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1682 - 2006

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Study & teaching: drawing model books, academies of artThere are 11 items

  • Bloemaert (Abraham), 1564-1651

    [Amsterdam], Nicolaus Visscher excudit, Cum Privilegio Ordinum Hollandiae et Westfrisiae, after 1682
    An early issue of Abraham Bloemaert’s widely disseminated model book for student draughtsmen, presenting figure compositions and studies of the parts of the body, and a dozen similar examples of domesticated animals.
  • Glama Ströberle (João), 1708-1792

    Rome, c. 1734-1742
    Three volumes, I (227 × 167 mm): 80 ff. (of which 40 ff. are blank). II (220 × 132 mm): 93 ff. (of which 4 ff. are blank). III (188 × 130 mm): 55 ff., and three sheets loosely inserted. Contemporary vellum over pasteboards.

    Provenance: Almirante Carlos Braga, Porto (c. 1940) – auction conducted by Livraria Manuel Ferreira, “Biblioteca do Dr. José Joaquim de Oliveira Bastos”, Porto, 4 November 2008, lot 2.

    Three sketchbooks of a young Portuguese artist in early Settecento Rome, successively a pupil there of Marco Benefial (1684-1764) and Agostino Masucci (1691-1768). They contain drawings after antiquities (or studio casts of antique sculpture); drapery studies; figure studies (a few possibly from live models, but no nudes are present); drawn copies of paintings by Old Masters (notably Raphael’s frescoes in the Vatican Loggie, works located by Glama Ströberle in the Colonna Gallery, and “in the house” of his teacher, Marco Benefial); drawn copies of other studio materials, notably topographical drawings or prints (of Pisa, Siena, Mallorca, etc.), together with views of Rome probably made from direct observation; and portrait sketches (both of his teachers were prolific portrait painters). Some drawings record Glama Ströberle’s own compositions; annotations placed next to these relate the criticisms and contributions of Benefial and Masucci. At the front of one sketchbook (here designated, Sketchbook [I]), Glama Ströberle writes that his “main reason for compiling this book” was to “show the large difference that exists between my first and only teacher in Rome [Benefial] and the one who followed … him” [Masucci].

    Sketchbook [I] contains a valuable, autobiographical statement. Glama Ströberle writes that he studied in Lisbon for six years with Francisco Vieira Lusitano and “various masters”, and went to Rome with the encouragement of the sculptor Caetano Pace “Romano” and financial assistance from his father, arriving there on 18 October 1734. Vieira Lusitano advised him to study with Marco Benefial, and he states that he received Benefial’s instruction for seven years, supported by the patronage of Jose Maria da Fonseca e Évora (minister for Portugal in Rome, Dom Joao V’s principal agent in the commission of works of art for Mafra). In 1741, Évora returned to Portugal (to become Bishop of Porto), and about the same time Glama Ströberle’s father died, causing Glama Ströberle to return to Portugal. While there, he found a new patron in Alexandre de Gusmão, a former special envoy to the Vatican, perhaps not incidentally a collector of paintings by Vieira Lusitano, and two months later Glama Ströberle was back in Rome. According to Glama Ströberle’s statement, De Gusmão stipulated that he become a student of Agostino Masucci, the past Principe (1736-1738) of the Accademia di San Luca, and in 1741 one of the leading painters in Rome.

    This autobiographical statement supplements (and corrects) the notices of Glama Ströberle written by Machado, an eighteenth-century painter who chronicled the lives of his fellow artists (Collecçao de memorias relativas às vidas dos pintores, printed 1823) and Saraiva (Lista de alguns artistas Portuguezes, printed 1839, his entry based on an unpublished memoir by João Chiape, who had been a pupil of Glama Ströberle). Several biographical details given by Gerardo Casale, “Rapporti tra l’Accademia di San Luca e i Portoghesi a Roma” in Giovanni V di Portogallo (1707-1750) e la cultura romana del suo tempo (Rome 1995), pp.377-384, are proved erroneous: for instance, a claim that Glama Ströberle arrived in Rome in 1720.

    Most – if not all – the drawings in sketchbook [I] appear to be original compositions of Glama Ströberle: a series of seventeen episodes from the Old Testament, executed in pen and ink and wash; twelve scenes from classical mythology, similarly executed; five studies executed in red chalk; and three more finished compositions in pen and ink and wash. These drawings date from 1734 until circa 1742 (i.e. during Glama Ströberle’s period of study under Benefial). Sketchbook [II] is inscribed “begun in the year 1741” and contains copies of paintings (or bozzetti) which Glama Ströberle locates in Benefial’s studio (“em sua casa particular”), views of Rome, Naples, Civitavecchia, Pisa and other cities in Italy, and drawings made in Portugal during Glama Ströbele’s brief visit in 1741. Other drawings in the same sketchbook perhaps were made after his final return home, such as one of the “Castelo de Santa Maria da Feira” and another of the church of Saint John Facundo at Vinhais, which has a lengthy caption added in September 1777. Sketchbook [III] likewise is a mixture of Roman and Portuguese drawings and inscriptions (including comparisons of the measurements of the cathedrals of Porto and Braga), none precisely dated.

