46 research outputs found
Drukarstwo warszawskie w latach 1795–1806
Full text linkPRINTING IN WARSAW IN 1795–1806The article examines the state of printing in Warsaw over an 11-year period following the fall of the Kościuszko Uprising. The author briefly discusses printing houses closed at the time run by Tadeusz Podlecki, Fr. Józef Mejer and the Cadet Corps; in addition, he presents a detailed analysis of the state of printing houses that continued their operations as well as new printing houses founded in the 19th century. The most distinguished printing houses from the reign of Stanisław August including those of Piotr Dufour and Michal Gröll, and Piotr Zawadzki’s matrix shop did not manage to maintain their status. This was the result of both a new political situation and the death of the owners, whose successors were no match for them in terms of talent or scope of projects undertaken. Among monastic printing houses only the Piarists’ printing houses remained in good condition, printing a number of quality publications in 1795–1806. Among new entities established in the 19th century the one that stood out was the very well equipped printing house founded by Tadeusz Mostowski, the publisher of the „Wybór Pisarzów Polskich” “Selection of Polish Writers” series, important for the preservation of the national heritage.The author analyses the operation of press printing houses of „Korespondent” and „Gazeta Warszawska” and engraving houses of Józef Elsner and Fr. Izydor Cybulski, who printed sheet music, and the engraver Jan Ligber, a book illustrator. The author questions the existence of Stefan Baccigalupi’s enterprise during the discussed period, because his typefaces and press were used by the „Korespondent” printing house.PRINTING IN WARSAW IN 1795–1806The article examines the state of printing in Warsaw over an 11-year period following the fall of the Kościuszko Uprising. The author briefly discusses printing houses closed at the time run by Tadeusz Podlecki, Fr. Józef Mejer and the Cadet Corps; in addition, he presents a detailed analysis of the state of printing houses that continued their operations as well as new printing houses founded in the 19th century. The most distinguished printing houses from the reign of Stanisław August including those of Piotr Dufour and Michal Gröll, and Piotr Zawadzki’s matrix shop did not manage to maintain their status. This was the result of both a new political situation and the death of the owners, whose successors were no match for them in terms of talent or scope of projects undertaken. Among monastic printing houses only the Piarists’ printing houses remained in good condition, printing a number of quality publications in 1795–1806. Among new entities established in the 19th century the one that stood out was the very well equipped printing house founded by Tadeusz Mostowski, the publisher of the „Wybór Pisarzów Polskich” “Selection of Polish Writers” series, important for the preservation of the national heritage.The author analyses the operation of press printing houses of „Korespondent” and „Gazeta Warszawska” and engraving houses of Józef Elsner and Fr. Izydor Cybulski, who printed sheet music, and the engraver Jan Ligber, a book illustrator. The author questions the existence of Stefan Baccigalupi’s enterprise during the discussed period, because his typefaces and press were used by the „Korespondent” printing house
Sam fox trot
No full textGift of Dr. Mary Jane Esplen.Piano [instrumentation]C major [key]Ragtime piano solo [form/genre]Fox [illustration]Dedicated to Irving C. Perkins [dedication]W [engraver]Publisher's advertisement on back cover [note
A CHART of the ISLANDS discover'd in the neighbourhood of OTAHEITE in the Course of several Voyages round the World MADE BY the Cap'ns Byron, Wallis, Carteret & Cooke in the Years 1765, 1767, 1769
No full textShows four tracts from the four Capts. mentioned in the title.No scale bar or compass on map
The State of New Jersey, compiled from the most authentic information.
