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MISCELLANEOUS BOOKS. Gillray's Caricatures, Printed from the original plates, all
engraved by himself between 1779 and 1810; comprising the best Political and Humorous Satires of the reign of George the Third, in UPWARDS OF 600 HIGHLY SPIRITED ENGRAVINGS. In 1 large volume, atlas folio, (exactly uniform with the original Hogarth, as sold by the advertiser), hf. bound red morocco extra, gilt edges, £7. 108
A VOLUME OF SUPPRESSED PLATES, hf. bound, uniform with the preceding, £1. 118 6d
1849 There are other Collections of Caricatures advertised as Gillray's, which have no pretensions to be so named.
A VOLUME OF LETTERPRESS DESCRIPTIONS to GILLRAY'S CARICATURES, comprising a very amusing political history of the reign of George the Third, by Thos. WRIGHT, Esq., and R. H. Evans, Esq. (Edited by Henry G. Bohn, and arranged according to the dates of publication, so as to be applicable to all collections), 8vo. hf. bound morocco, uniform with the folio volume of Caricatures to which it refers, £1. 18
Published at £5. 58, reduced to £4. 48. The Green Vaults, Dresden. Illustrations of the Choicest
Works in the Museum of Art, edited by PROFESSOR GRUNER, atlas 4to. portrait and 28 beautiful plates in gold and colours, executed in chromo-lithography by Storch and Kramer, and numerous woodcuts in the text, extra cloth, gilt edges
1876 One of the most beautiful books ever produced. The preface and descriptions are by Alexander Allen; the History of the Green Vaults and their contents by Professor Gruner, Director of the Royal Museum, Dresden. Frescoes by Raphael on the Ceiling of the stanza
del Eliodoro in the Vatican, drawn by Consoni, and engraved by Gruner and LANGER, with descriptions by LADY EAŞTĻAKE, atlas folio, 6 large plates, one of them in colours, bds. 368
1876 4 *
Gruner’s Italian Fresco Paintings: FRESCO DE
CORATIONS and Stuccoes of CHURCHES and PALACES in ITALY during the Fifteenth and Sixteenth Centuries, a splendid volume, imp. folio, frontispiece and 55 very large, claborate and most interesting engravings, after the original Paintings of Raphael, Giulio Romano, Giovanni da Udine, Baldussare Peruzzi, Sebastian del Piombo, Correggio, Moretto, Ambrogio da Fasano, Bramantino, Bernardino, Luini, Pinturicchio, &c. several ELABORATELY FINISHED IN COLOURS, and coloured keyplates are given to shew the colouring of the rest; with DESCRIPTIVE TEXT and an Essay by J. J. HITTORFF, on the Arabesques of the Ancients, as compared with those of Raphael and his School (pub. £8. 88) hf. Id. red morocco, gilt edges, £7.78
1854 an almost UNIQUE copy, all the frescoes coloured by hand, atlas folio, red morocco extra, by Bedford, and in a leather
1854 This magnificent work is no less valuable to the Architect than to the Painter. It does not profess (says the Quarterly Review in an elaborate article) to exhibit fresh decorative painting in that bigbest walk chosen by Michael Angelo and Raffaelle (except as a handmaid), but as a purely decorative Art and subservient to Architecture. Owing its very existence to the exigencies of the sovereign art, and deriving its appropriate locality, scale and effect from the edifice, it no less assists the Architecture, in return, hy its arabesques and other tasteful accessories.
The letterpress can be had either in English or French.
LIST OF PLATES TO GRUNER'S ITALIAN FRESCOES. The progressive number of the Plates is to be found at the bottom in the centre of each Plate.
PALACES AND VILLAS. Cortile of San Damaso in the Vati- | Villa Madama, by Raphael, Giulio can, by Raphael and his School. Romano, and Giovanni da Udine.
7. 6. Plan, Vicw, and Section of the House 1. 1. Perspective View of the First Loggia.
and Gardens. 2. 2. Section of Part of the same.
8. 7. Longitudinal Section of the Loggia.
9. 3. 2 a. Raphael's Loggia in the Vatican.
8. Decoration of the Dome A.
11. 9, 10. Decorations of the Arched Ceilings. 4. 3. Perspective View of the third Loggia. 12. 11. Details of the Decorations of the Vcs5. 4. Details of the Pavement.
tibule B, and of the Walls.
13. 12. Details of the Paintings on the Arched 6. 5. Elevation, Section, and Architectural
Ceilings C and D, and the Mosaics or Details of the whole Loggiato.
the Fountain f,
Gruner's Italian Fresco Paintings-continued.
Various Palaces. 14. 13. Ceiling in the Villa Poniatowski. 15. 14. Ceiling and Frieze in the Vestibule
of the Palazzo Montalto. 16. 15. Ceilings and Details in the Vestibule
of the Palazzo Altieri.
} Galleria de’ Marmi.
