(Set of different Views )
| Reference: | S0082 |
| Author | Israel SILVESTRE |
| Year: | 1650 ca. |
| Zone: | - |
| Measures: | 380 x 245 mm |
€5,500.00
| Reference: | S0082 |
| Author | Israel SILVESTRE |
| Year: | 1650 ca. |
| Zone: | - |
| Measures: | 380 x 245 mm |
€5,500.00
Description
In 2° oblong (355 x 230), 69 ff. Leather binding, five-band spine, very worn.
Composite album of perspective views drawn and/or engraved by Israel Silvestre. The album includes:
Panoramic view of Rome, consisting of four sheets measuring approximately 30.8 x 18.5 cm. The title "Rome", in elegant cursive, is at top center (divided on sheets two and three). Numeric key 1-44 at the bottom, below the image. On the fourth sheet, bottom right “L. De Lincler delineavit ad vivum.Israel Silvestro Incidit. exudit parisijs. Cum privil. Regis/ Anno Dm. 1642” First state, before Mariette’s address. "L'incisione è la prima grande veduta di Roma realizzata da Israel Silvestre pochi anni dopo il suo arrivo in città. Questa è ripresa dalle pendici di Monte Mario e il panorama spazia dalla Porta del Popolo al complesso del Vaticano. Il formato oblungo e la scelta del punto di vista verrà largamente ripreso dagli artisti successivi. La veduta venne incisa da un disegno eseguito ad vivum da L. de Lincher, un disegnatore francese poco noto che fu attivo in quegli anni a Roma e fornì i sui disegni a diversi incisori fra i quali anche il conterraneo Francois Collignon" (cfr. Barbara Jatta in "Roma Veduta" p. 164)
- ff. 5-16: 12 views - numbered 1 -12, size 20 x 12 cm, nine of which depict monuments, palaces and views of Rome, two depict views of Venice and the last one the Montagna Spaccata of Gaeta. The views are all signed "Gravé par Istrael Silvestre" and bear the excudit of Pierre Mariette.
- ff. 17 -28: 12 views, 25 x 12.3 cm, numbered 1-12, ten of which depict monuments and views of Rome, and the last two depict views of Venice. The views are signed "I. Silvestre delin. et fe. cum privil. Regis" and bear the excudit of Pierre Mariette (the table numbered 11 shows only the excudit).
- ff. 29-40: 12 views, 20 x 12 cm, numbered 1-12, of which ten depict monuments, and views of Rome, and the last two depict the Piazza S. Marco in Venice. The views are signed Gravé par Istrael Silvestre and bear the excudit of Pierre Mariette and the privilege in the formula Avec privilege du Roy.
- ff. 41-46: Complete suite of 12 engravings, including the frontispiece, titled Alcune Vedute di Giardini e Fontane di Roma e Tivoli Disegn.te et Intagl.te per Israell Silvestro 1646 published by Pierre Mariette. The engravings, numbered, are printed two per sheet and measure 12.9 x 9.3 cm each. On the first sheet there is a hole of about 2 cm, in the space between the two views, that affects the title page on the right margin, with minimal loss of engraving.
- ff. 47-52: Complete suite of 6 numbered engravings, with the title "Diverses Veves de Ports de Mer d'Italie et autres lieus" on plate 1, depicting the port of S. Giorgio in Venice. The views, circular in shape, on square plate, are signed "ISilvestre in. Sculp" The first two also bear the excudit of Nicolas Langlois.
- ff. 53-61: Suite of six numbered engravings - 15.7 x 11.8 cm - depicting views of Paris, designed by I. Silvestre and engraved by Perelle. Signed on the plate "Dessinée par I. Silvestre, et gravée par Perelle" with the excudit of P. Mariette.
- f. 62: Perspective view of Loreto, engraved by Silvestre from a drawing by Lincler, dated on plate, lower right of coat of arms, 1642. Below the image, dedication in Italian to the Duchess of Aiguillon, followed by six verses, also in Italian, on two columns separated by the arms of Aiguillon.
- f. 63: Perspective view of Paris ", below sixteen verses in French, on four columns, by Georges de Scudéry. Signed at lower left "Silvestre delin et fe. Cum privil. Régis" (32 x 14 cm).
- f. 64: Perspective view of Saint-Denis "Profil de la Ville di S. Denis", below sixteen verses in French, on four columns, by Georges de Scudéry. Signed at lower left "I. Silvestre delineavit et fe. Cum privil Regis" (31,7 x 14 cm).
