Null SANTORINI, Giovanni Domenico (1681-c.1737). Anatomici summi septemdecim tab…
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SANTORINI, Giovanni Domenico (1681-c.1737). Anatomici summi septemdecim tabulae...addit de structura mammarum et de tunica testis vaginali. Parma: Bodoni, 1785. Scarce first edition (lacking De Lama and Brooks) of the only significant medical text published by Bodoni and one of the finest anatomies of the 18th century from Piazzetta's drawings. Santorini's Observationes anatomicae, which include several new discoveries, were printed here 38 years after his death under the care of his pupil Michel Girard. The engraved plates are by a woman, Florentina Marcella, while the drawings are by the famous Venetian painter Giovanni Battista Piazzetta. All 21 plates depicting the anatomical parts in a realistic manner are accompanied by an equal number of plates drawn in outline with legend indications to facilitate study for doctors. 4to, (312 x 230mm). Portrait to title-page, 42 engraved plates, 21 of which in outline (light spotting to first few leaves). Contemporary full calf binding skillfully restored at a later date, gilt title on spine, red edges, marbled endpapers. Provenance: Contemporary gift note in French to title-page verso, partially cancelled with minor damage to the title-page (difficult to read). (1)

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SANTORINI, Giovanni Domenico (1681-c.1737). Anatomici summi septemdecim tabulae...addit de structura mammarum et de tunica testis vaginali. Parma: Bodoni, 1785. Scarce first edition (lacking De Lama and Brooks) of the only significant medical text published by Bodoni and one of the finest anatomies of the 18th century from Piazzetta's drawings. Santorini's Observationes anatomicae, which include several new discoveries, were printed here 38 years after his death under the care of his pupil Michel Girard. The engraved plates are by a woman, Florentina Marcella, while the drawings are by the famous Venetian painter Giovanni Battista Piazzetta. All 21 plates depicting the anatomical parts in a realistic manner are accompanied by an equal number of plates drawn in outline with legend indications to facilitate study for doctors. 4to, (312 x 230mm). Portrait to title-page, 42 engraved plates, 21 of which in outline (light spotting to first few leaves). Contemporary full calf binding skillfully restored at a later date, gilt title on spine, red edges, marbled endpapers. Provenance: Contemporary gift note in French to title-page verso, partially cancelled with minor damage to the title-page (difficult to read). (1)

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Letter of indulgence of Pope Pius VI. from 1776 Magnificent late baroque letter of indulgence, consisting of a partially hand-coloured copperplate engraving printed on laid paper by Francesco Mazzoni (mentioned in Rome from 1738 to 1789) with handwritten additions, Peter and Paul holding the sweat cloth of Veronica at the top centre, which is crowned by the Holy Spirit in the form of a dove, left view of the Vatican with St Peter's Square and St Peter's Church, bottom left view of the Lateran Basilica in Rome, top right historical view of the Basilica of St Paul Outside the Walls and bottom right view of the Basilica of St Mary Maggiore. Maria Maggiore", left portrait of Pope Pius VI (1717-1799, born Giovanni Angelo Count Braschi, Pope Pius VI from 1775), right depiction of a papal audience in St Peter's Basilica, below three depictions of the appointment as Pope, left proclamation of the new Pope from the balcony after the conclave, centre procession with the Pope carried in a palanquin from the Sistine Chapel to St Peter's Basilica and right prayer of the Pope at St Peter's Basilica. St Peter's and on the right the Pope's prayer at the Holy Door, with the Latin text "Beatissime Pater - Dominicus Killer Romae praesens ac brevi discessurus Sanctitati Vestrae humillime Supplicat ut dignetur sibi suisque Consanguineis ac affinibus in primo Gradu nec non 12 hic nominatis Personis Indulgentiam plenariam in articulo Mortis Sacramentaliter confessis ac Sacra Comunione refectis aut Salutem contrite SSimum [Sanctissimum] Nomen Jesu ore vel corde devote invocantibus benigne concedere am Gratiam Deo [engl.Most Holy Father - Dominic Killer, who is present in Rome and will soon depart, humbly requests Your Holiness to kindly grant full absolution to himself and his first-degree blood relatives and relatives by marriage, and in particular to the 12 persons named here, who at the moment of death made their confession at the reception of the sacrament and were strengthened by Holy Communion or, as salvation, devoutly vow the most holy name of Jesus with their mouth or heart. Thanks be to God. ]", on the right list with the names of the 12 persons concerned, inscribed and dated "Sanctisimo Pio VI - Die 13 mensi Jannuary 1776 [His Holiness Pius VI on 13 January 1776] ..." and indistinct signature, embossed paper seal and year "Anno 1776" on the lower left, information on the Latin text on the reverse, traces of folding, lack of conservation, framed behind glass, folded dimensions approx. 43 x 56 cm.

GIOVANNI MICHELE GRANERI La dissipazione del figliol prodigo Olio su tela, 49,5x84 cm Il dipinto raffigura un tema che ottenne grande successo in Piemonte nel Settecento: quello delle vicende del Figliol Prodigo. La storia evangelica, esemplare sul piano morale, si prestava anche assai bene a spunti per i pittori di genere. La tela sono opera di uno dei più importanti pittori del settore: Giovanni Michele Graneri. L'artista fu tra i più significativi rappresentanti della pittura di genere e di bambocciata, che fiorì in Piemonte durante il Settecento. Si formò nel solco del grande pittore bambocciante Pietro Domenico Ollivero ma, fin dalle opere giovanili, appare ben distinguibile, con uno stile personale spiccato, meno raffinato e meno incline alla meditazione, ricco di un realismo di impronta popolaresca, con gusto per l'aneddoto, l'episodio minuto gli accenti picareschi. La sua pittura vivace, ironica, icastica, incontrò il gusto di personalità della corte, di privati borghesi e nobili, per i quali dipinse un gran numero di quadri, oggi in parte dispersi sul mercato. In questo caso Graneri, come già aveva fatto Ollivero fa un calco, abilissimo e con varianti precise, dalle incisioni, facenti parte di una serie di 5 fogli rappresentanti la parabola del figliol prodigo con soggetti di invenzione di Cornelis De Wael. (A, Cifani, F. Monetti, I piaceri e le grazie. Collezionismo, pittura di genere e di paesaggio fra Sei e Settecento in Piemonte, Torino 1993, tomo primo e secondo; A.Cifani, F. Monetti, Giovanni Michele Graneri. in : Il regno segreto. Sardegna-Piemonte: una visione postcoloniale, Nuoro 2020, pp. 38-41)