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Published by Pantianos Classics, 1764
ISBN 10: 1789871891ISBN 13: 9781789871890
Seller: GreatBookPrices, Columbia, MD, U.S.A.
Book
Condition: New.
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Published by Pantianos Classics, 1900
ISBN 10: 1789873916ISBN 13: 9781789873917
Seller: SecondSale, Montgomery, IL, U.S.A.
Book
Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.
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Published by Isha Books, 2013
ISBN 10: 9332866260ISBN 13: 9789332866263
Seller: Books Puddle, New York, NY, U.S.A.
Book
Condition: New.
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Published by LEGARE STREET PR, 2022
ISBN 10: 1015652913ISBN 13: 9781015652910
Seller: PBShop.store US, Wood Dale, IL, U.S.A.
Book Print on Demand
PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.
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Published by Legare Street Press, 2022
ISBN 10: 1015647669ISBN 13: 9781015647664
Seller: THE SAINT BOOKSTORE, Southport, United Kingdom
Book Print on Demand
Hardback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Published by Biblioteca del Cenide, 2001
ISBN 10: 8887669120ISBN 13: 9788887669121
Seller: Pendleburys - the bookshop in the hills, Llanwrda, United Kingdom
Book
hardback. Condition: Very Good. Dust Jacket Condition: Very Good. hardback, rectangular format, measuring 9 1/2" x 11 4/5", English text with Italian translation, the upper hinge is just showing signs of cracking but the binding remains strong, the dust wrapper well preserved, the text is clean and unmarked, b&w illustrations, 264pp. A heavy volume which may, if ordered from certain locations outside the United Kingdom, attract a request for additional postage.
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Published by [London]: Printed for the Author, 1764
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
First Edition
Condition: Good. Folio (536 x 365 mm. 20.75 x 14.5 inches). Later half morocco with 8 raised bands over decorative paper-covered boards; in fine condition. 23 leaves. [i-xii], [1]33 [34]p. I=LXI engraved plates incl. the frontispiece by Bartolozzi.Engraved frontispiece and 60 engraved plates on 54 sheets, some double-page and/or folding, printed list of subscribers; small area of dampstaining in the right margins of the text and less so in the plates; and light foxing throughout; a few plates cropped to the plate mark sometimes affecting captions or plate numbers, scattered marginal tears and repairs.First edition. An elaborate description of a rare private residence of the Imperial period, Diocletian, -- Emperor of Rome,-- 245-313.The Fowler Architectural Collectin, no. [2]:" The plates .are of interest not only as fine examples of architectural engraving but as showing the source of some of the motives of the Adam style." OCLC Numbers 228757007; 456750309.
Published by [London:] Printed for the author, 1764., 1764
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
First Edition
Folio (21 x 15 inches). Engraved frontispiece, numbered I, 60 engraved plates, numbered II - LXI, printed on 53 leaves by F. Bartolozzi, E. Rooker, F. Patton, P. Santini, A. Walker, D. Cunego, J. Bassire and Antonio Zucchi (a bit dusty, one or two spots). Disbound. First edition. Recently succeeding to his father's (William Adam) architectural practice, along with his brothers John and James, Robert set off on a Grand Tour to increase his understanding of the field and demonstrate his sensibility. He travelled to Dalmatia in July 1757 with his manservant Donald, his teacher Charles-Louis Clérisseau (largely responsible for the drawings), and two draftsmen. After a stay of a bit more than five weeks, he began his return trip to London, where he persuaded his cousin William Robertson to write the dedication and the preface for the book, while Clérisseau arranged for the engraving of his drawings in Venice. The resulting publication provides an elaborate description of a rare private residence of the Imperial period. Of this publication Edward Gibbon remarked (The Decline and Fall, chap. 12): "There is reason to suspect that the elegance of his designs and engravings has somewhat flattered the objects which it was their purpose to represent." Berlin Cat. 1893; Fowler 2; Millard, British 1. SOLD AS A COLLECTION OF PLATES. Catalogued by Kate Hunter.
Published by Printed for the Author, London, 1764
Seller: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.
