12 books for « dahlberg erik »Edit

‎CONFLICTUS INTER SVECOS ET LITHUANOS DIMIDIO AB URBE SANDOMIRIA. 25 MARTY ANNO 1656.‎

‎(NUREMBERG). SANS DATE. BELLE GRAVURE AU BURIN (28 X 56 CENTIMETRES ENVIRON, 35 X 60 ENVIRON AVEC LES MARGES) PAR SAMUEL PUFENDORF (1632-1694), REPRESENTANT LA BATAILLE DE SANDOMIERZ DU 25 MARS 1656 ENTRE LES ARMEES SUEDOISE ET LITUANIENNE. AVEC UN CARTOUCHE DECORATIF DONNANT LE TITRE DE LA GRAVURE, SURMONTE DES ARMOIRIES DU ROYAUME DE SUEDE. DECHIRURE SANS MANQUE DANS UNE MARGE, SINON BON ETAT.‎

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‎Aspenääs. J.v.d. Aveelen Sc.‎

‎Holmiæ (Stockholm), 1709. 22x35 cm. Kobberstukket prospekt af Aspenäs fra Svecia Antiqva et Hodierna.‎

‎Tiidöön (et) Tiidöön Meridiem versus. Johan v.d. Aveelen Sc.‎

‎Holmiæ (Stockholm), 1702. 25,5x38 cm. Kobberstukket prospekt todelt fra Svecia Antiqva et Hodierna. Lille rift i nederste del af foldning, forstærket på bagside.‎

‎Kægleholm. Meridiem versus. J.v.d. Aveelen Sc.‎

‎Holmiæ (Stockholm), 1702. 23x34 cm. Kobberstukket prospekt fra Svecia Antiqva et Hodierna.‎

‎Giöksholm. J.v.d. Aveelen Sc.‎

‎Holmiæ (Stockholm), 1702. 22,5x36,5 cm. Kobberstukket prospekt fra Svecia Antiqva et Hodierna. Et par smårifter i marginer, intet tab.‎

‎Drottningholm. Willem Swidde sculp.‎

‎Holmiæ (Stockholm), 1690. 27x56,5 cm. Kobberstukket prospekt af Drottningholm med skibe i forgrunden etc. Sammensat af tre dele. Lidt misfarvning i foldninger, smårifter i marginen, repareret. Fra Svecia Antiqva et Hodierna.‎

‎Calmare.‎

‎(Stockholm, ca. 1700). 21x41,5 cm. Kobberstukket prospekt af Kalmar. I forgrunden fæstningen Grymskær og med orlogsmænd i vandet. Fra Svecia Antiqva et Hodierna. Lille revne i højre foldning, forstærket på bagsiden.‎

‎Saalstad. W. Swidde Sculp.‎

‎Holmiæ (Stockholm), 1693. 21,5x41,5 cm. Kobberstukket prospekt med ridende og vognkørende folk i forgrunden. Fra Svecia Antiqva et Hodierna.‎

‎Svecia Antiqua et Hodierna. Sverige i Forntid och Nutid. Nationaluuplaga med kort beskrifvande Text af Aron Rydfors.‎

‎Stockholm, Fröleen & Co., (1910). Lille folio. Orig. hldrbd. med permer af shirt. Ryg og permer rigt forgyldt. 303,(7) pp. Rigt illustreret.‎

‎Suecia Antiqua et Hodierna. 3 parts (all). - [THE LARGEST AND MOST SUMPTUOUS SCANDINAVIAN TOPOGRAPHICAL WORK]‎

‎(Stockholm, publication date is unclear, but commission to the work was granted in 1661. ca. 1661 - 1715) Folio (370 x 260 mm). 3 parts bound entirely uncut in 2 nice uniform red half calf bindings from ca. 1800 with gilt lettering and ornamentation to spines. Wear to edges of boards and small repair to lower compartment on vol II/III. 5 plates with marginal repairs and 1 plate with small closed hole (Not renewed margins as is often an indication of a later issue). Very light occasional marginal browning. An overall very nice uncut set in vertical folios as intended by Dahlberg.13, (1) pp. of Index. 356 etched and engraved plates - the list of plates at the beginning calls for 352, but numbers ""46"" in vol. II and ""38"" in vol. III each consist of two separate plates plus 1 extra plate (consisting of two plates) in the end of vol. III showing Templum Ulricæ, the Swedish church in London. Thus complete (+1 extra). Plates by various engravers including J. van den Aveele, Willem Swidde, Jean Marot, Jean Le Pautre, A. Perelle, J. J. von Sandrart, and E. Reitz, most after Count Dahlberg's drawings.‎

