectural ornaments, including stock numbers (not in order), engraved on fifteen well executed copper plates, some printed in blue, 2 with aquatint, some light soiling, occasional spotting, a few stains, mainly to last two plates, nineteenth-century half calf, marbled boards, rubbed, foot of spine chipped, but overall a very good copy. This is not only an exceptionally rare and unrecorded provincially printed pattern book, but it is also highly unusual as being a named pattern book produced for a firm of provincial architects and builders. John Langwith Sr. (c.1723-1795) was an architect and builder who worked at Grantham in Lincolnshire. Syston Park was designed by Langwith for John Thorold, 9th baronet, and constructed between 1766-73. Syston was a fine house, built of limestone ashlar with pedimented or corniced windows. Langwith's 35-page bill for his labours survives today.1 He was also responsible for Vine House, 5 Vine Street, Grantham c.1764, as well as many local buildings of note including the George Hotel, Grantham (1780). In 1785 Langwith was one of three architects who submitted designs for the Castle Gaol at Lincoln, but those of William Lumby were accepted. By 1789, John Langwith Jr. (c. 1753-1825) was taking the lead in his father's business as a builder and surveyor at Grantham. The 1780s and early 1790s witnessed a boom in construction in Grantham. This related partly to the general economic cycle and is reflected, amongst others, in the brick tax returns. In July 1791, Langwith advertised initially for an apprentice to a carpenter and joiner and, in November, his need was for 'Twelve Journeymen joiners and carpenter wanted immediately', adding 'sober men may have constant employ.'2 He held several civic offices and eventually became an alderman, despite bankruptcy in 1803, from which he recovered. His recorded works include Grantham Vicarage, (now the Rectory) in Church Street, which he rebuilt in 1789 in a pleasant vernacular Georgian style at the cost of some 788 pounds; Barkston Rectory, Lincs., 1801; and designs (perhaps not executed) for a prison at Grantham, 1811.3 Lincoln Race Stand c.1818. Langwith was the architect and contractor for the Race Stand, this was replaced by the existing Race Stand of 1897 by William Mortimer. The architectural pattern book produced by John Langwith can thus be attributed with a high degree of certainty to John, junior, published at the height of a building boom. The location of the Manufactory is not known but is perhaps most likely to have been in the Back Lane (now Elmer Street), as an affidavit sworn by lawyer George White, dated 1836, refers to the burial of John Langwith, builder and surveyor, of Back Lane, Grantham.4 1 The invoice is summarised in Richard Wilson and Alan Mackley, Creating Paradise. The Building of the English Country House 1660-1880. (2000), p. 197. 2 Lincoln, Stamford and Rutland Mercury (LRSM), 29 July and 11 November 1791. 3 H. M. Colvin, Directory of English Architects (1995) p. 599. 4 LA: 1 FANE 11/14. Not recorded by ESTC, JISC, OCLC or any of the appropriate reference works.

Forest Books William Laywood · Grantham, GB14 665,49 €

CARAMUEL de LOBKOWITZ, Juan; BELLINE, Joao AntonioMareMagnum

De la Architectvra Civil, en que fe contienen las Ichnographias, Orthographias, Figuras, y Delineaciones, que en los Tomos precedentes fe explican; Descripcam da ingenhosa maquina...