No full textScale ca. 1:600,000.Relief shown pictorially.Prime meridian: Philadelphia.LC copy imperfect: Trimmed to border deleting author, engraver, and engraved for statement.On verso in pencil: Compiled by Samuel Lewis. Engraved by W. Barker. Engraved for Carey's American edition of Guthrie's Geography improved
Sztycharz i drukarz lwowski Jan Filipowicz w świetle dokumentów archiwalnych
No full textJAN FILIPOWICZ, A PRINTER AND ENGRAVER FROM LVOV, IN THE LIGHT OF ARCHIVE DOCUMENTSThe article reveals new facts from the life of the graphic artist and printer Jan Filipowicz, who in 1757–1766 ran a company comprising printing and engraving houses and a bookshop. Despite the fact that Filipowicz was a popular book illustrator in the eastern part of Poland, so far we have had very little information about his professional activities and private life. Drawing on documents from the Central State Historical Archives of Ukraine in Lviv Центральний Державний Історичний Архів Украіни у Львові — Filipowicz’s will and two posthumously compiled versions of his property inventory — and of the basis of contemporary Polish and Ukrainian literature, the author has managed to establish and put in order many facts concerning the life of the typographer and the operation of his company.JAN FILIPOWICZ, A PRINTER AND ENGRAVER FROM LVOV, IN THE LIGHT OF ARCHIVE DOCUMENTSThe article reveals new facts from the life of the graphic artist and printer Jan Filipowicz, who in 1757–1766 ran a company comprising printing and engraving houses and a bookshop. Despite the fact that Filipowicz was a popular book illustrator in the eastern part of Poland, so far we have had very little information about his professional activities and private life. Drawing on documents from the Central State Historical Archives of Ukraine in Lviv Центральний Державний Історичний Архів Украіни у Львові — Filipowicz’s will and two posthumously compiled versions of his property inventory — and of the basis of contemporary Polish and Ukrainian literature, the author has managed to establish and put in order many facts concerning the life of the typographer and the operation of his company
Uwagi ikonograficzne na temat medali ślubnych Fryderyka Augusta Wettyna i Marii Józefy Habsburg z okazji Festiwalu Planet w Dreźnie (od 10 do 26 września 1719 roku)
Full text linkIn the course of preliminary research, the author managed to locate most of the engravings by artists associated with the Dresden court: Oluf Wif, Johann August Corvinus and Carl Heinrich Jacob Fehling, whose work drew thematically on the reverses of the medals which commemorated the Festivaof the Planets in Dresden. These finds are the main subject of interest in this paper. The compositional relationship between medallic art and engraving is, in most cases, indisputable. It should be noted, however, that the medallist, having to reproduce a much larger engraving on a medal disc, was compelled to reduce many details that the engraver had so meticulously captured. Nevertheless, the inspiration with the engraving yielded works which are unique and extraordinary in terms of expression and content.In the course of preliminary research, the author managed to locate most of the engravings by artists associated with the Dresden court: Oluf Wif, Johann August Corvinus and Carl Heinrich Jacob Fehling, whose work drew thematically on the reverses of the medals which commemorated the Festivaof the Planets in Dresden. These finds are the main subject of interest in this paper. The compositional relationship between medallic art and engraving is, in most cases, indisputable. It should be noted, however, that the medallist, having to reproduce a much larger engraving on a medal disc, was compelled to reduce many details that the engraver had so meticulously captured. Nevertheless, the inspiration with the engraving yielded works which are unique and extraordinary in terms of expression and content
Is Hondius or Schultz the Author of the Portrait Study of Karol Ferdynand Vasa?
No full textStanding face to face with a civil war and a danger of destabilisation of the country, King Jan Kazimierz decided that a change in his official iconography was so important that almost immediately after succeeding to the throne (1648) he reorganised his artistic court. In 1649 the outstanding portrait painter Daniel Schultz was employed and he was charged with the task of creating the image of the monarch that would be suitable for the requirements of the new authorities' propaganda and at the same time would meet the society's expectations. (It was for the same reasons that the great Roman sculptor Francesco Rossi was brought to Poland in 1651.) Of the former group of artists among others Willem Hondius was kept – as it turns out not a very able draughtsman, but a good copper engraver, who proved useful in his earlier works for the royal court, and now was indispensable for putting into effect Jan Kazimierz's propaganda aims.
Analysing the portrait study of the King's brother, Karol Ferdynand Vasa (1650) from the collection of the National Museum in Gdańsk (Fig. 1), Gajewski finds in it both new principles of the art of portrait introduced into the official image by Daniel Schultz, and the artistic qualities characteristic of Schultz's painting (Fig. 2, 3). Gajewski challenges the proposition put forward in the literature of the subject saying that it is Hondius who is the author of the portrait study of Karol Ferdynand, and he claims that the author of the study is Schultz. He also thinks that the study is Schultz's drawing for the graphic portrait of Karol Ferdynand Vasa that was not used. The portrait was made (1650) by Hondius after another pattern by Daniel Schultz (Fig. 4)
Miejsce powstania i historia pasjonału theol. lat. oct. 162 ze zbiorów Biblioteki Państwowej w Berlinie
