Back to Catalog > MONTIGNAC - 29th BOOK SALE - Day 4 of 5 (1558 to 2085)...

1 / 4

Outlook Google iCal Yahoo

Description

BARBET (Jean) & BOSSE (Abraham). Livre d'architecture d'Autels et de Cheminées, dédié à Monseigneur l'Eminentissime Cardinal Duc de Richelieu etc., De l'invention et dessin de J. Barbet, Gravé à l'eau forte par A. Bosse. Paris, chez l'auteur et Tavernier, 1633. Small folio (30 x 20.5 cm) contemporary vellum with laces. [18] engraved leaves: [1] f. dedication, [1] notice to the reader, [1] f. title in an architectural frame, 5 plates of altars and 10 (of 12) plates of fireplaces. First edition of this very rare suite, here incomplete with 2 fireplace engravings. Stains and soiling, lower corner of ff. restored. "The conditions under which this work, engraved by Bosse after drawings by Jean Barbet (circa 1605 - before 1654), was produced are well documented, since, as Emmanuel Coquery points out, "it is the only French collection of ornaments from this period for which we still have a market". This archive document, dated February 25, 1630, mentions that Barbet undertook to work for Tavernier for two years on drawings commissioned from him. [...] The work bears a lengthy dedication by the author to Cardinal de Richelieu, as well as a particularly interesting warning to the reader, since Barbet specifies: "Having spent some time teaching what is beautiful in Paris, I have since practiced making this little Work, which I give you." It is therefore likely that examples of these fireplaces can be found in Parisian buildings. In 1630, when Barbet began working on this project, he was not yet the eminent architect he would become a few years later. First employed by Gaston d'Orléans in Blois in 1636, Jean Barbet, accompanied by his brother Denis, worked alongside Le Mercier on Richelieu's building sites. He was "contractor and architect to Monsieur, the King's only brother, and to the Richelieu buildings", before being appointed "architect to the King in Touraine". Several collections of fireplace designs were published in the 17th century, the most famous being those of Jean Marot (Livre des cheminées, Paris, 1661) and Jean Lepautre (Cheminées à la moderne, Paris, 1661), but the most important is that of Pierre Collot (Pièces d'architecture où sont compris plusieurs sortes de cheminées, Paris, 1633, drawings engraved by Antoine Lemercier), published in 1633, the same year as Barbet's work. E. Coquery points out that "the only piece of furniture that is really considered in engraving is the fireplace". Jean Barbet enlisted the collaboration of Abraham Bosse for this book, although it is possible that this choice was made by Tavernier, since he commissioned the work and Bosse was still engraving in his workshop at the time. The work contains five altar plates and twelve fireplace plates. Altars and fireplaces are, by their very nature, destined to decorate places of very different character, but they are brought together in the same book, without any incompatibility, as Barbet treats them with the same somewhat ostentatious opulence. These monumental mantels, with their luxurious, even exuberant decor, bear witness to the influence of the Fontainebleau school. The architectural and ornamental motifs are borrowed from the antique repertoire but interpreted in the Bellifont style. Cartouches, garlands of fruit and coiled leather frame a painting on the trumeau, the subject of which is borrowed from the Fable. Barbet, aided by Bosse's talent, thus offers us, in the course of the plates, the representation of an aulic and erudite art. [...]" BnF. "Jean Barbet (1605-before 1654), undoubtedly from Normandy, had a relatively fruitful career as a builder, working mainly on the Loire Valley sites in the shadow of Jacques Lemercier, Cardinal de Richelieu's architect. In 1633, he signed a contract with the Cardinal as "maître maçon à Paris" for the construction of thirty-two houses in Richelieu, where his presence is attested in 1634 as "entrepreneur des bastiments de ladite ville". In the same years, he also worked in Saumur, on the Notre-Dame des Ardilliers site, where, under the direction of Pierre Lemercier, he executed the plans of the latter's half-brother Jacques. He continued to work for the Lemercier clan from 1643 in Orléans, where he clashed with the architect over the construction of the Sainte-Croix spire. He also worked for Gaston d'Orléans in Blois from 1636. The Livre d'architecture project may have been linked to the construction of Notre-Dame des Ardilliers, which Richelieu had decided to renovate in 1632. Indeed, the sanctuary's high altar, completed in 1634, presented

Automatically translated by DeepL. The original version is the only legally valid version.

