W Bigg and John Raphael SmithBiblio.com
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1784154<p>Coloured Mezzotint Appears to be in good condition although unexamined out of the frame. The top and side margins are not shown and so are presumed absent. Otherwise in good condition well framed and mounted. Of particular note is the page boy</p>
178970461Madrid 1789. 49x62 cms. unknown
1776352771776. Wien gedruckt bey Johann Thomas Edl. v. Trattnern K.K. Hofbuchdruckern und Buchändlern 1776 8° 4 Bl. 145 pp. Titelkupferstichvignette zwei weitere im Text 2 geflt. Kupferstichtafeln Interimsbrochur; unbeschnitenes Exemplar. Rahphel J. Steidele 1737-1821 from Innsbruck the predecessor of Boer was professor of theoreticl midwifery in Vienna and author of a number of books in his field. The present treatise on bleeding is nicely illustrtated wiht rather pittoresque engraved title-vognette which depicts the cuase of blleding to death on the battle field. The two large engraved plates illustrate tourniquets and instruments the auhor invented himselfe. Blake sTC 18th Century 431 unknown
178540381DB1785. Wien Johann David Hörling 1785. 338 S. 1 Bl. Inhalt. Mit einer gestochenen Titelvignette und einer mehrfach gefalteten gestochenen Tafel. Halblederband der Zeit mit rotem Rückenschild und reicher Rückenvergoldung. Blake 431. - Lesky 630. - Dritte Ausgabe. Erschien bereits 1774 und 1782. - Beschreibt vor allem Komplikationen beim Gebrauch der Geburtszangen. - Stellenweise leicht stockfleckig. Hübsch gebunden. unknown
17868168London: Published by J. R. Smith No. 83 Oxford Street 1786. Coloured mezzotint. In good condition with the exception of some faint soiling in upper margin. Bottom margin outside platemark is coated with white paint. Water stains on verso of sheet not noticeable on front of sheet. Image size: 14 3/4 x 17 inches. Plate size: 17 7/8 x 19 5/8 inches. Sheet size: 19 5/8 x 20 inches. A wonderful mezzotint after Rev. Matthew William Peters by one of the finest eighteenth century engravers.<br/> <br/> This charming print is engraved after a painting by Rev. Matthew William Peters and is a fascinating example of this period in British printmaking. Matthew Peters was trained in London under the portraitist Thomas Hudson. He quickly became a prominent member of the Society of Artists exhibiting portraits in oil and pastel and attracting a number of prominent aristocratic patrons including the Duke of Manchester the Marquess of Granby and Lord Grosvenor for whom he painted some of his most controversial pictures. Urged by his patrons Peters painted a series of quasi-erotic character studies of courtesans which at that time were quite unusual in Britain. These controversial pictures were eagerly reproduced by industrious printmaker/publishers such as Smith and caused a flurry of curious customers to hurry to London print-shops. Following his ordination in 1781 Peters quickly denounced his early erotic pictures as immoral. Upon being appointed Honorary Chaplain to the Royal Academy Peters expressed a profound regret "that he ever devoted his talents to such subjects". With this in mind this picture becomes extremely interesting. In this work Peters continues to observe and appreciate charming subjects in fancy costumes but eliminates the erotic overtones present in his earlier works. Instead he has chosen to depict an age-old moral subject fortune-telling an institution in western art since the Renaissance. This print which is expertly engraved by one of the finest eighteenth century printmakers is a fascinating view into a turbulent period in Peters' life when he struggled to produce images that would appeal to his viewers while remaining true to his moral beliefs.<br/> <br/> D'Oench Copper into Gold: Prints by John Raphael Smith 1751-1812 p. 224 No. 274; Smith Catalogue No. 135 & 136; Ackermann 1802 p. 9 described as companion prints; Chaloner Smith British Mezzotinto Portraits Ward 97 Smith 186; Frankau An 18th Century Artist and Engraver: John Raphael Smith 146. Published by J. R. Smith, No. 83 Oxford Street unknown
