Nova Hispaniae Descriptio
| Reference: | S43566 |
| Author | Francesco VALEGIO |
| Year: | 1632 ca. |
| Zone: | Iberic Peninsula |
| Measures: | 555 x 445 mm |
€6,500.00
| Reference: | S43566 |
| Author | Francesco VALEGIO |
| Year: | 1632 ca. |
| Zone: | Iberic Peninsula |
| Measures: | 555 x 445 mm |
€6,500.00
Description
Excellent carte-à-figures of Spain (Iberian Peninsula), richly decorated with depictions of the main cities and towns and typical costumes of the nation. The map is based on Pieter van den Keere's map of Spain originally published in 1616. The title and imprint are brought together in a cartouche at the lower right, below which is a view of Madrid. In the upper right is a simple cartouche with two scale bars and a legend with the symbols used. The map image is framed by latitudinal and longitudinal scales; meridians and parallels are drawn at each full degree. The chart is surrounded by views on the top and bottom edges, with a portrait of Philip IV and the coat of arms of Spain and figures on either side. The map was later acquired by Johannes Janssonius, who republished it with different figures in 1626 and again in 1632 (Schilder, Monumenta Cartographica, VI, 101.3). It is on the latter state that the present map is based, which, however, has all the figures and views of the bordure reversed; for example, the view of Valladolid, which on the original is on the upper right, ends up on the upper left in this map.
Gunther Shilder, in the introduction to his cartobibliography of Dutch folio maps with decorative borders (sometimes referred to as carte-à-figures, or "panel maps"), commented, "this genre must be regarded as one of the best products of the Amsterdam cartographic industry. The successful combination of advances in geographical knowledge and the expression of artistic skills made these maps a valuable commodity in both the domestic and international markets" (see Günter Schilder, Monumenta Cartographica Neerlandici VI. "Nederlandse foliokarten met decoratieve randen, 1604-1640."
The fact that many of these maps were sold in separate sheets and included only casually in the composite atlases of the time explains their rarity today, while their aesthetic appeal has not diminished over the centuries, making them highly collectible examples of cartographic art.
This map of Spain was unknown to Klaus Stopp, recognized as the foremost authority on carte-à-figures. A specimen of this map (and other anonymous Italian carte-à-figures) devoid of date and editorial indications was sold at auction, at Sotheby's London, in November 2008 (lot 162 et seq.). The cataloguer (at the time Catherine Slowther, Sotheby's Senior Specialist), albeit dubiously, attributed the map to Stefano Mozzi Scolari, dating it to about 1642.
The hypothesis, more than reliable, was based on the paper used for the map, an Italian map as documented by the presence of the watermark: “Seven of the maps following are hitherto unrecorded piracies taken from Dutch models by Pieter van den Keere or Jodocus Hondius Jr (re-)published by Johannes Janssonius in the 1630s and 1640s; one feature of the copying process is that the vast majority of the vignettes and costume figures, as also the armorials on the map of Germany, are reversed in engraving so what was on the left in the original now appears on the right. While this is commonly encountered for decorative features in maps, it is incongruous on the London plan, for example, to see the Tower of London placed on the west side of London and Westminster on the east. (However, all the vignettes on the map of France and three on that of Europe – Venice, Rome and Constantinople – are correctly orientated). Although copied from Dutch models, and assuming the engraved dates of 1641 or 1642 are broadly correct for the publication date of the set, it should be noted that the examples of the maps used were not acquired contemporaneously; the maps of the continents, for example were issued by Janssonius in 1632 with the lower panel removed. It is possible that these maps were engraved in Venice (the plan of Venice being one of the few vignette insets correctly orientated), perhaps by the little known publisher Stefano Scolari, who is known to have published other maps from Dutch originals, but as the maps are without any engraved attribution, this must be speculative. That the paper used in printing was too small for the printing plates may, however, point to a bookseller rather than map- or print-seller. Five of the maps have watermarks showing an anchor in a circle, surmounted by a six-pointed star (Heawood 8?) which indicates the paper to be Italian and of the period”.
