Oblong quarto: -40 engraved plates, comprising: the engraved title page () and 39 views of monuments, numbered 2-40. Du Pérac?s Engravings of Rome. One of the Most Important Series of 16th c. Roman Views. ?He can often be called upon for details That are preserved nowhere else?-Richardson The Royal Institutes of British Architects? catalog, ?Early printed books, 1478-1840?, describes this as the sixth state of these plates. Taken together, RIBA and Ashby present a clear picture of the printing history, which may be summarized as follows: The first edition appeared at Rome in the jubilee year 1575, with two states of the title page. They were next printed as part 1 of a 3-volume set of engravings for the jubilee of 1600; once again, only the title plate was modified. In this 1621 printing, the engraved title has (anachronistically) the original four-line dedication to Giacomo Buoncompagni but the imprint is that of Gottifredo de Scaichi, dated 1621. The second engraving, the view of the Forum Romanum, has also been reworked to include a medallion portrait of the German antiquarian Jacob Schletzer, resident at Rome. In the foreground of the plate, a carriage has replaced a pack of mules and Schletzer (with his trademark mustache) is shown giving a tour of the ruins to a group of tourists. All early printings are extremely rare.Du Pérac?s plates depict the major ancient ruins of Rome in their 16th c. environment, with two to three lines of descriptive text in Italian below the images. Along with Dosio?s engravings of 1569, and Scamozzi?s of 1583, Du Pérac?s series if one of the three most important series of views of Roman monuments to appear in the 16th c.?The plates are arranged in the order of the itinerary that it was customary for pilgrims of the time to follow. Du Pérac, an engraver, painter, and architect arrived in Rome about 1559 and started to work for Lafrery, contributing several prints to his ?Speculum Romanae Magnificentiae.? Independently, Du Pérac produced many prints of Roman ruins and, together with others, a valuable large map of the city, but his fame rests mostly on ?I Vestigi dell?Antichità di Roma?? On his return to France, Du Pérac decorated the ?cabinet of the bath? at Fontainbleau. When his work was finished in 1598 he was employed as architect at the Tuileries until his death.?(Fowler)Du Perac?s work ?is a key source for the state of the Roman monuments as they existed in the sixteenth century? The etchings represent as no other work does the lively renewal and interest in the monuments of classical antiquity which reached its climax in sixteenth century Rome.? (Builders and Humanists: the Renaissance Popes as Patrons of the Arts, p. 308)?He can often be called on for details that are preserved nowhere else.?(L. Richardson, New Topographical Dictionary of Ancient Rome, p. xxiv) RIBA 3833, state 6; Ashby, ?Le Diversi Edizioni dei ?Vestigi dell?Antichità di Roma? di Stefano Du Pérac? in La Bibliofilia, Vol. 16, No. 11-12, Feb-March 1915, p. 400-421. See: Fowler No. 111 (pp. 93-4); Borroni 7957; Olschki 16857-8; Millard IV, 35; Berlin 1847; Cicognara V, 3821; Brunet II, 888 The plates are bound in contemporary limp vellum, rebacked, soiled and with minor chips at the edges. This is a nice, complete copy of this suite of large engravings, with occasional marginal soiling and some foxing (rarely affecting the plate) and a few trivial stains. SIXTH STATE (RIBA) of these plates, first printed in 1575 (See below.). Bookseller Inventory #
Title: I Vestigi dell'Antichitŕ di Roma Raccolti et...
Publisher: Appresso Gottifredo de Scaichi alla insegna dell?Aquila negra in Parione vicino la Chiesa di S. Thomaso,
Publication Date: 1621
Book Description ReInk Books, 2017. Softcover. Condition: NEW. Reprinted from 1575 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this reprint is from very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. This paperback book is SEWN, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of paperback binding. It can also be open wide. The pages will not fall out and will be around for a lot longer than normal paperbacks. This print on demand book is printed on high quality acid-free paper. Original publisher: Apresso Lorenzo della Vascheria, 1575. Seller Inventory # 154325972
Book Description 1575. Suite completa di 41 incisioni ad acquaforte e bulino, 1575, firmate in lastra nel secondo foglio, nella dedicatoria a Giacomo Buoncompagni. Esemplari nella prima edizione, edita a Roma da Lorenzo Vaccari. Magnifiche prove, ricche di toni, impresse su carta vergata coeva, rifilate al rame ed applicate su supporto cartaceo, rilegate in album del XVII secolo. Etienne Duperac, nativo di Bordeaux o Parigi, si trasferisce presto a Venezia, dove apprende l’arte dell’incisione realizzando vari soggetti da Tiziano, principalmente per l’editore Giovanni Francesco Camocio. Arriva a Roma nel 1559 dove si dedica allo studio dell’architettura e delle antichità, con particolare attenzione alle opere di Michelangelo. A Roma conosce Onofrio Panvinio, archeologo ed antiquario, che lo influenza e lo introduce allo studio delle antichità romane. Come tutti gli artisti provenienti dal Nord Europa, rimane affascinato dalla maestosità delle rovine romane, decidendo di studiarle e raffigurarle. Le precedenti rappresentazioni dei monumenti di Roma, ad esempio quelle eseguite da Hieronimus Cock intorno al 1550, erano pittoriche ed arricchite da elementi di fantasia. La notevole importanza delle vedute di Roma del Duperac sta nel fatto che furono rappresentate con assoluta precisione archeologica e topografica, tanto da essere oggi studiate con grande attenzione dagli studiosi di archeologia, poiché spesso rappresentano monumenti e siti oggi andati perduti. Gli esemplari della prima edizione delle vedute del Duperac, sono assolutamente rari. Magnifico set, omogeneo ed in eccellente stato di conservazione. Suite of 41 etchings with engraving, 1575, signed in plate in the second sheet, in the dedication to Giacomo Buoncompagni. Example in the first edition, published in Rome by Lorenzo Vaccari. Magnificent impressions, printed with tone on contemporary laid paper, trimmed to the platemark and laid down on paper, bound in albums of the seventeenth century. Etienne Duperac, a native of Bordeaux or Paris, he soon moved to Venice, where he learned the art of making various subjects by Titian, mainly for the publisher Giovanni Francesco Camocio. He arrived in Rome in 1559 where he devoted himself to the study of architecture and antiquities, with special attention to the works of Michelangelo. In Rome knows Onofrio Panvinio, archaeologist and antiquarian who influences him and introduced him to the study of Roman antiquities. Like all artists from Northern Europe, was fascinated by the majesty of the Roman ruins and decided to study them. The above representations of the monuments of Rome, such as those performed by Hieronymus Cock in 1550, were painted and embellished with elements of fantasy. The great importance of the views of Rome Duperac lies in the fact that they were represented with absolute precision archaeological and topographical, as to be now studied with great attention by scholars of archeology, monuments and sites as they often are now lost. The copies of the first edition of the views of Duperac are absolutely rare. Magnificent set, homogeneous and in excellent condition. Robert Dusmenil, Peintre Graveur Francais, vol. VIII, pp. 92-99, 1-40; Reed & Wallace, Italian Etchers of the Renaissance & Barocque, p. 83,84. Dimensioni 375 213mm. Seller Inventory # 4620