FRANCESCO VEZZOLI
(1971)
I try never to repeat myself
2016
Illustrated monograph…

Description

FRANCESCO VEZZOLI (1971) I try never to repeat myself 2016 Illustrated monographic catalog 30 x 24.5 cm Rizzoli Edition Pages 370 Without defects

501

FRANCESCO VEZZOLI

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Estim. 400 000 - 450 000 EUR

SIMON VOUET (Paris, 1590 - 1649) "Saint Catherine and the Angel Oil on canvas. Provenance: Possibly Cardinal de la Valette, Rome, 1625. Galerie Electorale de Düsseldorf (1752 - 1805). Size: 109 x 73 cm; 123 x 95 cm (frame). Exhibitions: New York, Finch College, "Vouet to Rigaud: Frenc Masters of the Seventeenth Century", 1967 (cat. No. 3). Jacksonville, Florida, The Cummer Gallery of Art, "The Age of Louis XIII", 1969 (cat. No. 48, illus.); Florida, Museum of Fine Arts, 1970; College Park, University of Maryland Art Gallery, "The Works of Simon Vouet", 1971. Bibliography: LIONI, Ottavio and AMIDEI, Fausto, "Ritratti di alcuni celebri Pittori del secolo XVII...", p. 55; DEZAILLIER D'ARGENTVILLE, "Abrégé de la vie des plus fameux peintres", 1752, vol. IV, p. 14; PIGAGE, Nicolas, "La Galerie Electorale de Düsseldorf.Catalogue raisoné e figuré de ses tableaux...", pl. IV, no. 56; FRANC, Charles, "Histoire des peintres de toutes les ecoles...", vol. 8; DUSSIEUX, "Les artistes francaise a l'etranger", 1876, p. 428.; L. DEMONTS, "Essai sur la formation de Simon Vouet en Italie" in "Bulletin de la Société d'Histoire d'Art Francais" 1913, pp. 315 and 341; CRELLY, "Les artistes francaises a l'étranger", 1876, p. 428. 315 and 341; CRELLY, William "The Paintings of Simon Vouet", 1962, pp. 238-239, no. 187 (as a lost work); DARGENT, G. and THUILLIER, J. WSimone Vouet en Italie" in "Saggi et Momorie di Storia dell'Arte,", 1965, vol. IV, p. 45, no. A23 (as a lost work). A23 (as a lost work). The work was engraved by Claude Mellan in 1625, with the coat of arms of Cardinal de la Valette and a dedication to him. Both Crelly's book and that of Dargent and Thullier identify the present work as the one on which Mellan based his engraving, listing it in both studies as a lost work and considering it to be the one mentioned in the Collection of the Electoral Gallery in Düsseldorf in 1752 by Dezaiilier d'ARgenville. The painting was reproduced in an engraving of 1775 in an 18th-century catalogue of the Düsseldorf collection. It is possible to appreciate slight variations between Mellan's and Mechel's engravings. Desmonts, however, deduces that the Düsseldorf painting is a different one from the Mellan engraving, although Crelly argues that these variations are minor. The painting was in the Düsseldorf Collection and disappeared during its transfer to Munich. A French Baroque painter, Simon Vouet probably began his training with his father, the painter Laurent Vouet, and is mentioned by André Félibien in England at the age of fourteen as a professional portraitist. His mastery of this genre led him to visit Constantinople in 1611, accompanying the French ambassador, and then to Venice the following year. Finally, two years later, he settled in Rome, protected by the Barberini family and the French Crown. He remained in the Italian capital until 1627, where he achieved great success among the nobility and clergy sympathetic to France. In fact, he was appointed director of the Academy of Saint Luke in 1624. In Rome Vouet particularly admired the work of Caravaggio, whose language would define the French master's youthful style. However, his painting rapidly evolved towards forms more akin to classicism through the influence of the Neo-Venetianist trend that was spreading through Rome through artists such as Lanfranco. He was also receptive to the influence of the Roman-Bolognese classicism of the Carracci, Guercino and Reni, particularly in his chromaticism, which evolved towards greater clarity, and also in his increasingly harmonious compositions. In 1627 he returned to France, summoned by Louis XIII to become court painter. In Paris Vouet became the most influential painter of his time, and in fact introduced the influence of the Italian Baroque into France, especially the trends derived from the work of Veronese. The influence of Veronese can be seen in the large-scale decorations that Vouet executed during the reign of Louis XIII and Cardinal Richelie.

