[RAPHAEL (after)]; CONTINENTAL SCHOOL:Biblio.com
21 452 résultats
1850réf. 1791Original artwork. c.1850. Tondo watercolour and gilt painting on paper after Raphael's ceiling fresco representing 'Philosophy' depicting an allegorical female figure sat upon an elaborate marble throne with carved ancient symbols her clothes decorated with different designs emblematic of the four elements air fire water and earth in her hands are two books signifying the two main fields of her discipline: 'Naturalis' and 'Moralis'; she is flanked on either side by putti holding tablets inscribed "Causarum" and "Cognitio" standing upon a ground of clouds with a gilt background. 30 cm in diameter. Laid down to period card and contained within a nineteenth-century gilt card mount 47.5 x 40.5 cm. There is a very minor white dot to the foot of the clouds and some light foxing otherwise the painting is in very good condition. A highly-accomplished mid-nineteenth-century copy of Raphael's medallion representing the Allegory of 'Philosophy' on the ceiling of the Stanza della Segnatura in the Vatican Palace originally executed in 1509-11. Initially commissioned by Pope Julius II the medallion was one of four created by Raphael for what is thought to have been the Pope's library with the quartet representing the four areas of knowledge theology poetry philosophy and jurisprudence. [Original artwork]. hardcover
réf. 26842Watermark 1820. Part of a cr. 8vo page 18 x 14cm aged but clear and complete over-writing a letter on verso part of signed "B Gooch" perhaps a relative of Southey's friend Robert Gooch. SEE SCAN for full text. Title "On the Death of Riego". Four stanzas 4 lines each. First lines "He is gone the life of the good and brave Has pass'd like a brief told story .Last lines Yet died he not unfriended; Then the patriot's spirit breath'd forth one prayer And soar'd above unbended.". Watermark 1820 unknown
1944réf. 26001944. Soyer Raphael. Soyer Raphael. MODEL THE. Lithograph 1944 Cole 64. 11 3/4" x 7 3/4". Edition of 250 published by Asociated American Artists NY. Signed in pencil. Very good condition. unknown
1940réf. 18321940. Soyer Raphael. Soyer Raphael. YOUNG MODEL Lithograph 1940. Gettings 47 Cole 57 12 x 9 inches; 305 x 228 mm. Signed and titled "The Model" in pencil. AAA edition of 250. Matted some tape residue at edges verso else a very good impression. unknown
réf. 70351Paris Joubert 1803. Large Folio 59.5 x 41.5 cm. 4 pp. Four large engraved plates. Later mottled half roan over paper boards resembling tree calf. Black morocco label with gilt title. Original printed wrappers bound in. = This work shows two - probably life-size - designs for candlesticks designed by Renaissance artists Raphael and Michelangelo on the occasion of a contest organized by Popes Julius II and Leo X. Each leaf shows either the top or the foot of a candle. The wrapper text extensively describing the candlesticks is printed in French and in English in two columns Armorial bookplate on the front pastedown. Some mostly marginal spotting. Otherwise a very good copy. Rare. Not in Brunet. hardcover
1999réf. Bio-Green-9780471986027Bio-Green 1999. Hardcover. New. Bio-Green hardcover
1999réf. Bio-Green-9780471986027Bio-Green 1999. Hardcover. New. Bio-Green hardcover
1786réf. 7634à Paris: A l'hôtel de Thou 1786. Fine. A l'hôtel de Thou à Paris 1786 25.50 x 20 cm deux volumes reliés First French edition translated from Italian by M. Jansen the work was indeed first published in Italian by Bodoni. Near-contemporary full sheep bindings with smooth spines bronze title and volume labels. Handsome copy. The work begins with memoirs on the life and works of Mengs 1728-1779 by Chevalier d'Azara and a notice on Mengs's paintings followed by the painter's treatises on painting covering beauty taste technical aspects of painting as well as various celebrated painters Raphael Correggio Titian. The preface contains a paragraph by Klopstock the German editor and Fuessli. Court painter to the King of Poland he joined the Spanish court at the behest of Charles III King of Spain; his paintings quite early in the neoclassical taste see his Cleopatra secured him fame and wealth and the writings he left on painting and the arts are marked by research and subtlety. A l'hôtel de Thou unknown