First Edition
FIRST EDITION. 520 x 365 mm. (20 3/4 x 14 1/4"). iv, [8] (subscribers list), 33 pp. Attractive modern light green half morocco, gilt, by J. F. Newman of Dublin (his ticket on front pastedown), raised bands, spine panels with central patera ornament, two darker green morocco labels, reinforced hinges, edges untrimmed. WITH 61 SPLENDID ENGRAVINGS (14 plans and elevations, 47 views) ON 54 PLATES (eight double-page, six folding) by Bartolozzi and others. Front flyleaf with ink signature of Francis D. Bedford dated October 1886. Cicognara 3567; Fowler 2. â Spine sunned to a light olive shade, one corner bumped, one plate with a little browning along the fold, occasional mild marginal foxing or trivial smudges, but A FINE COPY--fresh, bright, and clean internally, with deep impressions of the type, rich impressions of the plates, and generous margins, in a binding with few signs of wear. This is an extremely appealing copy of one of the great architectural books of the 18th century, described by Cicognara as a "magnificent and grandiose work." Scottish architect Robert Adam (1728-92) was a product of the Scottish Enlightenment, and moved in intellectual circles that included historian William Robertson (who wrote the introduction here), David Hume, and Adam Smith. His interest in architectural drawing was stimulated by books in his father's extensive library, which DNB tells us contained "a working collection of illustrated architectural books in English, French, and Italian, and a series of manuals on architectural draughtsmanship." This curiosity developed into a passion during his 1755-57 tour of Italy, which "was in every way a period of intense professional training during which the skills learned in Scotland were tested and given an international gloss by the Roman circle in which he now moved." (DNB) At the center of this circle was French architect, antiquarian, and artist Charles-Louis Clérisseau (1721-1820), the leading authority on Roman antiquities and architecture, who introduced Adams to, among others, the great Piranesi. With Clérisseau as guide and tutor, he explored and sketched various sites before arriving at the un-surveyed fortress palace built by the former emperor Diocletian at Spalatro (the modern-day Croatian city of Split). Adam undertook a survey of the building and drew the architectural plans and elevations for this work, while Clérisseau sketched views of the ruins. Adam planned this book as a way of promoting his career as an architect, and worked with Clérisseau to have engravings made for it. According to Thom, "while the traditional plans, elevations and sections--what Robert Adam called the 'Geometricals'--were generally supplied by English engravers like Rooker, Patton and Walker, the all-important picturesque views and perspectives, which Adam thought were essential to convey the emotional impact of the remains of Diocletian's Palace, were engraved in Italy, mostly by Bartolozzi, Paolo Santini, and Zucchi." Adams also wrote the architectural commentary. The publication was a success, praised by the "Critical Review" in October 1864 as possessing "a taste and execution that has never been equalled in [England]." As DNB observes, "during these two Roman years Adam succeeded in transforming himself from a provincial and rather green Scottish architect into a cosmopolitan figure, ready indeed to put into effect 'the Antique, the Noble & Stupendous.'" Now based in London, he embarked on a distinguished career, specializing in country houses and townhomes that reflected the deep influence classical architecture and his Italian sojourn had on his work. Our copy was once owned by another artist, Francis Donkin Bedford (1864-1954), who exhibited landscapes at the Royal Academy and illustrated books during the Golden Age of children's book illustration in the late 19th and early 20th century.
Published by London For the Author, 1764
Book First Edition
First edition; folio (545 x 390 mm); 61 engraved plates on 54 sheets, many double-page or folding by Bartolozzi, Zucchi and others, subscription list, occasional light spotting; contemporary calf gilt, rebacked, corners repaired, boards rubbed, a very good example; iv, [viii], 33, [i] pp. travel2023 In July 1757, in company with the French architect C.L. Clerisseau and two other draughtsmen, Adam visited Spalatro (Split) in order to explore and measure the ruins of the great Palace of Diocletian. He seems to have been travelling with the intention of producing a book which would establish his reputation 'with a great puff' and apparently chose Spalatro because of its residential character, so different from the Greek and Roman architectural monuments being illustrated by his contemporaries such as Stuart and Revett, Wood, and Le Roy. Also, Adam had more natural artistic flair than his contemporaries, so that he included more views and flourishes than are to be found in those earlier works which seem a little dry in comparison. The text to this work was written by Adam's cousin William Robertson and Bartolozzi engraved the majority of the magnificent plates which accompany it. Other engravers included Zucchi, Santini and Cunego. The influence of this work could be seen in Adam's later work and in the work of other Neo-classicists. Millard British Books 1; Blackmer 3; Fowler p3; Berlin 1893; Cicognara 3567.