17777514London: Published by John Boydell Cheapside 1777. Mezzotint. State iii/iii with the engraved inscription in thick and thin cursive letters. In good condition apart from some overall light surface soiling and foxing. Occasional rubbed creases throughout image. Laid down onto cream wove backing paper. Image size: 13 1/16 x 10 15/16 inches. This charming portrait of the fashionable Catherine Schindlerin expertly illustrates Smith's superior technique and artistic ingenuity.<br/> <br/> Catherine Schinderlin was a German singer and actress who began her career in London in 1775 the year Reynolds did this portrait for the Duke and Duchess of Dorset. It shows the actress in the role of the "Coquette" from an as yet unidentified play or opera. A highly influential figure in the late eighteenth-century British art world John Raphael Smith was the most robust and prolific printmaker of his time. During his prodigious career Smith produced nearly 400 prints 130 of which were of his own design. The remainder reproduced paintings by such noted British artists as Joshua Reynolds George Romney and Joseph Wright of Derby. Smith was an incredibly astute businessman and soon became an impresario of the print-publishing trade. At the 1783 exhibition of the Society of Artists Smith exhibited his print of the Prince of Wales. This clever bit of marketing precipitated his appointment as the Prince of Wales' mezzotint engraver immediately making him even more desirable to an art market hungry for quality prints. D'Oench<br/> <br/> D'Oench Copper into Gold Prints by John Raphael Smith 88; Frankau An Eighteenth Century Artist and Engraver John Raphael Smith 306 iii/iii; Chaloner Smith British Mezzotinto Portraits 147 iii/iii; Russell English Mezzotint Portraits and their States 147; O'Donoghue Catalogue of Engraved British Portraits.in the British Museum 1; Lennox-Boyd & Stogdon state iii/iii. Published by John Boydell, Cheapside unknown
171946362Clifford Herefordshire 17th July 1936. Creased where folded; one tiny corner missing. 8vo. To Arthur Morrison thanking him for a favor and asking another. unknown
1800692591800. Wien Mit v. Ghelenschen Schriften 1800 8° XVI 434 pp. Papband d.Zt.; St. a.Tit. "Aus dem Französischen übersetzt und mit Anmerkungen und Zusätzen begleitet von Wilhelm Heinrich Ludwig Borges 1767-1838 der Arzneygelahrheit und Wundarzneywissenschaft Doktor vormals Feldarzt in Königl. Preuß. Diensten bey der Rheinarmee." Die Abteilung "Von den Operationen welche am Kopf vorkommen" enthält folgende Kapitel: Von den Operationen bey Kopfwunden. Von den Wunden der allgemeinen Kopfbedeckung. Von den Wunden der Hirnschale. Von den Verletzungen der innern Theile des Kopfes. Von den Operationen welche bey den Krankheiten der Thränenorgane vorkommen. Von der Geschwülst des Thränensacks. Von der Thränenfistel. Zusatz des Uebersetzers. Enthält ferner: Verfolg der Operationen welche am Unterleibe vorkommen pp.1-224. Von den Operationen welche an der Brut und am Halse vorkommen pp.225-319. Raphaël Bienvenu Sabatier 1732-1811 französischer Anatom und Chirurg war zu seiner Zeit ein berühmter Chirurg der einen wichtigen Beitrag zur Entwicklung der Urologie und deren Anerkennung als eigene medizinische Disziplin leistete. Zudem hinterließ er eine beträchtliche Reihe von Abhandlungen so unter anderem für die Académie des sciences. Sein Hauptwerk das unter dem Titel 'De la médecine opératoire' 1796 in drei Bänden erschien und mehrere Auflagen erlebte. unknown
17813069937Madrid.: Joachin Ibarra. 1781. Hardcover. Cubierta deslucida. Good. 21 cm. 1 v. Encuadernación en Pergamino. Literatura española. Historia y crítica. Rodríguez Mohedano Pedro. coaut. Ibarra Joaquín. 1725-1785 . Cubierta deslucida. Literatura.82 82 Joachin Ibarra. hardcover
17663306033En Madrid.: en la Imprenta de Antonio Perez de Soto. 1766. Hardcover. Cubierta deslucida. Good. 20 cm. 415 p. Encuadernación en tapa dura artesanal en plena piel con escudo dorado en cubierta. Rodríguez Mohedano Rafael 1725-1783. Tomo I - X. Aguilar Piñal. Bib. S. XVIII. La mención de tomo en el t. I consta en la anteportada . Cubierta deslucida. en la Imprenta de Antonio Perez de Soto. hardcover
17663306034En Madrid.: en la Imprenta de Antonio Perez de Soto. 1766. Hardcover. Cubierta deslucida. Good. 20 cm. 415 p. Encuadernación en tapa dura artesanal en plena piel con escudo dorado en cubierta. Rodríguez Mohedano Rafael 1725-1783. T. II con pie de imprenta de Francisco Xavier Garcia y fechas de 1768 y 1770 . Cubierta deslucida. en la Imprenta de Antonio Perez de Soto. hardcover
175317486PALMA: Antonio Guasp 1753. Primera edición.- 4º.- 1 hoja portada.- 16 páginas.- Rústica.- 1 lámina al cobre representando el escudo nobliario de la familia Damero y firmado en plancha por Fr. Alberto Burguny. Buena impresión con texto dentro de una orla xilogáfica. El ejemplar está falto de la última hoja. No en Bover Antonio Guasp unknown
