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"A Collection of One Hundred and Twenty-nine Fac-Similes of Scarce and Curious Prints, by Early Masters of the Italian, German, and Flemish Schools; illustrative of The History of Engraving, from the Invention of the Art, by Maso Finiguerra, in the middle of the Fifteenth Century, with Introductory Remarks, and a Catalogue of the Plates. By William Young Ottley, F.A.S., member of the Society of Arts ans Sciences at Utrecht"
London: Published for the Proprietor, and sold by Longman, Rees, Orme, B, 1828 London: Published for the Proprietor, and sold by Longman, Rees, Orme, Brown, and Green, 1828. . Contemporary half vellum. VG+. "[Complete record available in Castillan, English and French / Descripción completa disponible en castellano, inglés y francés / La notice complète est disponible en castillan, anglais et français ] // Folio, (374x282mm.); Engraved frontispiece, 2 leaves, XXXVI, XXV, [1white] p., [82] engraved leaves with 132 engravings depicting 165 images; sign.; [3], B-Q2, [R], [82].- Some of the engravings, printed over fine India paper, show that India papers were previously glued to the large size leaves before going under the rolling press..- // Contemporary English half vellum binding with corners, with spine label in leather gilt; rubbed board fore edges; two bump marks with a tear on the front joint. All the silver reproductions of the niellos keep their protective tissue. As in all copies, some foxing on several of the facsimiles leaves whitout affecting the images, except for four of the fourteen leaves that depict playing cards, where several facsimiles of the cards are affected.- // Prov.: Ex-libris glued on the front endpaper, Paul Marceau..- // Exquisite samples of engravings from the 16th century. If the tirage of this work was already reduced and privately printed, the copy we are describing is one of the scarce copies published on large paper where Ottley reproduced the engravings in  nielli style by printing them on  silver leaf , imitating the original production. The name  nielli is derived from a technique that was traditionally used in goldsmith workshops, where the gap left between the silver filigrees was filled with a black enamel, the niello, made of silver, plumb and sulphur, to highlight the filigrees. A great collector of Italian Renaissance art, especially of engravings and painting, William Ottley lived in Italy between 1791 and 1798, and during this period he acquired part of his impressive collection -the origins of which were occasionally linked to the Napoleonic invasion. A lover and scholar of engravings and of the diverse techniques that could be used in them, he saw his dedication rewarded at the end of his life, when in 1833 he was appointed the king s  Keeper of the Prints and Drawings . Several years earlier, when conceiving the publication of this work, he imagined it as an exquisite selection of 300 engravings, which he would present in the form of facsimiles distributed across three volumes. The first one saw the light of day in 1826 under the title of  A collection of fac-similes of scarce and curious prints, by the early masters..., in the middle of the fifteenth century, to the end of the century following, ... Vol. 1.- London: Published for the proprietor; and sold by Longman, ... Printed by J. M Creery, 1826 (1). This first volume, however, didn t have a continuation and in 1828, another work appeared, to which this copy corresponds, where the one hundred engravings reproduced became 129, increasing thus from 20 to 26 the pages of their preceding catalogue. On this work Bigmore noted that it could almost be said that  this beautiful work may fairly be stated to be unpublished, as very few copies were ever distributed, and these chiefly as presents to the friends of Mr. Ottley. The volume forms an appropiate supplement to the History of engraving (2), with which it is uniform in size, typography, etc. The large paper copies have the facsimiles of the Nielli printed on silver, in exact imitation of the very valuable originalsm, a duplicate being given on India paper""(3). From the copies we have been able to access, as well as from the different descriptions that appear in catalogues of the period and in libraries, our sensation is that Ottley only printed the entire volume on one occasion, in 1826, on two types of paper. And that in 1828, having renounced to the completion of his project and upon deciding to complete the first one hundred facsimiles with twenty nine more, he would have had printed, on the two types of paper previously used, a new front cover, the six additional pages of the catalogue, and the additional engravings [eliminating the loose page [R]). With the novelties then printed, he would replace booklet A with the old front cover, and the notice of the old work plan with a new one, with the new front cover and dedication, redistributing the facsimiles so that, instead of offering 100 engravings over 66 folios, he would now offer 129 over 82.- // (1) Its pagination was Frontispiece, [6], XXXVI, XX, [1] p., [100] engraved leaves.- (2) Ottley, William Young (1816): An Inquiry Into the Origin and Early History of Engraving Upon Copper and in wood.- 2 vols.- London: printed for John and Arthur Arch by J. McCreery. (3) Bigmore, E. C. & Wyman, C. W. H. (1880-1886): A bibliography of printing: with notes and illustrations.- 3 vols.- London: Bernard Quaritch.- // Refs.: Bigmore & Wyman, II, p. 98; Quaritch (1868), 11040; Stirling, p. 99. "
      [Bookseller: Biblio Andarto B. S.L.]
Last Found On: 2016-09-16           Check availability:      Biblio    

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