Michelangelo

Michelangelo — marelibri

MICHELANGELO Ghisi, Giorgio (1520-1582), after Marcello Venusti (ca 1512-1579)ABAA

Portrait of Michelangelo Buonarroti

1564ref. 4839No place: no printer no date after 1564. SOLE STATE. Hardcover. Fine. Watermark unidentified partly obscured by the image. A good impression trimmed just within the image "Georgius Mantovanus Fecit" lightly written in ink next to Ghisi's monogram. Verso soiled early crease visible on verso only. With stippling still visible in the face but no visible ruling in the inscription. Early impressions are rich with sharp contrasts much stippling on the face and ruled guidelines for the letters of the inscription below. In late impressions the stippling has disappeared and the ruled lines are no longer visible. While partly obscured the watermark does not correspond to any of the three described and illustrated by Boorsch et al. p. 139. In the tablet beneath the portrait: "MICHAEL ANGELVS BONAROTA/ TVSCORVM FLOS DELIBATVS/ DVARVM ARTIVM PVLCHERRIMARVM/ HVMANAE VITAE VICARIARVM/PICTVRAE STATVARIAE QVE/ SVO PENITVS SAECVLO EXTINCTARVM / ALTER INVENTOR FACIEBAT" Trans. "Michelangelo Buonarroti the picked flower of the Tuscans in the two most beautiful imitative arts of human life painting and sculpture which perished altogether with his age. Another artist made it." Below this is Ghisi's monogram Georgius.Mantovanus.Fecit. "Only a few actual portraits were made of the great sculptor painter and architect Michelangelo 1475-1564. Ghisi's engraving is based on Marcello Venusti's version of a portrait painted by Jacopino del Conte. Both the original painting now in Casa Buonarroti Florence and Venusti's version of it Capitoline Museum Rome were made about 1545. "Ghisi's print shows Michelangelo at about seventy when the paintings of the Sistine Ceiling were more than thirty years behind him. He had recently finished The Last Judgment and he had accepted at the insistence of Pope Paul III the post of chief architect of St. Peter's. How Ghisi saw Venusti's portrait or a drawing after it is unknown but as Venusti had strong ties with Mantua and as Ghisi had probably used a drawing by Venusti for his engraving of The Last Judgment we can assume that there was an avenue of communication between the two artists. The ornamental frame in the print may well reproduce the one that held the painting. "Because the Rossi in the seventeenth century and then later the Calcografia Nazionale issued impressions from this plate with impressions from The Last Judgment d' Arco and subsequent Italian writers up to Massari have stated that the portrait is the frontispiece for The Last Judgment. Furthermore Pittaluga Rotili and Perina say that both the portrait and The Last Judgment were made in 1556. "The Last Judgment however is certainly earlier and the inscription on the plate of the Portrait seems to indicate that Michelangelo was dead when the engraving was made. His death occurred on February 18 1564. Further the style of this engraving supports the hypothesis that it was made in the mid-156os; certainly Ghisi's technique and style here are far more developed than in The Last Judgment. Finally the watermarks show that the paper on which the earliest impressions were printed was made in the north. In fact early impressions have the same watermarks as are found on early impressions of the engravings based on the ceiling paintings by Primaticcio. Like the plates for those engravings the plate for the Portrait of Michelangelo traveled to Italy and later impressions were printed on Italian paper. The plate itself never received a publisher's address although it is clear it was in the hands of the Rossi family before it passed to the Calcografia Nazionale."Boorsch Lewis and Lewis The Engravings of Giorgio Ghisi no. 39 p. 139-141. no printer, no date, after hardcover books

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Michelangelo Buonarroti (1475-1564), artist Beatrizet, Nicolas (ca 1515-1565), or Cornelis Bos (c 1506/10 - before 7 May 1555),ABAA