Published by PRINTED FOR THE AUTHOR,, (LONDON),, 1764
Seller: libreria antiquaria perini Sas di Perini, Verona, VR, Italy
In folio (mm 530x370); pagg. IV, (8), 33 (dedica al Re Giorgio III, lista dei sottoscrittori, introduzione, descrizione delle tavv.); frontespizio (tav. 1) inciso finemente in rame da Francesco Bartolozzi. Piena pelle coeva, dorso con sette nervi, titolo in oro su doppio tassello in rosso e nero, scomparti con ricchi fregi dorati. Piatti con doppio riquadro a merletto e cantonali in oro. Tagli e dentelle dorati.L'apparato iconografico di questa magnifica opera Ë il frutto di un atelier di insigni artisti italiani in collaborazione con altrettanti famosi intagliatori europei dell'epoca; le tavole sono stampate su carta forte con marca d'acqua (giglio fiorentino), tratte dai disegni per lo piu' di Charles-Louis Clerisseau, ed incise a Venezia elegantemente in rame da Bartolozzi, Zucchi, Santini, Rooker, Patton, Walker, Mazell, Basire e Cuneo. Si tratta di 61 incisioni in rame numerate, di cui 7 a doppia pag. e 7 pi? volte ripieg. Complessivamente 14 sono vedute, incluso il frontespizio, fra cui una a doppia pag. "General plan of the town and fortifications of Spalatro."; Spalato; Porta Aurea; Porta Ferrea; Crypto-Porticus; peristilio del Palazzo; interno del Vestibulum; tempio di Jupiter; entrata e interno di questo tempio; l'acquedotto; tempio di Aesculapius; le restanti tavole sono la summa descrittiva dei fregi e componenti architettonici del palazzo: piante, spaccati, sezioni, bassorilievi, particolari, archivolti, consoles, porte, capitelli, fregi, cornici, la sfinge, ecc. Prima edizione di questa rara e affascinante opera di difficile reperibilit? a trovarsi completa. L'autore architetto scozzese (1728- 1792), uno dei maggiori esponenti del Neoclassicismo; per Adam l'adozione delle forme classiche nonchÈ tutti gli elementi che possono essere rielaborati e riproposti nella progettazione e arredo delle moderne abitazioni, passÚ attraverso la diretta riscoperta dell'antichit? e delladecorazione romana e pompeiana. Si dedicÚ a quest'opera dopo aver intrapreso un viaggio nel 1757 a Spalato in compagnia del celebre artista francese Clerisseau, che lo accompagnÚ per disegnare le rovine del palazzo di Diocleziano. Questo lavoro, come precisa Adam, Ë " la prima casa di abitazione privata romana ad essere illustrata e descritta".Ottimo esemplare, lievissime ossidazioni marginali. Provenienza: John Peyto Verney, Lord Willoughby de Broke; Robert John Verney, Lord Willoughby de Broke.Fowler Collection, n. 2. "are of interest not only as fine examples of architectural engraving but as showing the source of some of the motives of the Adam style. The frontispiece, a composition of ruins and landscape with figures, is by F. Bartolozzi"Cicognara,3567: "Opera magnifica e grandiosa ove forse con soverchia liberta' l'arte del disegnatore aggiunse bellezza ad opere scolpite nel momento della decadenza delle arti"; Brunet, I, 46: "ouvrage bien execute, peu commun"; Berlin Cat.,1893; Diz. Treccani,I, p. 96 "L'architetto Robert Adam (Edimburgo 1728 - Londra 1792) viaggiÚ durante 4 anni, visitando specialmente l'Italia ove conobbe Piranesi. A Spalato eseguÏ studi e disegni delle rovine del Palazzo di Diocleziano e li pubblico' nel 1764. Tornato in patria, dal 1764 al 1768 fu architetto di Giorgio III e della regina. Esegui' numerosi lavori per la trasformazione o la costruzione di palazzi signorili sia a Londra che fuori della capitale (con il castello di Culzen anticipo' il gusto del secolo successivo per il finto gotico). Lo stile di Adam, per l'abile applicazione alle tradizioni inglesi dei motivi importati dalla Grecia e da Roma, costituisce una delle prime e pi? riuscite attuazioni del neoclassicismo".Graesse I p. 18; Valentinelli, Bibl. delle Dalmazia e del Montenegro p. 158.