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1745198929Augsburg, Mertz, 1743-1745. Fol. M. 32 gef. Kpfr.-Taf. 5 Bl., 104 S., 1 Bl.; 61 S.; 1 Bl., 22 S., 1 Bl. Ldr. d. Zt. Einbd. stark beschabt u. m. Nässeschaden. Exlibris a. Innendeckel. Gebräunt u. braunfl. Anfangs m. Nässespur. Papier teils etwas wellig. M. zahlr. St. (auch auf den Tafelrändern). Erstes Titelbl. in Rot u. Schwarz.
17981064AGO.O., T. Holloway and the other Proprietors, 1798. Kupferstich von Thomas Holloway nach Gottfried Kniller (Brustbild). Bildgrösse: 19,5 x 17 cm. Blattgrösse: 21,6 x 17,3 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +
1789086-D1789. Feder in Schwarz, auf Velin, auf Bütten aufgezogen, verso signiert und datiert ?S. Warnberger del 1789?. 21:16,5 cm. Provenienz: Sammlung Blucke, Dresden, nicht bei Lugt. Vermutlich Vorzeichnung für eine Graphik.
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 “Kupferbuchâ€. 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 “Architetture e prospettive†made a major contribution to the modernization of the theater establishing the so-called ‘scena ad angolo’ curved backdrops on Europe’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 “His 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 V’s death Giuseppe served the late monarch’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 Bayreuth’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. “Architetture e prospettive†dedicated to and with a portrait of Charles V was printed in the year of Emperor’s death and at the height of Galli Bibiena’s career. The work is comprised of five series of plates with ten plates each depicting funerary apparatus religious scenery “teatri sacri†and fantastic architectural views. “The 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 ‘scena ad angolo’ technique and in others in particular for the depiction of festive decorations for imperial ceremonies he used a central perspective as a dignified form… “One 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 ‘theatro sacro’ 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. 1748… “The fusion of architecture and decoration in the two-dimensional medium of drawing is characteristic of Giuseppe Galli Bibiena’s designs… Giuseppe’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 ‘Architettura e Prospettive’ 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 ‘staging’ of architecture in the service of absolutist power.†Biermann Grönert Jobst and Stewering “Giuseppe Galli Bibiena†in “Architectural Theory from the Renaissance to the Present†p. 156 ff. Fowler 136; Kat. Berlin 4152; not in Millard; not in Vagnetti Andreas Pfeffel, unknown books
175951780Augsburg, Johann Georg Hertel, 1759. 4to. Bound in 2 contemp. full calf. Gilt spines, raised bands. Richly gilt spines. Titlelabels with gilt lettering. A paperlabel pasted on upper part of both spines. Stamps on title-pages. Title-pages in red/black. Engraved frontispiece. (30),402,(26)23 pp., 152 engraved plates (many double-page and folding, some with text on verso) - Anhang with 33 folded engraved plates. A few leaves with a faint dampstain in upper right corner. Internally clean and fine.
