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FAITHORNE. THE ART OF GRAVEING AND ETCHING, 1662, UNIQUE COPY, CONTAINING THE SUPPRESSED SECOND PART
估價
5,000 - 7,000 GBP
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描述
- The Art of Graveing and Etching wherein is exprest the true way of graveing in copper. Allso the manner & method of that famous Callot, & Mr Bosse. London: William Faithorne, 1662
FIRST EDITION, 2 parts in one (see footnote), 8vo (160 x 100mm.), [viii] pp., p.1-72 (A4, B-D8, E-G4), engraved title and 16 plates (10+6), contemporary panelled calf, upper cover somewhat worn, rebacked
來源
Sir Thomas Phillipps, with William Robinson's modern Bibliotheca Phillippica label; Kenney Collection, label, sale in these rooms 21 October 1968, lot 4334, sold to Sanders of Oxford
出版
ESTC R16827; Wing F294 (both first part only); ESTC T117644 (1702 edition, including second part)
Condition
the condition of this lot is as described in the catalogue description
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
A UNIQUE COPY CONTAINING THE SUPPRESSED SECOND PART, THE WAY OF PRINTING COPPER-PLATES, AND WITHAL, HOW TO MAKE THE PRESS (pages 49-72).
FROM THE LIBRARY OF SIR THOMAS PHILLIPPS. The book is a translation of Abraham Bosse’s Traité des manières de grave of 1645 which was undertaken by Faithorne. Although he had taken the trouble to translate it, engrave the six plates and have it printed, for some unknown reason, Faithorne decided to suppress the second part. John Evelyn, in his 'advertisement' appended to his own translation of Bosse’s work which appeared under the title Sculptura, states that he, as well as Faithorne, had made a translation of the second part, "but, understanding it to be also the design of Mr. Faithorn, who had (it seems) translated the first part of it, and is himself by Profession a Graver, and an excellent Artist; that I might neither anticipate the worlds expectation, nor the workmans pains, to their prejudice, I desisted from printing my copy, and subjoyning it to this discourse."
Although the pagination is continuous to both parts of Faithorne’s work, the type is slightly different and the sheets are now gathered in fours rather than eights. Clearly there was some sort of a hiatus when Faithorne learned that Evelyn was going to publish a translation. It seems likely that an agreement was decided between the two translators on who indeed was going to actually publish this second part. It is quite possible that Faithorne became aware of the deleterious effect that publishing a guide to printing copperplates could have on his own business and quickly suppressed the second part. For whatever reason, the only evidence today that the second part ever saw the light of day in 1662 is the present example.
It was not until 1921 when a 1702 reissue surfaced, with new title and additional preliminary matter, that this second part was known to have been printed at all. To date, ten libraries now hold copies of the 1702 issue, but the only example of Faithorne’s work as it was intended to be issued is the present copy.
FROM THE LIBRARY OF SIR THOMAS PHILLIPPS. The book is a translation of Abraham Bosse’s Traité des manières de grave of 1645 which was undertaken by Faithorne. Although he had taken the trouble to translate it, engrave the six plates and have it printed, for some unknown reason, Faithorne decided to suppress the second part. John Evelyn, in his 'advertisement' appended to his own translation of Bosse’s work which appeared under the title Sculptura, states that he, as well as Faithorne, had made a translation of the second part, "but, understanding it to be also the design of Mr. Faithorn, who had (it seems) translated the first part of it, and is himself by Profession a Graver, and an excellent Artist; that I might neither anticipate the worlds expectation, nor the workmans pains, to their prejudice, I desisted from printing my copy, and subjoyning it to this discourse."
Although the pagination is continuous to both parts of Faithorne’s work, the type is slightly different and the sheets are now gathered in fours rather than eights. Clearly there was some sort of a hiatus when Faithorne learned that Evelyn was going to publish a translation. It seems likely that an agreement was decided between the two translators on who indeed was going to actually publish this second part. It is quite possible that Faithorne became aware of the deleterious effect that publishing a guide to printing copperplates could have on his own business and quickly suppressed the second part. For whatever reason, the only evidence today that the second part ever saw the light of day in 1662 is the present example.
It was not until 1921 when a 1702 reissue surfaced, with new title and additional preliminary matter, that this second part was known to have been printed at all. To date, ten libraries now hold copies of the 1702 issue, but the only example of Faithorne’s work as it was intended to be issued is the present copy.