In –folio, full calf with ornaments and red tile with title on spine. Pp. 8 + 162 engraved plates + Joao Antonio BELLINE, “Descripçam da ingenhosa maquina…”, Lisboa, Pedro Ferreira, 1737 (pp. 8) + 3 blank leaves. Juan Caramuel de Lobkowitz (1606-1682) was a Spanish ecclesiastic scholar and architect, bishop of the Italian city of Vigevano since 1673. A poligrapher, he published more than 70 works on technics, science, philosophy, politics, mathematics and architecture: but the only constructions he realized and completed as an architect were the square and the façade of the cathedral, at Vigevano, where he was bishop from 1673 to his death. Born in Madrid, he was a precocious child and he completed his studies at the universities of Alcalà and Salamanca, in Spain. He became a Cistercensis monk and he was teacher at Lauven university, where he was also responsable for the military defense of the city. Then he moved to Prague, and in 1655 he moved to Italy: in 1657 he was the bishop of Satriano, and then of Vigevano, the city where he died in 1682. This rare book is the illustrated part (the plates) of Caramuel’s important work on civil architecture: as an architect, Caramuel was a strong substainer of the superiority of “oblique” architecture on the “straight” one (i.e. the Vitruvian): this book is considered the most ambitious Spanish architectural treatise to date. Author obsession with geometry and optical distortion was treated as an eccentric aptitude by the most of contemporaries: this work had a great impact in the New World, where Caramuel’s theories were spread by many scientists and the examples of “architectura obliqua” are numerous. The book begins with a “tratado proemial” on the Temple of Jerusalem (plates A-E); then we have 49 plates on the discussion of the sciences and techniques useful to architects and engineers; 65 plates illustrate either the ‘architectura recta’ or Caramuel’s improvements, and 41 plates explicate the laws or ‘architectura obliqua’: technics, architecture, mechanics and hydraulics are the main subjects of this book, the first of eight issued under the imprint “En la Emprenta Obispal por Camillo Corrado”: because of the late recognition of Caramuel’s relevance as a technics, mechanics and architecture scholar, the books were not widely distributed, and now are a notable rarity. The most of the engravings are by anonymous printmakers; on is signed by the Roman engraver Bernard Balliu (part 4, pl. 6), five by the milanese Giovanni Francesco Bugatti , seven by Cesare Laurentio and eleven by the Milanese Simone Durello. The late table on part III is not indexed and is manuscript numbered (it doesn’t appear in bibliographies).

Libreria Antonio Pettini · Roma, IT12 000,00 €

RUSCA, LuigiMareMagnum

Recueil des dessins ...... a Saint-Petersbourg, et dans l'interieur de l'Empire de Russie; [and] Raccolta dei disegni di diverse fabriche costrutte in Petroburgo, e nell'interno dell'impero Russo.

2 parti in 2 volumi. In-folio. [8] ll. comprensivi di titolo e occhietto, 69 pagine e 180 tavole incise di cui due frontespizi, testo in italiano e francese su pagine contrapposte; qualche macchia marginale su più piatti. Tavole marmorizzate originali, bordi rossi. Rilegato su carta di una rivista italiana contemporanea. Bella copia. PRIMA EDIZIONE DELLA PIÙ COMPLETA COLLEZIONE DI PROGETTI ARCHITETTONICI RUSCA PER ST. PIETROBURGO. Interessante opera dedicata allo Zar Alessandro I che svela il magnifico programma architettonico russo pochi anni prima dell'invasione di Napoleone. Luigi Rusca (1758-1822), allievo di Giacomo Quarenghi, lavorò a lungo al Palazzo Imperiale Russo all'inizio del XIX secolo. Era noto per il suo stile neoclassico e per la sua abilità nel gestire la costruzione e l'organizzazione di grandi opere pubbliche. Rusca era un grande favorito a corte e questi volumi sono dedicati allo Zar Alessandro I. Il testo fornisce interessanti note tecniche su tutti gli aspetti della costruzione come il tipo di materiale. 2 parts in 2 volumes. In-folio . [8] ll. including title and half-titles, 69 pp. and 180 engraved plates including two frontispieces, text in Italian and French on opposite pages; some marginal spotting on several plates. Original marbled boards, red edges. Bound in a leaf of a contemporary Italian review. Fine copy. FIRST EDITION OF THE MOST COMPREHENSIVE COLLECTION OF RUSCA'S ARCHITECTURAL PROJECTS FOR ST. PETERSBURG. An interesting work dedicated to Csar Alexander I which reveals the magnificent Russian architectural program a few years before the invasion of Napoleon.Luigi Rusca (1758-1822), a pupil of Giacomo Quarenghi, worked extensively at the Russian Imperial Palace at the beginning of the nineteenth century. He was well known for his neo-classical style and his skill in handling the construction and organisation of large public commissions. Rusca was a great favourite at court and these volumes are dedicated to the Csar Alexander Ist. The text supplies interesting technical notes on all aspects of building such as the type of material.