    The three sketchbooks first came to notice in 1940, when interest focused on the topographical views of Portugal, and in particular on “Castelo de Santa Maria da Feira” (II, f. 71 recto): that sheet was featured in Portucale: revista ilustrada de cultura, literária, scientifia, e artistica 13 (January-February 1940), and again in Arquivo do Distrito de Aveiro 8 (1942). Two other sheets were published by Pedro Vitorino, “Museus, Galerias e Colecções XXV. Álbuns de artistas” in Revista de Guimares 53 (January-June 1943). The sketchbooks are next mentioned by Jorge de Mello Azevedo, “O Pintor João Glama Stroeberle: Esboço biográfico e crítico” in Boletim da Academia Portuguesa de Ex-Libris 9 (January 1964), pp.1-11; Paula Mesquita Santos, “Croquis, academias e outros estudos de João Glama no Museu Nacional de Arte Antiga” in Vária escrita: cadernos do Gabinete de Estudos Históricos e Documentais 8 (2001), pp.161-189, where (p.171 no. 2985) a drawing of “Apollo and Daphne” in Lisbon is compared to one included here ([I], f.29 recto).
  • Mosman, Nicolas, 1727-1787

    Rome, c. 1755-1765

    A series of forty-four large chalk drawings (circa 482/525 × 345/360 mm) of exemplary antique statues in Rome, perhaps executed for an English patron, or with a view toward eventual publication in England, as they are scaled in both English piedi and Roman palmi. Nicolas Mosman is known chiefly by a set of drawings of paintings in Roman collections, produced between 1764 and 1787 for Brownlow Cecil, 9th Earl of Exeter. In Rome, Mosman was linked socially and professionally with the painter Mengs, the archaeologist Winckelmann, the painter-dealer Thomas Jenkins, and the restorer Bartolomeo Cavaceppi. His selection of sculpture reflects the revaluation of antique sculpture then being undertaken by Mengs and Winckelmann, and the commercial transactions of Jenkins and Cavaceppi. In addition to the narrow canon of masterpieces established by Mengs, Mosman documents recent additions to the Capitoline collection (purchases by Clement XII from the Albani and Odescalchi collections, and by Benedict XIV from the D'Este collection and from digger-dealers), and sculptures within the Barberini, Borghese, Casali, Farnese, Giustiniani, Ludovisi, Medici, Pighini, Spada, and Verospi family collections recently lauded by Winckelmann. Four drawings depict antique sculptures restored by Bartolomeo Cavaceppi and introduced onto the market in 1754/1755, 1764, 1766/1768 respectively; another two are of modern sculptures: a bronze statue of Mercury by Guglielmo della Porta in the Palazzo Farnese and a marble statue of Santa Susanna by François Duquesnoy in S. Maria di Loreto. The drawings were mounted on album leaves in the nineteenth century, when a title-leaf and a contents-leaf were supplied, and the sheets numbered sequentially in ink. The date “1755” in the title perhaps was found on a portfolio that previously held the loose sheets; it could be the date of the earliest drawing, made soon after Mosman's arrival in Rome.

  • Dumont (Gabriel-Pierre-Martin), 1720-1791

    [Paris], 1762
    Drawing, executed in pencil and brown wash, the tablet at left drawn on an overlay with an indistinct pencil inscription, laid within a black ink border to a sheet of 18th-century paper, 198 × 360 mm.

    An interior view of the “Temple des Arts”, a monument honouring Painting, Sculpture, and Architecture on a triangular plan, where each one of the arts has a temple connected to the central one of Taste. “It is hard to prove the exact function of Dumont’s sanctuary, but it may have been conceived as a building for discussions on the arts of painting, sculpture and architecture, a kind of academy of fine arts” (Marcin Fabiański).

  • Albertolli (Giocondo), 1742-1839

    Milan, Giocondo Albertolli, [1782]-1787-1796 (but probably issued c. 1796)
    A series of influential works documenting both interior decoration completed by Giocondo Albertolli and ornament he had observed on his travels around Italy. One of the most important taste-makers of his day, Albertolli was the professor of drawing and ornament in the Accademia di Belle Arti di Brera in Milan, where he taught his own brand of neoclassicism to an entire generation, from the founding of the academy in 1776 until 1812. These three works – together with a Corso elementare di ornamenti architettonici, a suite of twenty-eight plates published in 1805 – became the “principale strumento didattico a disposizione degli allievi della scuola d’ornato” (Giuseppe Beretti), and further spread Albertolli’s ideas in Italy and abroad.