Moses. From the Tomb of Pope Julius II

1550ref. 5044Rome: ca 1550. SECOND STATE of three with the addition of "Romae" incised at lower right. Hardcover. Fine. A very fine example with high contrast of this rare print. This is the first published engraving dedicated to Michelangelo's Moses and one of only two made in the 16th century. The funerary monument of Julius II occupied Michelangelo in various phases from 1505 to the 1540s. Prints of the entire monument are few. In them the figure of Moses is necessarily reduced in size and imperfectly executed. Later prints of the statue in isolation such as that by the Netherlandish artist Jacob Matham 1571-1631 in which the figure is shown in reverse fail to match the standard set by this early engraving. The inscription reads: Moysis ingens ex marmore simulacrum in Julij Secundi/ Pontificis Maximi ad petri in Exquilijs uincula sepulcro / præstanti Michaelis Angeli Bonarotae manu fictum. The immense marble statue of Moses in the Church of San Pietro in Vincoli on the Esquiline Hill sculpted by the hand of Michelangelo Buonarroti for the tomb of Pope Julius II. Michelangelo's design for the tomb of Pope Julius II with the master's iconic figure of Moses was originally intended for St. Peter's but was ultimately installed in the church of San Pietro in Vincoli in Rome. The work was commissioned by Pope Julius in 1505 at which time Michelangelo received an initial payment of 100 gold ducats but was not completed until March 1545. Michelangelo re-worked his initial design numerous times first in 1513 after Julius' death and again in 1516 1525/1526 1532 and 1542. The final monument includes three figures carved by Michelangelo: the aforementioned Moses and Leah and Rachel symbols respectively of the active and contemplative life. Michelangelo's sculptures of the dying and rebellious slaves now in the Louvre and the Genius of Victory Palazzo Vecchio Florence were not used in the final design. On the second tier of the monument as it stands is an effigy of the reclining Julius II attributed to Tommaso di Pietro Boscoli 1503-1574 but with the face possibly the work of Michelangelo watched over by the Madonna and Child carved by Alessandro Scherano di Settignano after a model by Michelangelo and flanked by a sibyl and a prophet; these last two sculptures were carved by Michelangelo's pupil Raffaello da Montelupo ca. 1504-ca. 1567. "The engraving reproduces accurately in the same direction and without substantial variations the sculpture of the tomb of Julius II identifying the light source at the top left. The work attributed by Bottari to Beatrizet Heinecken 1768 was treated as anonymous by Heinecken in the Nachrichten of 1768 but later included by him in the list of Beatrizet's works Dictionnaire 1788. Nagler recorded it both under the monogram of Cornelis Bos and as the work of Beatrizet. Appearing in the Hollstein repertoire as Bos it was subsequently treated among works of doubtful attribution both of Bos Schéle 1965 and of Beatrizet Bianchi 2004. "Due to the fact that copies of this print are found in volumes of Roman composition on the model of the Speculum Romanae Magnificentiae El Escorial; Madrid Biblioteca Nacional; both datable between the mid-1580s and the 1590s one would be led to believe that the plate was engraved in Rome where in the last decade of the 16th century it was acquired by Van Aelst. This does not however exclude Cornelis Bos as a possible author since more than one of his plates is known to bear a Roman address in late editions even if it makes it more likely -in our opinion- the identification with a Flemish engraver active in Italy. In the sparse and luminous texture and in the clean geometries one could also perceive the burin of Niccolò della Casa."Alberti Rovetta and Salsi "D'après Michelangelo"2015 p. 219 ff. ca hardcover books

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(MEMORY). BIONDO, MICHELANGELOABAA

DE MEMORIA LIBELLUS IN QUA NON TAM DOGMATA QUAM ET PRAESIDIA PRAESTANTISSIMA NARRANTUR

1545ref. ST19432bVenetiis Venice: Giovanni Antonio & Pietro Nicolini da Sabbio 1545. FIRST EDITION. 152 x 97 mm. 6 3 3/4". 20 leaves. Modern rose and cream-colored marbled paper boards. Verso of title page stamped in red ink: "Duplicate / ex-libris Bernard Zufall." Young "Bibliography of Memory" p. 34. ◆Paper boards lightly soiled negligible foxing to a couple of leaves but a fine copy clean and fresh in a sturdy binding. This rare work on the preservation of memory offers advice to those seeking to optimize their cognitive functions providing guidance about the best foods to eat and avoid the best days and times for recollection according to the planetary hours and most interestingly recipes to calm the mind and boost one's memory. This last section includes several formulas for various drams salves and confections that incorporate ingredients such as gingers cinnamon coriander and rosemary. The compact size of this work suggests that it was meant to be portable and consulted frequently; our copy however has obviously been very little used and consequentially is extremely well preserved. Italian physician and polymath Michelangelo Biondo or Blondus 1497-1565 was the author of at least two dozen works on a variety of subjects including art astronomy rhetoric medicine cognition and philosophy. The present copy comes from the library of magician and memory expert Bernard Zufall 1894-1971 known as the "Human Encyclopedia." Zufall amassed the largest known collection of books on mnemonics in excess of 1000 titles which except for duplicates like the present work he donated to Yale University. This appears to be a genuinely rare book: RBH records just one copy at auction selling at Lyon and Turnbull in 2015 for 1000 approximately $1640 all in. Giovanni Antonio & Pietro Nicolini da Sabbio unknown books