Libreria Antonio Pettini · Roma, IT12 000,00 €

SCAMOZZI, VincenzoMareMagnum

L’idea della architettura universale

In –folio (350 -240), due volumi legati insieme, legatura coeva in mezza pelle; prima parte: pp. (16), 218, (4), 219-352, (32); seconda parte: pp. (12), 172, (4), 173-269, (4), 271-370, 22 (molti errori nella numerazione delle pagine). Illustrato con due frontespizi incisi; 36 tavole xilografiche a piena pagina e 5 tavole incise in rame (parte I); 6 tavole xilografiche e 40 incise su rame (parte II). Vincenzo (o Vincenzio) SCAMOZZI (Vicenza 1552-Venezia 1616) fu architetto e ingegnere idraulico. Fu prolifico in progetti, costruzioni e come scrittore teorico: come ingegnere idraulico, per la maggior parte della sua vita servì la Repubblica di Venezia. Realizzò le “Procuratie nuove” (un intero lato di piazza San Marco) e un progetto per il rinnovamento del ponte di Rialto, quello su due progetti presentati a un concorso ufficiale del 1587 (l'altro progetto, di Antonio Da Ponte, fu scelto) . Molto esperto anche in topografia, Scamozzi, fu l'inventore di uno strumento di misura, poi chiamato da lui “squadra scamozziana” (qui descritto, parte I, p. 124). La prima edizione di quest'opera è considerata, nell'architettura e nella scienza delle costruzioni, una delle più importanti e influenti del Rinascimento. "L'ultimo, il più lungo e il più ambizioso dei trattati rinascimentali sull'architettura, l'Idea costituisce una summa del pensiero rinascimentale." (Millard). In –folio(350 -240), two volumes bound together, contemporary half calf binding; first part: pp. (16), 218, (4), 219-352, wl, (32); second part: pp. (12), 172, (4), 173-269, (4), 271-370, 22 (many mistakes in page numbering). Illustrated with two engraved title pages; 36 woodcut full page and 5 copper engraved plates (part I); 6 woodcut and 40 copper engraved plates (part II). Vincenzo (or Vincenzio) SCAMOZZI (Vicenza 1552-Venezia 1616) was an architect and an hydraulic engineer. He was prolific in projects, construction and as a theoric writer: as hydraulic engineer, for the most of his life he served the Venice Republic. He realized the “Procuratie nuove” (a whole side of San Marco square) and a project for the renewal of Rialto bridge, the one on two projects submitted to a 1587 official contest (the other project, by Antonio Da Ponte, was chosen). Much experienced in topography too, Scamozzi, he was the inventor of a measurement instrument, then called after him “squadra scamozziana” (here descripted, part I, p. 124). The first edition of this work was considered, in architecture and science of constructions, one the most important and influential of the Renaissance. “The last, the longest, and the most ambitious of the Renaissance treatises on architecture, the Idea constitutes a summa of Renaissance thought." (Millard).

Libreria Antonio Pettini · Roma, IT8 500,00 €

SHAW (James)MareMagnum

Plans, Elevations, and Sections; with Observations and Explanations, of Forcing-Houses, in Gardening. By James Shaw, Gardener to the Right Hon. Lord Mulgrave.