Estim. 4 000 - 5 000 EUR

DAUMIER, Honoré. Les Cent et un Robert-Macaire. Composés et dessinés par H. Daumier; sur les idées et les légendes de Ch. Philipon; texte par Maurice Alhoy et Louis Huart. Paris, Aubert et Cie, 1839-1840 2 Volumes in 4to. 266x210 mm. Coeval binding in the arms of the Duchess of Berry, red morocco, plates framed by gilt and cold-stamped roulettes, gilt coat of arms of the Duchess in the center of the plates, 5-nerved spine with gilt title, fillets and fleurons, gilt fillet on the lips and gilt Greek-style decoration inside the plates, guard sheets in polychrome marbled paper, gilt trimmings. Each volume contains 6 unnumbered pages, with Frontispiece and two Eyelets, 50 notebooks of 4 pages each, with three pages of text and one page with lithographic illustration and legend; at the end 4 pages with the 'Table des matieres' and the 'fin' of the first and second volumes. A portrait of Daumier drawn and engraved in copper by August Boulard is added to the first volume. At the end of the second volume 8 pages with the Catalogue of Aubert Publications. In total, one copper-engraved plate out of text with Portrait and 101 full-page Lithograph Impressed Tables. Slight sporadic foxing and some paper browning, nice copy. First edition, rare first run of Daumier's 101 lithographs. Specimen belonged to the Duchess of Berry, in magnificent red morocco binding at Arms. Maria Carolina Ferdinanda Luisa di Borbone, Caserta 1798 - Mureck 1870, Princess of the Two Sicilies by birth and Duchess of Berry by marriage, is a fantastic historical icon of the 19th century. Her epic destiny embodied the spirit of Romanticism: daughter of the King of the Two Sicilies Francis I Xavier and Maria-Clementine of Austria, she married in 1816 the Duke of Berry Charles-Ferdinand (1778-1820), son of Charles X, by whom she had a son, the Duke of Bordeaux. Widowed at the age of twenty-two by the murder of her husband, she began an adventurous political existence. Exiled during the July Revolution of 1830, she returned to France in April 1832 and tried unsuccessfully to stir up the people of the Vendée and Brittany with the goal of a legitimist restoration: arrested at Nantes in November 1832, she was imprisoned at Blaye. She gave great scandal by giving birth in captivity to a son of Hector Luccesi-Palli (1808-1864), son of the Grand Chancellor of the Kingdom of the Two Sicilies, the Prince of Campo-Franco, whom she had secretly married in 1831. She was freed in 1833. Daumier's work is a scathing satire of Louis-Philippe's bourgeois France, pillorying the business world and liberal professions through the character of Robert Macaire, an unscrupulous businessman. The famous caricatures of 'Robert Macaire' made Honoré Daumier the giant of costume painting and social criticism. Carteret emphasizes the rarity of this work in good condition. Carteret, Le tresor du bibliophile romantique et moderne, III, p. 187. 2 Volumes in 4to. 266x210 mm. Contemporary red Morocco binding with coat of arms of the Duchess of Berry. Covers with blind tooled gilt roulettes, gilt coat of arms of the Duchess at the center of covers, spine with 5 nervs, gilt rules and printer's flower, gilt rules on edges of covers and gilt meander decorations in the inner part of covers, marbled polychrome insidecovers, gilt edges. Each volume with 6 unnumbered pages, with titlepage and two halftitles, 50 squares of 4 pages each, with three pages of text and a page with lithographic illustrations and legend; at the end 4 pages with 'Table des matieres' and 'fin' of first and second volume. On the first volume is addes the Daumier's portrait drawn and engraved by August Boulard. At the end of the second volume 8 pages with the Catalog of Aubert publications. Total of 1 engraved plate with portrait and 101 lithographic plates on full page. Slight occasional foxing and some browning of paper; nice specimen. First edition, rare first issue of 101 lithographic plates by Daumier. Specimen belonged to the Duchess of Berry, in magnificent red morocco binding. Maria Carolina Ferdinanda Luisa di Borbone, Caserta 1798 - Mureck 1870, princess of the Two Sicilies by birth and duchess of Berry by marriage, is a fantastic historical icon of the 19th century. Her epic destiny embodied the spirit of Romanticism: daughter of the King of the Two Sicilies Francis I Xavier and Maria-Clementina of Austria, she married in 1816 the Duke of Berry Carlo-Ferdinand (1778-1820), son of Charles who had a son, the Duke of Bordeaux. Widowed at twenty-two years old by the assassination of her husband, she began an adventurous political existence. Exiled during the July Revolution of 1830, she returned to France in April 1832 and tried unsuccessfully to rouse the people of the Vendée and Brittany with the aim of a legitimist restoration: arrested in Nantes in November 1832

