Sales catalogue 55: Martin Breslauer

Date:
1942
Reference:
WA/HMM/CM/Sal/27/7
Catalogue details

Licence: Public Domain Mark

Credit: Sales catalogue 55: Martin Breslauer. Source: Wellcome Collection.

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    Order No. 788 789 790 7191 792 PUBLICATIONS ON ART OF THE DRAWINGS OF NICOLAS POUSSIN. Part I. Catalogue Raisonné, edited by WALTER FRIEDLAENDER. (Studies of the Warburg Institute, No. 5.) Ato. 49 pp. 134 illustrations on 82 plates, £7—LDs. Poussin has long been acknowledged as the greatest representative of French classicism in painting, but up till now no attempt has been made to study his drawings, although a knowledge of them is essential to a complete understanding of his mentality. For it was his peculiar habit to work out his designs in a series of logically connected stages, each recorded in a drawing. The first aim of this catalogue is io give reproductions and exact descriptions of all the drawings which survive from his hand, the greater part of which are entirely unknown. The drawings are arranged according to subjects and thus provide a unique insight into the artist’s working methods. The bulk of the book. consists of unquestionably genuine drawings. In addition, there are two appendices, the first containing drawings from Poussin’s studio or immediate circle, the second consisting of drawings by more individual artists directly connected with Poussin. The first part of the catalogue, which has been prepared in collaboration with Rudolf Wittkower contains all the drawings of religious subjects. The second part, in which the editor wiil collaborate with Ellis K. Waterhouse, is including the classical and historical subjects. The third part will contain landscapes, drawings after the antique, and the illustrations to Leonardo’s treatise on painting and the General Introduction. The volumes will be issued at a special price of two guineas each for subscribers to the set of three, who will be required to pay for each part as it is published. The price of the volumes brought separately ts £2 10s. INFLUENCES ANTIQUES DANS L’ART DU MOYEN AGE FRANCAIS. By JEAN ADHEMAR. (Studies of the Warburg Institute, No. 7) XVI, 344 pp. With 127 illus. on 40 plates. 8vo. In French, 24s. nett This important study of the survival and influence of antiquity in France consists of two main parts. The former deals with the classical monuments still standing in France in the Middle ‘Ages ; it discusses such topics as medieval finds and reports of excavations, collections of objets d’art, etc. The intense medieval interest in these discoveries and possessions died down from the 13th century onwards, and the second part of M. Adhémar’s book is concerned with classical influence on French art up to 1400. The plates are arrangeu according to subjects, and show the classical models side by side with their medieval transformations. THE CODEX HUYGENS AND LEONARDO DA VINCI'S ART THEORY. The Pierpont Morgan Library Codex M.A. 1139. ByERWIN PANOFSKY,. (Studies 8vo. 30s. nett In the first part of his new book Professor Panofsky gives a careful description and analysis of the text and illustrations of a treatise—hitherto unpublished—of the theory of proportions and on perspective which was considered in the 17th century as the work of Leonardo da Vinci. Its author, who lived in Milan about 1570, certainly had access to Leonardo manuscripts. He copied and thus preserved a number of Leonardo’s drawings of which the originals have perished. The book provides a valuable clue to a part of Leonardo’s lost, or more probably unwritten, theories on the movement of the human body. In the latter part—‘The Author and His Sources—’’ Prof. Panofsky gives an account of theory on the proportions of the human body and perspective from antiquity to the Renaissance. FRANCOIS MANSART AND THE ORIGINS OF FRENCH CLASSICAL ARCHI- TECTURE. By ANTHONY BLUNT. (Studies of the Warburg Institute, No. 14) 78 pp. With 86 illustrations on 34 plates. 8vo. 15s. nett The first monograph on Mansart. The history of the foremost among his buildings, the two castles of Blois and Maisons, is fully discussed, and their architecture analysed against the wider background of contemporary French architectural development. STUDIES IN SEVENTEENTH CENTURY IMAGERY. By MARIO PRAZ. 208 pp. 75 illus, 8vo. 10s. 6d. nett In this work a revised translation of Studi sul Concettismo published in 1934, Signor Praz discusses the most important emblem books of the 17th century, and traces the images through 16th century treatises on devices, back to Petrarch and late mediaeval poetry, and Ovid and the Alexandrian writers of epigrams. The long appendix, specially written for this edition, analyses the connexion of emblems and devices with English 17th century literature, and shows us that many of the metaphors which were used by the major poets go back to common images and phrases which constantly reappear in emblems. Gz /
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