Full text linkZarys treści: Artykuł poświęcony jest pochodzeniu i historii kodeksu ze zbiorów Biblioteki Państwowej w Berlinie, opatrzonego sygnaturą theol. lat. oct. 162. Kodeks ten zawiera jedyną znaną kopię Vita Quinque Fratrum autorstwa Brunona z Kwerfurtu. Druga część pracy poświęcona jest próbie rekonstrukcji drogi, za sprawą której tekst znalazł się w bibliotece klasztornej w Huysburgu.Abstract: The article deals with the origin and history of a codex from the collections of the Berlin State Library (call no. theol. lat. oct. 162). The codex contains the only known copy of Vita Quinque Fratrum by Bruno of Querfurt. The second part of the article aims at reconstruction of the history of the text itself before the aquisition of the copy by the Huysburg abbey library.Codex theol. lat. oct. 162 (Staatsbibliothek Berlin) plays an important role in Polish medieval studies due to its containing the sole witness of Vita Quinque Fratrum (BHL 1147) by Bruno of Querfurt. The article traces history of the codex from the origin until its discovery in the family library of Reinhard Kade, the first editor of VQF. The oldest part of the codex is a passionale (12/13th cent.), which was written at (or at least very early belonged to) the Benedictine monastery in Huysburg. In the 15th century – still in Huysburg – it was bound together with two later unrelated manuscripts to form the current composite codex. During the secularization of the monastery at the beginning of the 19th century it came into possession of Friedrich Gottlieb Julius von Bülow (1760–1831), an assessor and book collector. After von Bülow’s death his collection was put up at auction, the printed catalogue of which lists our manuscript. The codex was bought by Kade’s paternal grandfather, Anton Krüger of Dresden a noted engraver. The rest of manuscript’s history is well known. The second part of the article examines a couple of hypothetical routes, through which the source copy for our witness (i.e. a very early copy or even Bruno’s draft) or the witness itself could have been transferred to Huysburg, by tracing both direct and indirect connections of Querfurt counts and the monastery. Those hypothetical routes from Querfurt (Eilversdorf monastery?) to Huysburg – both in the diocese of Halberstadt – also try to make sense of the apparent interest that the passionale compiler had taken in Magdeburg.A brief addendum discusses the implications of the re-discovery of a codex from Ebrach, previously considered lost, that was suspected by G. Waitz to be identical with our witness or, by W. Kętrzyński and W. Meysztowicz, to be a source for Cosmas’ of Prague version of Five Brothers text. Late in the publishing process the author became aware the new description of theol. lat. oct. 162 (Beate Braun-Niehr, Manuscripta Mediaevalia database: <http://www.manuscripta-mediaevalia.de/dokumente/html/obj31101702> [access: 29.09.2016]. This new description independently and concisely provides some of the article’s findings (ownership note from Huysburg, auction catalogue of „Bibliotheca Büloviana”, lost codex of EbrachNepomuk). Still available is the previous catalogue description, which was known to the author in February 2014, during the autopsy of Huysburg codices in Berlin <http://www.manuscripta-mediaevalia.de/ dokumente/html/obj90432270,T> [access: 29.09.2016]
Theatrum urbium italicarum by Pietro Bertelli – Bishop Hieronim Rozrażewski’s publishing undertaking during his visits to Rome
No full textAt the end of 1599, a richly illustrated book TheatrumurbiumItalicarum appeared in Venice. The author and publisher was a printer and engraver of Padua - Pietro Bertelli. According to the information provided on the front page and the dedication text, the work was donated to the bishop of Kujawy and Pomorze, Hieronim Rozrażewski (1542-1600). The following article is devoted to several key issues related to the release and influence of this publication. First, the paper focuses on the direct creators of the book: the publisher Pietro Bertelli and the identifiable creators of the various prints (Jacopo Monticolo, Francesco Bertelli). Then it presents the typology of the town depictions, their iconographic representations and direct provenance. Establishing their origins and linking them with the real influence of Bertelli's publication on the illustration material of a number of later publishing undertakings allowed for determining Theatrum's importance in the development of a modern veduta. The text also discusses the problem of the origins of the book and the Polish hierarch’s involvement in this entire undertaking.Z końcem 1599 roku w Wenecji ukazała się bogato ilustrowana książka Theatrum urbium Italicarum. Jej autorem oraz wydawcą był padewski drukarz i rytownik – Pietro Bertelli. Zgodnie z informacjami zawartymi we frontyspisie oraz tekście dedykacyjnym dzieło to ofiarowane zostało biskupowi kujawsko-pomorskiemu Hieronimowi Rozrażewskiemu (1542-1600). Niniejszy artykuł poświęcony jest kilku zasadniczym kwestiom związanym z powstaniem i oddziaływaniem tego wydawnictwa. W pierwszym rzędzie przybliżony został krąg bezpośrednich twórców książki: wydawcy Pietra Bertellego oraz dających się zidentyfikować twórców poszczególnych rycin (Jacoppo Monticolo, Francesco Bertelli). Następnie omówiona została typologia przedstawień miast, ich pierwowzory ikonograficzne i bezpośrednia proweniencja. Wskazanie tej ostatniej w powiązaniu z udowodnieniem realnego wpływu publikacji Bertellego na materiał ilustracyjny szeregu późniejszych przedsięwzięć wydawniczych, pozwolił określić znaczenie Theatrum w rozwoju nowożytnej książkowej weduty. Osobne omówienie znalazł w tekście problem okoliczności powstania książki oraz udział w całym przedsięwzięciu polskiego hierarchy
Maine
No full textShows Maine counties and the boundary lines between Maine and British North America as determined by the 1783 Treaty of Paris and that claimed by the British