Estim. 1 000 - 1 200 EUR

SERAO, Francis. Istoria dell'Incendio del Vesuvio Accaduto nel mese di Maggio dell'Anno MDCCXXXVII. Written for the Academy of Sciences. Naples, Novello De Bonis, 1738. 4to. 264x200 mm. Coeval binding in stiff vellum, speckled edges. Pages [8], 163,1 blank. 2 folded engraved plates. Frieze on Frontispiece, Italic and Roman Character, Xylographic Initials, text in two columns in Italian and Latin. Ex libris by Antonio Moreno Martín stamped in the guard sheet. Fine specimen with wide margins. Rare first edition. Pioneering work in volcanology. This edition, bearing the Latin text opposite, was intended for the national and international market; two other issues of the same year carried only the Italian or Latin text. Very important scientific description of the devastating eruption of Vesuvius that occurred between May 14 and June 4, 1737, and on May 24 caused the complete destruction of Torre del Greco. The treatise was highly praised by Ferdinando Galiani in his Catalogue of Subjects Belonging to Vesuvius, and translated into French and English. Also of particular interest are the two large copper-engraved plates: one depicts the two craters in section and the other a wide view of Vesuvius. Serao (1702-1783), protomedico of the Kingdom of Naples, was the first to give a rigorously scientific description of the eruptions of Vesuvius. Darley: "Serao was to first use the word lava, derived from the Latin labes for fall or slide. In an attempt to add a positive note, his account ended with some safety measure, suggesting that people build dykes and ditches or divert and divide the main flow of molten material as had proved effective at Etna." This edition, bearing the Latin text opposite, was intended for the national and international market; two other issues of the same year bore only the Italian or Latin text.Prestigious specimen of prestigious provenance, belonging to Spanish bibliophile Antonio Moreno Martín, 1916-1990, who created one of Spain's richest collections. Melzi, Anonime e pseudonime, 1., p. 3. Galiani n. 48; Furchheim pp. 180-82, G. Darley, Vesuvius, London 2011, p. 65-66. For A. M. Martin: María Dolores Segura del Pino, Diccionario Biográfico de Almería, Instituto de Estudios Almerienses / Fundación Cajamar, Almería, 2006, pp. 267-268. 4to. 264x200 mm. Contemporary stiff vellum, marbled edges. Pages [8], 163, 1 blank. 2 folding engraved plates. Woodcut vignette on the title page, Italic and Roman type, Woodcut decorative Initials, text in two columns in Italian and Latin. Ex libris of Antonio Moreno Martín stamped on endpaper. A fine copy with wide margins. Rare first edition. Pioneering work of volcanology. Very important scientific description of the devastating eruption of Vesuvius which took place between May 14 and June 4, 1737, and which on May 24 caused the complete destruction of Torre del Greco. The treatise was highly praised by Ferdinando Galiani in his 'Catalogo delle materie appartenenti al Vesuvio,' and translated into French and English. Also of particular interest are the two large plates engraved in copper: one depicts the two craters in section and the other a broad view of Vesuvius. Serao (1702-1783), protomedical doctor of the Kingdom of Naples, was the first to give a rigorously scientific description of the eruptions of Vesuvius.Darley: "Serao was to first use the word lava, derived from the Latin labes for fall or slide. In an attempt to add a positive note, his account of him ended with some safety measure, suggesting that people build dykes and ditches or divert and divide the main flow of molten material as had proved effective at Etna." This edition, bearing the facing Latin text, was intended for the national and international market; two other issues of the same year carried only the Italian or Latin text.Copy of prestigious provenance, which belonged to the Spanish bibliophile Antonio Moreno Martín, 1916-1990, who created one of the richest collections in Spain.

