Art: Collecting, patronageThere are 41 items
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Collezione di tiramenti rari di celebrate statue antiche 1755
Rome, c. 1755-1765A 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.
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Lettre à un Amateur de la Peinture avec des Eclaircissemens historiques sur un cabinet et les auteurs des tableaux qui le composent. Ouvrage entremêlé de Digressions sur la vie de plusieurs Peintres modernes
Dresden, Georg Conrad Walther, 1755First edition of Hagedorn’s “Lettre”, occupying the initial twenty pages, followed by “Eclaircissemens historiques”, a series of digressions in the form of biographical notices of painters compiled by Franz Christoph Janneck (1703-1761). The frontispiece (engraved by Pierre-Jules Hutin) depicts a young woman conversing with two amateurs about a painting of Leda and the swan that sits on the easel before them; it is a rare instance of a woman shown as interlocutor in a serious aesthetic debate. -
A calendar of British taste from 1600 to 1800, being a museum of specimens & landmarks chronologically arranged
London, Routledge & K. Paul, 1949(22 cm), xiii (1), 476 pp. Publisher’s cloth. - The author’s common-place book of his reading in a huge variety of sources. Indexes of authors quoted or cited; authors and artists criticised or mentioned; subjects and places (pp.449-376). ¶ Spine sunned; a good, unmarked copy. Lacking dust jacket. -
Duveen : illustrations by Saul Steinberg
London, Hamish Hamilton, 1952(22.5 cm), ix, 210 pp., text illustrations. Publisher’s cloth. - First English edition. Behrman’s memorable profile of Duveen had been serialized in six issues of the New Yorker in 1951. ¶ Ownership inscription on title-page. Binding abraded along edges, and at head and tail of the spine. Lacks dust jacket. -
The Dal Pozzo-Albani drawings of classical antiquities in the British Museum
Philadelphia, American Philosophical Society, 1960(30 cm), 78 pp., 103 illustrations. Publisher’s printed wrappers. - Catalogue of some drawings of antique sculpture which had become separated from the main body of “Museo Cartaceo” drawings at Windsor, and entered the British Museum in 1898 with the A.W. Franks bequest. Vermeule has undertaken the hard labour of identifying the originals of the Dal Pozzo drawings. Offprint from Transactions of the American Philosophical Society, new series, volume 50, part 5. ¶ From the library of Joseph Clemens, Prinz von Bayern (1902-1990), sold by Schneider-Henn, Kunstbücher und Dokumentation aus der Bibliothek Joseph Clemens Prinz von Bayern, Munich, 11-12 May 1992, lot 2161. Very good copy. -
The economics of taste : the rise and fall of the picture market 1760-1960
New York, Chicago & San Francisco, Holt, Rinehart and Winston, 1961(22 cm), xvi, 518 pp., [6] p. of plates. Publisher’s red cloth, dust jacket. - “Sales analysis of the most popular painters 1760-1960” (pp.239-501). ¶ Dust jacket shelf worn; otherwise, a good, unmarked copy. -
Earls of creation : five great patrons of eighteenth-century art
London, Hamish Hamilton, 1962(25.5 cm), 285 pp., illustrations include 28 plates, plan and elevations. Publisher’s cloth, pictorial dust jacket. - First edition of an account of architectural patronage in Augustan England, studies of five earls: Bathurst, Pembroke, Burlington, Oxford, and Leicester. “A stimulating book, which no future student of eighteenth century England can afford to ignore” (from a review by Kerry Downes, in The Burlington Magazine, volume 107, 1965, pp.583-584). ¶ Price clipped from dust jacket. Very good copy. -
Robert Adam and his circle, in Edinburgh & Rome
Cambridge, MA, Harvard University Press, 1962(23 cm), xxi (1), 393 (1) pp., 93 illustrations on [20] leaves of plates. Publisher’s cloth, dust jacket. - First American edition. ¶ A fine, unmarked copy -
