Antiquarenbeurs Mechelen
Exhibitor
Florisatus Fine BooksPlein 19 C
2511 CS Den Haag
Netherlands
Contact
Edwin & Liesbeth BloemsaatPhone
+31 (0) 614 270 027 +31 (0) 614 270 027Website
ilab.org/affiliate/florisatus-fine-books-manuscripts-musicalia
Extremely rare French edition of Antonio Tempesta's Ovidius -The copy of the painters A. Bernard and Armand Weber-
Metamorphoseon sive transformationum ovidianarum libri.
Paris, Baltazar Moncornet, [between 1624 and 1631]. (142 x 135 mm).
Decorated engraved title page 'avant la lettre", and 150 numbered engravings with an engraved 4 line verse. Added at the end 4 knights from the series Orlando furioso.
18th century vellum with 3 raised bands. Two 19th century paper labels on the upper cover. Title and number in ink on the spine. Extremely rare complete series of the French edition with a provenance of two engravers /painters. These series, like many emblem books, where mainly intended to be an example for artists, and craftsman to use, which explains the rarity of the surviving copies. Also this copy is heavily used, and on the backside of plate 58 and 102 are drawings with a screen on them to copy the image to a larger medium.
The engraved print series by the Italian painter and engraver Antonio Tempesta (1555-1630) were very popular at the time and found all over Europe. The present series was based on the Lyonese woodcut series illustrating Ovid by Bernard Salomon, but the scenes were completely changed and the style was 'translated' from the concepts of the French Renaissance into those of the early Italian Baroque.
The series appeared for the first time in Antverp, with De Iode in 1606 with Latin text below. A second issue with the address of Wilhelmus Janssonius in Amsterdam appeared some years later. This French edition has to be dated between 1624 and 1631, in this period Moncornet lived at the Rue des Goblins. In the French edition some of the engravings are in reverse.
The series has two different appearances of the engravings, one type with 4 lines below each other and an engraving of ca. 97 x 122 mm, and another type with the 4 lines in two columns and an engraving of ca. 94 x 116 mm, those are the numbers 12, 28, 41, 42, 51, 58, 86. 88 an 92. The numbereing is sometimes in the engraving and sometimes below the engraving. In our copy there is no engraved dedication on the title page.
At the end of this volume 4 (of 8) engravings from Tempesta's series of principal characters of Ariosto's Orlando furioso from 1597 are glued on the end leaves.
-Provenance: 1) "a Bernard peintre No. 86" in 18th century pen on flyleaf; 2) From the collection of Armand Weber (1844-1918) from Verviers, graveur lithographer and engineer. With his engraved exlibris on yellow paper and several stamps of his collector's mark (Lugt 1956).
-Literature: Brunet V, 695; Cicognara 4749 (other edition); Bartsch 638; Henkel p. 100-104; Ovidius Herschapen, Cat. Meermanno-Westreenianum (1980) 6 (Antwerp ed. by De Jode of 1606); Simoni O 55.
-Condition: Plates 141-150, misbound after plate 117; Plate 29 a tear of ca 3 cm; Plate 49 and title page edges frayed; Plate 10, 105, 112 and 126 stained; The 4 engravings from Ariosto damaged; Heavily used copy, but very interesting and of historical importance because of the drawings that prove the use by artists to create other works of art.
Decorated engraved title page 'avant la lettre", and 150 numbered engravings with an engraved 4 line verse. Added at the end 4 knights from the series Orlando furioso.
18th century vellum with 3 raised bands. Two 19th century paper labels on the upper cover. Title and number in ink on the spine. Extremely rare complete series of the French edition with a provenance of two engravers /painters. These series, like many emblem books, where mainly intended to be an example for artists, and craftsman to use, which explains the rarity of the surviving copies. Also this copy is heavily used, and on the backside of plate 58 and 102 are drawings with a screen on them to copy the image to a larger medium.
The engraved print series by the Italian painter and engraver Antonio Tempesta (1555-1630) were very popular at the time and found all over Europe. The present series was based on the Lyonese woodcut series illustrating Ovid by Bernard Salomon, but the scenes were completely changed and the style was 'translated' from the concepts of the French Renaissance into those of the early Italian Baroque.
The series appeared for the first time in Antverp, with De Iode in 1606 with Latin text below. A second issue with the address of Wilhelmus Janssonius in Amsterdam appeared some years later. This French edition has to be dated between 1624 and 1631, in this period Moncornet lived at the Rue des Goblins. In the French edition some of the engravings are in reverse.
The series has two different appearances of the engravings, one type with 4 lines below each other and an engraving of ca. 97 x 122 mm, and another type with the 4 lines in two columns and an engraving of ca. 94 x 116 mm, those are the numbers 12, 28, 41, 42, 51, 58, 86. 88 an 92. The numbereing is sometimes in the engraving and sometimes below the engraving. In our copy there is no engraved dedication on the title page.
At the end of this volume 4 (of 8) engravings from Tempesta's series of principal characters of Ariosto's Orlando furioso from 1597 are glued on the end leaves.
-Provenance: 1) "a Bernard peintre No. 86" in 18th century pen on flyleaf; 2) From the collection of Armand Weber (1844-1918) from Verviers, graveur lithographer and engineer. With his engraved exlibris on yellow paper and several stamps of his collector's mark (Lugt 1956).
-Literature: Brunet V, 695; Cicognara 4749 (other edition); Bartsch 638; Henkel p. 100-104; Ovidius Herschapen, Cat. Meermanno-Westreenianum (1980) 6 (Antwerp ed. by De Jode of 1606); Simoni O 55.
-Condition: Plates 141-150, misbound after plate 117; Plate 29 a tear of ca 3 cm; Plate 49 and title page edges frayed; Plate 10, 105, 112 and 126 stained; The 4 engravings from Ariosto damaged; Heavily used copy, but very interesting and of historical importance because of the drawings that prove the use by artists to create other works of art.
€ 2.400
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