Palazzo Farnesina, by Baldassare.
Peruzzi, Raphael, and Sebastian
del Piombo. 17. 16. Front and Flank Views 18. 17. Plans and Details 19. 17 a. Loggia of Psyche, in the Palazzo
Farnesina. 20. 18. Paintings of the Ceiling A.
Palazzo del T, in Mantua, by Giulio
Romano and his School. 24. 21. Plan, Elevations, and Details. 25.
22. Decorations of the Hall of David. 26. 23. The Casino and Terra Cottas. Ducal Palace in Mantua, by Giulio
Romano and his School. 27. 24. Decorations of the Uffizio della Scal.
cheria. 28. 25. 29. 26. 30. 27. Arabesques and coloured Stuccoes of
the Giardino Pensile. 31. 27 a. Decorations of a Small Loggia over
looking the Giardino Pensile. 32. 28. Le Camere di S. Paolo, in Parma:
Castle of St. Angelo at Rome.
By Giulio Romano.
Villa Lante. Giulio Romano. 21, 22. 19, 20. Decorations of the Arched
Ceilings and Frieze. 23. 20 a. Decorations of the Arched Ceiling
of the Third Room.
DECORATIONS OF ECCLESIASTICAL BUILDINGS. The Certosa, near Pavia, by Ambro- Cathedral of St. Cecilia, at Alby, gio da Fossano, Bramantino, and
France. Bernardino Luini.
50. XIV. Paintings of one of the Compart36. I. Exterior of the Church.
ments of the Groined Ceiling. School of 37. II. Interior of the Church.
Ambrogio da Fossano. 38. III. The principal Front of the Vestibule. 39. IV. North Front of the Vestibule.
Villa Belcaro, near Siena. 40. V. South Front of the Vestibule.
51. XV. The Chapel, built and painted by 41. V a. Spandrils and their Soffits, from the Balthazar Peruzzi.
Vestibule. 42. VI. The Ceiling of the Vestibule, with St. Sigismund near Cremona. Sections.
52. XVI. Painted Soffits of the Windows. By 43. VII. The Groined Ceiling of the Church.
Bernardino Gatti. 44. VIII. Decorations of the Groined Ceiling in the side Chapels.
St. Bernardino at Perugia. 45. IX. Mural Decorations of the Transept. 53. XVII. View of the Exterior. By Agostino 46. X. Details of the Decorations.
Fiorentino 47. XI. The Monastero Maggiore at Milan. By Bernardino Luini.
Cathedral of Spoleto. 48. XII. Libreria of the Cathedral of Siena. 54. XVIII. Decorations of the Ervli Chapel. By Pinturicchio.
By Jacobo Siciliano. 49. XIII. The Groined Ceiling of the Choir in 55. Key for Colouring the Plates of Palaces.
Sta. Maria del Popolo, in Rome. By Pin- 56. Key for Colouring the Plates of Ecclesiasturicchio
Heriarte (Mauricio de) Descripção do Estado do Maranhão, Pará,
Corupá, e Rio das Amazonas, feita por mandado do Governadorgeneral D. Vaz da Sequeira, 1662, dada à luz por primeira vez (por Varnhagen), sm. 8vo. sd. 48
BERNARD QUARITCH'S CATALOGUE OF
from the best Models of the Classical Epochs (RAPHAEL, &c.),
Published under the patronage of II.M. Government, 1850 The work has now become very scarce, and is in general request as the best BOOK of CLASSICAL ORNAMENT. Copies have sold at sales for £14. 14s and upwards.
A MORE MAGNIFICENT VOLUME than the above has never been produced in any country. It is difficult to conceive the gorgeous yet harmonious effect of the colours, which could only have been produced by the Litho-chromatographic process. The plates are of a very large size, and present some of the most tasteful specimens of Decorative Art of every description by the greatest Masters, including RAPHAEL, Giulio Romano, PrimaTICCIO, HOLBEIN, GIOTTO, &c.
GRUNER'S ORNAMENTAL ART LIST OF PLATES.
I: ARCHITECTURAL ORNA-
of the Etruscan Vases. 3. Bronze Candelabrum. Museum of Naples 4. Two Bronze Candelabra. Same Museum. 5. Richly Chased Arms. XV and XVI
Centuries. Historical Museum, Dresden. 6. Cup designed by Holbein for llenry VIII.
