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細節
LIBER AMICORUM of Humbertus Johannes Mauritius Czernin, Freiherr von Chudenitz, ILLUMINATED MANUSCRIPT on paper (with additional miniatures on vellum)
[Rome-Siena-Paris-Brussels-Louvain, 1646-1648]
Oblong 8 (129 x 189mm), 172ff, with 47 FULLY EMBLAZONED ACHIEVEMENTS OF ARMS in bodycolour, gold and silver, most with scrolls bearing mottoes and inscriptions, many with floral and other embellishments, 4 ELABORATE FIGURE-PAINTINGS incorporating arms, 5 FULL-PAGE MINIATURES ON VELLUM (bound-in or pasted on stubs), 4 PEN-AND-INK DRAWINGS, 3 armorials in pen-and-ink (one with wash), one wax seal impression, gilt, on paper (pasted in), one pencil drawing of moated fortifications, and one inscription without arms. (Some browning or spotting to paper, occasional light wear to vellum leaves). Contemporary gilt-tooled red morocco, spine gilt-tooled in compartments, remains of four ties, marbled-paper pastedowns, gilt edges (slight wear to joints and edges, a few pinpoint holes on upper cover).
An exceptionally fine early example of a Liber Amicorum richly and elaborately decorated, and of interest for the evidence it gives of a circle of friends among German and other students in European university cities in the late 1640s. Czernin was a member of an ancient Bohemian noble family, recently raised to the rank of Freiherr; he was created count in 1652. The friends who contributed to his book came from noble families across Europe, such as Khevenhller, Herberstein, Mansfeld, Dietrichstein, and Palffy, and included Friedrich Maximilian, Margrave of Baden. The inscriptions and mottoes are mainly in Latin, German, French and Italian, but include one in Czech (f.28). At least one of the Bohemians (Czenko Howora de Leippa) was the son of one of those dispossessed for siding with the Winter King, Frederick, defeated by Imperial forces at the Battle of the White Mountain (Bila Hora) in 1620.
The fine decoration consists of splendidly emblazoned arms and various emblematic paintings and drawings. The paintings on vellum are: 1. A ship with a sail with the monogram IHS and the legend 'In hoc signo vinces' and the arms of Czernin on the stern pennant, green trees growing from barren rocks with the legend 'col tempo', a naked male figure leaping into the sea with the legend 'immergar aut emergam', and an Icarus-like figure flying near the sun with the legend 'nil linquere inausum'. Below is the name of Czernin, 'Libri Possessor'. 2. Cupid on his quiver, paddling with his bow, the legend 'nil obstat amor' on his mantle, a ship behind, a woman on shore to left, the arms of Lazansky suspended from a tree. 3. A trophy of weapons, armour, banners with the arms of Schaffgotsch, etc, with a battle scene behind. 4. A lion tied to a tree, a mouse running down above him, a ruined castle behind in a landscape, arms at bottom right. 5. The Pont-Neuf in Paris, by moonlight, the 1614 statue of Henri IV (destr. at the Revolution) at left, cityscape behind, a man robbed and shot at centre, another apparently thrown over wall at left. The black borders surrounding these scenes are characteristic of German work of this date.
A full list of the contributors to the album and the subjects of the other imprese and illustration is available on request.
[Rome-Siena-Paris-Brussels-Louvain, 1646-1648]
Oblong 8 (129 x 189mm), 172ff, with 47 FULLY EMBLAZONED ACHIEVEMENTS OF ARMS in bodycolour, gold and silver, most with scrolls bearing mottoes and inscriptions, many with floral and other embellishments, 4 ELABORATE FIGURE-PAINTINGS incorporating arms, 5 FULL-PAGE MINIATURES ON VELLUM (bound-in or pasted on stubs), 4 PEN-AND-INK DRAWINGS, 3 armorials in pen-and-ink (one with wash), one wax seal impression, gilt, on paper (pasted in), one pencil drawing of moated fortifications, and one inscription without arms. (Some browning or spotting to paper, occasional light wear to vellum leaves). Contemporary gilt-tooled red morocco, spine gilt-tooled in compartments, remains of four ties, marbled-paper pastedowns, gilt edges (slight wear to joints and edges, a few pinpoint holes on upper cover).
An exceptionally fine early example of a Liber Amicorum richly and elaborately decorated, and of interest for the evidence it gives of a circle of friends among German and other students in European university cities in the late 1640s. Czernin was a member of an ancient Bohemian noble family, recently raised to the rank of Freiherr; he was created count in 1652. The friends who contributed to his book came from noble families across Europe, such as Khevenhller, Herberstein, Mansfeld, Dietrichstein, and Palffy, and included Friedrich Maximilian, Margrave of Baden. The inscriptions and mottoes are mainly in Latin, German, French and Italian, but include one in Czech (f.28). At least one of the Bohemians (Czenko Howora de Leippa) was the son of one of those dispossessed for siding with the Winter King, Frederick, defeated by Imperial forces at the Battle of the White Mountain (Bila Hora) in 1620.
The fine decoration consists of splendidly emblazoned arms and various emblematic paintings and drawings. The paintings on vellum are: 1. A ship with a sail with the monogram IHS and the legend 'In hoc signo vinces' and the arms of Czernin on the stern pennant, green trees growing from barren rocks with the legend 'col tempo', a naked male figure leaping into the sea with the legend 'immergar aut emergam', and an Icarus-like figure flying near the sun with the legend 'nil linquere inausum'. Below is the name of Czernin, 'Libri Possessor'. 2. Cupid on his quiver, paddling with his bow, the legend 'nil obstat amor' on his mantle, a ship behind, a woman on shore to left, the arms of Lazansky suspended from a tree. 3. A trophy of weapons, armour, banners with the arms of Schaffgotsch, etc, with a battle scene behind. 4. A lion tied to a tree, a mouse running down above him, a ruined castle behind in a landscape, arms at bottom right. 5. The Pont-Neuf in Paris, by moonlight, the 1614 statue of Henri IV (destr. at the Revolution) at left, cityscape behind, a man robbed and shot at centre, another apparently thrown over wall at left. The black borders surrounding these scenes are characteristic of German work of this date.
A full list of the contributors to the album and the subjects of the other imprese and illustration is available on request.