Gagarin prince (3 Ergebnisse)

Ancient ornaments to enlighten modern architecture --- A fine record of nineteenth-century aristocratic taste and trends in architecture and design. First edition, complete. In his comparative visual study, Gagarin promotes the national character of Russian church art through a revival of its Byzantine roots. The artist's plates show details of masterpieces of Byzantine-style ecclesiastical architecture in Russia and Europe, from a 5th-century mausoleum in Ravenna to a 17th-century church in Yaroslavl. They also reproduce ornaments from medieval (mainly Greek) manuscripts held by the Bibliothèque nationale in Paris and libraries in Venice and Siena. The plates are arranged so as to compare and contrast Byzantine and Russian design. The author was born in 1810 to the princely Gagarin family (of Rurikid lineage). He did not receive a formal artistic education, but took private lessons from the famous Russian painter Karl Briullov in Rome, where Gagarin's father was stationed as a diplomat. Upon returning to Russia after a childhood spent in Italy and France, Prince Gagarin made the acquaintance of Pushkin, whose 'Queen of Spades' and 'Tale of Tsar Saltan' he illustrated. He also became close to the poet Mikhail Lermontov, with whom he fought in the Caucasus. A man of many talents and a gifted artist, Gagarin (1810-93) became vice-president of the Academy of Arts after a couple of major (and now famous) publications on the Caucasus. Gagarin sought out interconnections between Russian and Byzantine art. He thus begins his preface with a syllogism: that art in Russia should "take on a completely national character", that the root of Russian art is in Christianity; and, therefore, that to become more national, it must return to its Byzantine source. The architectural fruits of Gagarin's labours are visible in the Russian Revival in the last quarter of the nineteenth century, which built on the distinct Byzantine-influenced style of the medieval period, added influences from the gothic and baroque, and arrived at a synthesis "which was a modern but nostalgic interpretation of Byzantine style and pre-Petrine Russian design" (Jiang). Gagarin was instrumental in promoting this 'Byzantine Style', and built the museum of early Christian art at the Academy of Arts. He was the first to apply encaustic way of painting frescos in Byzantine style, at the Zion Cathedral in Tiflis (now Tbilisi). This Neo-Byzantine style can also be seen in Western Europe, beginning in the 1840s. Publication of this volume (which the already ageing but still active Gagarin dedicates to "the artistic industry") was supported by the St. Petersburg School of Technical Drawing, founded by philanthropist Baron Alexander von Stieglitz, first governor of the State Bank of the Russian Empire. Provenance: Georgii Plautin (inscriptions to front endpapers; perhaps Georgii Nikolaevich Plautin (1898-1942), a descendent of Lomonosov, from a branch of the family that emigrated during the Russian Civil War). Physical description:Folio (32.5 x 24.5 cm). [8] pp. including dedication, title, bibliography and introduction, and 50 chromolithograph plates, some with gilt highlighting, all captioned in Russian, German, French and English. Brown half sheep over brown pebble-grained cloth boards, smooth spine with gilt lettering. Condition:Boards a bit stained and rubbed at extremities; occasional light marginal soiling or staining, a few lower corners with small tears with marginal loss, scribbling and colouring to some plates, pages starting in places. Bibliography:Jiang, M. The Urban Imagination: From Medieval Moscow to the Russian Revival (HUM 54 The Urban Imagination: Moscow Exhibits 2015, Harvard University).…

An aristocrat, traveller and diplomat, with artistic talents --- Fine artistic record of Turkish and Caucasian types, among other sketches reproduced, including portraits of Russian aristocrats in the Caucasus, Gypsies in Moscow and views of Egypt and Greece. A beautiful, large format production of one of the best Russian presses of the time, the State Press. It had produced, a few years earlier, a thicker but similar work, using the same format and presentation on the same mounts within a folder. There were also sketches of the Caucasus and its people, drawn by the artist Th. Horschelt, also presented in French and Russian: Kavkakie pokhodnye risunki. Etudes militaires faites au Caucase. Prince Grigorii Grigorievich Gagarin (1810-93) was born to the princely Rurikid Gagarin family. He first lived with his parents in Rome, where his father Prince Grigorii Ivanovich was a Russian ambassador and, after showing promise in art, took private lessons from the major Russian painter Karl Briullov and the French battle painter and Orientalist Horace Vernet. In 1832 Gagarin returned to his native St Petersburg, where his artistic abilities were admired by the Russian literati. He illustrated Pushkin's works 'Ruslan and Liudmila', 'The Queen of Spades', 'The Tale of Tsar Saltan', among others (see Naidich). He also became close to the opposition 'Circle of Sixteen' and the poet Mikhail Lermontov. In 1840, he followed the exiled Lermontov to the Caucasus in the Tengin Regiment, active in the Caucasian War. They took part in the operations against the Gortsy, the native people inhabiting the mountains of the Caucasus, and Gagarin remained in the army after Lermontov's death in a duel in 1841. He participated in the General Chernyshov expedition to Daghestan and finally settled in Tiflis, Georgia, serving in 1848-55 under Prince Vorontsov. Throughout his travels and sojourns in the Caucasus, the sensibility, intelligence and skills of the Prince allowed him to develop an intimate knowledge of the landscapes, buildings and numerous ethnic groups of the region. This produced a rich, skilful visual record, which he published in various works, most notably two impressive folios: Le Caucase pittoresque and Costumes du Caucase. These Dessins et croquis, a posthumous publication, was to be his last portfolio. Since then, his works have been celebrated in a number of galleries and exhibitions, including one organised by the State Russian Museum in St Petersburg to celebrate the 200th anniversary of his birth in 2010. Provenance: D.M. Ostafev (Dmitrii Modestovich Ostafev, 1862-1916, acting State Counsellor, chamberlain, official of the Department of Spiritual Affairs of Foreign Religions of the Ministry of Internal Affairs, writer and bibliophile; bookplate to upper pastedown]; V.I. Klochkov - Libraire W. Klotschkoff (Petrograd, Liteiny 55; bookshop label to lower pastedown). Physical description:Folio (52 x 37 cm). Title, list of plates, both in Russian and French, and 30 plates, most in colour, tipped-in as issued on 24 mounts of thicker blue paper, printed numbering the mounts. Loose as issued in original publisher's green cloth folder, gilt lettering in Russian and French to upper cover, marbled paper lining. Condition:Title and text leaves with marginal creases and two small closed tears, minor crease and tear to one paper mount, portfolio a bit rubbed in places, otherwise an attractive example with plates in fine condition. Bibliography:Kornilova A. Grigorii Gagarin. Moscow: Belyi gorod, 2004; Savinov A. G.Gagarin. Moscow: The Tretyakov Gallery, 1950; Naidich, E. 'Pushkin i khudozhnik G.G. Gagarin'.…

ET DESCRIPTION D'UNE MACHINE INVENTEE EN RUSSIE EN 1823 POUR LE MEME OBJET - Extrait des Annales d'agriculture, tome 26 - Deux planches dépliantes in-fine - Rare document sur l'évolution du machinisme agricole au début du 19 ème siècle - En brochage d'attente bleu muet, grandes marges, sans rousseurs 2, 36 pages, broché, 22 cm. Très bon état.…