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  • Imagen del vendedor de Sculptura: Or the history and art of chalcography and engraving in copper a la venta por Jeremy Norman's historyofscience

    Evelyn, John

    Publicado por J. C. for G. Beedle, and T. Collins, London, 1662

    Librería: Jeremy Norman's historyofscience, Novato, CA, Estados Unidos de America

    Miembro de asociación: ABAA ILAB

    Valoración del vendedor: Valoración 2 estrellas

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    Original o primera edición

    EUR 15.955,91

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    First Mezzotint Published in Englandâ "The Fairfax Murray Copy Evelyn, John (1620-1706). Sculptura: Or the history, and art of chalcography and engraving in copper to which is annexed a new manner of engraving, or mezzo tinto, communicated by his Highness Prince Rupert to the author of this treatise. 8vo. [32], 148, [3, advertisement]pp. Engraved frontispiece by A. Hertochs after Evelyn, engraving on p. 121, folding mezzotint by Prince Rupert of the Rhine (1619-82). London: J. C. for G. Beedle, T. Collins and J. Crook, 1662. 168 x 106 mm. Contemporary panelled calf, gilt, rebacked, endpapers renewed. Light wear at spine. Light spotting and browning, offsetting on title from frontispiece, title-page with two horizontal rules in ink made at an early date. The Charles Fairfax Murray copy, with his bookplate; bookplate, duplicate stamp and perforated stamp (on leaf A2) of the Library of Congress; formerly owned by Leonard B. Schlosser (acquired via Marlborough Rare Books from his sale, Sotheby's New York, 18 June 1992, lot 456); bookplate of Arthur and Charlotte Vershbow. The Fairfax Murray Copy of the First Edition of the First Book to Announce the Mezzotint Process, and containing the First Mezzotint published in England. This first English mezzotint, known as "The Head of the Executioner," was executed by Prince Rupert of the Rhine, Charles II's cousin, who had brought the mezzotint technique with him when he settled in England after the Restoration of the English monarchy in 1660. From Evelyn's diary and papers preserved in the British Library we know that Evelyn first learned of the mezzotint technique from Rupert on 24 February 1661. A few weeks later, under the date 13 March 1660/1, Evelyn wrote in his diary that "This afternoon Prince Rupert shew'd me with his owne hands the new way of graving call'd mezzo tinto, which afterwards by his permission I publish'd in my History of Chalcography; this set so many artists on worke that they soone arriv'd to that perfection it is since come, emulating the tenderest miniatures" (quoted in Keynes, p. 116). Although Evelyn mistakenly credited Rupert with the invention of mezzotint, the prince actually learned the technique from Ludwig von Siegen, a German officer who invented the mezzotint process in the 1640s (Evelyn corrected the error in his Numismata [1697]). It was through John Evelyn and his Sculptura that the mezzotint process came to be highly regarded as a technique for the graphic arts in England. However, Rupert and Evelyn conspired to keep details of the process secret, lest it be "prostituted" at too cheap a rate. Complete copies with the mezzotint are rare, since the print was often removed from the volume by print collectors. This copy was once in the collection of Charles Fairfax Murray (1849-1919), the noted English painter, dealer, collector, benefactor and art historian. Keynes, Evelyn 33. Wing E-3513. Wax, The Mezzotint: History and Technique (1990), pp. 21-22. .

  • Imagen del vendedor de SCULPTURA: Or the History, and Art of Chalcography and Engraving in Copper. To Which Is Annexed a New Manner of Engraving, or Mezzo Tinto, Communicated by His Highness Prince Rupert to the Author of This Treatise a la venta por Buddenbrooks, Inc.

    [Evelyn John]

    Publicado por London J. C. for G. Beedle, and T. Collins 1662, 1662

    Librería: Buddenbrooks, Inc., Newburyport, MA, Estados Unidos de America

    Miembro de asociación: ABAA ILAB SNEAB

    Valoración del vendedor: Valoración 4 estrellas

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    Original o primera edición

    EUR 18.615,23

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    EUR 33,80 Gastos de envío

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    VERY RARE FIRST EDITION, containing the FIRST MEZZOTINT printed in England and the first description in England of the Mezzotint process. With an engraved frontispiece after Evelyn, engraved arms on titlepage, full page engraving within the text, and (most importantly) a fold-out mezzotint, the first to be printed in England, "The Head of the Executioner" by Prince Rupert of the Rhine. 8vo, in an especially handsome binding of the Regency period of full dark chocolate morocco, the boards with a multi-ruled gilt panel with large elaborate acorn and flower cornerpieces within a large gilt ruled frame, the spine with beautifully ornate full gilt-tooled compartments separated by tall gilt ruled bands, two of the compartments gilt lettered, double-gilt-ruled board edges lead to wonderfully gilt tooled turn-ins featuring waves and flowers over finely marbled endpapers and fly leaves, a.e.g. [a1-b8], 148, [3] pp. A smashing copy of this rare and important work, the binding very handsome and in excellent condition, the text is solid and sturdy with just a light bit of uniform mellowing, quite minor, the folding mezzotint print is very fine. FIRST EDITION OF THIS VERY RARE AND HIGHLY IMPORTANT WORK IN THE HISTORY OF PRINTMAKING AND BOOK ILLUSTRATION. THE BOOK IS SINGULARLY FAMOUS FOR CONTAINING THE FIRST MEZZOTINT PRINTED IN ENGLAND AND THE FIRST DESCRIPTION OF THE PROCESS. This is given as the account of "A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert to the Author of this Treatise". Many believe Rupert, a cousin to Charles II who had played a part in the perfection of mezzotint process, authored or co-authored the account. Perhaps unintentionally, the book itself provides a dramatic demonstration of the significance of the new technique. When one compares the frontispiece (a finel copper engraved plate} with the Rupert 'mezzo tinto', the limitations of the former and the capabilities of the latter are clearly apparent. SCULPTURA would play a very significant role in the mezzotint technique becoming known and used in England where artists such as John Martin would further perfect the process. The mezzotint plate is rare as it was often removed from the book by printers, printmakers and collectors.