172534249Augsburg: Jeremias Wolffens seel. Erben. 1725. German edition of the "Cours d'architecture" with additional copperplate engravings not included in the edition of 1699 printed in Amsterdam. Engraved frontispiece 84 full-page 37 double-page plates19 folded multipage copperplate engravings and 12 including 2 double-page copperplate engravings in the appendix. Collated complete. Quarto 22.5 x 17 cm. bound in full contemporary mottled calf the back sometime renewed to style with raised bands gilt ruled central ornamental pieces gilt red morocco lettering label gilt retaining original free-flies new endleaves added. 30 402 25 1 pp. A pleasing copy well preserved the text and copperplate engravings all in crisp and clean condition the binding strong very little evidence of overuse some expected rubbing to the binding's extremities as to be expected. RARE AND "THE BEST WORK OF ITS KIND YET OFFERED" Fowler. First published in French in 1691 the work was long considered the basis for the architectural history of France. The decorative plates depict buildings by Michelangelo and Vignola.<br> As D’Aviler’s book went through the printers it grew wings – more large folding plates which he inserted at the last minute including plans of gardens palaces and details of ironwork. What had started as an attractive and accessible guide to the Orders intended to inform clients artisans and fellow architects now became a platform for D’Aviler’s own architectural ambitions. Further plates were engraved but there was no room in the first edition or a second in 1694 and so alongside them D’Aviler prepared drawings for an enlarged edition.<br> Work on the new edition was continued by his son Nicholas Langlois II who had ‘acquired a very large quantity of new Drawings & Explanations both from the Author and from several other excellent Architects Painters & Draftsmen… with which to increase & embellish this Work.’ The death of the younger Langlois and the sale of the business to a cousin Jean Mariette delayed the larger edition of the Cours until 1710.<br> Mariette admired D’Aviler and compiled his biography. He mounted D’Aviler’s designs Boulogne’s frontispiece and other architects’ drawings for the Cours on sheets in a portfolio which joined more than 100 others to make up one of history’s greatest collections of drawings.<br> The frontispiece by Louis de Boulogne’s shows Architecture appearing as a young woman. She sits leaning on an altar with a Corinthian capital at her feet compasses in one hand and a portrait of Vignola in the other. Behind her are the ruins of Rome. Louis de Boulogne was the King’s Premier peintre but he was also D’Aviler’s close friend and the architect has corrected the painter’s perspective at the foot of the altar. Drawing Matter Richard Emerson<br> Vignola one of the great Italian architects of 16th century Mannerism was one of three architects along with Serlio and Palladio who spread the Italian Renaissance style throughout Western Europe. He is often considered the most important architect in Rome in the Mannerist era. His two great masterpieces are the Villa Farnese at Caprarola and the Jesuits' Church of the Gesů in Rome. Tutto Rinascimento De Agostini. 2011<br> His two published books helped formulate the canon of classical architectural style. The earliest Regola delli cinque ordini d'architettura "Canon of the five orders of architecture" first published in 1562 probably in Rome presented Vignola's practical system for constructing columns in the five classical orders Tuscan Doric Ionic Corinthian and Composite utilising proportions which Vignola derived from his own measurements of classical Roman monuments. The clarity and ease of use of Vignola's treatise caused it to become in succeeding centuries the most published book in architectural history. See Palladio's Literary Predecessors 2018.<br> Jeremias Wolffens seel. Erben. hardcover
17940156-B1794. Radierung, Rom 1794, auf Bütten. 28:37,8 cm.-Leicht braunfleckig. Literatur: Andresen 19, II (von II) mit der endgültigen Schrift. Sehr guter Abdruck mit Rändchen um die Plattenkante. Aus der in Zusammenarbeit mit J.Chr. Reinhart (1761-1847) und J. Mechau (1745-1808) entstandenen Folge ?Mahlerisch radirte Prospecte von Italien?, zu der jeder Künstler 24 Blätter beitrug. Provenienz: Sammlung J.N. Seiler, München, nicht bei Lugt.
1786108211786 un prospectus de deux feuillets : le premier feuillet est imprimé des deux côtés, sur le deuxième feuillet seule l'adresse est pré-imprimée côté extérieur, format in-quarto carré, non rempli, daté de 1786 sans lieu ni éditeur (Nantes).
175320154Augsburg, Andreas Pfeffel, 1753. Small folio. Cont.full calf. Raised bands. Gilt titlelabel. A paperlabel pasted on upper compartment. Engraved frontispiece, title with large engraved vignette. (8),204 pp. and 17 large folded engraved plates. The 6 first plates a little dampstained in upper right margin, otherwise fine and clean, printed on good paper. 2 rubberstamps on title.