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‎Magnificent copy, entirely uncut with the additional uncalled for plate, of the largest and perhaps most sumptuous Scandinavian topographical work. The scope and extravagant character of the work was reflected in it’s printing history" In 1661, Dahlberg obtained a commission from the Swedish government to compile a pictorial archive of the country's architectural treasures. No less than 18 engravers were hired to transfer Dahlberg’s drawings to copperplates (a few of the drawings were by David Klöcker-Ehrenstrahl and Elias Brenner). After decades of transferring drawings to copperplates, 21 years were spent on completing the printing of the plates - the sheets continued to be published throughout the 18th and into the 19th century. Per Lagerlöf wrote a Latin text, but it was only partially printed and never published. ‘Suecia antiqua’ was an ambitious effort to document Sweden. The kingdom was then at the height of an aggressive expansion and very much aware that it had become a major power, primarily through its success in the Thirty Years War (1618-48) and campaigns against Denmark and Poland in the 1650s. In the course of this transformation, it took substantial new territories and sponsored many new and impressive architectural projects both at the state and the individual level, which were here presented to an international audience. Dahlberg's direct source of inspiration was the topographical publications issued by the Swiss publisher Matthäus Merian whom he had become acquainted with during his military service and studies in Germany: ”I want to produce a work on Sweden like that with which Merian honored Germany. Foreiners should see how much of greatness and beauty is to be found in our fatherland”. (Jonsson, Stormaktstid, 1992). “The compilation of architectural views emerged as a genre in the mid-sixteenth century and grew in popularity over the following two hundred years. They range widely in scope, ambition and intended purpose, with some constituting a kind of architectural monograph and others taking a regional or global focus as a form of topographical literature. Many are documentary others contain imaginary or ideal buildings. Some emphasize text others contain only a few captions. However, all have in common an attractive presentation that is not particularly technical, and would appeal to anyone with even a passing interest in architecture. It may be this easy accessibility that has often made them seem like ornaments for aristocratic libraries and largely removed from the more intellectually engaged worlds of the study and the architectural studio. With some exceptions, such as the rich works of Giovanni Battista Piranesi, they have typically been seen as early coffee table books - of limited use at the time, and important to the history of art and architecture primarily” (Kristoffer Neville, Suecia antiqua et hodierna: An Architectural Viewbook in the Eighteenth Century). Brunet V:578. Lindberg: Swedish Books 1280–1967 as no. 37.Collijn 4, 198.‎

‎Suecia Antiqua et Hodierna. Tomus I-III (all). - [THE LARGEST SCANDINAVIAN TOPOGRAPHICAL WORK - IN A MAGNIFICENT BINDING BY HEDBERG]‎

‎Stockholm, (1661-1728). Queer-folio (365 x 480 mm). Magnificent full polished calf binding from ca 1900 by the Swedish master bookbinder Gustav Hedberg in Stockholm. Sumptuously gilt spine with six raised bands and gilt title-label. Boards splendidly gilt with broad ornamental borders and a darker polished calf centre. Edges of boards gilt and inner gilt dentelles. All edges gilt. A prime example of a master binding by Hedberg. Complete with all 354 engraved plates (including the three title-pages). At the end is withbound the ""Index Figurarum Ænearum 1-3"", 13 pp., which is not mentioned in Lindberg, Swedish Books. The plates are printed on fine, heavy paper (”skrivepapir”) and are of varying sizes (folio, double folio, and composite). Here, they have been either mounted on or ”enlarged” in the margins, with contemporary fine heavy paper of the same sort as the plates, in order to make them of uniform size to fit the binding. An unusually well preserved copy with only minor brownspotting, with clear prints on excellent paper. A few plates a little closely shaven (eg. the three title-pages). ‎