Christina, Queen of Sweden: a personality of European civilisation (catalogue of an exhibition, Nationalmuseum, Stockholm, 29 June-18 October 1966; Eleventh exhibition of the Council of Europe; Nationalmusei Utställningskatalog, 305)
Stockholm, [Nationalmuseum], 1966(21 cm), 622 pp., 48 leaves of plates. 1532 catalogue entries. Publisher’s printed wrappers. - Translation by Patrick Hort and Roger Tanner of Christina, drottning av Sverige (Stockholm 1966). Books and prints were displayed throughout the exhibition, with Rooms 29-34 devoted exclusively to the Queen’s manuscripts (pp.529-545, items 1335-1365, catalogued by J. Bignami Odier) and bookbindings (pp.546-557, items 1366-1412). ¶ Blindstamp of E.P. Goldschmidt & Co. Ltd on half-title; occasional annotation in pencil. Wrapper torn. -
Builders and humanists : the Renaissance popes as patrons of the arts (catalogue of an exhibition organised by the Art Department, University of St Thomas, Houston, TX, March-May 1966)
Houston, University of St Thomas, 1966(23 cm), 363 (1) pp., illustrations, 1 folded plate. Publisher’s printed wrappers. - A widely-sourced loan exhibition (66 lenders are listed). An introductory essay, “The Golden Age of the Renaissance”, by Raymond Marcel, is followed by a “Catalogue of paintings, drawings, sculptures, objects, medals, coins, seals, engravings, and etchings” (pp.51-198, texts by A. Hyatt Mayor), and “Catalogue of books and manuscripts” (pp.199-344, texts by Louis S. Greenbaum). The books were chosen with great care, and are well-described. ¶ Inscribed by Dominique de Menil (1908-1997) to the New Yorker critic Brendan Gill (1914-1997), October 1967. Very good copy. -
Regency patron: Sir George Beaumont
London, Metheun, 1966(23 cm), 163 pp., frontispiece and [7] leaves of plates (figs.2-23). Publisher’s cloth, dust jacket. ¶ Fine, unmarked copy. -
The Twilight of the Medici : late Baroque art in Florence, 1670-1743 (catalogue of an exhibition held at the Detroit Institute of Arts, 27 March-2 June 1974; and Palazzo Pitti, Florence, 28 June-30 September 1974; Centro Di catalogue, 43)
Florence, Centro Di, 1974(22.5 cm), 507 (1) pp., numerous illustrations (some in colour). 295 catalogue entries. Publisher’s printed wrappers. - Essays by Harold Acton (A note on the last Medici) and Klaus Lankheit (Florence under the late Medici). Included were engraved architectural prints and views, festival books and prints (the latter described by Barbara Grohs, pp.477-491). ¶ Very good, unmarked copy. -
Patrons and painters : a study in the relations between Italian art and society in the age of the Baroque. Revised and enlarged edition
New Haven & London, Yale University Press, 1980(26 cm), xviii, 474 pp., [34] leaves of plates. Publisher’s laminated pictorial wrappers. - Revised and enlarged edition (previous edition, London: Chatto & Windus, 1963). ¶ Corner of wrapper creased; otherwise a very good, unmarked copy. -
Vatican splendour. Masterpieces of Baroque art (catalogue of an exhibition held at the National Gallery of Canada, Ottawa, 6 March-11 May 1986; latterly shown elsewhere)
Ottawa, National Gallery of Canada, 1986(23.5 × 25 cm), 142 pp., 96 illustrations (some in colour). 49 catalogue entries. Publisher’s pictorial wrappers. - Presents paintings, sculpture, textiles, and medals, mostly from collections of the Vatican. Essays by Catherine Johnston (The rôle of papal patronage in Italian Baroque art), Marc Worsdale (Eloquent silence and silent eloquence in the work of Bernini and his contemporaries), and Gyde Vanier Shepherd (on the Baroque tradition in Quebec, 1664-1839).Offered with Alessandro VII Chigi (1599-1667): il papa senese di Roma moderna (published on the occasion of an exhibition held in Siena at the Palazzo Pubblico and the Palazzo Chigi Zondadari from 23 September 2000-10 January 2001), Siena: Maschietto & Musolino, 2000. - 350 catalogue entries, together with essays on Pope Alexander VII Chigi’s education, family, cultural interests, art collection, and patronage of architecture and art in Rome, Lazio and Siena. ¶ Fine, unmarked copy.
