Traité de la peinture, et de la sculpture. Par M[essieu]rs.Richardson, Père et Fils ; divisé en trois tomes.
Amsterdam, Herman Uytwerf 1728.
8vo. 3 vols bound in 4. Title leaf in red and black (with engraved vignette), (26) + 216pp, (3) folding printed tables; title leaf in red and black (with engraved vignette), (2) + 238pp; (2) + lxxii + (24) + 322pp ; (2) + pp (323)-759 + (1)pp. Contemporary full mottled calf, gilt spines. Nineteenth century armorial bookplates of the Welbeck Abbey library of the Dukes of Portland, with early ink catalogue number 656 on inside cover of first volume, and later pencil shelfmarks 44 A 7 to 44 A 10. Recent bookplates of Michael Jaffé (1923-1997), Director of the Fitzwilliam Museum, Cambridge, and authority on the painter Rubens. Intermittent ink reading marks of an early owner in blank outer margins, but otherwise good, fresh copies of each of the volumes.
A good set from the library of the Dukes of Portland of the earliest translation into a foreign language of the collected works of Jonathan Richardson (1667-1745) and his son of the same name, both of them painters, art collectors and writers on art history. The works involved comprise the elder Richardson’s Essay on the Theory of Painting and Essay on the Whole Art of Criticism as it relates to Painting, and the two Richardsons’ An Account of Some of the Statues, Bas-Reliefs, Drawings and Pictures in Italy, the last a key text in Grand Tour literature and revised and expanded for the purposes of this translation. What differentiates this from most translations of art historical texts was that the work of its translator, the Amsterdam-based art dealer and collector Antoni Rutgers, was carefully reviewed by the Richardsons, father and son, and the first volume includes a new preface written in French especially for the present publication by the elder Richardson. Additionally, the third volume commences with a lengthy added essay on the “Beau Idéal” in art, contributed by Lambert ten Kate (1674-1731), a well-known Amsterdam art collector and specialist in linguistics, and concludes with an essay on Raphael’s painting of The Transfiguration, contributed by Antoni Rutgers, the publication’s translator. It should be noted that although there are three volumes, only two of them contain the general title leaf printed in red and black with an engraved vignette. This is normal for sets of this title, as copies of it in the Royal Academy Library and in the library of the University of Heidelberg, and a third copy (somewhat inferior to ours) which featured in the Quaritch firm’s catalogue 1115, 1989, item 90, are all bound up with only two title leaves of this nature. Cicognara 199.