This print depicts the massive sandstone Triton fountain installed in the Neuen Bau in Nuremberg (now Maximiliansplatz), in 1689, to commemorate the Emperor Leopold I’s victories during Spring-Summer 1687 in the campaign against the Turks, and the coronation on 9 December 1687, of his son, Joseph (1678-1711), as King of Hungary. The sculptor, generally identified as Johann Leonhard Bromig (1670-1740), took as his model Bernini’s fountain in the Piazza Barberini in Rome (1642-1643), mediated through an unidentified source. It is Bromig’s first known project and also the earliest print of Johann Georg Erasmus, the son of the designer and cabinet-maker Georg Caspar Erasmus, who became a prolific draughtsman and architect in Nuremberg.
Finely-bound copy of the descriptive catalogue of a new collection of ancient Greek and Roman sculptures (including inscribed altars), hurriedly assembled to offset the loss of Vatican antiquities taken by France in 1797. Forty-four objects are described, each depicted in a full-page engraving, with the iconographies and descriptions of each work often accompanied by details of excavation provenance, identity of the vendor, condition and restorations. The binder of our copy, Franz Sebastian Voll (1783-1846), was born in Würzburg, and admitted to the guild of binders in Mannheim in 1807. His clients included the princely house of Fürstenberg, Grand-Duchess Stephanie von Baden, and perhaps Ernst August I, King of Hannover.
A series of line engravings documenting statues and reliefs produced in Thorvaldsen’s Roman workshop, eleven drawn and engraved by the brothers Franz (1786-1831) and Johannes (1788-1860) Riepenhausen, the remainder by the engraver-publisher Ferdinando Mori (1775/1782-1852). It is heralded as one of the earliest publications reproducing works by a modern artist, and responsible for focusing the attention of all Europe on the sculptor.
Paris, Chez Du Bure Frères (De l’Imprimerie de Firmin Didot), 1815
First edition (second issue) of the author’s speculations about the role of colour in Greek art and architecture, presented as reconstructions of about ten lost sculptures of Greek Antiquity, including the Chest of Kypselos (pls. III-IV), the Athena Parthenos (pls. VIII-X), the chryselephantine Zeus at Olympia (pls. XI-XVII), and a table for the Olympic Games, made of gold and ivory (pl. XXIV). The work fed a controversy concerning polychromy and the iconography of Greek sculpture.
Wittenberg, Zimmermann (‘Gedruckt in der Rübnerschen Buchdruckerei in Wittenberg’), 1825
Only edition of an account of the artistic treasures of Wittenberg, compiled and partly-illustrated by the sculptor Schadow, who as his sight deteriorated had turned more to writing art theory and history and to graphic work (he was a proficient draughtsman, engraver, and lithographer). The publication celebrates Schadow’s bronze statue of Luther, designed between 1802 (the date of a competition sponsored by the Vaterländische-Litterarische Gesellschaft der Grafschaft Mansfeld) and 1820, and unveiled in the Marktplatz in Wittenberg for the Reformationsfest on 31 October 1821. A folding lithograph by Schadow himself records the Luther statue from three sides; an anonymous engraving depicts it beneath a canopy made to Karl Friedrich Schinkel’s designs; and another by the Berlin printmaker Ferdinand Berger serves to introduce the volume (frontispiece). Among the many illustrations are engravings reproducing sculptural monuments in the Schlosskirche (Allerheiligen) and Stadtkirche (Marienkirche), Lucas Cranach the elder’s altarpiece in the Stadtkirche, and lithograph portraits of Peter Vischer and Lucas Cranach the elder by Schadow, and an impressive self-portrait.
