Orvieto
| Reference: | CO-239 |
| Author | Francesco VALEGIO |
| Year: | 1580 ca. |
| Zone: | Orvieto |
| Printed: | Venice |
| Measures: | 135 x 85 mm |
€250.00
| Reference: | CO-239 |
| Author | Francesco VALEGIO |
| Year: | 1580 ca. |
| Zone: | Orvieto |
| Printed: | Venice |
| Measures: | 135 x 85 mm |
€250.00
Description
View taken from the La Raccolta di le piu illustri et famose citta di tutto il mondo published by Francesco Valegio in Venice towards the end of the 16th century, includes some 322 plans and views of the major cities of the known world.
Francesco Valegio, an engraver and printer, was active between 1570 and 1643. According to Gori Gandellini, he was born in Bologna around 1560; his work as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Catarino Doino.
Valegio's most demanding cartographic work is the Raccolta di le più illustri et famose città di tutto il mondo (Collection of the most illustrious and famous cities of the world). The plates in the corpus are undated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota from Sibenik, where the year 1572 appears. The plans and views bearing Rota's signature constitute the oldest part of the collection and suggest that the publishing project was probably initiated by the Dalmatian engraver in the early 1570s and left unfinished following his move to Vienna in 1573 as court portraitist. The presence of such maps has led to the work being dated to 1579.
However, such an early date referring to the entire collection would seem highly unlikely, as it would conflict with Valegio's biographical data. Many of the images take up figurative models that appeared in the first volumes of the Civitates Orbis Terrarum published between 1572 and 1588 by the cartographers Georg Braun and Franz Hogenberg. Therefore, it is much more plausible that Valegio began looking at the plates engraved by Martino Rota, around 1580, and then expanded and published the collection in the last two decades of the century. In the entire collection of engravings, precisely 112 bear the signature or initials of Valegio, to whom one can undoubtedly attribute the authorship of the entire work.
Over the years, the Raccolta saw an increase in the number of images until it reached 322 in the final version edited by Domenico Rascicotti (another publisher active in Venice), who collaborated with Valegio. The plates were engraved by an entirely different hand, much coarser and more imprecise. 69 plans and views, which differ from the previous series due to a different layout, all bear a white strip (18 mm) at the bottom in which titles and descriptions concerning the city depicted in the image often, but not always, appear. The copies with these characteristics are those preserved in Venice, Florence and Washington Libraries.
The variable size of the specimens leads one to think that the volume had a long and articulated gestation. The copies in Rome, Florence and London consist of a variable number of plates, between 234 and 250, and all three copies contain the 112 maps signed by Valegio.
Copperplate, with margins, in excellent condition. Very rare.
Bibliografia
Alberto Satolli, Imago VV, Le rappresentazioni della città di Orvieto dalle origini ad oggi, p. 106, tav. XXXV; Almagià p. 10, Cremonini p. 15/17, Valerio, Piante e vedute di Napoli pp. 75/87.
Francesco VALEGIO (1570 ca. – 1643 ca.)
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Francesco Valegio engraver and printer, active between 1570 and 1643 ca According to Gori Gambellini, was born in Bologna in 1560, while the Salsa, taking up the study of Zari, validating the source of Verona, including as regards the date of his death, apparently took place in Verona around 1641 to 1643 approximately (U. Thieme - Becker F.). His activity as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Dorino Catarino (or Doino) with which reissued the map of Venice by Franco in 1574 and a plant in Vicenza in 1611. It should also be reminded of a paper of the Duchy of Savoy, first published by Ferrante Bertelli in 1562, the date was later revised edition in 1600 and with execudit Donato Rasicotti and Francesco Valegio.
With the example of this and other prints, including maps, the Almagia Valegio claimed that he had released a large number of fakes and reproductions of works by other engravers.
The most challenging part of the cartographic work Valegio is the "Collection of the most illustrious et famous cities around the world," the tables in the corpus are not dated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota Sibenik, where it appears the year 1572. The plants and views that have the signature of the Rota are the oldest part of the collection and are likely to conclude that the editorial project has been started dall'incisore the early '70s of the sixteenth century and left unfinished in 1573 as a result of its Transfer to Vienna as court portraitist. The presence of such cards has led to the work dating to 1579. However, a date well in advance referring to the entire collection, it would seem highly unlikely in that it goes counter to the biographical data of Valegio (on that date would have been little more than 15 years) wanted to pursue the study of the Salsa and also many of the images are influenced by models in the first volumes of figurative Civitates Orbis Terrarum by Georg Braun and Frans Hogenberg, published between 1572 and 1588.
Throughout the collection of engravings, namely 112, bear the signature or initials of Valegio, which without any doubt can be attributed to the authorship of the entire work. The expansion of the number of images, from 270 to 322, the net change of the hand and artistic quality of the engraving, the sizes of the specimens, leading to think that the volume has had a long gestation and articulate. Copies present in Rome, Florence and London are composed of a variable number of boards 234 and 250 and contain all three units of the 112 cards signed by Valegio. The images are part of these collections are the oldest part of the Collection for which it is engraved with the famous title page. In the years that followed were recorded by a completely different hand, much more coarse and imprecise, 69 maps and views that differ from the previous series for a different layout, all bearing a white stripe at the bottom (18 mm), in which often, but not always appear in titles or descriptions of the cities represented in the image. Copies of these characteristics are those preserved in Venice, Florence and Washington.
