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browsing 4487 items
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 RAJON, Paul Adolphe.
[Mr. Reed]
circa 1880. Etching. Printed on fine Japanese paper. Proof impression before name of Rajon was engraved. In good condition apart from some creases in sheet. Image size: 5 x 3 ¾ inches. Plate mark: 6 x 4 ¼ inches. Sheet size: 10 ¾ x 7 ¾ inches.
An intimate portrait of Mr. Reed, the Keeper of Prints at the British Museum by the celebrated French etcher Paul Adolphe Rajon.
Paul Adolphe Rajon was a French painter and printmaker. After a rudimentary education he moved to Paris where he made a living as a photographer while studying at the Ecole des Beaux-Arts under Isidore-Alexandre-Augustin Pils. In Paris he became friendly with the etching revivalists and learnt to etch under Léon Gaucherel and Léopold Flameng. Although he made debut at the Salon in 1865 with a drawing, he decided to devote himself to etching and exhibited only etching for the rest of his career. His works, which were mainly reproductions of paintings by contemporary artists or by Old Masters such as Gainsborough, Rembrandt and Rubens, appeared in the journals L'Art and Gazette des beaux-arts and were also published by Galeries Goupil. He also produced original portrait etchings of contemporary writers including Turgenev, Tennyson and Théophile Gautier. In 1873 Rajon received a commission through Bracquemond to go to England. Thereafter he visited the country for six months a year, making portrait etchings such as Darwin, after Walter William Ouless (1848-1933), and Mrs Rose, after Frederick Sandys. Both in France and England he enjoyed financial and critical success and, through his acquaintance with the American print dealer Frederick Keppel (1845-1912) in New York, his fame also spread to the USA, which he visited. He was awarded medals for graphic art at the Salons of 1869, 1870, 1873 and at the Exposition Universelle of 1878.
#15339 $275.00  
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 RAMUSIO, Giovanni Battista (1485-1557)
Delle Navigationi et Viaggi raccolte da M. Gio. Battista Ramusio, in tre volumi divise... Volume primo [Secondo volume...; ...Volume terzo]
Venice: appresso i Giunti, 1613-1583-1606. 3 volumes, folio (12 x 8 2/3 inches). 10 folding or double-page maps and plans (3 engraved, 7 wood-cut). Near uniform early 17th-century vellum over pasteboard, text block with 'S. Antonio' lettered in ink in an early calligraphic hand on upper edges and 'M. Calvo' on the lower edges. Provenance: Apostolic Clerics of St. Jerome (La Citta' di Castello, Umbria, Italy, inscriptions 'Ex laboriosa industria fratris Hieronymi a Castello'); Religious Community of Sant'Antonio, Monte Calvo (inscriptions on edges of book blocks).
A fine set of this highly important compilation of world voyages: vol.I with the most complete form of the text and vols. II and III being the first publication of the most complete form of the text. This work should be one of the cornerstones of any collection of travel books
The sixth edition of the first volume, and the third edition of the second and third volumes of this fundamental collection of world voyages. The first editions of these three volumes appeared between 1550 and 1556. The number of accounts of voyages included in the compilation was increased in each of the first three editions. Therefore, the second and third volumes in the present set are particularly desirable as they include not only the most complete form of the text but also the first publication of a number of important voyages. The first volume is a textual reprint of the third edition (published in 1563), and thus includes the text in its most complete form.
Ramusio's effort is the first general compilation of narratives of the European exploration of the rest of the world. From John Locke to Henry Harrisse, scholars and bibliographers have praised Ramusio for his choice of material, his care and accuracy in presenting it, and his assiduous sorting of the evidence of the new discoveries. The first editions or first available editions of many of the most important voyages are contained herein, and the set is basic to any collection of voyages.
The first volume is devoted to Africa and the East, especially the narratives of early Portuguese exploration, covering De Gama, Alvarez, Barros, and Pigafetta. The maps in the first volume are some of the first engraved maps to appear in any travel book. The second volume describes the journeys of Marco Polo, Varthema's eastern travels, and Persian voyages. This is the first edition of the second volume to include an account of Sebastian Cabot. The third volume is entirely devoted to America, and includes accounts of Peter Martyr, Oviedo (whose book XX occupies almost half the volume), Cortès, Cabeça de Vaca, Guzman, Ulloa, Coronado, Fray Marcos di Niza, Xerez, Verrazano, and Cartier. The final section on New France is particularly notable, being an early general publication of Cartier's Canadian experiences.
