Printed Books, Maps & Documents (SEP19) Lot

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Printed Books, Maps & Documents (SEP19) Lot

Printed Books, Maps & Documents (SEP19) Wed, 11th Sep 2019 Viewing: Tuesday 10 September 2019 from 9.00am to 6.00pm and on the day of the sale from 9.00am onward. Lot 356 Estimate: £700 - £1000 + Fees Aquila (Pietro). Galeriae Farnesianae [bound with:] Deorum Concilium, Rome, 1674-5 Aquila (Pietro). Galeriae Farnesianae Icones Romae in aedibus Sereniss. Ducis Parmensis ab Annibale Carracio ad veterum aemulatione posterumq. admiratione coloribus expressae cum ipsarum monocromatibus et ornamentis a Petro Aquila delineatae incisae, 1st edition, Rome: Giovanni Giacomo de Rossi, [c.1674], etched title-page, 24 etched plates by Pietro Aquila including dedication, allegorical plate and portrait of Carracci after Carlo Maratta (all unnumbered), and 21 plates after Annibale Carracci (numbered 1-21), all except numbers 11 and 13 double-page and mounted on guards, a little light spotting and dust-soiling, slightly stronger to plate 21, faint tide-mark to upper outer corners never affecting images, bound with: ibid., Deorum Concilium in Pincis Burghesianis hortis ab Ioanne Lanfranco Parmensi tum spirantibus ad vivum imaginibus tum monocromatibus atque ornamentis mira pingendi arte expressum, a Petro Aquila ad similitudinem delineatum et incisum expressum, 1st edition, Rome: Giovanni Giacomo de Rossi, [c.1675], etched title-page, 8 etched plates by Pietro Aquila after Giovanni Lanfranco (numbered 2-9 in manuscript to margins of plate- marks, plates 2 and 3 forming a single overview of the whole ceiling), all double-page and mounted on guards, dust- soiling, guards renewed, a few stains to title-page, 2 plates with short closed tears to bottom edge of central fold not affecting image, marginal tear to plate 6 (numbered 7), the corresponding right-hand panel laid onto thicker paper at an early date, plate 8 (numbered 9) similarly laid down, later marbled boards, green vellum spine, vellum tips, sides rubbed, wear to extremities, large folio (46.3 x 36 cm) Qty: 1.

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Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676.
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