- f. 65: Perspective view of Poissy "Profil de la Ville de Poissy", below sixteen verses in French, on four columns, by Georges de Scudéry. Signed at lower left "I. Silvestre delineavit et fe. Cum privil Regis" (31,8 x 14,4 cm).
- f. 66: Perspective view of Alise-Sainte-Reine, signed along lower margin "Dessignée et gravée par Israël Sylvestre. Avec priuilege du Roy. A Paris chez Pierre Mariette, rue St lacques à l'Esperance" (cm 30,7 x 13,8).
- f. 67: Perspective view of Saint-Maximin-la-Sainte-Baume, signed along the lower margin "Dessignée et gravée par Israël Sylvestre. Avec priuilege du Roy. A Paris chez Pierre Mariette, rue St lacques à l'Esperance" (cm 30,7 x 13,8).
- f. 68: Perspective view of the monastery of Santa Maria de Montserrat, in Catalonia, signed along the lower margin "Dessignée et gravée par Israël Sylvestre. Avec priuilege du Roy. In Paris chez Pierre Mariette, rue St lacques à l'Esperance" (30.7 x 13.8 cm).
- f. 69: Perspective view of the Roman Aqueduct of Arcueil, engraved by C. Goirand from a drawing by I. Silvestre. At the bottom six verses in French by Georges de Scudéry and the signature "C. Goirand incidit Avec Privilege du Roy" (cm 30,3 x 12,8).
Israel SILVESTRE (Nancy, 1621 - Parigi, 1691).
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Born in Nancy on August 13, 1621 and baptized on August 15 in Saint-Epvre, Israël Silvestre learned the first rudiments of drawing and painting under the direction of his father and showed a great aptitude for the arts from an early age. In 1631, at the age of 10, he lost his parents and came to Paris to take refuge with his maternal uncle and godfather, Israël Henriet, who received him as his son. Israël Henriet was a mediocre painter but an excellent draftsman. He had studied with the same masters as his friend Jacques Callot, both in Lorraine and in Italy. Born in Nancy, he had long established himself in Paris as a painter and draftsman to the king. Taking advantage of the drawing mania of the time, he taught this genre to the court figures and even had the honor of counting Louis XIII among his students (here we find the origin of the position of "drawing master" that remained in the family until the French Revolution and was held without interruption by five generations of Silvestre). Israël Henriet also made a living from a prosperous print trade, publishing in particular the plates of Callot, of which he had the exclusive rights, as well as those of Della Bella, Le Clerc, Audran, etc. Arriving very young in Paris, Israël Silvestre perfected the art of drawing with his uncle, who took him as a pupil, giving him the opportunity to copy Callot's works in pen, and learned to engrave in intaglio. He made rapid progress that allowed him, after a few years of assiduous work, to embark on an independent career. It was then that he traveled around Paris and several provinces of France and composed numerous works that established his reputation as a draftsman and engraver. As was customary at the time, he made several trips to Italy to copy the old masters and to improve his skills with the greatest masters. Faucheux fixes the dates of these trips, the first before 1640 (he was not yet 20 years old), the second from 1643 to 1644 and the last around 1653. Israel brought back numerous views of Italy, almost all of them engraved. Until 1659, he made other trips to France and Lorraine, from which he drew and engraved many images. On his return to Paris, he settled at his uncle's in rue de l'Arbre Sec, and profited from the fruits of his labor by obtaining the privilege of printing and selling his works. In 1661, the year of Israël Henriet's death, he inherited from the latter, as a universal legatee, the collection of plates by Callot and Della Bella, which, added to his own production, secured him a comfortable income.
Israël Silvestre married late, at the age of 41, and on September 10, 1662, in his parish of Saint Germain l'Auxerrois, he married Henriette Sélincart, the daughter of a Paris merchant. We know of at least 10 children from this union, only 5 of whom survive their father. Henriette is said to have been a woman remarkable for both her wit and her beauty, as shown in the portraits done by Charles Lebrun.
Her marriage did not slow down Israel's artistic career. In 1662, he was appointed draughtsman and engraver to the king, and in 1667 he was appointed master draughtsman of the pages of the Grande Ecurie, and in 1673 he was appointed master draughtsman to the Dauphin (the eldest son of Louis XIV and grandfather of Louis XV, called the Grand Dauphin). He also received a patent granting him accommodation in the galleries of the Louvre in 1668. Israel was admitted to the Royal Academy of Painting and Sculpture in 1670 on the recommendation of Charles Lebrun. He was also the head of an important workshop, where he had at least two students, the engravers François Noblesse and Meunier, as well as numerous collaborators among the best artists of their time: Stephen de LaBella, Jean Le Pautre, the three Pérelle (Gabriel, Nicolas and Adam), François Collignon, Jean Marot, etc..