In difficult times to be specified with a date, but certainly to be placed first edition edited by Rasicotti the Valegio in circulation a new cover, entitled Collection Dile most famous cities of Italy, this time addressed to the local market, in many collection only collects the views of Italian cities. 'S full copy of all images is sold later by the publisher of Venetian origin Rasciotti Donato, publisher of other maps of cities in the late sixteenth century. A plan of 1599, representing Brescia, calls himself "Donald Rasciotti in Venetia to the bridge of Barettari" while in the theater of the most illustrious et famous cities in the world has the address "A Bridge To Venetia Bare.ri"
The original branches of Velegio Francis had a long life and find them printed again in 1713, Savonarola in the work of Raphael (also known as Alfonsus LaSor Varea A, 1680 -1748) Universus Terrarum Orbis.
The Valegio represents a very significant figure in the horizon editorial copperplate of Venice at the turn of the century. According to the sauce, the criticism has been strongly oriented to a purely aesthetic assessment, which has long neglected "the multifarious activities of this interesting and eclectic set of copperplate engraver and publisher.
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Francesco VALEGIO (1570 ca. – 1643 ca.)
|
Francesco Valegio engraver and printer, active between 1570 and 1643 ca According to Gori Gambellini, was born in Bologna in 1560, while the Salsa, taking up the study of Zari, validating the source of Verona, including as regards the date of his death, apparently took place in Verona around 1641 to 1643 approximately (U. Thieme - Becker F.). His activity as an engraver and printer took place mainly in Venice, often in collaboration with other printers including Dorino Catarino (or Doino) with which reissued the map of Venice by Franco in 1574 and a plant in Vicenza in 1611. It should also be reminded of a paper of the Duchy of Savoy, first published by Ferrante Bertelli in 1562, the date was later revised edition in 1600 and with execudit Donato Rasicotti and Francesco Valegio.
With the example of this and other prints, including maps, the Almagia Valegio claimed that he had released a large number of fakes and reproductions of works by other engravers.
The most challenging part of the cartographic work Valegio is the "Collection of the most illustrious et famous cities around the world," the tables in the corpus are not dated, with the exception of Algiers, Constantinople and Rhodes signed by Martino Rota Sibenik, where it appears the year 1572. The plants and views that have the signature of the Rota are the oldest part of the collection and are likely to conclude that the editorial project has been started dall'incisore the early '70s of the sixteenth century and left unfinished in 1573 as a result of its Transfer to Vienna as court portraitist. The presence of such cards has led to the work dating to 1579. However, a date well in advance referring to the entire collection, it would seem highly unlikely in that it goes counter to the biographical data of Valegio (on that date would have been little more than 15 years) wanted to pursue the study of the Salsa and also many of the images are influenced by models in the first volumes of figurative Civitates Orbis Terrarum by Georg Braun and Frans Hogenberg, published between 1572 and 1588.
Throughout the collection of engravings, namely 112, bear the signature or initials of Valegio, which without any doubt can be attributed to the authorship of the entire work. The expansion of the number of images, from 270 to 322, the net change of the hand and artistic quality of the engraving, the sizes of the specimens, leading to think that the volume has had a long gestation and articulate. Copies present in Rome, Florence and London are composed of a variable number of boards 234 and 250 and contain all three units of the 112 cards signed by Valegio. The images are part of these collections are the oldest part of the Collection for which it is engraved with the famous title page. In the years that followed were recorded by a completely different hand, much more coarse and imprecise, 69 maps and views that differ from the previous series for a different layout, all bearing a white stripe at the bottom (18 mm), in which often, but not always appear in titles or descriptions of the cities represented in the image. Copies of these characteristics are those preserved in Venice, Florence and Washington.
In difficult times to be specified with a date, but certainly to be placed first edition edited by Rasicotti the Valegio in circulation a new cover, entitled Collection Dile most famous cities of Italy, this time addressed to the local market, in many collection only collects the views of Italian cities. 'S full copy of all images is sold later by the publisher of Venetian origin Rasciotti Donato, publisher of other maps of cities in the late sixteenth century. A plan of 1599, representing Brescia, calls himself "Donald Rasciotti in Venetia to the bridge of Barettari" while in the theater of the most illustrious et famous cities in the world has the address "A Bridge To Venetia Bare.ri"
The original branches of Velegio Francis had a long life and find them printed again in 1713, Savonarola in the work of Raphael (also known as Alfonsus LaSor Varea A, 1680 -1748) Universus Terrarum Orbis.
The Valegio represents a very significant figure in the horizon editorial copperplate of Venice at the turn of the century. According to the sauce, the criticism has been strongly oriented to a purely aesthetic assessment, which has long neglected "the multifarious activities of this interesting and eclectic set of copperplate engraver and publisher.
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