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96 Tavole a Colori per ‘I Dopolavoro Aziendali in Italia’

DEPERO, Fortunato DEPERO, Fortunato. 96 Tavole a Colori per 'I Dopolavoro Aziendali in Italia'. [97 leaves]. Leaf with calligraphic title (repeat of the front board of the binding) in pink, copy number and signature verso, leaf with explanatory text recto and 95 colour plates, each with guard leaf, recto only. Small folio, 296 x 274 mm, bound in original publisher's coarse weave cloth, burgundy title to front cover reproducing Depero's manuscript preserved in a new blue cloth folding box. Rovereto: Tipografia R. Manfrini, 1938. A fine copy of a splendid and virtually unknown work. Fortunato Depero (1892 - 1960) was commissioned to produce a series of illustrations for I Dopolavoro Aziendali in Italia, a five-volume set published in five languages, on the occasion of the 1938 Third International World Congress of Leisure Time and Recreation (IIIº Congresso Mondiale del Dopolavoro), which convened first in Hamburg before moving to Rome. Depero produced 100 images for the book, each representing a different Italian region and bearing a motto by Mussolini. Depero's Tavole open with a pictorial dedication to the patron of the work, Il Duce, Benito Mussolini, with the repeated slogan DUCE/ DUCE / DUCE / DUCE above and a repeated black eagle beneath; various symbols of a modern Fascist Italy are also included but an overt reference to previous Italian glory, in the form of the Roman senatus populusque romanus is also included at right in its S P Q R form. The iconography is often simplistic, making frequent allusions to Italy's history and Roman heritage, is more frequently Futurist, but remains distinctly Fascist throughout, especially when combined with Mussolini's slogans, a testament to art's frequent subservience to power. Despite the title, the work - as always - features 95 plates not including the colour title after Depero's manuscript; each plate is signed within the image by Depero. The publication details are to the rear pastedown. The 96 Tavole a Colori per 'I Dopolavoro Aziendali in Italia' is rare and we can trace only one copy outside Italy, that at the Zentralbibliothek, Zürich. From the edition limited to 200 copies, signed and numbered by Depero in black ink to the verso of the title.

Dlya Golossa

LISSITZKY, El; EL LISSITZKY; MAYAKOVSKY,Vladimir; LISSITZKY, El. Dlya Golosa. [For Reading Out Loud]. By Vladimir Mayakovsky. 61, [3] pp. Illustrated throughout by Lizzitzky. 8vo., 187 x 132 mm, bound in original publisher's thick orange wrappers designed by Lissitzky, housed in a new folding orange cloth box . Berlin: Gosizdat, 1923. One of the cornerstones of any collection of Russian Futurist books. Dlya Golosa is widely considered to be Lissitzky's masterpiece of modern typography. Lissitzky designed title-pages for each of Mayakovsky's poems, which are some of his most frequently quoted poetic works, including "Left March," "Ramble," "The Third International," "The Art Army," "Love," and "The Story of Red Riding Hood." Lissitzky described the inspiration that prompted the innovative design of Dlya Golosa in his essay "Typographical Facts": "To make it easier for the reader to find any particular poem, I use an alphabetical (i.e. thumb-indexed) index. The book is created with the resources of the compositor's type case alone. The possibilities of two-colour printing (overlap, cross hatching and so on) have been exploited to the full. My pages stand in much the same relation to the poems as an accompanying piano to a violin. Just as the poet in his poem unites concept and sound, I have tried to create an equivalent unity using the poem and typography" (cf. Lissitzky-Kuppers, #94-108). What resulted was an outstanding typographical success. An unusually fine copy,with a small restored corner to the front wrapper. From Manet to Hockney 68. Nisbet, El Lissitzky 1890-1941, p. 26, plate 94 and p. 186. Leclanche-Boulé, plates 21 and 77.

Notice sur les machines et procédés relatifs à la composition, à l’impression des dessins, et à la fabrication des tapisseries, présentée à la Société d’encouragement pour l’industrie nationale. . Suivie de la Chromagraphie, .

