General worksThere are 6 items
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Ornemens Inuentez par J. Berain Et se vendant Chez Monsieur Thuret Aux Galleries du Louvre Avec Priuilege du Roy
Paris, Jacques Thuret, c. 1711A collection of engraved designs for artists and craftsmen, showing clocks, candlesticks, commodes, consoles, fireplaces, guéridons, marquetry bureaux, torchères, walls and ceilings, tapestries, and much other furniture, objects and interior decoration, also garden parterres and temporary architecture, all designed by Jean Bérain, appointed court designer for theatre and festivals in 1674 and for gardens in 1677, who after Le Brun’s death in 1690 was chief designer of all royal decorations, with a residence in the Louvre. More than a dozen printmakers collaborated in reproducing Bérain’s designs. -
Oeuvre de Juste Aurele Meissonnier Peintre Sculpteur Architecte &c. Dessinateur de la chambre et Cabinet du Roy. Premiere partie [no more published]. Executé sous la conduitte de l’auteur
Paris, Gabriel Huquier, c. 1748A superb copy of Meissonnier's Oeuvre, a collection of 118 engraved designs for silverware, interior decoration and furniture, memorial sculpture, illusionistic ceiling paintings, and architectural projects, including those for festivals. It is the ‘Bible of the Rococo’ style it represents and an immensely important historical document since few of Meissonnier's drawings for it have survived. -
Ornamenti Diversi Inventati Disegnati ed eseguiti Da Giocondo Albertolli Professore d’Ornati nella Reale Accademia di Belle Arti in Milano Incisi da Giacomo Mercoli Luganese Si vendono dallo stesso Albertolli in Milano
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. -
Civiltà del '700 a Napoli 1734-1799 (catalogue of an exhibition organised by Museo e Gallerie Nazionali di Capodimonte, Naples, December 1979-October 1980)
Florence, Centro Di, 1980Two volumes (24 cm), I: (4) 445 (1) pp. II: 493 (1) pp., profusely illustrated. Uniform publisher’s pictorial wrappers. - The first volume of the catalogue is devoted to history and culture, architecture, paintings and drawings; among the essays are Francis Haskell on patronage and collecting and Anthony Blunt on late Baroque Neapolitan architecture. Volume II is devoted to late Baroque and Rococo sculpture, scenography and the decorative arts, including tapestries, Majolica ware and porcelain, coins and medals and furniture; among the essays are Alberto Guarino on book illustration (pp.279-290) and Franco Mancini on scenography (pp.301-370). Full catalogue entries with explanatory texts and reproductions of each object. ¶ Some shelf wear, but still 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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Life and the arts in the Baroque palaces of Rome : Ambiente Barocco (catalogue for an exhibition at the Bard Graduate Center for Studies in the Decorative Arts, New York, 10 March-13 June 1999; Nelson-Atkins Museum, Kansas City, 25 July-3 October)
New Haven & London, Yale University Press, 1999(32 cm), xvii, 283 pp., illustrations (most in colour). Publisher’s boards, pictorial dust jacket. - Includes essays by Stephanie Walker (Artistic sources and development of Roman Baroque decorative arts), Patricia Waddy (Inside the palace: people and furnishings), Thomas Dandelet (Setting the noble stage in Baroque Rome: Roman palaces, political contest, and social theater, 1600-1700), Frederick Hammond (Creation of a Roman festival: Barberini celebrations for Christina of Sweden), Eduard A. Safarik (Invention and reality in Roman still-life painting of the seventeenth century: Fioravanti and the others), Maria Giulia Barberini (Prince defended: arms and armor in seventeenth-century Rome), and Edward J. Olszewski (Decorating the palace: Cardinal Pietro Ottoboni (1667-1740) in the Cancelleria). ¶ Very good, unmarked copy.
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