réf. 52346Paris: Librarie Nadaud & Cie 1111. Hardcover. Collectible: Good. No date. V. 1: Complete; V. 2: missing 64 74 89 & 120; V. 3: Complete; V. 4: missing 224; These need repair. Boards are loose. A couple of the title pages are loose and the spine cloth is flapping or gone on all however the plates are quite good. Maroon cloth boards are through at tips. Will deal. Selling as is. If you would like binding repaired I have a very good bindery which is driving distance from me who I use regularly. Will deal. Photos available please contact Librarie Nadaud & Cie hardcover
réf. 55254Jerusalem: Safrai Gallery 1989. Limited edition. Hardcover. vg to fine. 34/240 numbered and signed in pencil by Abecassis on each serigraph 17 1/4 x 12 1/4" on 22 x 15 1/4" handmade paper. 9 double pages including title page holding eight original serigraphs housed in original blue cloth portfolio with gilt lettering on cover. Abecassis rendering of the Song of Songs a conversation of two lovers and in Jewish tradition held as an allegory of the bond between god and the Jewish people is an exquisite example of artistic Biblical interpretation. Divided into the traditional eight chapters with printed b/w illustrations accompanying each text page the serigraphs feature bold colors and forms presented in a generous color palette with no fewer than twelve colors and overprinted in gold. Serigraphs uncut at top. Portfolio with 3 x 0.5" staineat lower front cover and light rubbing light wear and rubbing at edge of vertical flap else in fine condition. Raphael Abecassis born in 1953 in Morocco immigrated to Israel as a young child. He attended the Beer Sheva College of Education. Many of his works recount Biblical stories in a colorful refreshing way. He was awarded prizes for an Independence Day poster in 1986 a Ministry of Education Award for his "Psalms of David" as well as the illumination of President Chaim Herzog's speech at the Western Wall commemorating Israel's 40th birthday. Safrai Gallery hardcover
réf. 55254Jerusalem: Safrai Gallery 1989. Limited edition. Hardcover. vg to fine. 34/240 numbered and signed in pencil by Abecassis on each serigraph 17 1/4 x 12 1/4" on 22 x 15 1/4" handmade paper. 9 double pages including title page holding eight original serigraphs housed in original blue cloth portfolio with gilt lettering on cover. Abecassis rendering of the Song of Songs a conversation of two lovers and in Jewish tradition held as an allegory of the bond between god and the Jewish people is an exquisite example of artistic Biblical interpretation. Divided into the traditional eight chapters with printed b/w illustrations accompanying each text page the serigraphs feature bold colors and forms presented in a generous color palette with no fewer than twelve colors and overprinted in gold. Serigraphs uncut at top. Portfolio with 3 x 0.5" staineat lower front cover and light rubbing light wear and rubbing at edge of vertical flap else in fine condition. Raphael Abecassis born in 1953 in Morocco immigrated to Israel as a young child. He attended the Beer Sheva College of Education. Many of his works recount Biblical stories in a colorful refreshing way. He was awarded prizes for an Independence Day poster in 1986 a Ministry of Education Award for his "Psalms of David" as well as the illumination of President Chaim Herzog's speech at the Western Wall commemorating Israel's 40th birthday. Safrai Gallery hardcover books
1869réf. 236593Paris: l'auteur rue Royer-Collard 1869. First edition. 200 sepia-toned plates bound out of sequence. 1 vols. Folio. Three quarter green morocco spine richly gilt hinges repaired bookplates discreet embossed library stamp to title page some edges rough plates clean. First edition. 200 sepia-toned plates bound out of sequence. 1 vols. Folio. Lipperheide 337; Colas 1528; Hiler p. 473 l'auteur, rue Royer-Collard unknown
1869réf. 236593Paris: l'auteur rue Royer-Collard 1869. First edition. 200 sepia-toned plates bound out of sequence. 1 vols. Folio. Three quarter green morocco spine richly gilt hinges repaired bookplates discreet embossed library stamp to title page some edges rough plates clean. First edition. 200 sepia-toned plates bound out of sequence. 1 vols. Folio. Lipperheide 337; Colas 1528; Hiler p. 473 l'auteur, rue Royer-Collard unknown books