ROUGET De LISLE, (Amédée) ROUGET de LISLE, [Amédée]. Notice sur les Machines et Procédés relatifs à la Composition, à l'Impression des Dessins, et à la Fabrication des Tapisseries, présentée à la Société d'Encouragement pour l'Industrie Nationale. . Suivie de la Chromagraphie, ou l'Art de composer sans Peine des Dessins et des belles Tapisseries et d'une Table ou Guide de Compte qui abrége et facilite les Calculs du Fabricant et de l'Artiste Ouvrier. Introductory text on the textile industry by various authors followed by 4 parts by Rouget de Lisle in together in one volume. Contents includes: Title, [6], 16 pp, illustrated with 2 engraved plates; 8 pp; 6 pp, illustrated with one hand-coloured diagram; 12 pp. illustrated with 1 lithographic folding plate; 8 pp, illustrated with 6 engraved folding plates. Folio, 280 x 230 mm, bound in modern wrappers with old paper label in a new blue cloth folding box. Paris: 1845. A rare work by Rouget de Lisle, a master weaver and student of Chevreul. In this text on tapestries he describes innovative designing, dyeing, weaving, and textile printing methods, elaborating on his 1839 manual, Chromagraphie. Divided into four sections, the text addresses colour as applied to tapestries and carpets; colours and materials used; compositions and reproductions of designs; and tapestries made at Gobelins and Beauvais, the two most important French tapestry manufacturers. With a lengthy presentation inscription by Rouget de Lisle on the title-page. OCLC lists only copies in the University of Chicago, British Museum and Bibliotheque Nationale. Stitching sprung, aside from some faded dampstains to the first two plates, the contents are complete and clean.

L’Art d’Imprimer les Tableaux

LE BLON, Jacques-Christophe LE BLON, Jacques-Christophe and Antoine GAUTIER DE MONTDORGE. L'Art d'Imprimer les Tableaux. Traité d'après les Ecrits, les Opérations & les Instructions verbales, de J.C. Le Blon. xi, vi, [2], [xiii]-xxv, [26]-180, [4] pp. Illustrated with 1 hand coloured sepia mezzotint and two black and white folding plates. 8vo., 195 x 125 mm, bound in contemporary mottled calf. Paris: chéz P.G. Le Mercier, Jean-Luc Nyon, Michel Lambert, 1756. Le Blon was the inventor of the three colour method of printing in mezzotint and this little book is considered THE key work in the history of colour printing. Le Blon's colour theory formed the foundation for modern colour printing. The bilingual text of Coloritto is in French and English; followed by the French essay of explanation and justification. Includes the renowned folding plate of an artist's palette in sepia mezzotint hand coloured to show the range and relationship of different 'tinctures.' This is the second Edition of Le Blon's landmark book Coloritto, but an extremely important book in its own right. Copies of the first edition of 1723 are so rare they are essentially unobtainable. While not as rare as the 1723 edition, this edition is also quite rare book, Spine with some professional restoration, overall a nice, fresh copy. Franklin, Early Colour Printing 40. Bridson/Wakeman B80 (Coloritto and reprint) - Florian Rodari (editor), Anatomie de la couleur. Catalogue BNF: Jacob Christoph Le Blon, l'oeil trichrome par Florian Rodari pp. 52-78. - Goldsmiths'-Kress no. 09110.1. Otto M. Lilien, Jacob Christoph Le Blon 1667-1741. Inventor of three and four Colour Printing.

Expose d’un moyen de definir et de nommer les couleurs.