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Collezioni di antichità a Venezia nei secoli della Repubblica (dai libri e documenti della Biblioteca Marciana) (catalogue of an exhibition held at the Biblioteca nazionale Marciana, Venice, 27 May-31 July 1988)
Rome, Istituto Poligrafico e Zecca dello Stato, 1988(24 cm), 220 pp., illustrations. Publisher’s printed wrappers. ¶ Fine, unmarked copy. -
Il Museo cartaceo di Cassiano Dal Pozzo : Cassiano naturalista (Quaderni puteani, 1)
Ivrea (Milan), Olivetti / Arnoldo Mondadori Arte, 1989(27 cm), viii, 106 (2) pp., 71 illustrations (some in colour). Publisher’s pictorial wrappers. - The Museo Cartaceo (”Paper museum”) was a collection of prints and drawings of antiquities, architecture and natural history subjects, produced for Cassiano Dal Pozzo (1588-1657). This volume of studies is the first (of two) in which are published the proceedings of a conference convened jointly by the British Museum and the Warburg Institute, 14-15 December 1989. It focuses on Cassiano’s interest in natural history and science, and contains papers by Francis Haskell (Introduction), Henrietta McBurney (A brief history of the Museo cartaceo; and: Cassiano Dal Pozzo’s drawings of birds), David Freedberg (Cassiano, natural historian; and: Cassiano Dal Pozzo’s drawings of citrus fruits), and Francesco Solinas, who contributed papers on “The oryx” (two large antelopes imported into France, in 1634 and 1636, identifying the second of these as the subject of a drawing in a private collection), on the illuminated herbarium and botanical drawings from Cassiano’s collection, and on Francesco Stelluti’s treatise on fossils and the four volumes of the Natural history of fossils in the Royal Library, Windsor. ¶ Some shelf wear; otherwise a good, unmarked copy. -
Il Museo cartaceo di Cassiano Dal Pozzo : Cassiano naturalista (Quaderni puteani, 1)
Milan, Olivetti / Arnoldo Mondadori Arte, 1989(27 cm), viii, 106 (2) pp., 71 illustrations (some in colour). Publisher’s pictorial wrappers. - The Museo Cartaceo (”Paper museum”) was a collection of prints and drawings of antiquities, architecture and natural history subjects, produced for Cassiano Dal Pozzo (1588-1657). This volume of studies is the first (of two) in which are published the proceedings of a conference convened jointly by the British Museum and the Warburg Institute, 14-15 December 1989. It focuses on Cassiano’s interest in natural history and science, and contains papers by Francis Haskell (Introduction), Henrietta McBurney (A brief history of the Museo cartaceo; and: Cassiano Dal Pozzo’s drawings of birds), David Freedberg (Cassiano, natural historian; and: Cassiano Dal Pozzo’s drawings of citrus fruits), and Francesco Solinas, who contributed papers on “The oryx” (two large antelopes imported into France, in 1634 and 1636, identifying the second of these as the subject of a drawing in a private collection), on the illuminated herbarium and botanical drawings from Cassiano’s collection, and on Francesco Stelluti’s treatise on fossils and the four volumes of the Natural history of fossils in the Royal Library, Windsor. ¶ Some shelf wear; otherwise a good, unmarked copy. -
La Galleria Giustiniana: sculture antiche e incisioni seicentesche (Quaderno del Museo Accademia Ligustica di Belle Arti, no. 10, February 1989)
Genoa, Accademia Ligustica di Belle Arti / Sagep Editrice, 1989(24 cm), 31 (1) pp., illustrations. Publisher’s pictorial self-wrappers. - Contains an essay by Edi Baccheschi (Vincenzo Giustiniani collezionista d’arte e la sua Galleria di stampe) and three essays by Nicola Ottria (Problemi dell’incisione: note sulle tavole della Galleria Giustiniana; Dall’ incisione al mito: una proposta di lettura; Immagini incise e fonti iconografiche cinquecentesche). ¶ Very good, unmarked copy. -
Cassiano Dal Pozzo : Atti del Seminario Internazionale di Studi (Istituto Universitario "Suor Orsola Benincasa" / Napoli; Progetto di Ateneo: le corrispondenze letterarie, scientifiche ed erudite dal Rinascimento all’età moderna / Università di Roma "La Sapienza")
Rome, De Luca, 1989(24 cm), 260 (4) pp., illustrations. Publisher’s cloth, printed dust jacket. - Publishes thirteen papers from a conference focusing on Cassiano dal Pozzo’s correspondence and on his role as collector and patron of the arts in 17th century Rome, held 18-19 December 1987 at the Istituto Universitario “Suor Orsola Benincasa”, in Naples. Included are essays by Henrietta McBurney (History and contents of the Dal Pozzo collection in the Royal Library, Windsor Castle), Ian D. Jenkins (Newly discovered drawings from the Museo Cartaceo in the British Museum), Emma L. Cox (Watermarks: some observations on the newly discovered folios from the collection of Cassiano dal Pozzo in the British Museum). ¶ Covers rubbed; otherwise a good, unmarked copy. -
Journal of the History of Collections (volumes 1-22)
Oxford, Oxford University Press, 1989-2010Twenty-two volumes (25 cm), as issued, in publisher’s pictorial wrappers. - A complete run from 1989 to 2011 (two issues yearly). The founder-editors were Arthur MacGregor (born 1941) and Oliver Impey (1936-2005). ISSN 1477-8564. ¶ In very good state of preservation, unmarked. Included is a duplicate of Volume 2, Number 1 (1990).
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