Ramusio's maps are particularly important. The western hemisphere map in the third volume, the product of a collaboration between Ramusio and Oviedo, is the most complete one of its time, even showing Japan as more than one island. The Newfoundland and Hochelanga maps, resulting from Cartier's explorations, are the best early Canadian maps. The same can be said about the Brazil map.
Adams R-139; Borba de Moraes pp.698-99; Church 99; Cox p.28; European Americana 613/108, 583/59, 606/88; Sabin 67735, 67738, 67742; Streit I:337, I:143, I:282
#6956$62,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520). - Giovanni OTTOVIANI & Giovanni VOLPATO (engravers)
Delle Logge di Rafaele nel Vaticano
Rome: 1772. Large folio (29 ¾ x 17 ¼ inches).
Large folio. (29 ¾ x 17 ¼ inches) 2pp. letterpress text in French "Aux Amateurs des Beaux Arts" with uncoloured engraved head-piece and initial and colophon at foot of second page. One small format folding plate "Ordine tenuto nel disporre le stampe de pilastri delle logge Rafaele.." (7 x 19 1/32 inches), 34 hand-coloured engraved leaves (comprising: 1 general perspective view with title and portrait of Raphael by Volpato after Pietro Camporesi [strip attached at lower edge to bring up to size]; 2 folding plates of doorways by Ottoviani after Gaetano Savorelli and Camporesi [each on two sheets joined, 36 x 17 ¼ inches overall]; 14 views of pilasters on 28 plates by Ottoviani after Savorelli and Camporesi [ the first plate of each view cut to edge of image with strip attached to lower edge to bring up to size]; general plan "Spaccato per il longe del seconde piano del loggia" on three plates by Ottoviani after Savorelli and Camporesi [designed to form a single panoramic image] ). (Lower blank margin of text leaf torn and repaired, small tears to folds of the doorway plates.)
[Bound with:]
RAPHAEL. - Nicolas DORIGNY (1648-1746, engraver). [Psyches et Amoris nuptiae fabula a Raphaele Sanctio Urbinate Romae in Farnesianis hortis Transtyberim ad veterum aemulationem ac laudem colorum luminibus expressa a... Dorigny... delineata et incisa, et a Ioanne Petro Belloriio notis illustrata.] Rome: Domenico de' Rossi, 1693 [or later]. Large folio (29 ¾ x 17 ¼ inches). 10 hand-coloured engraved plates by Dorigny, titles and imprints printed in gold. 2 works in one volume. Late 18th-century Roman red morocco gilt (contemporary with the first work), covers with elaborate border of dog-tooth roll, double-fillet, and repeated use of a three-flower spray, a heart and a rococo drawer-handle tool, the same tool massed to form a lozenge shape at the corners and forming a triangular motif mid-way up the long sides, with stars, birds and small and large flower-spray tools, all enclosing a large central lozenge formed from an outline of a simpler variant drawer-handle tool and large flower sprays enclosing a center of massed scrolling foliage with pomegranates and acorns, the spine in seventeen sections with raised bands, lettered in the second, the others with repeat decoration of a central flower spray with smaller sprays at the corners, patterned paper pastedowns. (Ties lacking, light worming to head and foot of spine with resultant small tears and loss), modern cloth solander box, morocco lettering-piece on the "spine".
A very fine collection with richly hand-coloured plates of the best of the decorative interior work carried out by Raphael in Rome.
The album is hand-coloured and bound in Rome in the fourth quarter of the 18th-century, and is clearly as it was delivered to its original owner (perhaps a Grand-Tourist, perhaps a local dilettanti?) and perfectly echoes his wishes: just the first part of Ottoviani's excellent work on Raffaello's Logge frescoes, that is the part on the pilasters, and include Maitre Dorigny's engravings, hand-coloured as well of course, but only the Loggia of Psyche set, and make sure they are all the same size.
The first work, part one of three, concentrates on the decorative pilasters executed by Raphael and his assistants, as part of a larger scheme of redecoration, between 1518-1519 in the Logge on the main storey of the Vatican apartments. The remarkable prints, the first to be carried out of the decoration of the Logge, were probably planned as early as 1760, but were not executed until 1774 to 1776. The project was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plates were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. The decision was made to 'borrow' elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the 'grotesque' in the neo-classical period.