17863523Drey Stücke. Nebst sechs Kupferabdrücken, worunter der erste den Plan der Stadt Potsdam im Jahre 1683 und hundert Jahre danach 1783 enthält. 3 Teile in 1 Band. Mit gefalt. teilkol. gest. Plan von Frentzel nach Schadow u. 5 gefalt. gest. Tafeln. Potsdam, bey Carl Christian Horvath, 1786. 8vo. (19,9 x 11,5 cm). Gesamttitel (hier nach S. 207), 2 Bl., 92 S.; Zwischentitel (Zweytes Stück), (93)-206 S. (189-190 auf gefalt. Bl.); (207)-332 S., 8 Bl. Tafelerläuterungen. Pappband d. Zt. [4 Warenabbildungen]
1722166201722 Reliure éditeur sans la jaquette - 17 x 22 - 252 pp - année 1954 - Collection La Nuit des Temps n° 1 - Editions Zodiaque - illustrations
1722166811722 Reliure éditeur avec jaquette sous emboitage - 17 x 22 - 252 pp - année 1974 - Collection La Nuit des Temps n° 1 - 6 ème éditions - Editions Zodiaque - illustrations
1797005700London 1797. Hardcover. Fair. London 1797 Leather Fair/No Jacket Issued 4 3/4" x 5 7/8" intended to be a pocket size reference Original leather boards are detached spine leather is holding firmly to text block The title page has 3 pieces of clear tape holding it together All other pages are intact and clear with an occassional stain There is an introduction plus 46 pages followed by 200 examples engraved on 100 copper plates 99 of these plates are numbered the final one is not hardcover
180051782Nürnberg, Schneider und Weigel, (ca. 1800). Small 4to. Contemp. hcalf. Gilt spine. Titlelabel with gilt lettering. Spine a bit rubbed. A paperlabel pasted on upper part of both spines. Stamps on title-page. (6),18 pp. and 50 engraved plates. Internally clean and fine.
17950161-B1795. Radierung, Rom 1795, auf Velin. 37,4:27,8 cm. Literatur: Andresen 27, I (von II) mit der gerissenen Schrift. - Vorzüglicher Abdruck des 1. Zustandes, mit Rand um die Plattenkante. Aus der in Zusammenarbeit mit J.Chr. Reinhart (1761-1847) und J. Mechau (1745-1808) entstandenen Folge: ?Mahlerisch radirte Prospecte von Italien?, zu der jeder Künstler 24 Blätter beitrug. Provenienz: Sammlung J.N. Seiler, München, nicht bei Lugt.
17960162-B1796. Radierung, Rom 1796, auf Velin. 28:37,6 cm. Literatur: Andresen 28, II (von II) mit der endgültigen Schrift. Vorzüglicher Abdruck mit Rändchen um die Plattenkante. Aus der in Zusammenarbeit mit J.Chr. Reinhart (1761-1847) und J. Mechau (1745-1808) entstandenen Folge ?Mahlerisch radirte Prospecte von Italien?, zu der jeder Künstler 24 Blätter beitrug. Provenienz: Sammlung J.N. Seiler, München, nicht bei Lugt.
1771R260273382Chez Desaint. 1771. In-8. Relié. Etat d'usage, Plats abîmés, Dos abîmé, Intérieur acceptable. 468 pages.. . . . Classification Dewey : 720-Architecture
177712560Desain 1777 9 volumes In-8, demi-velin moderne, dos lisse. Non rogné. 6 tomes de texte et 3 de planches : 377 planches dessinées par Blondel lui-même, Patte, Mlle Cauchois, Jolivet et gravées sur cuivre par Raincour, Ransonnette, de la Gardette, Le Roy, Pelletier, Sellier. Un grand nombre dépliantes. Rares mouillures marginales. Très bon exemplaire.
173820458Paris, Jean Mariette, 1738. 4to. Cont. full calf with raised bands. Gilt back. Binding worn, corners with loss of leather. Edges worn. Engraved titlepage. (4),408,(38) pp. and 158 engraved plates (many double-page). 2 pages torn with loss and 1 plate torn with loss. Plates and text in general good and clean, occasionally some dampstains and soiling to margins.
