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Giovanni GIARDINI (1646-1721), Maximilian Joseph LIMPACH (active in the early 18th century)  Auf Merkliste setzen

Promptuarium artis argentariae ex quo, centum exquisito studio inventis, delineatis, ac in aere incisis tabulis propositis ... invenit et delineavit Joannes Giardini ac in duas partes distribuit. Pars Prima - Altera Roma, Sumptibus Fausti Amidei Bibliopolae, 1750 2 parts in 1 volume, folio (410x270); 2 title pages, 101 engraved plates, 98 of which depicting different kind of richly decorated silverware; the 3 other plates are an allegorical engraved frontispiece with papal coat-of-arms and cartouche “Sanct.mo D.N. D. Clementi XI P.O.M. Bonarum artium restitutori” and an engraved dedication to the pope in the first part and the decication to the Accademia in the second part, both dedications signed by Giovanni Giardini. Plate n. 48 is present in 2 variants (with and without papal coat-of-arms), the second one bound at the end of the second volume. Large engraved vignette on both title pages (repeated). Contemporary mottled calf, spine gilt. Spine and part of both covers restored. First pages unobtrusive worm hole on inner upper corner, never affecting the engravings, about 6 pages of the second part small stain on inner margin, never affecting the engraving. Drawing by the author, engraving by Maximilian Joseph Limpack. A beautiful copy, on heavy paper from the paper mill “Rev. Cartiera Apostolica”.

The collation of this work is quite complicated as different copies show several differences (apparently there are not two identical copies) deserving thus an exhaustive description. We compared our copy with six digitized ones (from the Austrian National Library, National Library of the Czech Republic, Central Library in Zurich, Public Library of Lyon, Deutsches Museum and Getty Research Institute). In all copies the first plate is numbered “2”, plate “1” most probably being the frontispiece; such frontispiece is present in two variants, with the cartouche engraved or blank and is present in 3 of the digitized copies (2 with engraved cartouche, 1 blank). The two engraved dedications are absent in all digitized copies. Plates 99 an 100 are missing in two of the digitized copies. Plate 48 has two variants: with (A) and without (B) papal coat-of-arms: three copies have the variant A only, 1 has A repeated twice, two have both variants and one has variant A numbered 48 and variant B numbered 101. When both are present, one is always at the end of the second part. Moreover at least in one of the digitized copies, parts of some engravings are blank, whereas in the others (as well as in our copy) engraved coat-of-arms are present. In one of the digitized copies plate 54 is missing and in another copies several plates are repeated twice. In conclusion, the “complete” amount of engraving should be 104 (100 plates, 2 variants of plate 48, frontispiece and 2 dedications) but apparently no copies have them all, generally 101 plates are reported (even the Berlin Catalog does not mention the dedication of the second part). The fact that in most descriptions (both of library copies and in the only one presently in the market) the number of plates only is mentioned, without further analysis, does not simplify the matter. We think that all the copies we examined has to be considered as complete, even though we are not able to explain the differences: a possible explanation can be that the copies were composed according the requirement of the customer, as was common practice for other kind of works (mostly atlases and, as in this case, collections of engravings). In our copy the plates 99 and 100 are not present, but plates 48 is present in both variants, the frontispiece (often lacking) is present in the most complete version, both dedications (always missing in the copies we were able to examine) are present and all the plates are completely engraved, with no portions left blank. We are thus satisfied that this copy is as complete as can be expected due to the observed variability. First published in 1714 in Prague under the title Disegni diversi. This work is considered the finest 18th-century collection of patterns for silversmiths. Giovanni Giardini, a master silversmith, was appointed in 1698 bronze-founder for the papacy, and several of the work he made for the papal court are presently in the Victoria and Albert Museum in London, the Kunsthistorische Museum in Vienna and St. Peter’s in Rome. The first part of the present work includes ecclesiastic objects, such as censers, candlesticks and chalices, while the second part is more depicts secular items, like vases, tables, centrepieces, globes, clocks, candelabras, etc. His designs were influenced by late Italian Baroque art, especially by the works of the sculptor Gian Lorenzo Bernini (1598-1680) and of the architect Francesco Borromini (1599-1667); Giardini’s style inspired the Roman production of gold and silver objects for over a century. The engravings, by the Czech engraver Maximilian Joseph Limpach, after design by Giovanni Giardini, were made for the first edition (1714) and used again for the present one. Limpach worked in Rome and the 100 plates he engraved for Disegni Diversi represent his best known work. REF.: Berlin Staatlich Museen., Katalog der Ornamentstich-Sammlung der Staatlichen Kunstbibliothek Berlin, Berlin and Leipzig, 1936-39, 1142; Bénézit, 1966 Vol. 5, p. 585; Giovanni Giardini In: The Grove Dictionary of Art, New York: Macmillan. 2000; https://www.georgeglazer.com/wpmain/product/decorative-arts-designs-giardini-torchere-engravings-italian-18th-century/ (Seller ref. MC0239)

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