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CERILLO.Livre Rare Book

Dipinti murali di Pompei. Medaglie Istituto d’Incoraggiamento di Napoli Esposizioni di Londra e Milano. Illustrazione per l’Arch. Ingre. Edoardo Cerillo. Versione francese pel cav. Giulio Cottrau. Les peintures murales de Pompéi

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 €

(COLOR PLATES - ARCHITECTURE, ANCIENT ROMAN WORLD). (POMPEII). HUBER, JAKOB-WILHELMBiblio.com

VUES PITTORESQUES DES RUINES LES PLUS REMARQUABLES DE L'ANCIENNE VILLE DE POMPÉI

1824ST17496-014Zurich: by the author and Henry Fuessli and Comp 1824-25. FIRST EDITION. 445 x 325 mm. 17 1/2 x 12 3/4". 26 leaves of descriptive text. Lacking title page and dedication.Commentary by art historian Johann Jacob Horner. <br/> Modern tan half morocco over olive green buckram raised bands spine panels with gilt ornament red morocco label. 24 FINE AQUATINT VIEWS COLORED BY A CONTEMPORARY HAND. Brunet III 357. Text pages variably foxed from a little to very but somehow THE LOVELY PLATES IN FINE CLEAN CONDITION--fresh and bright with pleasing coloring in an unworn sympathetic binding.<br/> <br/> This is a rare complete colored set of Hüber's famed views of Pompeii much sought-after by armchair travellers after excavations uncovered that urban time capsule in the late 18th century. The German-born Hüber 1787-1871 settled in Naples in his early 20s studying landscape painting with Dutch émigré painter Jacob Philipp Hackert 1737-1807 who was known for his lush scenes often featuring ruins. His arrival in the region coincided with the occupation of Naples by the French who accelerated the excavations underway at Pomepii which had been buried by the eruption of Vesuvius in 79 A.D. The rapid burial of the city in volcanic ash had captured a moment in time and the opportunity to see a well-preserved example of life in the ancient Roman Empire caught in medias res drew eager travellers on the Grand Tour of the Continent. Hüber's well-executed views often picture these tourists and their contemporary dress contrasts sharply with the classical ruins. Lord Napier in his "Notes on Modern Painting at Naples" 1855 credits Hüber for introducing the use of watercolors to the meticulously drawn landscapes then being produced. This innovation is displayed in the hand-colored plates here which were also issued in uncolored state. Napier was correct to appreciate the value of adding colors which increases both the drama of the views and the pleasure of the viewer. Because the attractive sets with color were often broken up complete volumes of the colored plates are rarely seen for sale: we could trace just three such copies sold at auction as listed in RBH and ABPC the two best ones were the Feltrinelli copy which sold for $14330 in 2001 and the Donaueschingen copy fetching $13750 in 2014. Ours does not have the distinguished provenance attached to those copies and it lacks two preliminary leaves but the text is present and most important the lovely colored plates are in fine condition. by the author and Henry Fuessli and Comp unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis15 600,00 $US≈ 13 199,16 €

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