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描述

PERRET (Jacques). Des Fortifications et artifices, architecture et perspective, de Iaques Perret gentilhomme savoysien. Sl [Paris], sd (1620). In-folio, title-frontispiece engraved by Thomas de Leu, [12] ff. of text, 22 beautiful double-page plates engraved on copper by the same Thomas de Leu (plans or elevations). Numerous small corner paper repairs. Marbled fawn calf, spine ribbed and decorated in imitation, red title-piece, double framing of dent-de-rat, triple gilt fillets and dotted lines with corner fleurons on the boards (Samblanx-Weckesser). Third edition, rare. The work of this Savoy architect of uncertain date (c. 1540 - c. 1620), who converted to Protestantism around 1580, is both an undeniable aesthetic achievement and a surprising formal anticipation. Paradoxically, the novelty and extreme sophistication of the drawings hampered the reception of the work, which was considered by specialists to be a mixed work that was hardly conducive to concrete realization. It was then disdainfully classified as an architectural "curiosity", sought after for the sheer perfection or prettiness of the plates. Today, it is considered an innovative work, certainly avant-garde given its date of publication. (Brunet IV, 511-512 (1601 edition). A fine copy with the PRINCES DE LIGNE coat of arms in the center of the boards, bound in Belgium around 1900, by Charles-Philippe de Samblanx.

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PERRET (Jacques). Des Fortifications et artifices, architecture et perspective, de Iaques Perret gentilhomme savoysien. Sl [Paris], sd (1620). In-folio, title-frontispiece engraved by Thomas de Leu, [12] ff. of text, 22 beautiful double-page plates engraved on copper by the same Thomas de Leu (plans or elevations). Numerous small corner paper repairs. Marbled fawn calf, spine ribbed and decorated in imitation, red title-piece, double framing of dent-de-rat, triple gilt fillets and dotted lines with corner fleurons on the boards (Samblanx-Weckesser). Third edition, rare. The work of this Savoy architect of uncertain date (c. 1540 - c. 1620), who converted to Protestantism around 1580, is both an undeniable aesthetic achievement and a surprising formal anticipation. Paradoxically, the novelty and extreme sophistication of the drawings hampered the reception of the work, which was considered by specialists to be a mixed work that was hardly conducive to concrete realization. It was then disdainfully classified as an architectural "curiosity", sought after for the sheer perfection or prettiness of the plates. Today, it is considered an innovative work, certainly avant-garde given its date of publication. (Brunet IV, 511-512 (1601 edition). A fine copy with the PRINCES DE LIGNE coat of arms in the center of the boards, bound in Belgium around 1900, by Charles-Philippe de Samblanx.

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