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Veatchs Arts of the Book

Nine rare Italian color xylographed papers.

Nine rare Italian color xylographed papers.,

Remondini & Rizzi. Full sized, unused sheets. Six of the papers are known or presumed to have been printed by the Remondini factory. Three are later printings by Rizzi from the original Remondini blocks and bear the Stampa Remondiniani PESP blindstamp. Most in very good condition. The stars of the group are a matched pair (each 16 x 13 inches): Remondini's view of Venice surround by a large bouquet on a blue diaper pattern background, along with its Rizzi recreation. There are 3 Remondini bookbinding papers (17 1/2 x 14 1/2). Two sheets of Remondini wall paper (21 1/2 x 17 1/2). These have some fraying and are in good condition. There are 2 more Rizzi PESP recreations of binding papers. Full, unused papers such as these are rare. The papers were printed on a hand press, using vegetable dyes (probably in paste, rather than ink) on wood blocks; sometimes with copper pins or strips mounted on them for tiny details. A different block was cut for each design and for each color. The papers were typically stored folded in half. When a paper has two identical images with a narrow space between, it was meant to be cut in half.Remondini, establishing his printshop in Bassano in 1649, was soon renowned for his wood block and copper prints and block-printed papers. He dominated the c18 market, employing a thousand persons, with 38 printing presses, a paper mill, die foundry, and a trade school of woodcarving. When the firm closed in 1861, about a thousand of the old blocks were rescued by a group of 4 enthusiasts: Pasoli, Esengrini, Suardi, and Ponti (hence the P E S P stamp). They granted Giuseppe Rizzi of Varese a license to print themâ€"if he used the original methods. The last Rizzi died in 1939. As part of the nobles’ bequest some 400 remaining woodblocks were given to the Museo Civico in Bassano.
A Collection of Original Prints from the 15th to the 20th Century with a Description of Their Techniques.

A Collection of Original Prints from the 15th to the 20th Century with a Description of Their Techniques.,

Fiedler, Alfons. 9 x 12. 81 pages + approx. 80 leaves of prints. The prints are tipped (or mounted) to black craft paper labeled with the technique. The facing text page gives its history, usage, commercial value, distinguishing features, and what other technique it might be mistaken for. Glassines are between pages. Sheets separating the various graphic methods (raised, intaglio, planographic, other kinds of printing, original drawings), index, and glossary have tabbed, titled fore edges. Padded leatherette binder with brass screws allowing removal of the pages. An engraved copperplate and its printed image are mounted inside the front cover. Fine. A comprehensive, pedagogical, labor-of-love with 110 prints demonstrating 60 graphic techniques. Most of the prints are original, most 19th century. They were acquired from "a large graphic arts collection." Some are new prints made using old techniques, such as niello. These are numbered and signed by the artists. There's a woodcut from 1582, and a chiaroscuro wood cut from 1644 (along with one made for this book, showing the two proofs & final print). One new print demonstrates 11 different techniques of copper engraving side-by-side. In addition to the expected processes, there are examples of reproductive techniques. Most processes are represented by several specimens to demonstrate different style. Many are shown uncolored and colored in various ways. The author wants to ensure that we can distinguish among them. So there are drawings (lead pencil, colored pencil, charcoal, chalk, pastel, sanguine, pen & ink) with notes about what they might be mistaken for (e.g. a brush drawing could be mistaken for an aquatint or a mezzotint). There's an oil painting and a reproduction of an oil painting by oleography. There's also a pochoir with 2 of the stencils used to create it; silk pictures (one printed with an etching, one woven), textile printing, four c19 playing cards, portions of old maps, specimens of old parchments, decorative endpapers, blind embossing & raised printing, nature printing (lace and seaweed). Turning each page is a treat. The post binding allows pages to be removed for display, or to pass around the table. No. 7 of 100 copies in English. There was a German edition in 1975. OCLC locates 11 English copies and 5 German ones. Each copy was hand assembled and, needless to say, no two copies are alike.