Acquaforte, circa 1675/80, priva di firma. Copia in controparte della stampa di Salvator Rosa, della serie dei capricci con soldati, detta le ' Figurine. ' La serie delle cosiddette ' Figurine ' di Salvator Rosa ebbe un grande successo, documentato dal gran numero di imitazioni che ebbe in tutta Europa. La prima edizione di questa raccolta fu realizzata dal Rosa in 62 tavole all’acquaforte incise tra il 1656 e il 1657. Almeno otto diverse copie della stessa edizione furono eseguite tra la fine del XVII e la prima metà del XVIII secolo. ' ' La serie venne inserita nella celebre ' Academia Todesca della Architectura, Scultura & Pittura: oder Teutsche Academie der Edlen Bau, Bild-und Mahlerey-Künste, raccolta monumentale, riccamente illustrata da centinaia di incisioni raffiguranti antichità, architettura e mitologia classica, edita a Norimberga e Francoforte tra il 1675 ed il 1680. ' Per le incisioni, il Sandrart si avvalse dei suoi collaboratori Karl Gustav von Amling (1650-1703); Philip Kilian (1628-1693); Richard Collin (1627-97); Georg Andreas Wolfgang (1631-1716); Johann Georg Waldreich (d.1680); Melchior Küsel (1626-1683); Franck, Johann (fl.1659-1690); George Christoph Eimmart (1638-1705); Susanna Maria von Sandrart (1658-1716); Bartholomäus Kilian (1630-1696). Bellissima prova, impressa su carta vergata coeva, con margini, in perfetto stato di conservazione. ' Bibliografia Cfr. Bartsch, Le ' Peintre graveur ' (XX.283.51); Wallace p. 330, 133; National Gallery (Washington), ' Mark J. Millard, III (1998), no. 111; F.W. H. Hollstein, ' German engravings . ca. 1400-1700 ' (1954-), 38-41; Anna Schreurs, ' Unter Minerva schutz: bildung durch kunst in Joachim von Sandrarts 'Teutscher Academie' ' (2012). Etching, ca. 1675/80, unsigned. Copy of Salvator Rosa's print from the Capricci with soldiers series, called the ' Figurine. The series of the so-called ' Figurine ' of Salvator Rosa had a great success, documented by the large number of imitations that had throughout Europe. The first edition of this collection was made by Rosa in 62 etching plates engraved between 1656 and 1657. At least eight different copies of the same edition were made between the end of the 17th and the first half of the 18th century. This set is part of the monumental ' Academia Todesca della Architectura, Scultura & Pittura: oder Teutsche Academie der Edlen Bau, Bild-und Mahlerey-Künste ' (Deutsche Academy of Architecture - Sculpture – Painting). ' The first edition, in German, was published by Joachim von Sandrart in Nuremberg, in three volumes respectively in 1675, 1679 and 1680. For the plates Sandrart used his students as and many others artist as ' Karl Gustav von Amling (1650-1703); Philip Kilian (1628-1693); Richard Collin (1627-97); Georg Andreas Wolfgang (1631-1716); Johann Georg Waldreich (d.1680); Melchior Küsel (1626-1683); Franck, Johann (fl.1659-1690); George Christoph Eimmart (1638-1705); Susanna Maria von Sandrart (1658-1716); Bartholomäus Kilian (1630-1696). The work is full of illustrations of ancient and modern Roman buildings, sculpture, the theory of painting, biographies of artists, including German and contemporary (ie seventeenth-century) artists, and antiquities. Joachim von Sandrart was a painter of some note but it is for his ' Teutsche Academie ' that he is chiefly remembered. His compendious treatise includes sections on ancient sculpture and architecture, perspective, the theory of painting, artists’ biographies, a translation of Ovid’s Metamorphoses and so on. The second part of Book I purports to give a history of art from its earliest origins, and opens with an engraving of two scenes of legendary accounts of the discovery of drawing. ' The work is dedicated to the world-renowned German nation and to champions and lovers of art ('Der Welt-berühmten Teutschen Nation . Kunst-Helden und Kunstliebenden'). Beautiful proof, printed on contemporary laid paper, with margins, in perfect condition. Bibliografia Cfr. Bartsch, Le ' Peintre graveur ' (XX.283.51); Wallace p. 330, 133; National Gallery (Washington), ' Mark J. Millard, III (1998), no. 111; F.W. H. Hollstein, ' German engravings . ca. 1400-1700 ' (1954-), 38-41; Anna Schreurs, ' Unter Minerva schutz: bildung durch kunst in Joachim von Sandrarts 'Teutscher Academie' ' (2012). Cfr.
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