177420163Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Some marginal restoration at corners and margins. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. The biblical scene depicted shows the infant brothers Cain and Abel vying for their mother's attention. Adam is sowing nearby.<br/> <br/> Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
177420164Rome 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The scene in the main panel shows the three angels that appeared to Abraham and told him that he and his wife Sarah will have a son.<br/> <br/> A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/> Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
177217002Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin expert repairs to left margin not affecting image area. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 4; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177221936Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Trimmed to platemark left margin. Good condition. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 11; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177217009Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin expert repair to upper left corner just affecting image area small repairs to right blank margin. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 5; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177217014Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Sight size: 43 x 17 1/4 inches. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 13;Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177214588Rome 1772. Copper engraving by Ottaviani after drawings by Ludovico Teseo printed in black with stunning later professional hand-colouring. Very good condition. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with later professional hand-colouring.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work and executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The whole series was remarkable not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 2; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177217012Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Sight size: 43 x 17 inches. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 11; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177217013Rome 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Three repaired tears to the left blank margin. Sight size: 31 1/8 x 18 1/4 inches. A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments was probably planned as early as 1760 but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was of importance not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.<br/> <br/> Cf. Brunet IV 1110; cf. Berlin Katalog 4068; cf. Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 17; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104. unknown
177417011Rome 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Shaved within plate mark expert neat repairs to left margin one just affecting the image area. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print.<br/> <br/> A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. The biblical scene depicted shows the infant brothers Cain and Abel vying for their mother's attention. Adam is sowing nearby.<br/> <br/> Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog. 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
177020166Rome 1770. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Jacob at Luza having a vision of the angels ascending and descending by a ladder which reached from earth to heaven.<br/> <br/> A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/> Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
177420167Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Joseph telling his brothers of his prophetic dreams "Hear my dream which I dreamed. I thought we were binding sheaves in the field: and my sheaf arose as it were and stood and your sheaves standing about bowed down before my sheaf . I saw in . another dream as it were the sun and the moon and eleven stars worshipping me."<br/> <br/> A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/> Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
177420169Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David having subdued Syria returning to Jersusalem with armour made of gold.<br/> <br/> A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts.<br/> <br/> Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
