A suite of etchings in sanguine, printed on thick paper with fleur-de-lys watermark. A suite of etchings in honor of Neapolitan Baroque artist Salvator Rosa, published 100 years after his death. The artificial portfolio (binding in worn psk) created in the 19th century contains pages: title page, 3 p. of text, 58 engravings Figures (people and costumes; size: 145 x 97 mm), 4 engravings Tritons (size: 100 x 217 mm), 14 folio engravings (damaged, acidified).
The plates were kept in the Rosa family and deposited in the 18th century in the Calcografia Apostolica. Album dedicated to a young Polish count and art collector Stanislaw Kostka Potocki, living in Rome in 1780 (Pilawa coat of arms on title page).
The artificial portfolio (binding in worn psk) created in the 19th century contains the following pages: title page, 3 p. of text, 58 graphics titled. "Figures" (people and costumes; size: 145 x 97 mm), 4 graphics titled. "Tritons" (dimension: 100 x 217 mm), 14 folio graphics (damaged, acidified). All pages of the portfolio stamped repeatedly with Christian Hammer ownership stamps. The portfolio comes from the library of Christian Monsen Hammereie (known as Christian Hammer). Hammer, a Swedish jeweler, art collector and bibliophile (1818-1905); ran a renowned goldsmith store in Stockholm, founded the city's first operetta theater and built the Furusund baths in Roslagen. In his time, he was best known as a collector. His large collections of books, manuscripts, coins, artwork and antiques were partially sold already during his lifetime. Polish-born antiques dealer Henryk Bukowski catalogued the collections in 14 large, handwritten volumes. Hammer opened part of the collection to the public at his family villa on Djurgården. Lit.: Bartsch, XX.279.25 (copy); Bartsch Illustrated, Commentary 4512, Appendix, no. IX, p. 431 (copies); RW Wallace, The Etchings of Salvator Rosa (1979), ref. 138 and Chapter VII, "The Influence of Salvator Rosa's Etchings"; MC Cola, "La fortuna di Salvator Rosa nel Settecento: la raccolta di incisioni di Carlo Antonini," Salvator Rosa e il suo tempo (2010), pp. 315-331; A. Griffiiths, "On Some Albums of Etchings by Salvator Rosa," Print Quarterly , 9, no. 3 (1992): 251-260.
