Le Loggie di Raffaello al Vaticano
Dovizielli, Pietro
Sold by Földvári Books, Budapest, Hungary
Association Member:
AbeBooks Seller since 11 May 2011
Used - Hardcover
Ships from Hungary to U.S.A.
Quantity: 1 available
Add to basketSold by Földvári Books, Budapest, Hungary
Association Member:
AbeBooks Seller since 11 May 2011
Quantity: 1 available
Add to basketFirst edition. Comprising 52 albumen prints after Raphael s Logge. Prints of varying size: most ca. 40 × 32 cm; eight large-format plates ca. 55 58 × 42 cm, covering nearly the full leaf; and six smaller ca. 35 × 28 cm. Mounted on card leaves. Captions consist of printed slips mounted beneath each image, giving titles in French and Italian, accompanied by a Latin biblical quotation, each plate numbered. Some plates bear the blindstamp "Établissement Photographique, P. Dovizielli, Rome, Rue Babuino 135" at the lower right corner. Large folio (ca. 62 × 48 cm). Contemporary imitation vellum over boards, gilt double fillet border and corner ornaments, upper cover gilt-lettered "Le Loggie di Raffaello al Vaticano". Three brass clasps and catches (only one intact). Spine gilt-tooled. All edges gilt. Original white moiré paper endpapers. 52 plates. Extremely scarce complete set of 52 plates the first photographic reproductions of Raphael s Logge in the Vatican by the Italian pioneer photographer Pietro Dovizielli. This monumental album represents the first photographic reproductions of Raphael s Vatican Logge, executed by Pietro Dovizielli with official authorization granted on 15 November 1866. The Logge, decorated between 1517 and 1519 under Leo X, are among Raphael s greatest achievements in Rome, a continuous fresco cycle of biblical scenes and ornamental grotesques conceived as a modern counterpart to the Vatican Stanze. Issued in 1867 as a complete series of 52 large-format plates the "quaderni fotografici" the project was conceived as a methodical, progressive collection intended to make photography an "auxiliary of art" through systematic documentation. The unusually grand scale of the prints (most ca. 40 × 32 cm, with some sheets extending to nearly 60 × 42 cm) gave viewers an unprecedented opportunity to study the details of Raphael s frescoes outside the Vatican, a feat almost impossible to achieve from engravings or on-site inspection alone. As one of Raphael s most celebrated Vatican cycles, the Logge were already central to his legacy, and the combination of their subject matter with Dovizielli s strikingly large and precise photographs made the achievement immediately evident to contemporaries. The set was presented at the Paris Exposition Universelle of 1867, where it earned a bronze medal, and was immediately recognized as the definitive photographic record of Raphael s Vatican decorations. A pioneering project that placed photography at the center of Vatican art-historical documentation, the Vatican Museums themselves today acknowledge Dovizielli as the pioneer of Vatican photographic campaigns on Raphael, noting that his work inaugurated a tradition later carried on by the Alinari, Anderson, Brogi, Moscioni, and others (Di Giammaria, 2020). The album is extremely scarce. We could trace no other copies in institutional holdings, nor any record in the market besides the present one. Surviving Dovizielli photographs of Rome or the Villa Farnesina are held in collections Museo di Roma (Archivio Fotografico, Giglioli donation), Fondo Becchetti at the ICCD, the Biblioteca Apostolica Vaticana (Gabinetto della Grafica), ICCD Fototeca Nazionale, the Getty Research Institute, and the Royal Collection Trust (where his Farnesina photographs, including the Triumph of Galatea, entered Prince Albert s Raphael Collection). But this complete Vatican Logge series appears to have virtually disappeared. Its rarity may in part be explained by its high original cost: already in 1855 critics complained of Dovizielli s prices, noting prints at 6 francs each equivalent to roughly 450 USD today (McPhee & Faietti, 2022). Born in Rome in 1809, Pietro Dovizielli (1809 1885) began as an art-supply dealer on Via del Babuino, his shop frequented by painters from nearby Via Margutta. Influenced by his friend Augusto Castellani, he experimented with daguerreotype and calotype before adopting collodion in 1851. His shop became a meeting.
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