For bibliophiles, print collectors, and connoisseurs, and anyone whose imagination is fired by the macabre and the arcane: contemporary etchings recreating interiors, studios, cityscapes, landscapes, and fantastical compositions from a Piranesian world The manifestation of a collector’s appetite for discovering and mastering the world—represented by singular items of natural history, geology, art, or relics—cabinets of curiosities and rarities became popular in the Renaissance and were precursors to the modern museum. Largely inspired by seventeenth-century scientist and antiquary Sir Thomas Browne, whose esoteric writings have long appealed to scholars, this rare new work is a bibliophile’s delight. Erik Desmazières’s contemporary etchings present a cabinet of rarities portraying a collection of the recondite, rare, and bizarre, complete with emblems of the vanity of earthly life and intimations of mortality. Death and decay are favorite subjects: a skull recalls depictions of Sir Thomas Browne’s own, disinterred and displayed in a local museum until the 1920s. These abstruse objects and specters of death, subject matter once considered the preserve of specialists, have entered the cultural mainstream and have found a broad popular audience.

"Bound to entertain anyone who is intellectually curious, and serve as a source of inspiration for interior decorators and contemporary artists."—Antiques and the Arts Unicorns’ horns, mermaids’ skeletons, stuffed and preserved animals and plants, work in precious metals, clocks, scientific instruments, celestial globes . . . all knowledge, the whole cosmos arranged on shelves. Such were the cabinets of curiosities of the seventeenth century, the last period of history when man could aspire to know everything. Who were the collectors? They were archdukes and kings—the Emperor Rudolf II was the prince of all collectors—rich merchants and scholars, and their collections ranged from a single crowded room to whole palatial suites. Patrick Maurie`s traces the amazing history of these “rooms of wonders” in this ingeniously erudite survey. Not many of the rooms survive, though there are pictorial records, but their contents still exist and are among the treasures of museums all over the world.

Erik Desmazieres is acknowledged as a contemporary master of the art of etching. With breathtaking virtuosity, he recreates interiors, cityscapes, landscapes and fantastical compositions from a Piranesian world. Any new work Desmazieres produces is a bibliophiles delight; and this book, the first in which he uses colour, reimagines the arcane world of the cabinet of curiosities: antiquarian collections of the recondite, rare and bizarre, which reminded the viewer of the vanity of earthly life. Patrick Mauriess text is in three parts. The first locates Desmazieres and his work in the long tradition of artist-printmakers; the second surveys the world of 17th-century antiquarianism and its intriguing cast of characters (John Evelyn, John Aubrey and, above all, Thomas Browne, plus many of their continental counterparts); and in the third Mauries examines today's reawakened interest in cabinets of rarities and curiosities, and considers how a phenomenon once considered the preserve of specialists has entered the cultural mainstream.