LEONARDO DA VINCI (1452-1519). Traitté de la peinture , translated from the Italian by Roland Freart sieur de Chambray. Paris: Jacques Langlois 1651. Large 2° (415 x 295mm). Engraved frontispiece portrait, title vignette, 56 engraved illustrations and diagrams, many engraved head- and tail pieces. (Rather browned, occasional spotting and soiling, marginal tears to P2-3.) Original pasteboards with yapp edges (covers lightly soiled, spine rubbed, a few tears to spine and yapp edges), modern cloth case.
LEONARDO DA VINCI (1452-1519). Traitté de la peinture , translated from the Italian by Roland Freart sieur de Chambray. Paris: Jacques Langlois 1651. Large 2° (415 x 295mm). Engraved frontispiece portrait, title vignette, 56 engraved illustrations and diagrams, many engraved head- and tail pieces. (Rather browned, occasional spotting and soiling, marginal tears to P2-3.) Original pasteboards with yapp edges (covers lightly soiled, spine rubbed, a few tears to spine and yapp edges), modern cloth case. FIRST EDITION IN ORIGINAL BOARDS of Leonardo's celebrated Treatise on Painting , a work which widely disseminated his theory of art as a science grounded in geometry and direct observation of nature. 'Around 1530 a selection from Leonardo's manuscripts was compiled by Leonardo's favourite pupil, Francesco Melzi who had inherited all his master's manuscripts. It was given the title Trattato della pittura and is now known as the Codex Urbinas 1270' (Andersen, The Geometry of an Art ). Abridgments of this manuscript circulated, and one became the source for the 1651 editions printed in Paris. Leonardo scholars now recognise that those editions, published by the same press and editor, appeared first in French translation and then in Italian; indeed, Fresne's 'Life of Leonardo', present only in the Italian edition, refers to the prior appearance of the French version. Both editions use the same set of plates, some after drawings by Nicolas Poussin -- with shadows and backgrounds added by Errard, and others after geometrical designs by Alberti. The first reproduction of the Mona Lisa, a detail of her head and shoulders, appears on page 94. Brunet V, 1258.
LEONARDO DA VINCI (1452-1519). Traitté de la peinture , translated from the Italian by Roland Freart sieur de Chambray. Paris: Jacques Langlois 1651. Large 2° (415 x 295mm). Engraved frontispiece portrait, title vignette, 56 engraved illustrations and diagrams, many engraved head- and tail pieces. (Rather browned, occasional spotting and soiling, marginal tears to P2-3.) Original pasteboards with yapp edges (covers lightly soiled, spine rubbed, a few tears to spine and yapp edges), modern cloth case.
LEONARDO DA VINCI (1452-1519). Traitté de la peinture , translated from the Italian by Roland Freart sieur de Chambray. Paris: Jacques Langlois 1651. Large 2° (415 x 295mm). Engraved frontispiece portrait, title vignette, 56 engraved illustrations and diagrams, many engraved head- and tail pieces. (Rather browned, occasional spotting and soiling, marginal tears to P2-3.) Original pasteboards with yapp edges (covers lightly soiled, spine rubbed, a few tears to spine and yapp edges), modern cloth case. FIRST EDITION IN ORIGINAL BOARDS of Leonardo's celebrated Treatise on Painting , a work which widely disseminated his theory of art as a science grounded in geometry and direct observation of nature. 'Around 1530 a selection from Leonardo's manuscripts was compiled by Leonardo's favourite pupil, Francesco Melzi who had inherited all his master's manuscripts. It was given the title Trattato della pittura and is now known as the Codex Urbinas 1270' (Andersen, The Geometry of an Art ). Abridgments of this manuscript circulated, and one became the source for the 1651 editions printed in Paris. Leonardo scholars now recognise that those editions, published by the same press and editor, appeared first in French translation and then in Italian; indeed, Fresne's 'Life of Leonardo', present only in the Italian edition, refers to the prior appearance of the French version. Both editions use the same set of plates, some after drawings by Nicolas Poussin -- with shadows and backgrounds added by Errard, and others after geometrical designs by Alberti. The first reproduction of the Mona Lisa, a detail of her head and shoulders, appears on page 94. Brunet V, 1258.
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