1804, ISBN: 0e22ca99512b37bce30747ab34ecf503

viii, 185 pp. Small 8vo, attractive antique calf-backed paste paper boards, spine gilt, red morocco lettering piece on spine. Paris: Muzier, 1772. An uncommon catalogue describing th… Mehr…

viii, 185 pp. Small 8vo, attractive antique calf-backed paste paper boards, spine gilt, red morocco lettering piece on spine. Paris: Muzier, 1772. An uncommon catalogue describing the famed collection of the Crozat dynasty of collectors. Louis Antoine (1700-70), a general and sophisticated collector in his own right, was the son of Antoine Crozat (1655-1738), and the nephew of Pierre Crozat (1665-1740), both wealthy merchants - though Pierre was ironically known as "Crozat le Pauvre," compared to his brother who was reputed to be the wealthiest man in Paris. Together, they patronized Watteau and other Rococo artists, and amassed one of the most important private art collections of the 18th century. Upon Pierre's death, the art passed to Louis Antoine and his two brothers, who all considerably supplemented the family's collections. Finally, with the death of Louis Antoine, who had no male heirs, the Crozat collection was put up for sale. Diderot and François Tronchin, one of the first collectioneurs-marchands, acted as the agents for the sale of about 400 paintings to Catherine the Great for the enormous sum of 460,000 livres. The rest of the collection is described herein, including a formidable collection of prints, illustrated books and books of prints (nos. 672-865), ceramics, sculpture, scientific instruments, and various curiosities, such as a telescope, microscopes, a bronze moving sphere, and a machine pneumatique devised by Abbé Nollet. 1125 lots, of which 194 are important illustrated books and bound collections of prints. Lot 672 is a thoroughly described ensemble of the works of Jacques Callot bound in red morocco. Nice copy. &#10087; Lugt 2004. N.B.G., Vol. 12, cols. 552-55. The Hermitage website, "The Acquisition of Baron Pierre Crozat's Collection," accessed 22 January 2018., 0, 23 pp. 8vo (210 x 135 mm.), partially stitched (edge of title-page expertly repaired), uncut. Paris: Félix & Pérignon, 1825. The surprisingly rare auction catalogue of Regnault-Delalande (1762-1824), one of the most prodigious Parisian dealers in the late 18th and early 19th centuries; WorldCat records no copy in North America. Regnault presided over a number of famous sales from the period, foremost among them those of the expert Basan, Count Potocki, Rigal, and the influential critic Saint-Yves. The introduction claims that Regnault-Delalande produced more than 300 sale catalogues (the Getty Provenance Index records approximately 222). This memorial concludes (in trans.): "This historian of Engraving...practiced as a connoisseur of art for forty years, with as much integrity as talent. His death results in a large void in this sort of curiosity, above all in the field of Prints." This catalogue describes 186 lots from Regnault-Delalande's choice collection. Lots 1-67 are framed drawings, gouaches, and watercolors by artists such as Bouchardon, Castiglione, H. Fragonard, Greuze, Guercino, Jordaens, Panini, Rembrandt, del Sarto, C. & J. Vernet, Rubens, etc. Sheets of drawings constitute lots 68-90, and lots 91-102 are illustrated books. Lots 103-170 enumerate the dealer's library, with many of the essential art historical works of the time, as well as manuscript notes written by Mariette, the catalogues of momentous sales such as those of Randon de Boisset, Crozat, Mariette, Poullain, Basan, Cochin etc. (many priced), and a group lot of Salon catalogues. The final 16 lots are miscellaneous curiosities. A fascinating inventory of a distinguished art dealer's library and art collection. In nice condition; small marginal stain to the first leaf. We are unable to locate any example of this catalogue in North America. &#10087; Lugt 10825 & 10834 (sale was postponed to 7-8 March 1825)., 0, 23 pp. 8vo (210 x 135 mm.), partially stitched (edge of title-page expertly repaired), uncut. Paris: Félix & Pérignon, 1825. The rare auction catalogue of Regnault-Delalande (1762-1824), one of the most prodigious Parisian dealers in the late 18th and early 19th centuries. Regnault presided over a number of famous sales from the period, foremost among them those of the expert Basan, Count Potocki, Rigal, and the influential critic Saint-Yves. The introduction claims that Regnault-Delalande produced more than 300 sale catalogues (the Getty Provenance Index records approximately 222). This memorial concludes (in trans.): "This historian of Engraving...practiced as a connoisseur of art for forty years, with as much integrity as talent. His death results in a large void in this sort of curiosity, above all in the field of Prints." This catalogue describes 186 lots from Regnault-Delalande's choice collection. Lots 1-67 are framed drawings, gouaches, and watercolors by artists such as Bouchardon, Castiglione, H. Fragonard, Greuze, Guercino, Jordaens, Panini, Rembrandt, del Sarto, C. & J. Vernet, Rubens, etc. Sheets of drawings constitute lots 68-90, and lots 91-102 are illustrated books. Lots 103-170 enumerate the dealer's library, with many of the essential art historical works of the time, as well as manuscript notes written by Mariette, the catalogues of momentous sales such as those of Randon de Boisset, Crozat, Mariette, Poullain, Basan, Cochin etc. (many priced), and a group lot of Salon catalogues. The final 16 lots are miscellaneous curiosities. A fascinating inventory of a distinguished art dealer's library and art collection. In nice condition; small marginal stain to the first leaf. Ownership inscription of Marcel Nicolle (1871-1934), curator at the Louvre and critic, on the title-page, and stamp of the Bibliothèque Heim on verso of title. &#10087; Lugt 10825 & 10834 (sale was postponed to 7-8 March 1825)., 0, Paris, Veuvre Mazières & J.B. Garnier, 1748. With ornamental woodcut at the beginning. XL-452 pp., (1) leaf privilege du Roi. 4to (258 x 195 mm). Contemporary red morocco, back in compartments richly adorned with little golden flowers, triple golden fillets with vase of flowers at the four corners, in the center upper cover large Medici vase decorated with flowers struck in gold in a crown, probably with the large coat of arms of Thérèse de Maupéou- Coignet de la Thuilerie in center of lower cover, corner gilt with vase of flowers, marbled end-papers, e.g., unidentified exlibris. Paris, Veuvre Mazières & J.B. Garnier, 1748. First edition of only vol. 2 (vol. 1 was already published in 1660), offered here in a beautiful binding. Probably from the library of the born Thérèse de Roncherolles (1725-1752), cousin of the translator and wife of René-Nicolas de Maupéou, Lord Chancellor of France (1714-1792) during the reign of Louix XV. Saint Teresa of Avila, also called of Jesus (1515-1582) was a prominent Spanish mystic. and installed at the Carmelite convent permanetly. Bernini created in the middle of the 17th century in Rome his famous "Ecstasy of Saint Teresa " in white marble. According to Barbier and Brunet the first volume of this "Lettres" appeared in 1660 translated by Fr. Pelicot. A new translation was then done in 1753 by Ch.-P. Chappe de Ligny. This present volume comprises 95 letters by Saint Teresa of Avila. The work is dedicated to Marie Leczinska (Queen of France, 1703-1768).- A nice copy. - Barbier II, 1261; Brunet V, 804; cf. BN (also only vol. 2). RELIGION / THEOLOGY ; BINDINGS , Paris, Veuvre Mazières & J.B. Garnier, 1748, 0, London: William Miller, 1804. 4to., (11 x 9 inches). Half-title. 62 engraved plates in two states; numbered and uncoloured; and coloured in black and terracotta, trimmed to the image and mounted by William Kirk (some light spotting and offsetting). Contemporary green straight-grained morocco gilt, all edges gilt and gauffered (rebacked, extremities worn with minor loss, some staining). First edition. Hamilton's collection of ancient vases was first illustrated and published in 1776 - 1777. Pierre Francois Hugues, an authority on ancient art, had introduced Hamilton to the Porcinari family, the owners of a large collection of ancient classical vases which Hamilton bought and enlarged, and then sold to the British Museum in 1772. Before their shipment of England, all the objects were listed, drawn and described under the supervision of the brilliant but unscrupulous 'baron'. The work was finely illustrated with hand-coloured engraved plates whose 'influence on neo-classical design and taste was to be profound' (Dictionary of Art). One of the explicit aims of the work was to discover the proportions of ancient vases in order to aid in their true reproduction, and indeed its influence on Josiah Wedgewood was significant. Cohen de Ricci 474. Catalogued by Kate Hunter., London: William Miller, 1804., 0<

