Raccolta di Santi Padri nel deserto disegnati, e intagliati dal celebre pittore Giovañi Luigi Valesio…
| Reference: | S0069 |
| Author | Francesco VALEGIO |
| Year: | 1768 |
| Measures: | 210 x 300 mm |
€1,500.00
| Reference: | S0069 |
| Author | Francesco VALEGIO |
| Year: | 1768 |
| Measures: | 210 x 300 mm |
€1,500.00
Description
Raccolta di Santi Padri nel deserto disegnati, e intagliati dal celebre pittore Giovañi Luigi Valesio…ad uso de’ pittori, e dilettanti ed ora dedicati alla gloriosa martire Santa Pazienza da Luigi Guidotti Libraio, e Stampatore in rame / In Bologna sotto le Scuole all’insiegna di S. Filippo Neri l’anno MDCCLXVIII
Engraved frontispiece with image of Saint Patience, engraved title page within decorative frame, second engraved title page with title "Illustrium Anachoretarum Elogia sive Religiosi Viri Musaeum auctore D. Iacobo Cavagio Patavino, Monaco Benedictino Congrer. Casinen."; bird's eye view of Bassano del Grappa, 30 engraved plates, numbered 1-30, depicting portraits of hermit saints, each with Latin verses at the bottom and bearing the imprint "Guidotti for. in Bologna". Sporadic and light foxing to white margins, very good copy.
Modern binding in half leather with corners and marbled paper, in excellent state of preservation.
The view of Bassano del Grappa, taken from the monastery of San Fortunato, is the first engraved view of Bassano and its landscape.
The plates of Francesco Valesio, including the bird's eye view of Bassano del Grappa, appeared for the first time in the Illustrium anachoretarum elogium of Giacomo Cavaccio published in 1625, whose frontispiece - bearing in the foreground the figures of Saints Gallus, Benedict, Romuald and Gualbert, silhouetted against a rocky backdrop in which the abbeys of Monte Cassino and Santa Giustina can be glimpsed -. is inserted in our copy after the first title page.
“I vividi e possenti ritratti degli anacoreti, atteggiati in pose diverse, campeggiano entro scenografici fondali montani, collinari, lacustri, sullo sfondo di città turrite o di bicocche diroccate, in un procedere narrativo e fiabesco di grande suggestione,che incita all’imitazione e alla devozione privata. Il modello è chiaramente nordico e deriva dalla Solitudo sive vitae patrum eremicolarum dei fratelli Johann e Raphael Sadeler, su inventio di Marten de Vos. […] Le illustrazioni del volume di Cavaccio, nella redazione di Valesio, ebbero un’enorme diffusione, sia in forma di fogli sciolti, spesso acquerellati, sia rilegate in edizioni successive, come quella pubblicata a Bologna nel1763 dal libraio Luigi Guidotti, in cui le immagini vengono erroneamente attribuite a Giovanni Luigi Valesio.”
Francesca Cocchiara, In Spadaria al segno della Sorte: Francesco Valesio e l'editoria calcografica a Venezia tra Cinque e Seicento, in 'Venezia Cinquecento', XXI, 2011, 42, (pp. 149-228), p. 179.
Francesco VALEGIO (1570 ca. – 1643 ca.)
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Francesco Valegio engraver and printer, active between 1570 and 1643 ca According to Gori Gambellini, was born in Bologna in 1560, while the Salsa, taking up the study of Zari, validating the source of Verona, including as regards the date of his death, apparently took place in Verona around 1641 to 1643 approximately (U. Thieme - Becker F.). His activity as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Dorino Catarino (or Doino) with which reissued the map of Venice by Franco in 1574 and a plant in Vicenza in 1611. It should also be reminded of a paper of the Duchy of Savoy, first published by Ferrante Bertelli in 1562, the date was later revised edition in 1600 and with execudit Donato Rasicotti and Francesco Valegio.
With the example of this and other prints, including maps, the Almagia Valegio claimed that he had released a large number of fakes and reproductions of works by other engravers.
The most challenging part of the cartographic work Valegio is the "Collection of the most illustrious et famous cities around the world," the tables in the corpus are not dated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota Sibenik, where it appears the year 1572. The plants and views that have the signature of the Rota are the oldest part of the collection and are likely to conclude that the editorial project has been started dall'incisore the early '70s of the sixteenth century and left unfinished in 1573 as a result of its Transfer to Vienna as court portraitist. The presence of such cards has led to the work dating to 1579. However, a date well in advance referring to the entire collection, it would seem highly unlikely in that it goes counter to the biographical data of Valegio (on that date would have been little more than 15 years) wanted to pursue the study of the Salsa and also many of the images are influenced by models in the first volumes of figurative Civitates Orbis Terrarum by Georg Braun and Frans Hogenberg, published between 1572 and 1588.