Our copy - a second state of the plate - has been retouched for reprinting. In the title cartouche, the date 1632 is corrected to 1662; below the view of Madrid is added the signature Stefano Scolari Forma in Venetia. The fact certifies that the attribution was plausible.
However, the hypothesis that seems most possible to us, that the author of the map can be traced back to Francesco Valegio. After all, it is widely documented how Scolari came into possession of a large number of Valegio's plates, reprinting them simply by affixing his own signature. The graphic style of the map leads back to the Veronese engraver and printer. The assigned date corresponds with Valegio's activity, and the fact that it is unsigned should not be surprising; it is a "pirated" copy of a map that was subject to privilege, a kind of copyright that protected the original publisher.
The hypothesis is supported and certified, by the copy of the carte-à-figures of Italy in our hands:
https://www.antiquarius.it/en/italy/13049-italiae.html
In the cartouche on the lower right of the map of Italy, where we find the dedication to Father Giacomo Antonio Marchesi and the imprint Stefano Scolari Forma Venetia 1662 (engraved with different handwriting) we can partially read, clumsily abraded, the previous editorial imprint of Francesco Valegio. Therefore we also assign the authorship of the map of Spain to Valegio; Stefano Mozzi Scolari acquired the plate and edited this 1662 reprint. As far as the dating of the maps is concerned, we are helped by the dedication that Valegio in the map. Father Giacomo Antonio Marchesi, a Venetian of the order of San Girolamo di Fiesoli (cf. Luigo Grotto, Sulla condizione antica e moderna di Adria città del regno Lombardo Veneto succinte notizie, 1830), in 1630 was Maestro Generale della Religione Fiesolana di San Girolamo (Master of the Fiesolan Religion of St. Jerome) as recorded in the Quaresimale published in Venice by Giacomo Scaglia (1630). So, the dedication on the map to Marchesi, whom Valegio already appoints as Magistro Fiesolani Religionis, traces the map of Italy to 1630, a date that could also be valid for the remaining carte-à-figures.
Francesco Valegio (Verona c. 1570 - c. 1650) was born in Verona to a family originally from Valeggio sul Mincio. Described as a true "entrepreneur of the image": painter, draughtsman, engraver, printer, publisher and, in Venice, also seller of prints (workshop in Spadaria, at the Segno della Sorte), he produced many works, portraits, historical and religious subjects, including devotional prints and illustrations for books, with subjects of others or engraved by himself. He mainly published maps, plans of cities (among those in the Veneto, Padua and its territory, Vicenza, Verona). He often collaborated with other printers, among them Catarino Dorino (or Doino) with whom he entered into partnership and with whom he published a map of the city of Venice in 1611. According to Roberto Almagià, Valegio allegedly marketed a large number of reproductions and forgeries of works by other engravers; in fact-as was the custom at the time-he bought several branches of other publishers or cartographers, from Gastaldi to Magini, reprinting them as a publisher and selling them. Valegio's most challenging cartographic work is the Raccolta di le più illustri et famose città di tutto il mondo, published without a date, but traceable to after 1590.
Stefano Mozzi Scolari (active in Venice between 1644 and 1687) was a Brescian draughtsman, engraver and publisher, active in Venice from 1644 to 1687. His workshop was one of the best Venetian chalcographers of the 1600s. He practiced the art of printing and trading maps in S. Zulian. He made use of the plates of Bertelli, Valegio and Van Aelst. He also edited reprints of such important maps as Gastaldi's Lombardia, and Greuter and Magini's maps of Italy.
Etching and engraving, ca. 1632-40 (but second state example with date 1662). Two copper plates impressed on contemporary laid paper, trimmed to copperplate or with small margins, restorations to upper corners perfectly executed, otherwise in excellent condition.
Very rare work.
Bibliografia
cfr. Klaus Stopp, ‘Drie Karten von Francesco Sabatini' in Mappae Antiquae Liber Amicorum Günter Schilder, pp. 281-285; cfr. Günter Schilder, Monumenta Cartographica Neerlandici VI. "Nederlandse foliokarten met decoratieve randen, 1604-1640", pp. 186-188, n. 33; Sotheby’s London, Natural History, Travel, Atlases & Maps, November 2008, Lot 167.
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.)
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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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