1967

Live

Go to lot

BARBET (Jean) & BOSSE (Abraham). Livre d'architecture d'Autels et de Cheminées, dédié à Monseigneur l'Eminentissime Cardinal Duc de Richelieu etc., De l'invention et dessin de J. Barbet, Gravé à l'eau forte par A. Bosse. Paris, chez l'auteur et Tavernier, 1633. Small folio (30 x 20.5 cm) contemporary vellum with laces. [18] engraved leaves: [1] f. dedication, [1] notice to the reader, [1] f. title in an architectural frame, 5 plates of altars and 10 (of 12) plates of fireplaces. First edition of this very rare suite, here incomplete with 2 fireplace engravings. Stains and soiling, lower corner of ff. restored. "The conditions under which this work, engraved by Bosse after drawings by Jean Barbet (circa 1605 - before 1654), was produced are well documented, since, as Emmanuel Coquery points out, "it is the only French collection of ornaments from this period for which we still have a market". This archive document, dated February 25, 1630, mentions that Barbet undertook to work for Tavernier for two years on drawings commissioned from him. [...] The work bears a lengthy dedication by the author to Cardinal de Richelieu, as well as a particularly interesting warning to the reader, since Barbet specifies: "Having spent some time teaching what is beautiful in Paris, I have since practiced making this little Work, which I give you." It is therefore likely that examples of these fireplaces can be found in Parisian buildings. In 1630, when Barbet began working on this project, he was not yet the eminent architect he would become a few years later. First employed by Gaston d'Orléans in Blois in 1636, Jean Barbet, accompanied by his brother Denis, worked alongside Le Mercier on Richelieu's building sites. He was "contractor and architect to Monsieur, the King's only brother, and to the Richelieu buildings", before being appointed "architect to the King in Touraine". Several collections of fireplace designs were published in the 17th century, the most famous being those of Jean Marot (Livre des cheminées, Paris, 1661) and Jean Lepautre (Cheminées à la moderne, Paris, 1661), but the most important is that of Pierre Collot (Pièces d'architecture où sont compris plusieurs sortes de cheminées, Paris, 1633, drawings engraved by Antoine Lemercier), published in 1633, the same year as Barbet's work. E. Coquery points out that "the only piece of furniture that is really considered in engraving is the fireplace". Jean Barbet enlisted the collaboration of Abraham Bosse for this book, although it is possible that this choice was made by Tavernier, since he commissioned the work and Bosse was still engraving in his workshop at the time. The work contains five altar plates and twelve fireplace plates. Altars and fireplaces are, by their very nature, destined to decorate places of very different character, but they are brought together in the same book, without any incompatibility, as Barbet treats them with the same somewhat ostentatious opulence. These monumental mantels, with their luxurious, even exuberant decor, bear witness to the influence of the Fontainebleau school. The architectural and ornamental motifs are borrowed from the antique repertoire but interpreted in the Bellifont style. Cartouches, garlands of fruit and coiled leather frame a painting on the trumeau, the subject of which is borrowed from the Fable. Barbet, aided by Bosse's talent, thus offers us, in the course of the plates, the representation of an aulic and erudite art. [...]" BnF. "Jean Barbet (1605-before 1654), undoubtedly from Normandy, had a relatively fruitful career as a builder, working mainly on the Loire Valley sites in the shadow of Jacques Lemercier, Cardinal de Richelieu's architect. In 1633, he signed a contract with the Cardinal as "maître maçon à Paris" for the construction of thirty-two houses in Richelieu, where his presence is attested in 1634 as "entrepreneur des bastiments de ladite ville". In the same years, he also worked in Saumur, on the Notre-Dame des Ardilliers site, where, under the direction of Pierre Lemercier, he executed the plans of the latter's half-brother Jacques. He continued to work for the Lemercier clan from 1643 in Orléans, where he clashed with the architect over the construction of the Sainte-Croix spire. He also worked for Gaston d'Orléans in Blois from 1636. The Livre d'architecture project may have been linked to the construction of Notre-Dame des Ardilliers, which Richelieu had decided to renovate in 1632. Indeed, the sanctuary's high altar, completed in 1634, presented

Estimate 400 - 600 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 24.27 %

Leave bid

For sale on Saturday 24 Aug : 11:00 (CEST) , resuming at 14:00

limoges, France

Pastaud
+33555343331

Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address

Estimate your delivery

MBE Brive-la-Gaillarde

More information

MBE Poitiers

More information

Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

A pair of octagonal candleholders in painted polychrome enamel with gold highlights. They are adorned with busts of women in medallions inspired by the galerie des femmes forte by Claude Vinion and engraved by Abraham Bosse and Gilles Rousselet. France, Limoges. Early 18th century. Nicolas 1 or 2 Laudin. Height : 14 cm Minor accidents and restorations. Expert : Stéphane Pépe

Lot 93

Estim. 200 - 400 EUR

Abraham Lincoln: Memorial Address by George Bancroft Desirable book: Memorial Address on the Life and Character of Abraham Lincoln, delivered, at the request of both houses of the Congress of America, before them, in the House of Representatives, at Washington, on the 12th of February, 1866, by George Bancroft. Washington: Government Printing Office, 1866. Hardcover bound in brown cloth with gilt-stamped title, 6 x 9, 69 pages. Book condition: G+/None, edgewear, rubbing to boards, a pencil ownership inscription to the first free end page, and foxing to textblock (heaviest to endpapers).