CHEVREUL, M.E. CHEVREUL, M.E. Exposé d'un moyen de définir et de nommer les couleurs, d'après une méthode précise et expérimentale.[title from table of contents]. In: Mémoires de l'Académie des Sciences de l'Institut de France. Tome 33, text and plates bound separately. Text volume: [3] ll., lxxiii, [1], 944 pp. A few text diagrams. Atlas volume (wrapper title Atlas. Cercles chromatiques de M. E. Chevreul): title-leaf, uncoloured plate of a colour wheel with printed overslip, 14 plates of colour-printed steel engravings, of which 13 are of colour wheels and one is a fold-out plate of the spectrum. Text volume: thick 4to., 277 x 215 mm; Later half morocco over boards, preserving original printed blue wrappers. Atlas volume: Folio., Loose as issued in the original printed blue wrappers 359 x 272 mm, in a new cloth folding box. Paris: Firmin Didot, 1861. First Edition of Chevreul's definitive application of his colour theory, published in the Memoires de l'Académie des Sciences. Written when he was 75 (he lived to the age of 102), this work systematizes Chevreul's earlier discoveries of the properties of colours and the principles of colour contrast, first formulated in his pathbreaking 1839 treatise, De la loi du contraste simultané des couleurs. Chevreul was a chemist whose nearly 90-year association with the Muséum d'Histoire Naturelle had commenced, under Louis-Nicolas Vauquelin, with the study of organic substances that make up dyes. These investigations led him to the directorship of the dyeing works at the Gobelins tapestry manufacture, where he turned his methodical mind to the properties of colour. In the Loi he had "formulated for the first time the general principles and effects of simultaneous contrast, the modification in hue and tone that occurs when juxtaposed colours are seen simultaneously"(DSB). That work, aimed at an artistic rather than scientific audience, contained Chevreul's famous law: "two adjacent colours, when seen by the eye, will appear as dissimilar as possible, both in their optical composition and in the height of their tone." Chevreul's recommendation that painters attempt an imitation of nature by juxtaposing pure colours was taken up by the Pointilliste or Neo-Impressionist school led by Seurat and Signac, whose impact on the development of a new artistic vocabulary was considerable; and his influence extended into the twentieth century, with Robert Delaunay's coloured "simultaneous discs" and Ellsworth Kelly's experiments with Chevreul's colour theory. In the present treatise Chevreul returns to the domain of science and pure technique, presenting the results of 25 years of painstaking research and experimentation. Building on his earlier work, he establishes a precise nomenclature of colours, applying specific technical meanings to the terms ton, gamme (colour scale) and nuance, and sets forth an exhaustive classification scheme of colours, applied to flowers and plants. His series of ten 72-segment chromatic circles, diagramming the variations in colour obtained by the progressive addition of black to the basic colours of red, yellow and blue, show nearly 15,000 different shades of colour. "Chevreul believed he had met the need for precise standards in the definition and use of colours and a way of faithfully reproducing any tone of colour. His circles and scales were valuable to the painter and dyer because they represented every possible colour modification" (DSB). This work is astonishing in its scope and precision. Chevreul's nomenclature remains in use today. The marvelous colour wheels in this edition resemble some of the aquatints and lithographs used in the earlier work but were produced through a new method of colour printing using steel engraving, invented by René Henri Digeon, whose name appears in the plate imprints, and who first published the plates in 1855 (Cercles chromatiques de M. E. Chevreul, reproduits au moyen de la chromocalcographie par R.-H. Digeon, Paris: Digeon, 1855). His technique won first prize at the Exposition Universelle of 1855. A sculpted representation of Chevreul's chromatic circle is embedded in the floor of the Gobelins. Pages i-lxxiii contain an unrelated article: "Éloge Historique de François Magendie," by M. Flourens (the physiologist Magendie had died in 1855). A beautiful copy of this very rare and strikingly beautiful study of colour. Cf. Dictionary of Scientific Biography III, pp. 240-243. Cf. Norman Catalogue 468. Cf. En Français dans le Texte 237.

Linearperspectiven, anvendt paa Malerkunsten

ECKERSBERG, C.W. ECKERSBERG, C.W. Linearperspectiven, anvendt paa Malerkunsten, en Række af perspectiviske Studier af C. W. Eckersberg, med tilhörende Forklaringer. One Page Introduction by G.F.Ursin and 11 Plates, numbered 1-10, with 9a and 9b, accompanied by 9 Text Leaves (the Texts accompanying Plates 7a and 8, and 9a and 9b are each on one Page). Loose in the original wrappers in a new blue cloth folding box. Copenhagen: C. A. Reitzel, 1841. Christoffer Wilhelm Eckersberg is considered to be the founding father of the nineteenth century Danish school of painting, and was the most influential teacher in the history of Danish art. The National Gallery in Washington mounted a major retrospective of his work in 2003. He was extremely interested in the subject of perspective, and while a professor at the Royal Danish Academy, he published two books on the subject. The first, Forsög til en Veiledning i Anvendelsen af Perspectivlæren for unge Malere (Theory of Perspective for Young Painters), was published in 1833, and contains four plates which just demonstrate perspective. His second book Linearperspectiven was published in 1841 and contains exquisite etchings he made which he called "scenes from everyday life". The charm of these plates makes this one of the loveliest of all works on perspective. It also happens to be one of the rarest, with OCLC recording only two copies Worldwide, both in Danish libraries. A facsimile was issued in 1977, which would also appear to be very scarce. All the pages have been mounted on tissue, still a very appealing copy.

