Audran Girard (12 results)

Paperback. Condition: Collectible Very Good. Anatomical Drawings (illustrator). A detailed and elaborate study of the ideal human proportions as derived from the measurement of ancient sculpture, by one of the grreatest engravers and etchers of his day, third son of the Claude Audran, close associate of Charles Le Brun himself, student of Carlo Maratta in Rome, and etcher-engraver to Louis XIV; 4] preliminary leaves, and 30 engraved plates by Audran; hand sewn with marbled paper wraps, some wearing of paper spine. Interior is bright and has only the faintest of foxing.

Condition: Gut. Erstauflage. Gelbfarbig.-Papier 1 Bll. Titel u. Inhalt + 1 Bll. Einleitung + 28 Tafeln mit s/w. Illustrationen nach G. Audran u. mit Or.-Französischen Text. Blätter sauber aber unten Links mit Stoßspuren. 3 Blättern mit jew. 1 winzige Läsur (nicht sehr störend). * oder Gérard Audran (Gebor. 2. August 1640 in Lyon, gest. 26. Juli 1703 in Paris) war ein französischer Radierer und Kupferstecher. Sprache: Deutsch Gewicht in Gramm: 505 4°, O(Blau)-LeichtKarton.-Umschlag (grössere Brief) mit Or.-Titel - Umschlag etwas unfrisch, bestossen, lädiert (siehe Foto). Akzeptabel bis gut erhalten. Selten !

Broché. In-folio (27,5 x 42,3 cm), broché, 30 planches anatomiques en noir gravées par Girard Audran avec indications des proportions ; manques au premier et dernier feuillets, quelques mouillure sur certaines planches dans les coins, exemplaire sans couverture, à relier. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande. Audran Girard.

Legatura coeva in piena pelle con fregi e titolo in oro al ds. leggermente usurata. Tagli rossi. Carte di guardia marmorizzate. Leggero alone al margine bianco delle ultime cinque tavole ma bell esemplare. Edizione originale. Cicognara (291): Quest opera è molto raccomandabile, e potrebbe meritare un impressione nuova, poiché nulla fu fatto di meglio finora in questo genere ; Krivatsy, 478; Wellcome II, p. 69. Folio (cm. 41), 4 cc.nn. e 29 (di 30) grandi tavv. incise su rame.

Engraving, small , small tear on right side, small blemishes filled with whitening, trimmed to image, tipped onto backing sheet,

Reliés ensemble 38 x 26 cm. Reliure abimée, des planches usées surtout sur les bords, certaines avec des déchirures, les photos rendent compte de ces défauts, état très moyen.- 4 pages de Préface.- Extrait des Conférences de l'Académie royale de Peinture & de Sculpture, leues en présence de Monsieur Colbert en l'année 1670. Sur l'usage du trait et du dessein. 4 pages de texte et 2 planches gravées sur double page. - Extrait des Conférences de l'Académie royale de Peinture & de Sculpture, leues en présence de Monsieur Colbert en l'année 1672. Sur les proportions. 6 pages de texte et 2 planches gravées sur double page.- Extrait des Conférences de l'Académie royale de Peinture & de Sculpture, leues en présence de Monsieur Colbert en l'année 1673. Sur l'expression générale et particulière. 8 pages de texte et 2 planches gravées sur double page.- Extrait des Conférences de l'Académie royale de Peinture & de Sculpture, leues en présence de Monsieur Colbert en l'année 1674. Sur l'ordonnance. 4 pages de texte et 1 planche gravée sur double page.- Extrait des Conférences de l'Académie royale de Peinture & de Sculpture, leues en présence de Monsieur Colbert en l'année 1675. Sur le clair et l'obscur. 4 pages de texte et 2 planches gravées sur double page.- Extrait des Conférences de l'Académie royale de Peinture & de Sculpture, leues en présence de Monsieur Colbert en l'année 1676. Sur la couleur. 6 pages de texte et 1 planche gravée sur double page.Avec :Les proportions du corps humain. Mesurées sur les plus belles figures de l'Antiquité. A Paris chez Girard, 1683.3 pages et 30 planches hors texte. Livres.

in folio (mm. 410), pp. (8), 30 di tavv., elegante leg. coeva m. marocchino con tit. oro al d., piatti in carta marmorizz., angoli. Con 30 belliss. tavv. inc. in rame a p. pag. Edizione orig., rara ed estremamente ricercata, di uno dei grandi classici dell'illustrazione anatomica secentesca. L'Audran (Lione 1640 - Parigi 1703), il più noto della celebre famiglia di incisori e pittori francesi, fu soprattutto disegnatore e calcografo di straordinaria perizia. Soggiornò a lungo a Roma dove fu allieve di Carlo Maratta, quindi fu nominato incisore regio per Luigi XIV. Cicognara 291: "Questa opera è molto raccomandabile. poiché nulla fu fatto meglio finora in questo genere". Krivatsy 478. Wellcome II, p. 69. Graesse I, 251. Bénézit I, 540. Olschki, Choix, 8294. Alcuni aloni marginali, più visibili su 4 tavv., ma esempl. marginoso e in pregevole legatura dell'epoca. [002].

First edition. First edition. [4] preliminary leaves, and 30 engraved plates by Audran, each mounted to a stub. 1 vols. Folio. A detailed and elaborate study of the ideal human proportions as derived from the measurement of ancient sculpture, by one of the greatest engravers and etchers of his day, third son of the Claude Audran, close associate of Charles Le Brun himself, student of Carlo Maratta in Rome, and etcher-engraver to Louis XIV. Contemporary boards, rubbed, spine defective. Title page a little dusty, occasional light soiling and/or staining to plates (mostly marginal), which are otherwise bright and clean [4] preliminary leaves, and 30 engraved plates by Audran, each mounted to a stub. 1 vols. Folio.