It is impossible to make a complete inventory of Israël Silvestre's works, so prolific was the artist. He left numerous drawings and more than a thousand engravings (see Faucheux "Catalogue raisonné de toutes les estampes qui forment l'œuvre d'I.S."). However, among his most beautiful works, we can mention the Carrousel of 1662, the representation of the "Plaisirs de l'Isle Enchantée", the views of the royal residences of the Ile de France, including Versailles, Vaux and Fontainebleau, or the suites of the churches of Rome.
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Israel SILVESTRE (Nancy, 1621 - Parigi, 1691).
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Born in Nancy on August 13, 1621 and baptized on August 15 in Saint-Epvre, Israël Silvestre learned the first rudiments of drawing and painting under the direction of his father and showed a great aptitude for the arts from an early age. In 1631, at the age of 10, he lost his parents and came to Paris to take refuge with his maternal uncle and godfather, Israël Henriet, who received him as his son. Israël Henriet was a mediocre painter but an excellent draftsman. He had studied with the same masters as his friend Jacques Callot, both in Lorraine and in Italy. Born in Nancy, he had long established himself in Paris as a painter and draftsman to the king. Taking advantage of the drawing mania of the time, he taught this genre to the court figures and even had the honor of counting Louis XIII among his students (here we find the origin of the position of "drawing master" that remained in the family until the French Revolution and was held without interruption by five generations of Silvestre). Israël Henriet also made a living from a prosperous print trade, publishing in particular the plates of Callot, of which he had the exclusive rights, as well as those of Della Bella, Le Clerc, Audran, etc. Arriving very young in Paris, Israël Silvestre perfected the art of drawing with his uncle, who took him as a pupil, giving him the opportunity to copy Callot's works in pen, and learned to engrave in intaglio. He made rapid progress that allowed him, after a few years of assiduous work, to embark on an independent career. It was then that he traveled around Paris and several provinces of France and composed numerous works that established his reputation as a draftsman and engraver. As was customary at the time, he made several trips to Italy to copy the old masters and to improve his skills with the greatest masters. Faucheux fixes the dates of these trips, the first before 1640 (he was not yet 20 years old), the second from 1643 to 1644 and the last around 1653. Israel brought back numerous views of Italy, almost all of them engraved. Until 1659, he made other trips to France and Lorraine, from which he drew and engraved many images. On his return to Paris, he settled at his uncle's in rue de l'Arbre Sec, and profited from the fruits of his labor by obtaining the privilege of printing and selling his works. In 1661, the year of Israël Henriet's death, he inherited from the latter, as a universal legatee, the collection of plates by Callot and Della Bella, which, added to his own production, secured him a comfortable income.
Israël Silvestre married late, at the age of 41, and on September 10, 1662, in his parish of Saint Germain l'Auxerrois, he married Henriette Sélincart, the daughter of a Paris merchant. We know of at least 10 children from this union, only 5 of whom survive their father. Henriette is said to have been a woman remarkable for both her wit and her beauty, as shown in the portraits done by Charles Lebrun.
Her marriage did not slow down Israel's artistic career. In 1662, he was appointed draughtsman and engraver to the king, and in 1667 he was appointed master draughtsman of the pages of the Grande Ecurie, and in 1673 he was appointed master draughtsman to the Dauphin (the eldest son of Louis XIV and grandfather of Louis XV, called the Grand Dauphin). He also received a patent granting him accommodation in the galleries of the Louvre in 1668. Israel was admitted to the Royal Academy of Painting and Sculpture in 1670 on the recommendation of Charles Lebrun. He was also the head of an important workshop, where he had at least two students, the engravers François Noblesse and Meunier, as well as numerous collaborators among the best artists of their time: Stephen de LaBella, Jean Le Pautre, the three Pérelle (Gabriel, Nicolas and Adam), François Collignon, Jean Marot, etc..
It is impossible to make a complete inventory of Israël Silvestre's works, so prolific was the artist. He left numerous drawings and more than a thousand engravings (see Faucheux "Catalogue raisonné de toutes les estampes qui forment l'œuvre d'I.S."). However, among his most beautiful works, we can mention the Carrousel of 1662, the representation of the "Plaisirs de l'Isle Enchantée", the views of the royal residences of the Ile de France, including Versailles, Vaux and Fontainebleau, or the suites of the churches of Rome.
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