Livre de portraiture contenant par une facille instruction plusieurs plans et figures de toutes les parties sépariés du corps humain,

BOLLERI, Nicolas BOLLERY, Nicolas. Livre de portraiture, contenant par une facille instruction plusieurs plans et figures de toutes les parties sépareés du corps humain, recueillies des plus excellens paintres de toutte l'Istallye, pour bien aprendre les vrais fondemens de la painture et sculpture. Engraved title-page. Illustrated with 35 engraved plates. Paris: Jean Le Clerc, 1610. BOUND BEFORE: COUSIN, Jean. Livre de pourtraiture de Maistre Jean Cousin, peintre et géometrien, tres-excellent. Contenant par une facile instruction, plusieurs plans & figures de toutes les parties séparées du corps humain. [80] pp. Title. Illustrated with 36 full page woodcuts. Paris: Jean Le Clerc, 1612. BOUND WITH: HONDIUS, Henry. Fundamentales regulae artis pictoriae et sculpt. Title page. Illustrated with 43 engraved plates (of 50). [Den Haag, ca. 1600]. Oblong 4to., 200 x 260 mm, bound together in contemporary vellum with the arms of Henri Louis Habert de Montomor stamped on the front and back cover, four ties. Preserved in a recent brown half morocco folding box. A splendid sammelband of rare model books for artists from the beginning of the 17th century, bound together by a contemporaneous collector. From the distinguished collection of Hippolyte Destailleur. Ad 1: First and only edition of this exceptionally rare suite of engravings from the French painter and engraver, Nicolas Bollery (or Bolleri). The delicately engraved plates are sourced from paintings of Italian masters to serve as a model book for young artists, depicting all aspects of the human body from various angles. Bollery (ca. 1560-1630) produced several paintings for Notre-Dame de Paris and is perhaps best known for his engravings on the theme of Henry IV of France's entry into Paris. One of the portraits is signed in the plate by the Flemish engraver, Jan van Halbeeck, known for helping introduce the copper engraving technique to the French. Worldcat locates no copies in the US, however the Metropolitan Museum of Art does appear to have a copy. Ad 2: A rare seventeenth century edition [4th?] of Jean Cousin the Younger's popular drawing book which went through many editions throughout the next century and a half. Cousin the Younger (1522 - ca. 1594) was the son Jean Cousin the Elder (1490-1560) a master painter author of the grand work on perspective Livre de Perspective, of 1560. Studying under his father, Cousin the Younger became an accomplished artist himself, with the present book serving in essence as a companion volume to his father's famous volume. Within it, 36 detailed woodcuts and supporting text provide basic instruction on figurative drawing for the aspiring artist. The publishing history is somewhat confused by Brunet making mentions of editions of 1571 and 1589 that don't appear to exist. The Le Clerc edition of 1595 can be considered the first, with Mortimer suggesting this was followed by at least seven further Le Clerc editions. Worldcat locates Le Clerc editions of 1595, 1600, 1608, & 1612 making ours perhaps the 4th edition. All appear to be quite rare. Ad 3: A substantial portion of this rare model book by the prolific Flemish engraver and publisher Hendrik Hondius (1573-1650). Along with the figurative illustrations are few more complete compositions and a fine demonstration of perspective. Also included are 6 further engraved plates from an un identified model book (one plate trimmed). Some minor toning and staining throughout, one plate in the Cousin has been re-margined, not effecting the illustration. Overall in a remarkable state of preservation for works that would have been used to bits by artists. PROVENANCE: Henri Louis Habert de Montomor (1600-1679), member of the L'Academie francaise with his arms stamped on both covers. M. Hippolyte Destailleur (1822-1893) found in his Catalogue de livres et estampes relatifs aux beaux-art of 1895. No. 122. Ad 1: Mortimer, French 158 (1600 edition).

Trattato della pittura di Leonardo Da Vinci.