First edition, large folio (520 x 355 mm), [32]pp., with a list of subscribers, and an initial leaf stating "Entered at stationers' Hall", 11 engraved plates (some lightly offset), each with explanatory leaf, with an original watercolour sketch for a heating device loosely inserted, occasional lightly foxing, orig. quarter calf, marbled boards, a very nice copy in original condition. Little is known of James Shaw, other than he was head gardener at Mulgrave Caslte, North Yorkshire, and this appears to be his only published work. He dedicates the book to his Patron and employee the Right Honourable Henry, Lord Mulgrave and states in his advertisement "Gardening at this period, is an object of general pursuit, from its useful and admirable effects. The most elegant and superior branch of it, is that of forcing fruit, which are natives of warmer climates; and the perfection of them, in some measure, depends upon proper constructed forcing-houses for the reception. I was therefore induced, from an unremitted application of Practice and Theory, commenced at an early period, to offer the following Plans, &c, to the Public; which may enable any Gentleman to be his own architect, in the most important part of the science alluded to, and also accommodate the practical Gardener, who may not have had an opportunity of acquiring this part of Theory: and, I trust, this work (which I believe to be the only general one yet published) will not be unacceptable to the admirers of Horticulture; particularly those who are, or may be in the future, interested in such improvements." The first seven plates depict a different design for constructing stoves and heated walls for the said appropriate fruit (i.e. the melon, the peach and nectarine, the vinery, pine and vine and the winter-fruiting pine stove), these are followed by four designs for the conservatory and the green-house. Each plate is accompanied by an explanatory leaf which also includes instructions on how to variegate the amount of heat used and the best way of propagating different fruits or vegetables. Several of the designs are after those already in use at Mulgrave Castle. Provenance: Signed by William Thomas Salvin (of Croxdale Hall, Durham) at head of title-page, Salvin is included in the list of subscribers. Not in Henrey, RIBA, Archer or Harris. An extremely rare book which has not appeared at auction for the last 50 years.

Forest Books William Laywood · Grantham, GB6 724,48 €

GRAVET JOURDAIN, M. C.MareMagnum

Remarques historiques sur les Figures, Termes, Bustes et Vases qui ornent les Jardins du Parc de Versailles ; et l'explication des Symboles qui les accompagnent

Un manuscrit broché format 183 x 121 mm, s.d. [ circa 1690-1700 ], 1 f. blanc et 85 ff. (monté en 8 cahiers) Le titre est suivi d'une dédicace "à S.A.S. Madame la Princesse de Conty, Doüairière par sa très humble, très soumise et très obligée Servante M. C. Gravet Jourdain". On connaît au moins quatre autres manuscrits comparables, l'un conservé à la Bibliothèque de l'Arsenal (ms 2546), le second conservé à la Mazarine (ms. 3363), le troisième passé en vente chez Sotheby's en décembre 2003, le dernier de format in-4, daté de 1695 et passé en vente en avril 2005. Notre exemplaire et l'exemplaire de la vente Sotheby's sont indiscutablement rédigés de la même main (leurs dimensions sont d'ailleurs quasiment identiques). Un espace blanc a été réservé dans le texte au verso du feuillet 21 : à la fin de la description de l'Allée Royale est réservée une "Place d'attente pour le deuxième Terme", entre le Dieu Pan orné d'une dépouille de Panthère, et le troisième terme ("Bacchus fait par Raon"), celui-ci proche du dernier, une statue de Pomone attribuée à Le Hongre (en sculpture, un "terme" désigne une statue n'ayant que la tête de figure humaine, et terminée en gaine par le bas). La dédicataire du manuscrit est la fille légitimée de Louis XIV et de la duchesse de La Vallière ; Marie-Anne de Bourbon porta le titre de "Princesse de Conty, Doüairière" à partir de 1685, au décès de son époux le prince de Conti. pEn état d'usage (couv. frottée avec qq. ratures et calculs, exemplaire manipulé avec qq. frott. en marges et qq. petites mouill., ex-libris ms. "Charmeteau" et Louis - "Ludovicus" - Maisondieu) ce précieux manuscrit demeure un témoignage exceptionnel des déambulations aristocratiques érudites dans les jardins de Versailles, pratique de cour indispensable sous le règne du Roi Soleil. Français

Librairie Du Cardinal · GRADIGNAN, FR5 000,00 €

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