Lot 165
  • 165

Hittorff, Jacques Ignace

Estimate
3,500 - 5,000 USD
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Description

  • ink and paper
Restitution du Temple d'Empédocle a Sélinote. Atlas. Paris: Firmin Didot Frères, 1851



Folio, atlas volume only (24 x 17 in.; 609 x 432 mm).  25 chromolithographed plates by Engelmann after Hittorff (including frontispiece); title-page soiled, some finger soiling to plates. Publisher's quarter purple cloth, gilt emblem on upper cover, smooth spine lettered gilt, plain endpapers and edges; worn and stained.

Literature

Not in Fowler or Millard

Condition

Folio (24 x 17 in.; 609 x 432 mm). 25 chromolithographed plates by Engelmann after Hittorff (including frontispiece); title-page soiled, some finger soiling to plates. Publisher's quarter purple cloth, gilt emblem on upper cover, smooth spine lettered gilt, plain endpapers and edges; worn and stained.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

A German-born French architect, Hittorff went to Paris in 1810 and studied for some years at the Académie des Beaux-Arts while working concurrently as a draughtsman for Charles Percier. One of his important discoveries was that color had been employed in ancient Greek architecture, a subject which he especially discussed in Architecture polychrome chez les Grecs (1830) and in Restitution du temple d'Empédocle à Sélinonte (1851); in accordance with the doctrines enunciated in these works he was in the habit of making color an important feature in most of his architectural designs, including the cast-iron fountains in the Place de la Concorde.