LEONARDO DA VINCI; Da vinci; LEONARDO; vinci LEONARDO DA VINCI. Trattato della pittura di Leonardo Da Vinci. Edited by Raphael du Fresne. [20], 58, 61-64, 63-112, [16] pp. Illustrated with engraved additional title-page with portrait of Leonardo, large vignette on title-page, dedication headpiece of Queen Christina of Sweden, 9 engraved head-and tailpieces, 3 engraved initials and 57 in text engravings of drawings and diagrams. Paris: Langlois, 1651. BOUND WITH: Leon Battista ALBERTI. Della pittura. Della statua. Edited by Raphael du Fresne. [16], 62 pp. Illustrated with engraved title-page vignettes, engraved portrait of Alberti, 9 engraved head- and tailpieces, 4 engraved initials and 16 in-text engravings. Folio, 383 x 270 mm, bound in contemporary French calf, red morocco spine label stamped in gilt. [Paris: Langlois, 1651]. Ad 1: First Edition of "The most important document in the whole history of art" (Kenneth Clark). Although abbreviated, "the history of the influence of Leonardo's theory of art begins officially with the appearance of this publication" (Pedretti I, p. 14). Leonardo's writings on painting, among the most remarkable from any era, were never edited by Leonardo himself into a single coherent book. The above volume is critical to the reconstruction of his definitive statement on the subject. This first edition was the outcome of the scholarship in Rome of Cardinal Barberini and his secretary Cassiano dal Pozzo, whose project began in 1640 but did not result in any publication. The work is illustrated throughout with reproductions of Leonardo's drawings (now lost, but preserved in MS copies originally made by Francesco Melzi). "For reasons unknown Leonardo's Trattato was not published in the sixteenth century. When Melzi died in or about 1570, his compilation was no longer in his hands. At that time MS copies of an abridged version of his compilation were circulating in Italy, and it was one of them that was published in Paris in 1651" (Pedretti). Another important feature of this first edition is that diagrams and engraved vignettes were executed after Nicolas Poussin, including a series of anatomical studies and male nudes. The above volume is the only printed book bearing Leonardo's name until the end of the nineteenth-century. It remains a key source of Leonardo's writings on per-spective, proportion, colour, light and shadow. The editor of this edition, Raphael Trichet du Fresne, added to his biography of Leonardo a list of 35 books on art; this has been described as "one of the earliest, if not the earliest, art bibliography" (Steinitz). Ad 2: First appearance in print of Leon Battista Alberti's "Della Statua," also containing the important biography of him, for which see Pierre Jodogne, "La Vita di Leon Battista Alberti écrite par Raphaël Trichet du Fresne (1651)" in: Studi di storia della civiltà letteraria francese: Mélanges offerts à Lionello Sozzi (Paris, 1996), pp. 383-419. This volume also features a new edition of Alberti's "Della Pittura" as prepared by Du Fresne. "Leonardo's Trattato della pittura is greatly indebted to Alberti" (PMM). Joints restored, some light spotting throughout, several leaves with staining and toning, some worming in the lower gutter, some brown pencil markings, old repair on leaf 4 of Della pittura, overall, a good copy of this rare book. Kate Trauman Steinitz, Leonardo da Vinci's Trattato della Pittura / Treatise on Painting: A Bibliography of the Printed Editions 1651-1956 (Copenhagen: Munksgaard, 1958) no. 1 (pp. 145-150). Cicognara 232. Gamba 1164. See also PMM 28.

The life of Frá Bartolommeo della Porta, a Tuscan painter, with his works engraved from the original pictures

