Thiry Leonard (2 results)

THIRY, Leonard (illustrator). . [BOYVIN, Rene]. 26 Engravings from: Livre de la Conqueste de la Toison d'or. par le Prince Iason de Tessalie: faict par figures avec exposition d'icelles. Paris: Jean de Mauregard, 1563. A series of 26 engravings by René Boyvin after Leonard Thiry for the "Livre de la Conqueste de la Toison d'or. par le Prince Iason de Tessalie" ("Book of the Conquest of the Golden Fleece, by Prince Jason of Thessaly") printed in Paris in 1563. These 26 engravings are presumably a mixed set as some plate are in the first state and others are in the second state. Both states were produced in 1563. Plates 16-19 show traces of the numbering visible along the upper margin which is characteristic of the second state, the other plates do not seem to have the numbers at the top. Very good impressions of all the plates. Each plate has been trimmed just outside the borderline, leaving a small margin of 0.5-1 mm. Along the lower edge, a paper strip approximately 30 mm high has been added. This inserted strip has the original text by J. Gohory written in, in later (17th or 18th century) calligraphic manuscript. This text originally appeared within an engraved cartouche at the bottom of impressions from the second state of the plates. Most leaves have the watermark of Edmond Denise, a crescent and quatrefoil, and the name "edmonddenise" (Briquet, Les Filigranes, no. 5304). Full leaf size (9 1/2 x 7 5/8 inches; 240 x 193 mm). Plate size: (9 x 6 1/4 inches; 230 x 158 mm). This volume is bound without the four leaves of preliminaries, including the title-page. Bound in at the front is a non-matching title-page featuring a broad, etched figurative border. The central text field of this border has been cut out, backed with white paper, and filled in with an inked, calligraphic title reading: "Origine de la toison d'or, ou histoire de Iason. selon le dessein de Rosso tres excellent peintre de Florence." (The Origin of the Golden Fleece, or the History of Jason. according to the design of Rosso, a most excellent painter of Florence.) Bound in half-vellum using a sheet of a 15th-century. manuscript, over drab blue boards. Newer endpapers. Plates 4, 20, 22, 24 and 25 each with a restored and re-drawn upper corner. Plate 9 has a tear through the middle, repaired with no loss. Plate 20 also has a small hole at lower left, repaired. Plate 26 with a few small holes in the upper outer corner that have been backed. Overall a very nice set of these important engravings. "A series of twenty-six prints relating the myth of Jason and the Golden Fleece, engraved by René Boyvin after Léonard Thiry. Each scene is framed by an ornate border, reproducing the model created by Rosso Fiorentino in the Gallery of Francis I at Fontainebleau. Léonard Thiry, of Flemish origin, was one of Rosso's best aides, as his salary at Fontainebleau, and Vasari's comment on him suggest. The set was published in 1563, in Paris, in both Latin and French, and was preceded by a letterpress text: privilege, dedication to the King, and four pages on the story of Jason written by Jacques Gohory (1520-1576). In most editions, we also find quatrains by the same poet, printed in a cartouche, and used as a caption for each plate. Thanks to the privilege and dedication, we know that it was Jehan de Mauregard, an officer of the Crown, who had this set made to present to the young Charles IX." (V&A Museum). "The story of Jason and the Toison d'or or Golden Fleece was celebrated in print from the time of Caxton's edition of the story by Raoul Lefevre in the mid-1470s. The Burgundian order of the Golden Fleece was founded by Philippe III le Bon, whose chaplain Lefevre was, on January 10 1430 at Bruges, and was one of the most distinguished of the great orders of chivalry. The short text by Gohory gives a brief resume of the story of Jason and the Argonauts, and the 26 fine etched plates tell their version of the story." (Sotheby's) HBS 69606. $10,000.