Munich, Verlag der literarisch-artistischen Anstalt [letterpress printed at Stuttgart, by J.G. Cotta; engravings printed at Darmstadt, by J.H. Felsing], 1835
A suite of prints reproducing Thorvaldsen’s monumental frieze of the “Entrance of Alexander the Great into Babylon”, engraved by Samuel Amsler (1791-1848) after drawings by Johann Friedrich Overbeck (1789-1869) and anonymous draughtsmen. Amsler based his engravings not on Thorvaldsen’s original frieze in the Palazzo Quirinale (1812), but on the third and largest version made for Christiansborg Palace in Copenhagen (1818-1827), where the dimensions of the room had required Thorvaldsen to lengthen the frieze by introducing additional single figures. The accompanying text was supplied by (Johann Karl) Ludwig Schorn (1793-1842), editor of the “Kunst-Blatt” and professor at the Ludwig-Maximilians-Universität in Munich.
London, Her Majesty's Stationery Office (printed by Butler & Tanner Ltd), 1964
Three volumes (29 cm), I (Text): xvi, 395 (1) pp. II (Text, continued): (6), pp.-767 (1). 745 catalogue entries. III (Plates): (2) pp., 736 illustrations on 426 plates. Uniform publisher’s red cloth, original pictorial slipcase. ¶ Very fine copy.
(27 cm), 239 (1) pp., numerous illustrations (16 pp. in colour). 249 catalogue entries. Publisher’s pictorial wrappers. - Exhibition of small bronze sculpture by Giambologna (1529-1608) and his workshop, including every known signed bronze but one by the artist. Catalogue essays by Avery, Katherine Watson, and Manfred Leithe-Jasper examine Giambologna’s career, the founding and growth of his workshop, the role played by his students (especially Antonio Susini and Francavilla), the nature of his posthumous influence on Florentine sculpture (particularly through his major assistant Pietro Tacca), late projects, sketch-models and working procedure. ¶ Virtually as new.
New York, Metropolitan Museum of Art / Princeton University Press, 1980
(26 cm), 270 (2) pp., illustrations. Publisher’s brown cloth, lettered; pictorial dust jacket. - Revised versions of ten essays on 15th century sculpture (three originally presented as lectures, seven published in journals). ¶ Abrasions and short tears in dust jacket; otherwise a very good, unmarked copy.
(20 cm), (8), 274 pp., numerous black & white illustrations. Paperback. - Survey of the development of Florentine sculpture from 1401 (competition for the new bronze doors for the Baptistery) to 1608 (death of Giambologna). ¶ Good, unmarked copy.
(29.5 × 23 cm),  pp., illustrations (many in colour). 48 items. Publisher’s pictorial wrappers. - The catalogue preface “Leonard Baskin” by Gloria-Gilda Deák is reprinted from Profiles of American Artists (New York: Kennedy Galleries, 1981). Among the drawings (items 18-44) are five sheets used to illustrate Ted Hughes, Season Songs (New York: Viking Press, 1975). ¶ Very good, unmarked copy.
(22 cm), 86 (2) pp., 70 black & white illustrations. Publisher’s printed wrappers. - Catalogue for an exhibition of Renaissance bronze figures of animals, real and imaginary. “We have added one new element to this study. For the first time ever, a zoologist was brought in to actually look at the bronze animals. Comments based on his observations are printed in italics” (from the Preface by Gerald G. Stiebel). ¶ As new.
London, Harvey Miller / Oxford University Press, 1986
(28 cm), 522 pp., numerous black & white illustrations. 203 catalogue entries. Publisher’s beige cloth, dust jacket. – “This book is intended as a reference guide to the ancient monuments which served Renaissance artists as a visual reservoir of sculptural styles, iconographic types, and expressive poses from an admired past. Here one may find more than 200 ancient statues and reliefs, and may learn – from text and illustration – something of what can be known of their history in the Renaissance: when they were discovered, where and how they were displayed, how their subject matter was interpreted, and which artists as well as which antiquarians recorded them or otherwise profited by their presence” (from the Preface). Introductory essay by Bober (Renaissance artists and the uses of antiquity), Catalogue, Appendix I (Annotated index of Renaissance artists and sketchbooks), Appendix II (Annotated index of Renaissance collections). First edition. ¶ Laminate on just jacket peeling, several tears; otherwise an excellent copy.