PATCH. Thomas PATCH, Thomas. The Life of Frá Bartolommeo della Porta, a Tuscan Painter, with his Works engraved from the original Pictures, dedicated to the Honorable Horace Walpole. [2] pp, illustrated with 24 etched and engraved plates printed in black, red or ochre. [Florence: Thomas Patch, 1772]. BOUND WITH: Al Nobil uomo il signore Bernardo Manetti patrizio fiorentino Tommaso Patch dedica questi monumenti dell' antico splendore di sua famiglia in segno di obligazione edistima. [2] pp, illustrated with 12 etched and engraved plates printed in black or ochre. [Florence: Thomas Patch, 1772] . BOUND WITH: To the Ho'nble Sir Horace Mann, Bart, Knight of the most Ho'nble Order of the Bath . the following life of the celebrated painter Masaccio, with some specimens of his works in fresco at Florence is most humbly dedicated. [iv] pp, illustrated with 26 etched and engraved plates printed in black. Folio, 455 x 380 mm, bound in original paper covered boards, professionally rebacked and recornered. [Florence: Thomas Patch, 1770]. First editions, very rare. The present volume comprises three suites of etched and engraved plates. The first reproduces 24 plates of panel paintings and frescoes attributed to Fra Bartolornmeo (1472?-1517); ten of these are now in the monastery of San Marco, Florence. The second reproduces 12 frescoes now attributed to Spinello Aretino (d.1410/11) but which in the author's day were thought to be by Giotto. This series is of particular importance, being the only record of Aretino's fresco cycle in the Manetti chapel in Santa Maria del Carmine, Florence, which was destroyed (save a few fragments some of which Patch came to own) as a result of a fire on 28-29 January 1771. Patch reproduces the compositions of the damaged frescoes, carefully rendering, in two plates, the underlying sinopia where the painted surface had become detached. The third suite reproduces 25 plates by Masaccio (1401-1428) . These are portrait heads traced from frescoes and reduced and engraved. These are the earliest reproductive prints after these artists and "were doubtless a contributory influence in the rise of a taste for pre-Renaissance painting in England" (Watson, p. 27) . Maser places Patch at "a turning point in the study of art" where Italian artists before Raphael began to be appreciated for their own merit. In Maser's view Patch's attempts at careful visual documentation are "enough to earn him a place, a small one perhaps, but a secure one nevertheless, among the pioneers of Kunstwissenschaft." (ibid, p. 198) "Patch, an intelligent and original artist with a sharp eye and a louche disposition, spent 35 years in Italy, mostly in Florence where he lived across the street from Horace Mann. . . in 1770, with the publication of The Life of Masaccio, he embarked on a plan to publish books of engravings 'after every celebrated author.'" (Ingamells, A Dictionary of British and Irish travelers in Italy 1701-1800, pp. 745-6) . The present volumes followed, but the ambitious project was then abandoned and Patch's next and last publication was a volume on Ghiberti's bronze doors to the Baptistery in Florence. All three suites are rare. Evidence cited by Watson suggests that only forty sets of the Fra Bartolommeo and 'Giotto' series were issued before the plates were destroyed. OCLC locates six copies of 'Fra Bartolommeo' (Morgan; Getty; NGA; Yale; Harvard; Huntington). We can locate no copies of the 'Giotto' or 'Masaccio' suites. Nice clean and fresh copies printed on high quality paper. Bogislav Winner, Quaritch Cat. 1406:61. F. J. B. Watson, "Thomas Patch (1725-1782)" in The Walpole Society Annual Volume 28 (1939-40) pp, 15-50. See also: Edward A. Maser, "Giotto, Masaccio, Ghiberti, and Thomas Patch" in Festschrift Klaus Lankheit 1973, pp. 192-199.