The second work is of Raphael's 'Cupid and Psyche' series of frescoes, carried out by Raphael between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea, executed in 1512: neither the plate nor the title were ever bound in the present collection. Originally published by the Rossis, it is the work of Nicolas Dorigny (1658-1746) who lived and worked in Rome between about 1690 and 1719. The painter, classicist, and art historian Giovanni Pietro Bellori (1613-1696) provided the text at the foot of the plates (appropriate excerpts from Apuleuis's Golden Ass).
"Raphael Invenit: Stampe da Rafaello" (1985) Volpato 1; Ottaviano 2-19 and Dorigny 37-46. Brunet IV, cf.1110 & 1111; Berlin "Kat". Cf.4068 & 4066; "Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg 1984) p.104 & no.245; "Giovanni Volpato 1735-1803" (Bassano del Grappa, 1988) 173.
#3753$125,000.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. I]
[Num. I]. Rome: 1772. Copper engraving by Ottaviani after drawings by Ludovico Teseo, printed in black with stunning later professional hand-colouring. Very good condition. Plate mark: 42 1/4 x 16 inches. Sheet size: 46 3/8 x 20 1/8 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with later professional hand-colouring.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work and executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was remarkable not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 2; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104
#14588$3,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520) - Nicolas DORIGNY (1648-1746, engraver).
[Psyches et Amoris nuptiae fabula a Raphaele Sanctio Urbinate Romae in Farnesianis hortis Transtyberim ad veterum aemulationem ac laudem colorum luminibus expressa a... Dorigny... delineata et incisa, et a Ioanne Petro Belloriio notis illustrata]
Rome: Domenico de' Rossi, 1693 [or later]. Large folio. 10 hand-coloured engraved plates by Dorigny on laid paper (each 15 7/8 x 26 inches approximately), titles and imprints printed in gold, black ink-ruled borders, each plate cut to the edge of the image, mounted on large sheets of contemporary thick laid paper (each 29 3/8 x 40 3/8 inches approximately). Unbound.
A very fine suite of richly hand-coloured plates offering a stunning visual record of one of the best of the decorative interior schemes carried out by Raphael in Rome.
This wonderful series records Raphael's 'Cupid and Psyche' series of frescoes, carried out by him between 1516 and 1518 in the Loggia of Psyche in the villa Farnesina in Rome. The series also comes with a title and an eleventh plate of the ceiling fresco in the adjoining Sala di Galatea, executed in 1512: neither the plate nor the title are present here. Originally published by the Rossis, the engravings are the work of Nicolas Dorigny (1658-1746) who lived and worked in Rome between about 1690 and 1719. The painter, classicist, and art historian Giovanni Pietro Bellori (1613-1696) provided the text at the foot of the plates (appropriate excerpts from Apuleuis's Golden Ass).
"Raphael Invenit: Stampe da Rafaello" (1985) Dorigny 37-46; cf. Brunet IV, 1111; cf. Berlin Kat 4066
#15680$35,000.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Loggie di Rafaele nel Vaticano
Rome: 1772-1777. Copper engraving by Volpato after a drawing by Camporesi, later professional hand-colouring. Good condition. Expert strengthening to verso of right outer blank margin, some old light creasing to 3 inches of the sheet. Plate mark: 25 x 16 3/8 inches. Sheet size: 26 3/4 x 19 1/8 inches.
This beautiful perspective view of Raphael's Loggia, served as the frontispiece to the celebrated text, "Loggie di Rafaele nel Vaticano".
This arresting print is a general perspective view of Raphael's design for the Loggia at the Vatican, with a large profile portrait of Raphael in a medallion over the entrance to the corridor. The plate served as the frontispiece to the first part of the "Logge di Rafaele nel Vaticano", which depicted the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Volpato 1; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104; G. Marini (editor) Giovanni Volpato 1735-1803 (1988) no. 198.
#15684$4,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. VII]
[Num. VII]. Rome: 1772. Copper engraving by Ottaviani after drawing by Savorelli and Camporesi, printed in black with stunning later professional hand-colouring. Good condition. Trimmed close to and within platemark, some small expert repairs to blank margins. Sheet size: 42 1/4 x 16 1/2 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with later professional hand-colouring.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was remarkable not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 8; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104.