Three volumes (28 cm), I: (8) 295 (1) pp., illustrations (pls.1-112). II: (10) 388 (6) pp., illustrations (pls.1-144). III: (8) 486 (2) pp., illustrations (pls.1-168). Uniform publisher’s pictorial wrappers. - These three volumes first appeared separately in 1955, 1958, and 1963; revised, second editions were issued in 1972, 1971, and 1970. The second editions are reprinted here together with substantial appendices of additions and corrections compiled by Pope-Hennessy with the assistance of Andrew Butterfield (Italian Gothic Sculpture), Eliot Rowlands (Italian Renaissance Sculpture), and Eric Frank (Italian High Renaissance and Baroque Sculpture). “This is the sort of book that lasts forever” (John Russell, in TheNew York Times Book Review). ¶ Corner of one lower wrapper lightly creased; otherwise a fine set.
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.
(29 cm), xi (1), 244 pp., 278 illustrations. Publisher’s pictorial wrappers. - Covers the processes of education, marble-quarrying, and the casting and chasing of bronze, as well as workshop and inter-craft practices. One chapter is devoted to ephemeral sculpture for festivals and feasts and has a section on edible art (structures in sugar or marzipan, set on the table at great banquets); another deals with the restoration of ancient statues. “A ground-breaking book that opens up a new field of inquiry to other scholars and students” (from a review by Catherine R. Puglisi, in Renaissance Quarterly, volume 44, 1991, pp.139-142). ¶ Excellent, unmarked copy.
(30 × 24.5 cm), 215 (1) pp., including 235 colour and 148 black & white illustrations. 171 catalogue entries. Publisher’s pictorial wrappers. - Exhibits include sculpture, medals, paintings, drawings (including 17 either of, by or attributed to Bernini), prints, and “arti minori”. The essays preceding the catalogue entries are by Christopher Black (on Rome during Bernini’s lifetime), Christopher Baker (on Bernini’s life), David Howarth (on Bernini and Britain) and Timothy Clifford (on Roman decorative arts in the age of Bernini). ¶ Light shelf wear; otherwise a very good copy.
(29 cm), 473 (3) pp., illustrations (many in colour). Publisher’s pictorial wrappers. - Essays by Alberta Campitelli, Rudolf Preimesberger, Sebastian Schütze, Ursula Schlegel, Anna Coliva, Matthias Winner, Filippo Coarelli, Kristina Hermann Fiore, Luigi Fiacci, and “Appendice documentaria”. ¶ Fine, unmarked copy.
Cambridge, MA, Harvard University Art Museums, 1999
(28 cm), 179 (1) pp., illustrations. Publisher’s pictorial wrappers. - Essays by Ivan Gaskell (An economy of seventeenth-century clay sculptors’ models), Colette Czapski Hemingway (Of clay, and the initial stages of sculpture), Henry Lie (Technical studies: rationale and techniques), Eugene F. Farrell, Henry Lie, and Suzanne M.M. Young (Clay analysis), Anthony B. Sigel (The clay modeling techniques of Gian Lorenzo Bernini), Anthony B. Sigel and Eugene F. Farrell (Technical observations and petrographic analysis), Nancy Lloyd (Fingerprints), Kendra Roth (Decorative coatings on the St. Longinus and St. Ambrose modelli), Jennifer Montagu (The Fogg Silence: a Bozzetto by Melchiorre Cafà), Jeannine O’Grady (Bernini’s St. Ambrose for the Cathedra Petri: a model and the metamorphosis of a figure), Mark S. Weil (Bernini drawings and Bozzetti for the Ponte Sant’Angelo: a new look), Colette Czapski Hemingway (Borchini, Félibien, and five angels for the altar of the Blessed Sacrament), Francesca G. Bewer (Bronze casts after Bozzetti and Modelli by Bernini). ¶ Very good, unmarked copy.