173854773Nouvelle édition, enrichie de nouvelles Planches, & revûë & augmentée de plusieurs desseins conformes à l'usage présent, & d'un grand nombres de Remarques, 1 vol. in-4 reliure de l'époque pleine basane marron, dos à 5 nerfs orné, Chez Jean Mariette, Paris, 1738, 3 ff., xxxviij pp., 5 ff. (tables), 1-4, 3*-6*, 5-408 pp. et 19 ff. avec
176054774Nouvelle édition, enrichie de nouvelles Planches, & revûë & augmentée de plusieurs desseins conformes à l'usage présent, & d'un grand nombres de Remarques, 1 vol. in-4 reliure de l'époque pleine basane marron, dos à 5 nerfs orné, Chez Charles-Antoine Jombert, Paris, 1760, lvj-447 pp. avec 162 planches in et hors texte
1750160161750 un fort volume, reliure plein veau brun marbré in-quarto (binding full calfskin in-quarto) (22 x 28,5 cm), dos à nerfs (spine with raised bands), décoration or (gilt decoration) à filets or (gilt lines) et à froid (blind-stamping decoration), entre-nerfs à fleuron au fer plein (between the raised bands floweret with full blocking stamp), compartiments à fleurons (compartment with floweret), titre frappé or (gilt title), pièce de titre sur fond bleu-marine rouge bordeaux grenat noir havane vert clair foncé (label of title) avec filet or (label of title with gilt line) - manquante (it misses the label of title), pièce de titre sur fond bordeaux foncé avec filet or (label of title with gilt line), rInceaux en tête et en pied (top and at the foot of spine with foliages carried out with the curved line), coiffe supérieure manquante (are missing the head of the spine), coiffe inférieure légèrement accidentée (tail of the spine damaged), plats avec de légères épidermures (light scratches on the covers), coins fortement écornés (corners strongly dog-eared), roulettes sur les coupes (fillets on the cuts) avec manque de dorure (blurred gilding), toutes tranches lisses (all smooth edges), rouges (all red edges), orné s'un titre frontispice + 164 planches (dont 2 in-texte) dont 55 dépliantes (folding pictures), Quelques pâles cicatrices de mouillures en marge sur certaines planches (margin scars of waterstains), frontispice +page de titre + dédicace + XXXVIII + [5ff.] + 408 pages + [20ff.] d'index + [1f.] avec approbation et privilège du Roi, 1750 Paris J. Mariette Editeur,
1720006730Paris: Jean Mariette 1720. 3/4 Morroco Marbleized Board. VG. Two volumes in original mottled calf: the end of the rear board of volume 1 has been expertly recovered with dyed calf to match corners polished to blend in. Some reveal to hinge volume 1 and wear to the raised bands gilt compartments on both volumes cords partially revealed and holding. Internals unfoxed clean crisp plates and text. In volume 1 there is a shaved edge to rear leaves resulting in shallow loss to last bundle of chairs at midsection outer margins not affecting text block or plate. A very nice unspohisticated copy. Volume 1: frontispiece title 4 3 13 6 8 40 4 w/ double plate xii w/ 3 plates 355 w/ 103 plates some double page or foldout . Volume 2: frontispeice title 357 - 920p. Jean Mariette unknown
1720006730Paris: Jean Mariette 1720. 3/4 Morroco Marbleized Board. VG. Two volumes in original mottled calf: the end of the rear board of volume 1 has been expertly recovered with dyed calf to match corners polished to blend in. Some reveal to hinge volume 1 and wear to the raised bands gilt compartments on both volumes cords partially revealed and holding. Internals unfoxed clean crisp plates and text. In volume 1 there is a shaved edge to rear leaves resulting in shallow loss to last bundle of chairs at midsection outer margins not affecting text block or plate. A very nice unspohisticated copy. Volume 1: frontispiece title 4 3 13 6 8 40 4 w/ double plate xii w/ 3 plates 355 w/ 103 plates some double page or foldout . Volume 2: frontispeice title 357 - 920p. Jean Mariette unknown books