#15811$1,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. III]
[Num. III]. Rome: 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin, expert repairs to left margin, not affecting image area. Sheet size: 42 1/2 x 17 1/8 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 4; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104
#17002$2,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. IV]
[Num. IV]. Rome: 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Trimmed to just within plate mark along lower margin, expert repair to upper left corner just affecting image area, small repairs to right blank margin. Sheet size: 42 7/16 x 16 7/8 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 5; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104.
#17009$2,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Concepit Heva, et peperit Cain Frantremque ejus Abel [Adam and Eve with Cain and Abel]
Rome: 1776. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Shaved within plate mark, expert neat repairs to left margin, one just affecting the image area. Sheet size: 25 1/2 x 23 1/4 inches.
A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli, a Roman painter and draughtsman best known for his Raphael drawings, and Pietro Camporesi, a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes, these beautiful plates were probably planned as early as 1760, but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
They were remarkable not just for their size and magnificent colouring, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period.
A year after the death of his principal patron Julius II, Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace, he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults, doors and auxiliary pillars, which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament, while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage, fruit, and chimerical beasts.
The biblical scene depicted shows the infant brothers Cain and Abel vying for their mother's attention. Adam is sowing nearby.
Cf. Brunet IV, 1110 & 1111; cf. Berlin "Kat". 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" (Coburg 1984) 104 & no. 245.
#17011$3,000.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. X]
[Num. X]. Rome: 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Sight size: 43 x 17 inches. Plate mark: 42 1/4 x 16 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 11; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104.
#17012$3,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Doorway to Vatican Loggia [A]
[A]. Rome: 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Three repaired tears to the left blank margin. Sight size: 31 1/8 x 18 1/4 inches. Plate mark: 30 1/4 x 17 1/8 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 17; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104.
#17013$3,500.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils [Num. XII]
[Num. XII]. Rome: 1772. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi, printed in light brown coloured ink with contemporary hand-colouring. Good condition. Sight size: 43 x 17 1/4 inches. Plate mark: 42 1/8 x 16 3/8 inches .
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine image from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1772 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this image is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 13;Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104
#17014$3,750.00
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 RAPHAEL. Raffaello Sanzio d'Urbino (1483-1520). - Giovanni OTTOVIANI (engraver)
Delle Logge di Rafaele nel Vaticano
Rome: 1772.
A complete set of the highly decorative series of images of pilasters from the first part of the famous "Loggie di Rafaele nel Vaticano" series, with contemporary colouring of the highest quality from the golden age of the hand-coloured print.
A very fine series from the first part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This series of remarkable images, part of one of the earliest published records of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until 1772 to 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato. The series is remarkable not only as the first important visual record of Raphael's work, but also for the quality of the hand-colouring - the work on this series is, in our opinion, some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print.
The whole series was of importance not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110 & 1111; cf. Berlin "Kat" 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" (1985) Ottaviano 2-15; "Raphael: Reproduktions-graphik aus vier Jahrhunderten" (Coburg 1984) p.104 & no.245
#17015$49,000.00
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 RAPHAEL, Raffaello Sanzio d'Urbino (1483-1520)
Decorative pilaster with fruit, flowers, and tendrils
Rome: 1776. Copper engraving by Giovanni Volpato after drawings by Ludovico Teseo, printed in black with stunning later professional hand-colouring. Very good condition. Framed in gold leaf framed, silk mat with gold leaf bevel
. Plate mark: 42 x 15 1/2 inches. 53 x 26 3/4 inches.
A highly decorative print from the famous "Loggie di Rafaele nel Vaticano" series, with later professional hand-colouring.
A very fine image from the third part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. This remarkable print, one of the first to be published of the decoration of the Logge on the main storey of the Vatican apartments, was probably planned as early as 1760, but was not executed until between 1774 and 1776. The project as a whole was carried out by the painter Gaetano Savorelli, the draughtsman Ludovico Teseo, the architect Pietro Camporesi, and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series was remarkable not just for the size and magnificent colouring of the prints, but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Cf. Brunet IV, 1110; cf. Berlin Kat. 4068; cf. Lambert Pattern and Design (V. & A.: 1983), p. 26; Raphael: Reproduktions-graphik aus vier Jahrhunderten (Coburg: 1984), p. 104; G. Marini (editor) Giovanni Volpato 1735-1803 (1988) no. 198.