Lot 52

Estim. 60 - 80 EUR

Engraved altar. Engraved triptych mounted on red cardboard in three folding parts with Latin prayers and crucifixion décor with Saints (dim. 41 x 64 cm unfolded), accompanied by two engraved plates also mounted on red cardboard with Latin prayers and engraved illustrated décor (sacrifice of Abraham for one and Saint John the Evangelist writing for the other) (dim. 34 x 25 cm for each). Paris, Marcilly, sd [c. 1850]. An engraved prayer with illustrated watercolor decoration, late 18th century, mounted on cardboard (dim. 38 x 20 cm).

Lot 13

Estim. 400 - 500 EUR

BOSSE (Abraham). Collection of 2 works, bound in a small in-8 volume, glazed fawn calf, smooth spine cloisonné and decorated with gilded motifs with garnet-red title-piece, triple gilded fillet framing the covers with corner finials, filleted edges, inner gilded roulette, edges speckled with red; upper headband damaged, corners worn (binding circa 1700). One of France's most illustrious engravers, Abraham Bosse (c. 1604-1676), was the son of a German tailor who immigrated to Tours. Also a mathematician and geometer, he published personal works on geometry and the art of engraving, including several based on treatises by the architect and engineer Girard Desargues on perspective, sundials and stereotomy. Reunion of his two major books on perspective, one theoretical and the other practical. -Maniere universelle de MrDesargues, pour pratiquer la perspective par petit-pied, comme le geometral. Ensemble les places et proportions des fortes & foibles touches, teintes ou couleurs. AParis, de l'imprimerie de Pierre Des-Hayes. 1647 [on title-frontispieces] and 1648 [on printed title]. Small in-8, 352pp. as follows: 16pp. unnumbered, pp.1to168, 8pp. (with 2columns per page, numbered 169to184), pp.169to176 (counting as 185to192), pp.193to312, 8pp. unnumbered (counting as 313to320), pp.321to342, 2pp. unnumbered. First edition. Important copper-engraved illustration by Abraham Bosse. Off-text: title-frontispiece, portrait of Michel Larcher, and 81ff. of mostly double-sided plates (bearing a second frontispiece and 156 numbered stamped compositions, 2 of which are repeated). One of the plate leaves has been folded by the binder and attached to the outer margin of a text leaf. In the text, 2 vignettes: a dedication to Michel Larcher, illustrated with his coat of arms, and a numerical demonstration accompanying composition no. 156 (Abraham Bosse, savant graveur, Maxime Préaud and Sophie Join-Lambert dir., Paris, BnF, et Tours, musée des Beaux-Arts, pp.61-62, 244-251 et325; Berlin, no. 4716; Fowler, no. 56). A great scientific and artistic treatise. Using a rational Cartesian pedagogy, Abraham Bosse expounds and extends the theories of Girard Desargues: he deals with perspective applied to the drawing of figures and their shadows, then applied to variations in hue and color according to the distance of the objects represented, and adds to this theoretical complements including the treatise that Girard Desargues himself had published in 1636. He suggests the conformity of geometrical and perspectival drawing: "geometrical drawing" means drawing the orthogonal projection of an object on a horizontal or vertical plane, enabling builders or craftsmen to read dimensions and carry out fabrication or construction. To practice "le perspectif" (the leterme of "petit pied" means a reduced scale) is to draw an object seen from a certain point at a given distance, which falls within the liberal arts, and is the prerogative of the architect. By suggesting this conformity of the "geometrical" and the "perspectival", Abraham Bosse overturns traditional hierarchies and "gives the handicraftsmen their letters of nobility. If we add to this the aggregation of engraving and painting in what [he] calls the art of portraiture, there can be no doubt that he attempted an intellectual and social liberalization of the art of engraving" (Abraham Bosse, savant graveur, op.cit., p.244). This Manière universelle earned Abraham Bosse admission to the Royal Academy of Painting and Sculpture, where he was called upon to teach the practice of perspective, and was widely distributed in Europe: it was translated into Dutch, and inspired the first major English treatise on perspective, published in 1719 by the mathematician Brook Taylor. A teacher of Blaise Pascal and esteemed scholar of René Descartes, the architect and geometer Girard Desargues (1591-c. 1661) frequented Père Mersenne's circle and was a friend of Abraham Bosse. He is considered the founder of projective geometry, and one of the inventors of the geometric coordinate system (which, however, was given the less legitimate name of Descartes). He published four treatises, including one on perspective in 1636, a veritable Bible for Abraham Bosse, who was among those who did most to spread his ideas. Although overshadowed by Descartes and Pascal, Girard Desargues' work was rediscovered in the following century by Gaspard Monge, and developed in the 19th century by mathematicians Jean-Victor Poncelet and Charles-Julien Brianchon.

We respect your privacy:

Cookie management: