Prints. Gabinetto firmiano.
Folio. 300x225 mm. Contemporary Remondinian binding,…

Description

Prints. Gabinetto firmiano. Folio. 300x225 mm. Contemporary Remondinian binding, polychrome marbled paper with caillouté technique. Pp. 8 including halftitle, 95, 1 blank. Sign of wear. Specimen with wide margins. Rare first edition. Very important source of art. This is the complete catalog of the print collection of Count Carlo Firmian, 1718 - 1782, governor of Austrian Lombardy from 1758 to 1782, one of the most important collectors of his era. The collection of graphic works of the Trentino count, imperial ambassador to Naples from 1754 to 1758, was auctioned in 1782, the year of his death. Purchased by Ferdinand IV of Bourbon, the collection includes more than 20,000 specimens, mainly prints.

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Prints. Gabinetto firmiano. Folio. 300x225 mm. Contemporary Remondinian binding, polychrome marbled paper with caillouté technique. Pp. 8 including halftitle, 95, 1 blank. Sign of wear. Specimen with wide margins. Rare first edition. Very important source of art. This is the complete catalog of the print collection of Count Carlo Firmian, 1718 - 1782, governor of Austrian Lombardy from 1758 to 1782, one of the most important collectors of his era. The collection of graphic works of the Trentino count, imperial ambassador to Naples from 1754 to 1758, was auctioned in 1782, the year of his death. Purchased by Ferdinand IV of Bourbon, the collection includes more than 20,000 specimens, mainly prints.

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BOSCOVICH, Ruggiero Giuseppe. Letters of Father Boscovich published for the Olivieri-Balbi wedding. In Venice, Pietro Pinelli, 1811. 4to, mm. 215x140. Coeval binding in marbled hardback. White c. A1 and f8v. Fine copy. Interesting collection edited by Antonio Meneghelli, as reflected in the dedication on c. A3r. 4to, mm. 215x140. Contemporary marbled binding in boards. Laef A1 and F8v blank. Good specimen. Interesting collection edited by Antonio Meneghelli, as can be seen from the dedication to c. A3r.

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FLAXMAN, John. Oeuvre des jours et la Théogonie d'Hésiode. In Paris, Bance, Rue S. Denis no. 214 and others, 1821. Oblong folio, mm. 315x460. Binding in editorial hardback. Pp. 4 with explanation of plates and 37 plates. Some damage and reinforcement to binding, some spotting, overall good copy. Combined with: FLAXMAN, John. L'Iliade d'Homère.A Paris, Bance, Rue S. Denis no. 214, s.d. Oblong folio, mm. 310x460 mm. Binding in editorial hardback. 4 pp., 35 plates. Some damage and reinforcement to binding, some spotting, overall good copy. Fine collection of engravings by John Flaxman (1755-1826), master of English neoclassical sculpture and contemporary of William Blake who played a significant role in the spread of neoclassical taste in Britain. Much inspired by antiquity for Wedgwood's ceramics, Flaxman settled in Rome in 1787 where he composed his famous illustrations for the Iliad and Odyssey, engraved by Tommaso Piroli, soon followed by those for Dante's Divine Comedy and Aeschylus' Tragedies. His style borrows the artistic manner of Greek vases and ancient cameos, from which simple, clean compositions emerge. FLAXMAN, John. Oeuvre des jours et la Théogonie d'Hésiode.A Paris, Bance, Rue S. Denis no. 214 and others, 1821 Oblong folio, mm. 315x460. Publisher's cardboard binding. Pp. 4 with explanation of the plates and 37 plates. Some damage and reinforcement to the binding, some spotting, overall good copy. Bound with: FLAXMAN, John. L'Iliade d'Homère.In Paris, Bance, Rue S. Denis no. 214, s.d. Oblong folio, 310x460 mm. Publisher's cardboard binding. Pp. 4, 35 plates. Some damage and reinforcement to binding, some spotting, overall good copy. Beautiful collection of engravings by John Flaxman (1755-1826), master of English neoclassical sculpture and contemporary of William Blake who played a significant role in the spread of neoclassical taste in Britain. Much inspired by antiquity for Wedgwood's ceramics, Flaxman settled in Rome in 1787 where he composed his famous illustrations for the Iliad and the Odyssey, engraved by Tommaso Piroli, soon followed by those for Dante's Divine Comedy and Aeschylus' Tragedies. His style borrows the artistic manner of Greek vases and ancient cameos, from which simple, clean compositions emerge.

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