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Volume 1 contains 13 essays by leading scholars on aspects of the Ferdinand Columbus collection; Volume 2, the catalogue of prints, includes a full transcription and translation of the entries from the Seville inventory; and the accompanying CD-ROM is a searchable database of the inventory which has been included to facilitate further identification.
The database fields activate electronically the Seville inventory categories devised by Ferdinand: 'print size', 'print subject' and 'number of the subject'. The catalog reconstructs the earliest known collection of Renaissance prints, based on an inventory that survives in Seville.
Ferdinand Columbus, son of Christopher Columbus and author of the first published account of a voyage to the New World, was also the owner of one of the largest private libraries assembled during the Renaissance and the most important early collection of prints. Although the collection has vanished, about half of it has been reconstructed by Mark McDonald from information found in a detailed inventory that survives in Seville. This beautifully produced book catalogues 110 of the most significant prints in Columbus's collection. The introductory chapters discuss Columbus's life and work and show how the reconstruction of his collection has radically transformed our understanding of the print industry in Renaissance Europe. Original publisher's price: $49.95.
This impeccably researched and “adventure-packed” (The Washington Post) account of the obsessive quest by Christopher Columbus’s son to create the greatest library in the world is “the stuff of Hollywood blockbusters” (NPR) and offers a vivid picture of Europe on the verge of becoming modern. At the peak of the Age of Exploration, Hernando Colón sailed with his father Christopher Columbus on his final voyage to the New World, a journey that ended in disaster, bloody mutiny, and shipwreck. After Columbus’s death in 1506, eighteen-year-old Hernando sought to continue—and surpass—his father’s campaign to explore the boundaries of the known world by building a library that would collect everything ever printed: a vast holding organized by summaries and catalogues; really, the first ever database for the exploding diversity of written matter as the printing press proliferated across Europe. Hernando traveled extensively and obsessively amassed his collection based on the groundbreaking conviction that a library of universal knowledge should include “all books, in all languages and on all subjects,” even material often dismissed: ballads, erotica, news pamphlets, almanacs, popular images, romances, fables. The loss of part of his collection to another maritime disaster in 1522, set off the final scramble to complete this sublime project, a race against time to realize a vision of near-impossible perfection. “Magnificent…a thrill on almost every page” (The New York Times Book Review), The Catalogue of Shipwrecked Books is a window into sixteenth-century Europe’s information revolution, and a reflection of the passion and intrigues that lie beneath our own insatiable desires to bring order to the world today.
Prints and drawings have been keenly collected in Europe since at least the early sixteenth century. Relatively modest in price, they offered artists, amateurs and collectors of a systematic turn of mind the opportunity to put together holdings with a wide representation of different hands, schools and types of subject. Prints and drawings are traditionally treated separately, but their collecting is shown here to raise many interrelated issues. Employing a wide range of methodologies, the essays in this volume offer a number of innovative investigations into the collecting, perception, classication and display of works on paper.
“Like a Renaissance wonder cabinet, full of surprises and opening up into a lost world.” —Stephen Greenblatt “A captivating adventure…For lovers of history, Wilson-Lee offers a thrill on almost every page…Magnificent.” —The New York Times Book Review Named a Best Book of the Year by: * Financial Times * New Statesman * History Today * The Spectator * The impeccably researched and vividly rendered account of the quest by Christopher Columbus’s illegitimate son to create the greatest library in the world—“a perfectly pitched poetic drama” (Financial Times) and an amazing tour through sixteenth-century Europe. In this innovative work of history, Edward Wilson-Lee tells the extraordinary story of Hernando Colón, a singular visionary of the printing press-age who also happened to be Christopher Columbus’s illegitimate son. At the peak of the Age of Exploration, Hernando traveled with Columbus on his final voyage to the New World, a journey that ended in disaster, bloody mutiny, and shipwreck. After Columbus’s death in 1506, the eighteen-year-old Hernando sought to continue—and surpass—his father’s campaign to explore the boundaries of the known world by building a library that would collect everything ever printed: a vast holding organized by summaries and catalogues, the first ever search engine for the exploding diversity of written matter as the printing press proliferated across Europe. Hernando restlessly and obsessively amassed his collection based on the groundbreaking conviction that a library of universal knowledge should include “all books, in all languages and on all subjects,” even material often dismissed as ephemeral trash: song sheets, erotica, newsletters, popular images, romances, fables. The loss of part of his collection to another maritime disaster in 1522—documented in his poignant Catalogue of Shipwrecked Books—set off the final scramble to complete this sublime project, a race against time to realize a vision of near-impossible perfection. Edward Wilson-Lee’s account of Hernando’s life is a testimony to the beautiful madness of booklovers, a plunge into sixteenth-century Europe’s information revolution, and a reflection of the passion and intrigues that lie beneath our own attempts to bring order to the world today.
In both Vasari's life and in his Lives, prints played important roles. This volume examines Giorgio Vasari's interest, as an art historian and as an artist, in engravings and woodblock prints, revealing how it sheds light on aspects of Vasari's career, and on aspects of sixteenth-century artistic culture and artistic practice. It is the first book to study his interest in prints from this dual perspective.
Grand Scale brings to light rare surviving examples of mural-size prints--a Renaissance art form nearly lost from historical record. The most famous 16th-century woodcuts, engravings, and etchings were those done on an intimate scale. Yet artists also worked in another entire category of print production, producing mural-size prints that sometimes reached as high as ten feet. This handsome book, which features nearly fifty examples from Italy, Germany, France, and the Netherlands, explores these multi-block woodcut and multi-plate engraving ensembles as vital contributions to the visual culture of their time. Comprising five essays, Grand Scale documents the relationship of monumental prints to the history of prints in general and also to mapmaking, painting, and book illustration, while addressing image design and modular printing from multiple, repeating blocks. Published in association with the Davis Museum and Cultural Center, Wellesley College Exhibition Schedule: Davis Museum and Cultural Center (March 19 - June 8, 2008) Yale University Art Gallery (September 9 - November 30, 2008) Philadelphia Museum of Art (January 31 - April 26, 2009)
"The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo presents a model for realizing the fuller significance of illuminated music manuscripts as cultural artifacts, and offers unprecedented insights into the social and devotional life of Toledo, Spain, around the turn of the sixteenth century. After solving the mystery of the Rosary Cantoral's origins, subsequent essays probe the meaning and cultural significance of the manuscript's iconography (including a border decoration after Albrecht Durer), its rare Spanish chants for the Mass, and two striking musical works for multiple voices (one by Josquin Desprez and another on "L'homme arme"). Ultimately, this book focuses on the extraordinary circumstances that engendered the compilation of the Rosary Cantoral around 1500: a system of patronage between a brotherhood of suspected heretics and a religious house that was a key supporter of the Inquisition in Toledo."--BOOK JACKET.