#17445$3,750.00
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 RAPHAEL, Raffaelo Sanzio (1483-1520)
Loggie di Rafaele nel Vaticano.
Rome: 1772[-1776]. Large folio (28 1/8 x 18 7/8 inches). Engraved frontispiece/ title by Joannis Volpato after Pietro Camporesi, 2pp. letterpress "Degli Amatori delle Belle Arti" with engraved headpiece and initial, 2 engraved section titles, 42 plates on 73 leaves (comprised of: 1 key plate on 3 leaves; 29 plates on 58 leaves, 12 folding plates). (Inner or outer margins of all but the folding plates and the two section titles cut close and extended, with occasional slight loss to the image area). 19th-century red half morocco over marbled paper-covered boards by Matthews, spine gilt in six compartments with raised bands, the bands highlighted in gilt, and flanked by fillets in blind, lettered in gilt in the second compartment, marbled endpapers .
A remarkable and important series recording Raphael's work in the Vatican
The collection of prints published as the Loggie di Rafeale nel Vaticano, depicts the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. The planning for the work probably began as early as 1760, but it was finally published between 1772 and 1776. The project as a whole was carried out by Gaetano Savorelli (a Roman painter and draughtsman best known for his Raphael drawings), the draughtsman Ludovico Teseo, the architect Pietro Camporesi (a Roman architect, who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum), and the engravers Giovanni Ottaviani and Giovanni Volpato.
The whole series proved to be of importance because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period.
Berlin Kat. 4068
#20884$30,000.00
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 RATTRAY, After Lieutenant James
Ko-i-staun Foot Soldiery in Summer Costume, actively employed among the Rocks
London: Hering & Remington, [1847-1848]. Tinted lithograph by R. Carrick, hand-coloured and heightened with gum arabic. Image size (including text): 14 5/8 x 10 11/16 inches. Gold leaf frame.
An arresting image of a participant in the First Afghan War of 1838-1842.
This is a beautiful portrait of Meerz Fyze, an Afghani ambassador, from James Rattray's seminal work "Scenery, Inhabitants, & Costumes, of Afghaunistan". Published in London between 1847 and 1848, this important work was one of the first texts to chronicle the British conflict in Afghanistan. Rattray, who served with the 2nd Grenadiers, Bengal Army, during the conflict, took great pains to note specific details of dress and local customs of the Afghani soldiers and statesmen that he came in contact with. This beautiful lithograph is a wonderful example of Rattray's meticulous work and keen eye for detail.
The exotically-dressed tribesman-soldier pauses and gazes steadfastly at the viewer. From a rocky promontory high in the mountains near Kabul he and his comrades hary the British army in the valley far below. The image appears to freeze a moment in time, the pose will only last for a second or two, before he will turn back and once again become part of the storm of activity and gunfire that surrounds him.
Cf. Abbey Travel II, 513
#15113$1,200.00
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 RATZER, Bernard (fl.1756-77)
Plan of the City of New York
London: Jefferys & Faden, Jany. 12 1776 [but later, paper watermarked 'Ruse & Turners / 1831']. Copper-engraved map by Thomas Kitchin after Bernard Ratzer, in very good condition, apart from some expert repairs to old folds and the lower margin. Sheet size: 26 3/4 x 38 1/2 inches.
A fine copy of an apparently unrecorded second state of this important plan of New York, including the Jefferys & Faden imprint: 'Made just prior to the Revolution, the Ratzen [sic.] plan was the most accurate and useful survey of New York then circulating' (Deák)
'Ratzer was an experienced surveyor and a fine draughtsman' (Cumming) whose highly accomplished plan was based on John Montresor's hurried survey of 1765. Cumming goes on to note that Ratzer's plan was 'much more carefully surveyed and drafted than Montresor's map; the wharves along the Sound are detailed, the streets given names, and new buildings and streets on either side of the Bowery entered.' It was engraved by Thomas Kitchin who mistakenly recorded the cartographer's name as 'Ratzen'. According to Deák, the plan 'details a portion of the city extending from the Battery to a point south of today's Grand Street, including the road to Greenwich (along the Hudson), Broadway, and the Bowery Lane (the high road to Boston). Across the river, a small part of Long Island is depicted, with the important Brookland Ferry clearly indicated. Thirty-one numbered references to the major landmarks are given below the dedicatory cartouche. These include Fort George, various churches, religious meetinghouses, the Exchange, and marketplaces. The nineteenth reference is to "The College" (i.e., King's College), today's Columbia University, originally located on spacious grounds overlooking the Hudson, south of Murray Street'.
