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MARC Record view

001 $ 07/1779
003 $ UK-LoRAA
041 0 # $a fre
044 # # $a fr
100 1 # $a Coypel
245 1 0 $a Discours Prononcez Dans Les Conférences De L'Academie Royale De Peinture Et De Sculpture. Par M. Coypel Ecuyer, premier Peintre du Roy, de Monseigneur le Duc d'Orleans Regent; & Directeur de l'Académie Royale de Peinture & de Scupture.
260 # # $a A Paris, $b De l'Imprimerie de Jacques Collombat Imprimeur ordinaire du Roy, & de l'Académie Royale de Peinture & Sculpture; ruë S. Jacques, au Pelican. $c M. DCC. XXI. Avec Approbation Et Privilege Du Roy. $c [1721]
300 # # $a [42], 189, [13] p.; $c 254 mm. (Quarto.)
505 0 # $a [T.p., dedic.] - Preface - Approbation - Arrest Du Conseil D'Estat Du Roy, Du 28. Juin 1714 - Epistre A Mon Fils, Sur La Peinture - [Text] - Table Des Principales Matieres Contenues En Ce Livre; Errata des fautes échapées dans l'impression; [colophon].
508 # # $a The headpieces of the dedication and the main text are signed as designed by C. A. Coypel and engraved by B. Audran [i.e. Benoit Audran (1698-1772) or Benoit Audran (1661-1721)]. That of the Epistre is signed as designed and made by 'nic LSL'. The printer's name is repeated in the colophon. The work is dedicated by Coypel to the Duc d'Orleans, Regent.
510 0 # $a C. Harrison et al., edd., Art in Theory 1648-1815 An Anthology (2000), p. 335-42; N. Garnier, Antoine Coypel, 1661-1722 (1989).
520 2 # $a Antoine Coypel's discourses on painting were delivered at the Académie royale de peinture et de sculpture, of which he became director in 1714.
533 # # $n Reprinted in Conférences de l'Académie Royale de Peinture et de Sculpture, ed. H. Jouin (1883).
561 # # $a The front pastedown carries an 18th-century armorial bookplate. The title page is inscribed in ink, 'BR Haydon -1813'. A preliminary leaf is inscribed in ink, ' - I am convinced that Reynolds had read these sensible discourses - Many notions he has taken and enlarged from them - And many of his views of Art; indeed the scope of his intentions, have evidently their origin here - this to me is a satisfactory ground, to argue, that Burke had nothing to do in their composition & arrangement & that they are wholly & solely his own compositions: the result of a faculty vigorous & intuitive, impregnated by experience in his own Art; and educated by being perpetually with such men as Johnson Burke & his other eminent literary associates - BRHaydon1813'. The verso of the front free-endpaper and the first page of the dedication are inscribed in ink, 'J. H. Smith Caradoc Lodge Church Stretton' (the dedication inscription with the addition of the date '1855'). [This is probably in the hand of Gilbert Bakewell Stretton's grandfather, the painter John Homes Smith (1797-1868).] The verso of the rear free-endpaper carries drawings in ink, inscribed in ink, 'at Calcotts concert', and 'Sketches. by. B.R. Haydon. J. H. Smith'. The text carries several underlinings and marginal notes in pencil and in ink. Bequeathed by G. B. Stretton, 1949.
563 # # $a 18th-century mottled calf; rebacked in 20th century, spine lettered 'Discours De Coypel' and '1721'.
610 1 4 $a Académie Royale de Peinture et Sculpture (France)
653 # # $a Painting - Theory
653 # # $a Painting - France - History - 18th century
655 # 0 $a Lectures - Speeches - France - 18th century
700 1 # $a Collombat $e printer
700 1 # $a Orleans $e dedicatee
700 1 # $a Haydon $e previous owner
700 1 # $a Smith, J. H. $e previous owner
700 1 # $a Stretton $e previous owner $e donor
700 1 # $a Coypel $e draughtsman
700 1 # $a Audran $e engraver?
700 1 # $a Audran $e engraver?
710 1 # $a France. Institut de France