réf. 2719Valokuvataiteen seura 1986. 1st Edition. Portfolio. Near Fine. All prints are signed by photographers except Albrecht's and Minkkinen's. A beautiful portfolio includes one photo print from each except two from Kajander. Very beautiful art paper. Size of one sheet is 23x26 cm. 8 prints. This portfolio has been published on 250 numbered copies and 45 artist's copies only. This piece has no numbering but on the cover there is text: Ismo Kajanderille = To Ismo Kajander. Planning and reproduction by Pentti Sammallahti. ISSN 0358-2051. Published among an exhibition. Extremely rare! Valokuvataiteen seura unknown
réf. 5025Valokuvataiteen seura 1986. 1st Edition. Portfolio. Near Fine. All prints are signed by photographers except Albrecht's and Minkkinen's. A beautiful portfolio includes one photo print from each except two from Kajander. Very beautiful art paper. Size of one sheet is 23x26 cm. 8 prints. This portfolio has been published on 250 numbered copies and 45 artist's copies only. This piece is numbered N:o 42. Planning and reproduction by Pentti Sammallahti. ISSN 0358-2051. Published among an exhibition. Extremely rare! Valokuvataiteen seura unknown
réf. 02-0536Paris: Imprimerie Royale ca. 1730s. Woodcut after Raphael Urbino. Etched plate by P. P. A. Robert painter to the Cardinal de Rohan printed in dark brown. Two blocks: pale and medium yellow brown. 25 x 35.9 cm. Nagler 7. Le Blanc 15. AKA: Christus setzt den Petrus zum Haupte der Kirche ein. Pierre Jésus donnant les clefs du paradis à S. Pierre Jésus donnant les clefs du paradis à S. Full sheet. Paris: Imprimerie Royale, ca. 1730s. unknown
1943réf. 58Primer título de la colección Urania fundada por Raoul Veroni en 1943. Rafael Alberti había venido a Buenos Aires escapando de la Europa fascista y un grupo de amigos proyectó tres ediciones para ayudarlo a solventar su estadía en Argentina. El proyecto quedó inconcluso pero el grabador Veroni al tener sus matrices hechas decidió hacerse cargo de la edición. Asi nació Urania. Se realizaron de esta edición 24 ejemplares sobre papel Fabriano Perusia con cinco aguafuertes de Raoul Veroni. Ejemplar en buen estado con manchas de óxido en algunas de sus hojas. Urania paperback
1855réf. 71896London:: William Charlton Wright 1855 date from folding plates. Fifth edition. publisher's cloth with printed paper label on spine which is so darkened as to be illegible. Two gatherings starting; a few smudges to text; small chips and soiling to the cloth. The folding plates are fine. . 16mo. Hand-colored illustrated title page and two colored folding plates: "The Mystical Wheel of Pythagoras" and "The Tablet of Questions & the Cabalistical Tablet of the Stars.". By the Author of the Prophetic Messenger. With Ten Coloured Designs on Copper on two folding paltes by R. Cruikshank & the Author and a Piece of Music by Blewitt. William Charlton Wright, hardcover
1825réf. 11300London: Knight and Lacey 1825. Seventh Edition First Edition thus. Half Calf. Very Good. Seventh Edition First Edition thus. Half Calf. Robert Cross Smith 1795-1832 a former carpenter was an English astrologer writing under the pseudonym of "Raphael." He also referred to himself as the Royal Merlin. He married in 1820 and moved to London where he became interested in astrology. Together with G. W. Graham he published a book on geomancy in 1822. Smith began to edit a periodical The Straggling Astrologer in 1824 but failed to receive enough subscribers and the periodical had to be discontinued after a few issues. He collected the issues of the failed periodical in a volume entitled The Astrologer Of The Nineteenth Century in the same year. From 1827 until his death in 1832 he edited an astrological almanac entitled The Prophetic Messenger. Also published by Smith was The Familiar Astrologer and A Manual of Astrology both in 1828. Smith died on 26 February 1832 in London. His almanac continued to be edited as Raphael's Ephemeris and would become a standard work in British and US American astrology. Raphael's Ephemeris popularized the system of Placidian system of astrological houses in the English-speaking world and in modern western astrology in general. Published posthumously. The name Raphael one of the names given to one of the three archangels in the Old Testament was used as Smith's pseudonym. The