Couverture rigide. Condition: Très bon. 800x600 Normal 0 21 false false false FR X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif";} First edition of the Latin issue, much rarer than the French one. Only one other copy of the Latin edition recorded on the market, the Wittock copy, with an interesting Renaissance binding, with 7 plates missing replaced in the 20th century by plates from a later edition and two plates with captions from the later edition, sold for 89250 pounds at Christie's London on June 7, 2004, 17 years ago. Precious and remarkable first issue before caption and numbering of the majority of the plates; the copy, close to Harvard College No. 519, having like this one 8 second issue plates with numbering but before captions: 13-18; 21 and 26. « Title-page without ornamentation. The volume consists of four preliminary leaves and twenty-six engraved plates of the story of Jason and Medea, approximately 63/16 x 9". The first is unsigned, the others are signed with the monogram "RB" of René Boyvin, and the last is signed in addition to the monogram, « Leonardus thiri. inu?. Renatus. .F » « In his dedication to Charles IX in French issue. Jean de Mauregard writes, "I'en ay faict desseigner & pour-traire curieusement les figures par Leonard Tyri de Belges peintre excellent (comme l'?uvre descouure) & apres faict tailler en cuiure par René Boyuin natif d'Angers : ny espargnant ne les frais ne la sollicitude, en esperance de vous en faire present qui pourroit estre agreable : fust pour la lecture du livre ou par-auenture pour patron de quelque tapisserie à orner vn jour les sales de vos magnifiques palais . . . ou pour une peinture exquise à enrichir quelque galerie" (recto of 2nd prelim. leaf). Leonard Thiry worked at Fontainebleau under Rosso and Primaticcio from 1536 to about 1542 (The Jason plates were attributed to both these masters when issued by later publishers.) Each scene measures about 3 3/8 x 5", while the remainder of the copperplate comprises an elaborate border displaying a fantastic assortment of figures, putti, grotesques, birds, animals, and cartouches containing small scenes. It is this wealth of invention in the borders, sometimes eclipsing the scenes themselves, that makes this a major work in the Fontainebleau tradition. For a study of the Jason series, and the extent to which Mauregard's plan of providing an artist's model book was realized, see J.-J. Marquet de Vasselot, "La conquête de la toison d'or et les émailleurs limousins du XVIe siècle," La revue de l'art ancien et moderne, vol. 34 (July-December 1913), p. [241], 253, [333}-345, reproductions. See also, Levron, Boyvin, p. 29-[34], P. 66-67, nos. 16-41, full series reprod. plates XIX-XLIV. Boyvin is one of the most influential figures in the early history of engraving in France. Robert Dumesnil (vol. 8, p. 36-44, n° 36-44) describes the copperplates in three states: first unnumbered, second with small numbers added at the top of the plate, and third - a much later impression - with the numbers removed. This copy contains a mixed set, the majority in the first state, but plates 13-18, 21 & 26 in the second, with the numbers. The fine, dark impression in this copy are particularly effective for the night scenes of n° 14, 18, and 23. The preliminary leaves are printed in roman and italic letter with three excellent grotesque initials. Mauregard's dedication is dated July 3rd and the privilege, July 14th of 1563. (Harvard, French Sixteenth, n°519). One of the most precious and rare suites of the school of Fontainebleau, engraved on copper by René Boyvin from drawings by Léonard Thiry, one of the first painters called to Fontainebleau by king François Ier collaborator of Rosso and Primatice in the decoration of the palace. Harvard, French 16th century books, II, n°519 ; Peter Ward Jackson, Some mainstreams and tributaries in European ornaments from 1500 to 1750, 1967, p. 10-13 ; Brun, Le livre français illustré de la Renaissance, p. 199 ; Brunet, II, 1648. The work originates from a commission from Jean de Mauregard who, for the entertainment of Charles IX, had asked Gohory for this mythological account of the conquest of the Golden Fleece. Mauregard, in his dedication, takes into account the dimension of "decorative repertoire" of the illustration and presents it to the king. In 26 large format paintings (230 x 160 mm) leonard thiry excels in translating the multiple episodes of Jason's legend, inserted in magnificent and very elaborated borders which place the work in the great tradition of the school of Fontainebleau. "These prints were to be used as patterns for the great royal tapestries." J. Gohory. "Following the Italian wars, François Ier entirely devoted himself to the project of making industry, commerce and letters flourish. The celebrations given by the king, more elegant than sumptuous, offer the most brilliant images of chivalry. His almost universal curiosity pushed him to buy precious paintings and to propose them as models to French artists. He visited Primaticcio and Leonardo da Vinci in their studios and stimulated the emulation of French artists. He thus undertook the Louvre and had the castles of Fontainebleau, Chambord and Madrid built, surrounding himself with the greatest painters and sculptors of the time." The painter Leonardo Thiry was thus called upon by Francis I to exercise his talents at Fontainebleau where he worked from 1535 in close collaboration with Rosso and Primaticcio. He participated in the decoration of the Francis I Gallery and then from 1537 to 1550 at the Porte Dorée. The expense involved, the recruitment of artists, the effort of invention,