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Michelangelo; Salmi, MarioABAA

The Complete Work of Michelangelo

ref. 2354230New York: Reynal and Company in association with William Morrow and Company 1966. First Edition. Large Hardcover. Near Fine/Near Fine. 15x11x2. First edition. Spine leans forward slightly a couple tiny blemishes to edges. 1966 Large Hardcover. 597 pp. 32 plates in full color numerous black-and-white reproductions throughout. "Michelangelo di Lodovico Buonarroti Simoni March 6 1475 - February 18 1564 commonly known as Michelangelo was an Italian Renaissance painter sculptor architect poet and engineer. Despite making few forays beyond the arts his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man along with his rival and fellow Italian Leonardo da Vinci. Michelangelo's output in every field during his long life was prodigious; when the sheer volume of correspondence sketches and reminiscences that survive is also taken into account he is the best-documented artist of the 16th century. Two of his best-known works the Pieta and the David were sculpted before he turned thirty. Despite his low opinion of painting Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. Later in life he designed the dome of St. Peter's Basilica in the same city and revolutionised classical architecture with his use of the giant order of pilasters. In a demonstration of Michelangelo's unique standing he was the first Western artist whose biography was published while he was alive. Two biographies were published of him during his lifetime; One of them by Giorgio Vasari proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino 'the divine one'. One of the qualities most admired by his contemporaries was his terribilita a sense of awe-inspiring grandeur and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in the next major movement in Western art after the High Renaissance Mannerism. Michelangelo was a profound perfectionist. If he found the tiniest flaw in one of his works he considered it ruined. Reynal and Company in association with William Morrow and Company hardcover books

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Michelangelo; Salmi, MarioABAA

The Complete Work of Michelangelo

ref. 2304492New York: Reynal and Company in association with William Morrow and Company 1966. First Edition. Large Hardcover. Near Fine/Very Good. 15x11x2. First edition. Near fine in very good jacket. Edge wear on jacket spine faded 1/2 inch closed tear on jacket corner. Binding tight and square pages clean bright and unmarked. 1966 Large Hardcover. 597 pp. 32 plates in full color numerous black-and-white reproductions throughout. "Michelangelo di Lodovico Buonarroti Simoni March 6 1475 - February 18 1564 commonly known as Michelangelo was an Italian Renaissance painter sculptor architect poet and engineer. Despite making few forays beyond the arts his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man along with his rival and fellow Italian Leonardo da Vinci. Michelangelo's output in every field during his long life was prodigious; when the sheer volume of correspondence sketches and reminiscences that survive is also taken into account he is the best-documented artist of the 16th century. Two of his best-known works the Pieta and the David were sculpted before he turned thirty. Despite his low opinion of painting Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. Later in life he designed the dome of St. Peter's Basilica in the same city and revolutionised classical architecture with his use of the giant order of pilasters. In a demonstration of Michelangelo's unique standing he was the first Western artist whose biography was published while he was alive. Two biographies were published of him during his lifetime; One of them by Giorgio Vasari proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino 'the divine one'. One of the qualities most admired by his contemporaries was his terribilita a sense of awe-inspiring grandeur and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in the next major movement in Western art after the High Renaissance Mannerism. Michelangelo was a profound perfectionist. If he found the tiniest flaw in one of his works he considered it ruined. Reynal and Company in association with William Morrow and Company hardcover books

Yesterday's Muse Books · Estados UnidosUS$ 45,00≈ € 40,20

Michelangelo

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