Paris, 1680-1696. Beautiful circular etching: The personifications of Time and Love of Virtue pushing the clouds of Ignorance (donkey's head) away from Painting, personified by a reclining female figure with palette and paint-brushes. Etched title (see above) underneath, at bottom signed in the plate 'L. Testelin pinxit. Audran scul. cum privil. Reg.' 33,2 x 31,7 cm.* I.F.F. I, 133, No. 55. Robert-Dumesnil IX, 274 No. 47 (third state). In database British Museum (third state). Third state, intended as frontispiece for Henry Testelin's 'Sentiments des plus habiles peintres sur la pratique de la peinture et sculpture' published in Paris in 1680 (second edition in 1696). The painter and etcher Louis Testelin (Paris 1615-Paris 1655) was the brother of the author Henry Testelin (Paris 1616-Den Haag/The Hague 1695). The original painting by Louis Testelin of c. 1655 is lost. - Reinforced at blank borders. Sharp impression. Collector's stamp on verso of 'Grossh. Museum zu Schwerin' (Lugt No. 2273).[(5841)].

THE BATTLE OF THE MILVIAN BRIDGE Engraving on three plates made in 1666 by Gerard Audran after the design by Charles Le Brun. Size: approx. 84,5 x 172,5 cm. The Battle of the Milvian Bridge took place between the Roman Emperors Constantine I and Maxentius on 28 October 312 AD. It takes its name from the Milvian Bridge, an important route over the Tiber. Constantine won the battle and started on the path that led him to become the sole ruler of the Roman Empire. Maxentius drowned in the Tiber during the battle; his body was later taken from the river and decapitated, and his head was paraded through the streets of Rome. It is said that the battle marked the beginning of Constantine's conversion to Christianity. Constantine and his soldiers had a vision sent by the Christian God. This was interpreted as a promise of victory ("In Hoc Signo vincit") if the sign of the Chi Rho, the first two letters of Christ's name in Greek, was painted on the soldiers' shields. The Arch of Constantine, erected in celebration of the victory, attributes Constantine's success to divine intervention. On this very large engraving by 26 year old Gérard Audran, we see Constantine followed by a small crucifix, bearing a javelin and charging across the summit of the Milvian Bridge just outside of Rome toward terrified enemies who have become prey to the trap they had set for the soon-to-be victorious Christian emperor. (Maxentius had partially destroyed the bridge during his preparations for a siege of Rome.) In the end, Maxentius is the unintended victim of his own treachery. Framed by the bridge's ruined timbers, he grasps the neck of his terrified horse as he plunges backward toward his demise. Le Brun reminds his viewers that soldiers from Rome sometimes received a fee for each head of an enemy they presented to their leaders. On the bridge, in a scene recalling one from the Column of Trajan, a proud rider eagerly holds out to Constantine the head from one of the bodies sprawled beneath them. Another rider, galloping in the center of the picture, cradles his prize inside his shield. And just above the royal coat of arms in the engraving's dedication at the bottom centre, the most terrifying episode foreshadows what will soon become of Maxentius. In a moment of grotesque efficiency, a soldier clenches between his teeth the hair of a severed head and uses both hands to decapitate his next victim, a weakened cavalryman who lies pinned beneath his fallen horse. Literature: Louis Marchesano "Charles Le Brun's Constantine prints for Louis XIV and Jean Baptiste Colbert" Price: Euro 3.750,-.

DE HEMELSE VADER OMGEVEN DOOR EEN GLORIE VAN ENGELEN Kopergravure samengesteld uit vijf afzonderlijk gedrukte bladen, vervaardigd door Girard Audran in 1681 naar een fresco uit de kleine kapel van Château de Sceaux door Charles LeBrun. Later met de hand gekleurd. Diameter: 116 cm. Charles LeBrun was 'Premier Peintre du Roy' en de ongeëvenaarde meester van de 17e eeuwse Franse kunst, hij was o.a. verantwoordelijk voor het decoreren van Châteaux de Versailles. Girard Audran (1640 - 1703) was LeBruns belangrijkste graveur en reproduceerde veel van diens werken. Lebrun werkte tussen 1670 en 1674 op Château de Sceaux voor Jean-Baptiste Colbert (minister van financiën onder Lodewijk de XIV), die hiervan van zijn buitenplaats maakte. Deze gravure is vervaardigd naar een fresco uit de kleine kapel van dit kasteel. Château de Sceaux wordt tijdens de Franse revolutie genationaliseerd en de inboedel geveild. De kapel raakte vervolgens in verval en werd afgebroken. Prijs: Euro3.150,- (incl. 21% BTW).

Paris, Chez Girard Audran, Graveur du Roy, rue S. Jacques aux deux Piliers d'or. 1683, in-folio, 400 x 252 mm, (8) nn pp + 30 engraved plates, sewn, old marbled wrapper, uncut copy. Margins a bit dustsoiled but a fine copy printed on strong paper Girard (or Gérard) Audran ( Lyon 1640 - Paris 1703 ) resided some time in Rome. He studied classical sculpture there and published this book with engravings on the proportions of the human body. The engravings depict statues which he studied in Rome and with exact measures added to the different parts of the body.