Estim. 500 - 600 EUR

FOLENGO, Theophilus. Vulgo Merlini Cocaii Opus Macaronicum. Amstelodami [i.e. Mantua], Josephi Braglia, 1768. 2 volumes in Folio, 292x220 mm. Binding in half leather and marbled paperback. Gold titles on gusset at spine. Frontispiece with copper-engraved portrait of the author by D. Cagnoni of Brescia, protected by tissue guard; a fold-out genealogical table of the author. Title page of volume 1 printed in red and black. Intaglio vignettes on title pages with portrait of Virgil in medal with Motto: Mantua me genuit. Ex antiq. gem. Pp. LV, 307, (17); (6), 411, (1). Fine intaglio illustrations in the capilettera, headpieces and endpapers (35 in the first volume; 40 in the second). Nice marginal and beard specimen. Rare illustrated edition featuring the first Mantuan-Tuscan Latin vocabulary. The work is embellished with 75 copperplate engravings in the text, of Venetian taste, one for each subject preceding the cantos. The first volume opens with a lengthy biographical account of Folengo, and from the catalog of his works. The most complete edition of Folengo's works edited by the Mantuan abbot Gaetano Teranza, printed by Braglia in Mantua with false place of printing. In addition to the Opus Macaronicum, the Zanitonella, the Moscheide and the Epigrams; on pages 371-411 of the second volume, published in 1771, is G. Teranza's "Il Saggio d'un vocabolario mantovano." The work is preceded by lengthy biographical notes on Folengo and a catalog of his works. Edition printed by Braglia in Mantua although with false printing placePiotti: "Three years later, in 1771, the second volume of Folengo's work came out, which in conclusion contained the vocabulary, whose title sounded Saggio d'un vocabolario mantovano, toscano, e latino, Ad uso di chi singolarmente le mantovane voci brama di esprimere con le toscane loro corrispondenti."Folengo, a celebrated Italian poet, was among the principal exponents of Maccheronic poetry, a humorous way of giving common, and even vulgar, remarks a solemn aspect borrowed from the vocabulary of scholars, while remaining accessible to the uneducated. Brunet, I, p. 557; Parenti, Dictionary of False Printing Places, p. 19.For Mantuan vocabulary, see: Mario Piotti, La Lessicografia Dialettale Lombarda tra Sette e Ottocento, 2020; Per l'impiegato milanese e il buon costume dei giovanetti: il Vocabolario mantovano-italiano di Francesco Cherubini. 2016; Federico Baricci, Dialectal diachronic glossary essay (a-b) of Theophilus Folengo's Baldus, Scuola Normale Superiore Class of Human Sciences Postgraduate Thesis (PhD) in Modern Literature and Philology, Academic Year 2018/2019. 2 volumes in Folio, 292x220 mm. Quarter leather and marbled hardback binding. Gilt titles on labels on spines. Frontispiece with a copper engraved portrait of the author by D. Cagnoni from Brescia, protected by tissue paper; a folded plate with family tree of the author. Titlepage of volume 1 printed in red and black. Engraved vignettes on title pages with portrait of Virgil in medal with motto: Mantua me genuit. Ex antiq. gem. Pp. LV, 307, (17); (6), 411, (1). Fine engraved illustrations in the initial letters, headpieces and endpieces (35 in the first volume; 40 in the second). Fine uncut copy with wide margins. Illustrated edition of Merlin Cocai's famous work, embellished with 75 copperplate engravings in the text of Venetian taste, one for each subject preceding the cantos. The most complete edition of the works of Gerolamo Folengo better known as Theophilus Folengo with, in addition to the Opus Macaronicum, the Zanitonella, the Moscheide and the Epigrams, a Mantuan-Tuscan-Latin vocabulary is also added at the end. The work is preceded by lengthy biographical information on Folengo and a catalogue of his works. Edition printed by Braglia in Mantua, albeit with a false place of printing.Folengo, a famous Italian poet, was one of the main exponents of Maccheronic poetry, a humorous way of giving common and even vulgar observations a solemn aspect borrowed from the vocabulary of scholars, while remaining accessible to the uneducated.

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