RIEPENHAUSEN, Franz (1786-1831) and Johannes (1788-1860). Peintures de Polygnote. Rome: [F. & N. de Romanis,] 1826 [but 1827]-1829.
2 volumes in one, oblong 2° (480 x 660mm). Engraved titles and 36 engraved plates. (Spotting.) Contemporary diced russia by Ph. Selenka, with his ticket, sides panelled in gilt and blind, edges gilt (corners bumped).
IN A FINE BINDING BY SELENKA. The large engravings show scenes from the descent of Odysseus into Hades and the sacking of Troy. They are imaginative reconstructions, based on descriptions by Pausanias, of now-lost paintings by Polygnotus for the Cnidian Lesche at Delphi. The Riepenhausens had published a selection of the Troy engravings earlier, soon after the publication of Goethe's essay on Polygnotus. Blackmer 1421 (part I only); Brunet IV, 1300; Andresen, Die Deutschen Maler-Radier des 19. Jahrhunderts III, pp.120-21 (noting that a copy could not be found in Germany).
RIEPENHAUSEN, Franz (1786-1831) and Johannes (1788-1860). Peintures de Polygnote. Rome: [F. & N. de Romanis,] 1826 [but 1827]-1829.
2 volumes in one, oblong 2° (480 x 660mm). Engraved titles and 36 engraved plates. (Spotting.) Contemporary diced russia by Ph. Selenka, with his ticket, sides panelled in gilt and blind, edges gilt (corners bumped).
IN A FINE BINDING BY SELENKA. The large engravings show scenes from the descent of Odysseus into Hades and the sacking of Troy. They are imaginative reconstructions, based on descriptions by Pausanias, of now-lost paintings by Polygnotus for the Cnidian Lesche at Delphi. The Riepenhausens had published a selection of the Troy engravings earlier, soon after the publication of Goethe's essay on Polygnotus. Blackmer 1421 (part I only); Brunet IV, 1300; Andresen, Die Deutschen Maler-Radier des 19. Jahrhunderts III, pp.120-21 (noting that a copy could not be found in Germany).