Curiously, the index illustrates a degree of religious tolerance that would have been found in very few cities around the world and evinces the great diversity that has characterized the city throughout its history. There is a diverse collection of Protestant sects including Calvinist, Episcopalian, Lutheran, and Huguenot churches, in addition to a synagogue. However, Roman Catholicism and non-Christian African religions were not permitted to be practiced openly. The great estates located to the north of the city proper are shown as belonging to several famous families including the Rutgers, the Bayards, and the De Lanceys.
The rarity of the Plan is highlighted by the fact that it was unknown to Cumming (writing in 1979) and does not appear to have been recorded since. Cumming lists a copy of Ratzer's Map with 'Ruse & Turners' watermarks, but was uncertain if the watermark date was 1831 or 1851. The watermark date on the present example of the Plan is 'Ruse & Turners / 1831'. Since both the Cumming copy of the Map and the present Plan appear to have been printed on the same batch of paper, it is highly probable that they were printed at the same time. What is certain is that the present work is finely printed on top quality paper and that the image shows no apparent differences or wear when compared with the earlier issue.
Cumming 'The Montresor-Ratzer-Sauthier Sequence of Maps of New York City, 1766-76', no.5b & cf.9b, in Imago Mundi 31, pp.55-65; cf. Deák, American Views, 120; cf. Eno Collection, 29; cf. Manhattan in Maps, pp.73-77; cf. Stokes, Iconography of Manhattan Island 1, p.342
#18018$22,500.00
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 [RAVENSCROFT, Edward James1816-1890] - William RICHARDSON
Cupressus lambertiana, at Osborne
London: Published by Day & Son, 1884. Hand-coloured lithograph. In perfect condition. Sheet size: 22 3/8 x 16 7/8 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the latter group, here drawn by Greville.
Cf. Nissen BBI 1588; cf.Great Flower Books (1990) p. 127; cf. Stafleu & Cowan 8685.
#13655$900.00
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 [RAVENSCROFT, Edward James1816-1890] - W. RICHARDSON
Pinus sabiniana. Douglas.
Edinburgh & London: [1865]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 3/4 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn and lithographed by W. Richardson.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17873$900.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Abies carpatica
Edinburgh & London: [1863-1873]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 7/8 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn and lithographed by James Black.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17875$480.00
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 [RAVENSCROFT, Edward James1816-1890] - W. RICHARDSON
I. Cedrus deodara. II… Cedrus libani
Edinburgh & London: [1884]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 3/4 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn and lithographed by W. Richardson.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17876$600.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Picea apollinis. Link.
Edinburgh & London: [1864]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 7/8 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn and lithographed by James Black.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17877$600.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Abiea hookeriana Abies pattoniana
Edinburgh & London: [1863]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 7/8 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn by James Black and lithographed by Robert Black.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17878$600.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Picea pinsapo
Edinburgh & London: [1863]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 7/8 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn by James Black and lithographed by Robert Black.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17879$600.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Pinus Lambertiana. Douglas.
Edinburgh & London: [1863]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 13/16 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn by James Black and lithographed by Fr. Schenck.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17880$800.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Pinus jeffreyi
Edinburgh & London: [1864]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 3/4 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn by James Black and lithographed by Robert Black.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17883$600.00
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 [RAVENSCROFT, Edward James [1816-1890] - James BLACK
Abies orientalis
Edinburgh & London: [1866]. Hand-coloured lithograph. Sheet size: 21 1/2 x 15 3/4 inches.
A very fine plate from Ravenscroft's 'The Pinetum Britannicum. A Descriptive Account of Hardy Coniferous Trees'
Ravenscroft's work is the third (in order of publication) of the three great coniferous iconographies of the nineteenth century, following Bedford and Lambert. The very fine plates fall into two categories: botanical studies of details of the needles and fruit of the individual trees, and landscape studies of examples of individual trees in their natural habitat. This plate is an outstanding example of the former group, here drawn by James Black and lithographed by Robert Black.
Cf. Nissen BBI 1588; cf. Great Flower Books (1990) p.127; cf. Stafleu & Cowan 8685
#17885$480.00
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