Details
QUARTREMÈRE DE QUINCY, Antoine-Chrysostôme (1755-1849). Le Jupiter Olympien: ou L'art de la sculpture antique. Paris: Firmin Didot for De Bure Frères, 1815.
2° (470 x 327mm). With the half-title and without blanks. Hand-coloured engraved frontispiece and 31 plates, 19 of these hand-coloured and one touched with a grey wash. (Occasional light scattered spotting mainly in the text). Contemporary gilt russia by Ph. Selenka with his ticket, sides panelled in gilt and blind, edges and turn-ins gilt (spine head torn but present, corners rubbed).
FIRST EDITION. A VERY GOOD COPY IN A HANDSOME BINDING. 'A PIONEERING WORK', 'dealing for the first time with the chryselephantine idols of Pheidias, and reconstructing their physical forms from the descriptions of Pausanias and others' (RIBA). The striking hand-coloured plates reflect the author's interest in the use of paint and gilding in the ancient world. Blackmer 1367 ('only 160 copies were printed'); RIBA 2683; Brunet IV, 1003 ('a curious work magnificently executed'); Cicognara 285.
2° (470 x 327mm). With the half-title and without blanks. Hand-coloured engraved frontispiece and 31 plates, 19 of these hand-coloured and one touched with a grey wash. (Occasional light scattered spotting mainly in the text). Contemporary gilt russia by Ph. Selenka with his ticket, sides panelled in gilt and blind, edges and turn-ins gilt (spine head torn but present, corners rubbed).
FIRST EDITION. A VERY GOOD COPY IN A HANDSOME BINDING. 'A PIONEERING WORK', 'dealing for the first time with the chryselephantine idols of Pheidias, and reconstructing their physical forms from the descriptions of Pausanias and others' (RIBA). The striking hand-coloured plates reflect the author's interest in the use of paint and gilding in the ancient world. Blackmer 1367 ('only 160 copies were printed'); RIBA 2683; Brunet IV, 1003 ('a curious work magnificently executed'); Cicognara 285.
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