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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Estim. 150 - 225 EUR

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.

Estim. 4 000 EUR

GIOVANNI DOMENICO CERRINI KNOWN AS THE CAVALIER PERUGINO (circle of) The sorceress Circe Oil on canvas, 145x103 cm The painting is stylistically approachable to the production of the second half of the seventeenth century by the painter Gian Domenico Cerrini known as Cavalier Perugino to whom refer the sensual presentation of the sorceress with the very clear epidermis. Of note is the erotically mischievous manner in which Cerrini treats the theme, and the way in which he effectively restores the devious and evil character of the Homeric character.

Estim. 1 500 EUR

JOHN MICHELE GRANERI The dissipation of the prodigal son Oil on canvas, 49.5x84 cm The painting depicts a theme that achieved great success in Piedmont in the 18th century: that of the vicissitudes of the Prodigal Son. The Gospel story, exemplary on a moral level, also lent itself very well to cues for genre painters. The canvas are the work of one of the most important painters in the field, Giovanni Michele Graneri. The artist was among the most significant representatives of genre and bambocciata painting, which flourished in Piedmont during the 18th century. He was formed in the wake of the great bambocciante painter Pietro Domenico Ollivero but, from his early works, he appears clearly distinguishable, with a marked personal style, less refined and less prone to meditation, rich in a realism with a popular feel, with a taste for the anecdotal, the minute episode the picaresque accents. His lively, ironic, icastic painting met the taste of court personalities, private bourgeois and nobles, for whom he painted a large number of pictures, now partly dispersed on the market. In this case Graneri, as Ollivero had already done makes a cast, skilfully and with precise variations, from engravings, part of a series of 5 sheets representing the parable of the prodigal son with subjects of invention by Cornelis De Wael. (A, Cifani, F. Monetti, The Pleasures and Graces. Collecting, genre and landscape painting between the seventeenth and eighteenth centuries in Piedmont, Turin 1993, tome one and two; A.Cifani, F. Monetti, Giovanni Michele Graneri. in : The Secret Kingdom. Sardinia-Piedmont: a postcolonial vision, Nuoro 2020, pp. 38-41)

Estim. 2 000 - 3 000 EUR

Giovanni Domenico TIEPOLO (Venice 1727 - 1804) Two set designs with sculptures of nymphs Pen and brown ink, brown wash over black pencil lines 23.3 x 15.5 cm (sheet cut off at center) Annotated lower right "Dom.Tiepolo f". Insolate, foxing and heavy staining to edges Provenance : Alice and Henri Dupont Collection Inherited by the current owners

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