British Museum. 7. Bookbinding, XVI Century. From the
Vatican. 8. Flowers from Nature, ornamentally ar
ranged. 9. Hawthorn in Flower and Fruit, from
Nature. 10. Convolvulus and French Bean, from
Nature. 11. Part of a Frieze, XVI Century. 12. Capital of a Pilaster, from the Temple of
Mars the Avenger, at Rome. 13. Greek Frieze in Terra Cotta, froin the
Collection of the Cavaliere Campana, at
Rome, 14. Two Friezes in Terra Cotta, from the same
Collection. 15. Part of an Ancient Pilaster in the Villa
Medici at Rome. 16. Ancient Car or Biga, from the Vatican. 17. Part of an Ancient Column, ditto. 18. Frieze by Andrea del Monte Sansovino,
XVI Century. 19. Festoon by the same. 20. Tarsia or Inlaid Wood, by Fra Giovanni,
XV Cent. S. Maria in Organo, Verona. 21. Inlaid Wood, by the same. 22. Inlaid Wood, by the same. 23. Inlaid Wood, by the same. 24. Inlaid Wood, by the same. 5 Inlaid Wood, by the same.
26. Inlaid Wood, XV Century. S. Ambrogio,
Christian Churches, Rome.
House of the Second Fountain.
III: CHURCH ORNAMENTS.
of St. Clemente. Rome, XII Century.
Jacobo della Turreta, XIII Century.
in the same Church.
Gruner's Ornamental Art-continued. 51. Details of wood carving, S. Maria l'In
coronata at Lodi. XVI Century. 52. Painted Domes by Calisto di Lodi. 53. Soffit, Santuario di Lodi. 54. Working drawing of the same, plate C. 55. Working drawing of the same, plate D. 56. Enrichment in Stone and Terra Cotta.
S. Maria delle Grazie, Milan. 57. Painted Arch by Luini. 58. Portion of Ceiling by Luini. 59. Portion of a Ceiling, Monast. Maggiore,
Milan. 60. Paintings of an Archivolt, S. Ambrogio,
Milan, by Luini. 61. Sepulchral Monuments XV and XVI
Centuries. S. Maria del Popolo. 62. Bronze and Iron Gates and Railings, XV
and XVI Centuries.
65. Carved and Gilt Columns in the same
Apartment. 66. Portions of Carved Pilasters. 67. Arrangement of a Carved Ceiling. 68. Portion of the same, full size. 69. Portions of a Ceiling and Cornice from
the “Stanza de' Mori," Palazzo Vecchio,
at Mantua, by Primaticcio. 70. Painted Ceiling and Frieze. 71. Arrangement of the Paintings of a coved
Ceiling by Giulio Romano. 72. Portions on a larger scale. 73. Plan, Elevation and Ceiling of the "Stanza,
de' Marmi," Palazzo Vecchio, at Mantua. 74. of the ** Stanza d'Orfeo." 75. Portion of Elevation of the Court-Yard;
Casa Taverna, Milan, by Luini. 76. Decorations of the Portico. 77. Paintings, by Giulio Romano and Perin
del Vaga, S. Angelo, Rome. 78. Continuation of the same. 79. Paintings from the Bath-room of Cardinal
Bibbiena, in the Vatican, by Raphael
d'Urbino. 80 Ceiling of the Stanza della Segnatura in the
Vatican, by Raphael d’Urbino.
IV: PALACES. 63. Detail of Wooden Ceiling, Verona. XIV
the Gabinetto d'Este, Mantua, by Giulio
Dedicated by express command to H.R.H. the Crown Princess of Prussia,
Princess Royal of England. Gruner’s Terra-Cotta Architecture of North Italy
(12th-15th Centuries). A Series of Select Examples for Imitation in other countries, from Careful Drawings and Restorations, by FEDERIGO LOSE; with Descriptive Letterpress. Edited by LEWIS GRUNER, 1 vol. folio, with 48 chromo-lithographic plates, with Elevations, Sections, Mouldings, and Working Drawings in line, hf. bd. morocco, uncut, £5. 58
John Murray, 1865 Only a limited edition was printed, and few copies remain for sale.
One of the greatest impediments to the progress of Architectural Art in this country has been the difficulty of finding any building material which should unite durability with elegance, and should not at the same time be so expensive as to preclude its being generally employed. Stone suitable for building purposes is not found in many parts of the country, and especially not near the Metropolis. In addition to its expensiveness, stone soon becomes discoloured, and many kinds decay rapidly when exposed to smoke and atmospheric impurities. In all the south-eastern districts of the country brick is the usual substitute resorted to ; but, as hitherto employed, its shape and colour, combined with the smallness of its size, have resulted in extreme meanness of effect, and rendered its employment impossible when anything like artistic effect was aimed at. An escape from this dilemma has been attempted by covering the brickwork with stucco; but this is admitted to be at least a most undesirable makeshift.
Under these circumstances, the employment of Terra-Cotta seems to offer a means of remedying this defect more readily than any other which has yet been suggested. It is more durable than stone ; its colour may be toned down if desirable ; its neatness and preciousness remove at once all appearance of meanness; and it is capable of being moulded into ornaments of any amount of complexity or sharpness of detail. For a long time its employment in this country has been limited by fiscal regulations connected with the duty on bricks, and when resorted to, has too often been ansuccessful for want of refined and elegant models. Of late, however, several firms have undertaken its manufactare on a large scale, and can produce articles of elegance and durability.