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‎A magnificent fully complete copy in a lavish masterly bookbinding by Gustav Hedberg of the largest and perhaps most sumptuous Scandinavian topographical work. The scope and extravagance of the work was reflected in its printing history" In 1661, Dahlberg obtained a commission from the Swedish government to compile a pictorial archive of the country's architectural treasures. No less than 18 engravers were hired to transfer Dahlberg’s drawings to copperplates (a few of the drawings were by David Klöcker-Ehrenstrahl and Elias Brenner). After decades of transferring drawings to copperplates, 21 years were spent on completing the printing of the plates - the sheets continued to be published throughout the 18th and into the 19th century. Per Lagerlöf wrote a Latin text, but it was only partially printed and never published. ‘Suecia antiqua’ was an ambitious effort to document Sweden. The kingdom was then at the height of an aggressive expansion and very much aware that it had become a major power, primarily through its success in the Thirty Years War (1618-48) and campaigns against Denmark and Poland in the 1650’ies. In the course of this transformation, it took substantial new territories and sponsored many new and impressive architectural projects both at the state and the individual level, which were here presented to an international audience. Dahlberg's direct source of inspiration was the topographical publications issued by the Swiss publisher Matthäus Merian whom he had become acquainted with during his military service and studies in Germany: ”I want to produce a work on Sweden like that with which Merian honored Germany. Foreigners should see how much of greatness and beauty is to be found in our fatherland”. (Jonsson, Stormaktstid, 1992). “The compilation of architectural views emerged as a genre in the mid-sixteenth century and grew in popularity over the following two hundred years. They range widely in scope, ambition and intended purpose, with some constituting a kind of architectural monograph and others taking a regional or global focus as a form of topographical literature. Many are documentary others contain imaginary or ideal buildings. Some emphasize text others contain only a few captions. However, all have in common an attractive presentation that is not particularly technical, and would appeal to anyone with even a passing interest in architecture. It may be this easy accessibility that has often made them seem like ornaments for aristocratic libraries and largely removed from the more intellectually engaged worlds of the study and the architectural studio. With some exceptions, such as the rich works of Giovanni Battista Piranesi, they have typically been seen as early coffee table books - of limited use at the time, and important to the history of art and architecture primarily” (Kristoffer Neville, Suecia Antiqua et Hodierna: An Architectural Viewbook in the Eighteenth Century). The collation of the work is quite complicated, and the number of plates listed in bibliographies is not consistent. The printed index in the book lists 150+76+126=352 Lindberg lists 353 (150+76+127). The present copy has 354, including the plate of the Swedish Church in London (Templum Ulricæ), bound at the end, but before the Index and dated 1728. Brunet V:578. Lindberg: Swedish Books 1280–1967 as no. 37. Collijn 4, 198. Swedish Court Bookbinder Gustaf Hedberg is considered the greatest Swedish bookbinder, widely famous for his magnificent, lavishly gilt full calf bindings. Especially those in larger formats are highly sought after and difficult to obtain. After having trained as a bookbinder in Paris (1881-85) and London, Hedberg returned to Stockholm in 1886 and opened his own workshop there. In the beginning, he mostly bound books for libraries, but he soon became known for his great skills, evolving into a true artist bookbinder, who bound books for the most prominent people in the country. He won first price for his bindings in both Chicago 1893 and Stockholm 1897, and in 1901, he became Court Bookbinder. He continued to travel to London and Paris, from where he brought back new techniques and styles to Sweden. Since 1969, the historic Hedbergs Bokbinderi, along with bindings and the workshop archives, has constituted its own a special part of Kunglika Biblioteket.‎

‎Exequiae Serenissimi ac Potentiss: Principis ac Dni. Domini Caroli Gustavi Suecorum Gothorum et Wandalorum Regis d. 3. Nouemb. 1660 Holmiæ Celebratæ. Accuraté delineauit E.I. Dahlbergh. (The funeral procession of King Carl X Gustav of Sweden).‎

‎(Nürnberg, 1696). The large engraving of the procession through Stockholm being composed of 13 engraved plates joined together, measuring 30x450 cm. (Plates numb. 1-13). Some mostly marginal dampstains, some marginal tears, some brownspots mainly marginal. Upper margin of plate 3 partly gone. Margins strenghtened at verso with brown paper. Some variation to paperquality, but in general in good strong impressions.‎

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‎The procession gives a panoramic view through Stockholm with the Swedish battleships, salute-firing in the harbour. The engraving was published together with Pufendorf's work, De rebus a Carolo Gustavi gestis...Nürenberg, 1696. The procession was drawn by Erik Dahlberg who was an eyewitness and engraved by different engravers.‎