    Bound with Albertolli, Giocondo. Alcune decorazioni di nobili sale ed altri ornamenti di Giocondo Albertolli Professore nella Reale Accademia delle Belle Arti in Milano Incisi da Giacomo Mercoli e da Andrea de Barnardis MDCCLXXXVII.
    Bound with Albertolli, Giocondo. Miscellanea per i giovani studiosi del disegno pubblicata da Giocondo Albertolli Professore Nella Reale Accademia delle Belle Arti in Milano L’Anno MDCCXCVI. Parte terza. Si ritrova presso allo stesso Albertolli in Milano.

  • Accademia di Belle Arti (Milan)

    Milan, Stamperia Reale, 1812
    A fine binding by Luigi Lodigiani of Milan (1777-1843) on a volume issued in 1812 by the Milanese Academy of fine arts, in which the prize-winners in the annual students’ competitions (architecture, painting, sculpture, printmaking, drawing) are published, together with a catalogue of the display of the academicians’ production, the texts of two discorsi: one delivered by the Secretary of the Academy and Professor of Architecture, Giuseppe Zanoia (1752-1817), the other by Luigi Rossi, “Ispettore generale della Direzione di pubblica Istruzzione” (1776-1824), and a list of the forty-five members of the Academy, headed by the Viceroy of Italy, Eugène de Beauharnais (1781-1824). The Discorsi of the Milan academy was published annually from 1806. Another volume in the series (commemorating the competition held in 1810), bound by Lodigiani for Eugène de Beauharnais using the same armorial block, and also bearing Lodigiani’s ticket, was in the Mortimer L. Schiff collection (sale 1938, lot 1496); a third volume (for 1813), using the same armorial block, but without a ticket, was recently in the Paris trade (Librairie Laurent Coulet, Catalogue 39, 2008, item 57).
  • Norry (Charles), 1756-1832

    [Paris?], c. 1824
    An album of architectural drawings of the Palazzo Mancini and the Villa Medici, successive homes of the Académie de France in Rome. The first two drawings are plans of the ground floor and top floor of Palazzo Mancini, indicating respectively the instructional rooms and the lodgings of the pensionnaires, as implemented in 1784. In 1793, the Academy departed Palazzo Mancini, and was homeless until relocated in 1803 in the Villa Medici. The remaining ten drawings are plans, sections, and elevations of the Villa Medici, constituting a survey undertaken in 1817 by the architect Charles Norry, assisted by his elder son and pupil, Charles-Désiré Norry (1796-1818), and by Lucien-Tyrté Van Cleemputte (1795-1871).
  • Bolten (Jaap), born 1934

    Landau (Pfalz), Editions PVA, 1985
    (24.5 cm), 373 pp., illustrations. Publisher’s cloth, printed dust jacket. - Considers Dutch and Flemish drawing books from the period 1600-1750 in relation to their German, French and Italian counterparts. A translated, expanded and partially revised version of the author’s privately-published dissertation “Het Noord- en Zuidnederlandse tekenboek 1600-1750” (Ter Aar: J. Bolten, 1979). ¶ Minor wear to dust jacket. Very good, unmarked copy.
  • Bicknell (Peter), died 1995; Munro (Jane)
    Fitzwilliam Museum (Cambridge)

    London, Christie's, 1988
    (25.5 cm), 134 (4) pp., numerous illustrations (12 in colour). Publisher’s pictorial wrappers. - Exhibition of English manuals for amateur landscape watercolourists, shown with some 90 drawings by the masters and a few by their pupils, plus books on perspective, colour theory, painting in oils, and other related themes. ¶ Corner of upper wrapper creased; otherwise a very good, unmarked copy.
  • Elen (Albert Jan), born 1955

    Leiden, [the author], 1995
    (24 cm), x, 533 pp., including 41 black & white illustrations. “Stellingen behorende bij het proefschrift” loosely inserted (4 pp.). Publisher’s pictorial wrappers. - A survey and catalogue of Italian drawing-books from the second half of the 14th to the early 17th century. The catalogue includes 103 entries on drawing-books of widely different type, ranging from intact drawing-books, such as that by Palma Giovane in the Lugt Collection, to single sheets widely scattered; drawing-books of an architectural and archaeological nature are excluded. The third part is a reconstruction of Jacopo Bellini’s two drawing-books in the Louvre and the British Museum (published earlier by the author as an appendix to Colin Eisler, The genius of Jacopo Bellini, New York 1989). ¶ Light shelf wear; otherwise a fine copy.
  • Anderson (Albert A., Jr), born 1938; Joyce (William Leonard), born 1942; Stelts (Sandra K.)
    Pennsylvania State University (University Park), Special Collections Library

    University Park, PA, Pennsylvania State University Libraries, 2006
    (23 cm), xii, 34 (2) pp., illustrations. Publisher’s printed wrappers. - The collection consists of nearly 1000 art instruction books, drawing manuals, drawing cards, lithographs, copybooks, and other printed ephemera, as well as a small number of Canadian, European, and Asian publications, published between 1794 and the mid-twentieth century. It was donated to Penn State Library in 2000. ¶ Excellent, unmarked copy.
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