Throughout the collection of engravings, namely 112, bear the signature or initials of Valegio, which without any doubt can be attributed to the authorship of the entire work. The expansion of the number of images, from 270 to 322, the net change of the hand and artistic quality of the engraving, the sizes of the specimens, leading to think that the volume has had a long gestation and articulate. Copies present in Rome, Florence and London are composed of a variable number of boards 234 and 250 and contain all three units of the 112 cards signed by Valegio. The images are part of these collections are the oldest part of the Collection for which it is engraved with the famous title page. In the years that followed were recorded by a completely different hand, much more coarse and imprecise, 69 maps and views that differ from the previous series for a different layout, all bearing a white stripe at the bottom (18 mm), in which often, but not always appear in titles or descriptions of the cities represented in the image. Copies of these characteristics are those preserved in Venice, Florence and Washington.
In difficult times to be specified with a date, but certainly to be placed first edition edited by Rasicotti the Valegio in circulation a new cover, entitled Collection Dile most famous cities of Italy, this time addressed to the local market, in many collection only collects the views of Italian cities. 'S full copy of all images is sold later by the publisher of Venetian origin Rasciotti Donato, publisher of other maps of cities in the late sixteenth century. A plan of 1599, representing Brescia, calls himself "Donald Rasciotti in Venetia to the bridge of Barettari" while in the theater of the most illustrious et famous cities in the world has the address "A Bridge To Venetia Bare.ri"
The original branches of Velegio Francis had a long life and find them printed again in 1713, Savonarola in the work of Raphael (also known as Alfonsus LaSor Varea A, 1680 -1748) Universus Terrarum Orbis.
The Valegio represents a very significant figure in the horizon editorial copperplate of Venice at the turn of the century. According to the sauce, the criticism has been strongly oriented to a purely aesthetic assessment, which has long neglected "the multifarious activities of this interesting and eclectic set of copperplate engraver and publisher.
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Francesco VALEGIO (1570 ca. – 1643 ca.)
|
Francesco Valegio engraver and printer, active between 1570 and 1643 ca According to Gori Gambellini, was born in Bologna in 1560, while the Salsa, taking up the study of Zari, validating the source of Verona, including as regards the date of his death, apparently took place in Verona around 1641 to 1643 approximately (U. Thieme - Becker F.). His activity as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Dorino Catarino (or Doino) with which reissued the map of Venice by Franco in 1574 and a plant in Vicenza in 1611. It should also be reminded of a paper of the Duchy of Savoy, first published by Ferrante Bertelli in 1562, the date was later revised edition in 1600 and with execudit Donato Rasicotti and Francesco Valegio.
With the example of this and other prints, including maps, the Almagia Valegio claimed that he had released a large number of fakes and reproductions of works by other engravers.
The most challenging part of the cartographic work Valegio is the "Collection of the most illustrious et famous cities around the world," the tables in the corpus are not dated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota Sibenik, where it appears the year 1572. The plants and views that have the signature of the Rota are the oldest part of the collection and are likely to conclude that the editorial project has been started dall'incisore the early '70s of the sixteenth century and left unfinished in 1573 as a result of its Transfer to Vienna as court portraitist. The presence of such cards has led to the work dating to 1579. However, a date well in advance referring to the entire collection, it would seem highly unlikely in that it goes counter to the biographical data of Valegio (on that date would have been little more than 15 years) wanted to pursue the study of the Salsa and also many of the images are influenced by models in the first volumes of figurative Civitates Orbis Terrarum by Georg Braun and Frans Hogenberg, published between 1572 and 1588.
Throughout the collection of engravings, namely 112, bear the signature or initials of Valegio, which without any doubt can be attributed to the authorship of the entire work. The expansion of the number of images, from 270 to 322, the net change of the hand and artistic quality of the engraving, the sizes of the specimens, leading to think that the volume has had a long gestation and articulate. Copies present in Rome, Florence and London are composed of a variable number of boards 234 and 250 and contain all three units of the 112 cards signed by Valegio. The images are part of these collections are the oldest part of the Collection for which it is engraved with the famous title page. In the years that followed were recorded by a completely different hand, much more coarse and imprecise, 69 maps and views that differ from the previous series for a different layout, all bearing a white stripe at the bottom (18 mm), in which often, but not always appear in titles or descriptions of the cities represented in the image. Copies of these characteristics are those preserved in Venice, Florence and Washington.
In difficult times to be specified with a date, but certainly to be placed first edition edited by Rasicotti the Valegio in circulation a new cover, entitled Collection Dile most famous cities of Italy, this time addressed to the local market, in many collection only collects the views of Italian cities. 'S full copy of all images is sold later by the publisher of Venetian origin Rasciotti Donato, publisher of other maps of cities in the late sixteenth century. A plan of 1599, representing Brescia, calls himself "Donald Rasciotti in Venetia to the bridge of Barettari" while in the theater of the most illustrious et famous cities in the world has the address "A Bridge To Venetia Bare.ri"
The original branches of Velegio Francis had a long life and find them printed again in 1713, Savonarola in the work of Raphael (also known as Alfonsus LaSor Varea A, 1680 -1748) Universus Terrarum Orbis.
The Valegio represents a very significant figure in the horizon editorial copperplate of Venice at the turn of the century. According to the sauce, the criticism has been strongly oriented to a purely aesthetic assessment, which has long neglected "the multifarious activities of this interesting and eclectic set of copperplate engraver and publisher.
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