Tabulae anatomicae

DA CORTONA, Pietro; BERRETTINI DA CORTONA, Pietro; CORTONA, Pietro da. Tabulae Anatomicae a Celeberrimo Pictore Petro Berrettino Cortonesi. Text by Cajetano Petrioli. [4], 84 pp. Illustrated with an engraved plate on title and 27 full-page engraved anatomical plates after Pietro da Cortona. Folio, 405 x 285 mm, bound in contemporary Italian calf. Rome: Antonii de Rubeis, 1741. First Edition. One of the most artistic anatomical atlases ever published. The images were designed by the great Italian painter of the High Baroque period, Pietro da Cortona. "There is no doubt that among Italian painters, he [Pietro da Cortona] must be considered the most influential personality of his generation, and this pre-eminence was recognized by his own contemporaries" (Encyclopedia of World Art XI, 355-56). Cortona's elegant figures echo the style of other Renaissance Baroque artists, however, these studies for the Tabulae Anatomicae stand apart from those of his contemporaries. Cortona prepared the original drawings around the year 1618 when he was barely twenty years old. The original drawings, executed on grey paper in brown ink, were perhaps done as a commission for a work that remained unpublished. They were acquired in the eighteenth-century by the fervent collector Sir William Hamilton, then English Ambassador to the King of Naples, and are preserved today in the medical collection at the University of Glasgow Library. The drawings were not engraved nor published until a hundred years after the artist's death, for the first time in this Roman edition. Cortona placed his classical anatomical figures within and around Renaissance columns, plinths and arches with architectural vignettes in the backgrounds. Additionally, "many of the dissected men hold oval or rectangular medallions- they look like framed mirrors- within which are drawn figures detailing the anatomy of various regions" (Roberts & Tomlinson p. 273). Plates 1 & 4 are signed: "L.C.," who is probably the Urbino painter and copper-engraver Luca Ciamberlano. Pietro da Cortona, born Pietro Berrettini da Cortona, (1596-1669), was particularily celebrated for his frescos and ceilings in the Palazzos Barberini, Pitti and Pamphili. "Cortona's works are the most spectacular achievements of mid-seventeenth-century Italian painting . This [the Gran Salone of the Palazzo Barberini] was the most important commission of the 1630s, and Cortona produced a fresco that is for Roman Baroque painting what Michelangelo's Sistine Ceiling is for Roman High Renaissance painting- the grandest and most complete statement of its aesthetic ideals" (Held & Posner, 17th and 18th Century Art, pp. 107-109). An interesting side note is to be found in the vignette by Pietroli at the lower left of the title-page engraving; it depicts a transfusion from the carotid artery of a lamb into a vein in the left forearm of the recipient man holding the lamb with his right arm. Transfusions from animals to humans began in 1667, but the first transfusions from human to human did not take place until the nineteenth century. Professionally recased with new endpapers, some marginal stains to a few pages, overall, fresh and bright. Moe, The Art of Anatomical Illustration in the Renaissance and Baroque Periods, pp. 77-80. Choulant-Frank pp. 235-39. Garrison Morton 395.2. Heirs of Hippocrates 470. Roberts & Tomlinson pp. 272-279. See: Norman, The Anatomical Plates of Pietro da Cortona, (1986).


AMMAN, Jost; JOST AMMAN FIRST EDITION -- EXCESSIVELY RARE AMMAN, Jost. Enchiridion artis pingendi, fingendi & sculpendi. [112] leaves. Collation: (:)4, A-Z4, a-d4. Title-page within a woodcut border, 3 ff. (dedication to Hieronymus August von Holtzhusen, with woodcut arms), plus 107 woodcuts by Jost Amman, and with the final letterpress leaf (colophon). Small 4to., 168 x 125 mm, bound in 19th century calf, gilt front cover, orange and green leather spine labels. Frankfurt: Petrus Fabricius (Schmidt) for Siegmund Feyrabend, 1578. First Edition of one of the earliest model books intended to aid painters, designers, engravers, and printers -- of the greatest rarity: OCLC records only the seriously defective copy at Cornell and the copy at Northwestern, which lacks 5 plates. Jost Amman (1539-1591) is recognized as one of the most expressive and sensitive woodcut artists of the sixteenth century; originally from Zurich, at the age of 21 he established himself in Nuremberg where he continued the tradition of meticulous engraving in the manner of Durer and Beham, and there he received numerous commissions (more than 540 different prints by him are known). The woodcuts elegantly depict figures from antique mythology, costume designs, tournaments with swords and spears, horses, armorial escutcheons, Turkish soldiers, dancing couples, allegorical characters, contemporary scenes from literature and/or theater, and superb "models" intended to aide painters, designers, engravers and copyists of the day. Since it was designed specifically for use as a "Picture Book," copies were heavily used and frequently fragmented: hence, there remain only a handful of copies extant in varying degrees of completeness. A German issue of this model book was issued in the same year; the work was reprinted, with additions, in 1580 (under the title Kunst und Lehrbüchlein); eleven years after Amman's death (in 1599), 293 of his woodcuts were republished under the title Kunstbüchlein, Darinnen neben Fürbildung vieler, Geistlicher und Weltlicher, Hohes and Nider stands Personen (for which see the Dover facimile). All three editions are of cosmic rarity. Our copy is complete and aside from inconsequential mariginal thumb-staining and a small repaired marginal tear leaf c3, it remains in a fine state of preservation. Andresen 237. Becker 27. Hollstein p. 51. Colas 117 (Part I) and 118 (Part II). Lipperheide 498 and Fairfax-Murray, German 36 (the 1599 edition only). Berlin Katalog 4757 (for the first edition and Part II only of the 1580 edition).