1804, ISBN: 0e22ca99512b37bce30747ab34ecf503

Gebundene Ausgabe

[SC: 22.77], [PU: London: William Miller, 1804.], 4to., (11 x 9 inches). Half-title. 62 engraved plates in two states; numbered and uncoloured; and coloured in black and terracotta, trimm… Mehr…

[SC: 22.77], [PU: London: William Miller, 1804.], 4to., (11 x 9 inches). Half-title. 62 engraved plates in two states; numbered and uncoloured; and coloured in black and terracotta, trimmed to the image and mounted by William Kirk (some light spotting and offsetting). Contemporary green straight-grained morocco gilt, all edges gilt and gauffered (rebacked, extremities worn with minor loss, some staining). First edition. Hamilton's collection of ancient vases was first illustrated and published in 1776 - 1777. Pierre Francois Hugues, an authority on ancient art, had introduced Hamilton to the Porcinari family, the owners of a large collection of ancient classical vases which Hamilton bought and enlarged, and then sold to the British Museum in 1772. Before their shipment of England, all the objects were listed, drawn and described under the supervision of the brilliant but unscrupulous 'baron'. The work was finely illustrated with hand-coloured engraved plates whose 'influence on neo-classical design and taste was to be profound' (Dictionary of Art). One of the explicit aims of the work was to discover the proportions of ancient vases in order to aid in their true reproduction, and indeed its influence on Josiah Wedgewood was significant. Cohen de Ricci 474. Catalogued by Kate Hunter<