Aegidius Sadeler / Daumont / Etienne Duperac, Jan Breugel l'ancien, Pieter Stevens - Vestiges des antiquites de Rome Tivoli, Pozzuolo et autres lieux d'Italie. Vestigi delle antichita - 1750
Very beautiful collection of picturesque views of Roman ruins composed of 49 plates in quarto oblong format (20x32) engraved with etching, including the title.
It is a Parisian reprint given by the publisher and print dealer Jean-François Daumont (circa 1750). It is the first in French and reproduces the famous suite first published in Prague in 1606 made by the Flemish-born Baroque engraver Aegidius Sadeler (c. 1570-1629) under the title " Vestigi delle antichita di Roma, Tivoli, Pozzuolo et altri luochi ..." . A series that has undergone several reprints, the most common of which is that of Rome 1660 (50 plates).
Sadeler's suite is itself composed of images copied from Etienne Duperac, Jan Breugel the Elder, Pieter Stevens and others.
According to Isabelle de Ramaix's description, Daumont's "copy" is in fact a reprint of the original Prague plates, with some considerable reworking and a new title plate (see Bartsch (1978) LXXII, pt 1, 161).
AUTHOR: Sadeler, Aegidius (1570?-1629) > Engraver
Daumont, Jean-François (17??-17??) > Printer
TITLE: Vestiges des antiquites de Rome Tivoli, Pozzuolo et autres lieux d'Italie. Raised, drawn and engraved by Egidie Sadeler.
PUBLISHER: [Paris] DAumont, sd (ca 1750) 49 plates (missing 1 plate ???).
Period cardboard binding covered with old vellum with ink inscriptions. Past leather, peeling and lack of fragments, blunt corners. Interior: worn title, traces of wetness in the lower margin of the boards, rarely overflows on the trace of the paper, never on the image or text. Pencil scribbles on the back of the dishes, in the margin of plate 2, and on the back of pl. 48. Trace on the image of the last two plates (see photo).
Rare and esteemed work.
Aegidius Sadeler (c. 1570-1629) an engraver artist, he spent most of his career in Prague where Emperor Rudolf II commissioned several of his works.
Daumont was a Parisian publisher and printmaker, active from about 1745 until his death in 1768. cf Thierry Depaulis, "Enquête sur Daumont, éditeur d'estampes à Paris au XVIIIe siècle"
In the very detailed notice of Word Cat we read: " The core of the work is E}tienne Duperac's I vestigi dell' antichità di Roma, raccolti et ritratti in perspettiva ..., originally published in Rome in 1575 (see Fowler 111; q.v. in the Supplement for a later printing). This work was itself reprinted and copied many times until at least 1773, but in 1606, two years after Duperac's death, the images and captions of plates 2-13, 15, 16 and 19-31 were copied on a reduced scale by Aegidius II Sadeler in Prague, for his own suite, which he gave the title Vestigi delle antichita di Roma, Tivoli, Pozzuolo et altri luochi ... (see Berlin Kat. 1855; Cicognara 3871; Bartsch (1978) LXXII, pt 1, 161-211). Sadeler excluded Duperac's plates 1 (the dedication), 14 ('Vestigij et parte del monte Celio ... ') and 17-18 (a pair depicting 'Vestigij delle Therme di Tito ... ') from his copies, which he numbered 2-9 and 11-38 while retaining the original order of the images. For the remaining plates in his suite, numbers 10 and 39-50, Sadeler found other sources. Plates 43, 46, 49 and 50 can be shown to be after drawings by Jan Breugel the elder, while 41,  and 47 are after drawings attributed to Pieter Stevens (in the last case the drawing has also been attributed to Breugel). Plate 42 is apparently an amalgam, with the left hand image (a distant view of Pozzuoli with human and animal figures in the foreground) being after a drawing by Jan Breugel, and the right hand image (a ruined temple) from a drawing by Stevens (Bartsch (1978) attributes the drawing of the whole to Breugel). Plate 40 is based on an anonymous print after Pieter Bruegel published by Hieronimus Cock as 'Prospectus Tyburtinus' (see Hollstein, Dutch XXI). This leaves the origins of only the title-plate, dedication (plate 1), and plates 10, 39, 44 and 48 in doubt. Isabelle de Ramaix suggests that 10, 44 and 48 may be by Sadeler himself, although on stylistic grounds 44 and 48 may equally have been copied from drawings (now lost) by Breugel or Stevens, while 10 is in a somewhat different style (see Bartsch (1978) LXXII, pt 1). Plate 39 clearly derives from a different source, as yet untraced. The title-plate and dedication were concocted for, and perhaps by, Sadeler himself, although again it is probable that some of the imagery has been copied from elsewhere.! %tThe first state of Sadeler's suite, with his own imprint dated 1606, is described in Hollstein, Dutch (XXI).
Hollstein, Dutch (XXI) notes that the work was copied again, on a smaller scale, by 'Daumont' with the title Vestiges des antiquites de Rome and the plates signed as engraved by Aegidius Sadeler. It is clear from Isabelle de Ramaix's description that this 'copy' is actually a reprint of the original Prague plates, with some considerable reworking and a new title-plate (see Bartsch (1978) LXXII, pt 1, 161). The publisher is Jean François Daumont, which places this reprint in the second half of the eighteenth century (for notes on Daumont see No. 3014 below). For Duperac's work in Rome, and a manuscript which was in part the basis for his series of views, see E. Duperac's Disegni de le ruine di Roma e come anticamente erono ([Milano, 1966?], facsimile of Duperac's manuscript, with a companion volume by Rudolf Wittkower). For Sadeler's Divo Caesari Augusto Ferdinando ... (Praha: Marco Sadeler, [ca. 1620?]), consisting of portraits of the twelve Caesars and their wives, see Craveri 19 June 1995:268, and for notes on the Sadeler family see Thieme-Becker, Bartsch (1978) (LXXII, pt 2) and Dictionary of art (XXVII, pp. 501-505). "