Astrologer of the Nineteenth Century covers in quite dramatic prose a multitude of occult topics in ten chapters or "circles." Raphael contends that he believes firmly in astrology fairly firmly in geomancy and not much in magic rites charms or incantations. Includes many necromantic workings including a summoning spell for Oberon. He only includes these last to satisfy "those who delight in the terrific and the horribly sublime." The book makes a range of arguments for the veracity of astorlogy the most ingenious being that "the greatest rulers and statesmen and chiefs of the present age" are part of a conspiracy. Formerly owned by Alfred Pearce noted 19th century astrologer. Scarce. Boards rubbed and soiled loose and shaken verso boards chipping and cracking printed paper label rubbed and worn foxing throughout unprofessional repairs otherwise tight and sound contents fine. Half marbled boards with printed paper label on spine worn. Lacking all but one color plates. Former owner label. 8vo. xvi 509pp. Illus. b/w engravings 1 color plate "Awful Appearance of a Spirit.". Knight and Lacey unknown books
1774réf. 17011Rome 1774. Copper engraving by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Good condition. Shaved within plate mark expert neat repairs to left margin one just affecting the image area. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. The biblical scene depicted shows the infant brothers Cain and Abel vying for their mother's attention. Adam is sowing nearby. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog. 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1770réf. 20166Rome 1770. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Jacob at Luza having a vision of the angels ascending and descending by a ladder which reached from earth to heaven. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1774réf. 20167Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows Joseph telling his brothers of his prophetic dreams "Hear my dream which I dreamed. I thought we were binding sheaves in the field: and my sheaf arose as it were and stood and your sheaves standing about bowed down before my sheaf . I saw in . another dream as it were the sun and the moon and eleven stars worshipping me." A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1774réf. 20169Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David having subdued Syria returning to Jersusalem with armour made of gold. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1774réf. 20170Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows the moment during the Last Supper when Jesus announces that one of the twelve disciples will betray him. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1772réf. 16447Rome 1772. Copper engraving with stunning early colour. Printed on laid paper with added wove margins. In excellent condition with the exception of some light foxing in the margins. Image size: 22 7/8 x 15 3/4 inches. This beautiful perspective view of Raphael's Loggia with contemporary colouring of the highest quality from the golden age of the hand-coloured print served as the frontispiece to the celebrated text "Loggie di Rafaele nel Vaticano". This arresting print is a general perspective view of Raphael's design for the Loggia at the Vatican with a large profile portrait of Raphael in a medallion over the entrance to the corridor. The plate served as the frontispiece to the first part of the "Logge di Rafaele nel Vaticano" which depicted the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. The project as a whole was carried out by the painter Gaetano Savorelli the draughtsman Ludovico Teseo the architect Pietro Camporesi and the engravers Giovanni Ottaviani and Giovanni Volpato. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. The whole series was remarkable not just for the size and magnificent colouring of the prints but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and stimulated the taste for the "grotesque" in the neo-classical period. Cf. Brunet IV 1110; cf. Berlin Katalog 4068; Lambert Pattern and Design V. & A.: 1983 p. 26; "Raphael Invenit: Stampe da Rafaello" 1985 Volpato 1; Raphael: Reproduktions-graphik aus vier Jahrhunderten Coburg: 1984 p. 104; G. Marini editor Giovanni Volpato 1735-1803 1988 no. 198. unknown
