Null [PISA] LASINIO, Giovanni (1789-1855). Raccolta di Sarcofagi, Urne e altri m…

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[PISA] LASINIO, Giovanni (1789-1855). Raccolta di Sarcofagi, Urne e altri monumenti di scultura del CampoSanto di Pisa. Pisa: Didot, 1814-1825. Important work on the sculptural collection of the Pisa Cathedral, many of which were lost during the Allied bombing of World War II. 4to, (280 x 210 mm). Frontispiece and 157 engraved plates depicting urns, sarcophagi, and other sculptural elements of the Campo Santo in Pisa (light browning, light marginal foxing). Nineteenth-century calf binding tooled in gilt and blind, title gilt to spine (some light wear). (1)

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[PISA] LASINIO, Giovanni (1789-1855). Raccolta di Sarcofagi, Urne e altri monumenti di scultura del CampoSanto di Pisa. Pisa: Didot, 1814-1825. Important work on the sculptural collection of the Pisa Cathedral, many of which were lost during the Allied bombing of World War II. 4to, (280 x 210 mm). Frontispiece and 157 engraved plates depicting urns, sarcophagi, and other sculptural elements of the Campo Santo in Pisa (light browning, light marginal foxing). Nineteenth-century calf binding tooled in gilt and blind, title gilt to spine (some light wear). (1)

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Estim. 450 - 1 500 EUR

DELAFOSSE (Jean-Charles): Nouvelle iconologie historique ou attributs hiérogliphyques qui ont pour objets les quatre élémens, les quatre saisons, les quatre parties du monde et les différentes complexions de l'homme. These same attributes also depict the various nations, their religions and the chronological periods of history. (...) These hieroglyphics are composed and arranged in such a way that they can be used for all kinds of decorations, fountains, frontispieces, pyramids, cartouches, door tops, borders, medallions, trophies, vases, friezes, lecterns, tombs, clocks, etc. Paris, chez l'auteur, rue Poissonnières, en la maison de m. menan, paveur, entre la rue de la lune et celle de beauregard et chez de Lalain, libraire, rue saint-jacques, 1768. One volume. 32 by 49.5 cm. (44) pages, and 109 intaglio engraved figures (for 108 announced. Numbering with duplicates replacing missing numbers). Complete. Muted contemporary half vellum. 4 leaves of text formerly restored in margins. An ink stain on almost the entire work, in the margins and without affecting the plates. Some scattered freckling, light wetness on the last ten plates, including 5 in the margins. Plate 75 has been cut from its page, but is present and complete. First edition of this celebrated collection by Jean-Charles Delafosse (1734-1789), a French architect, ornamentalist and painter. He was an important theorist of the Louis XVI "square" style and the beginnings of neo-classicism. His decorative style, described in this book, inspired many Parisian homes at the end of the 18th century. A rare book, as it is often cut up.

Estim. 280 - 450 EUR

Refutation of two works by Paolo Sarpi on the Pope's temporal power: 1 BELLARMINO (Roberto): Risposta del Card. Bellarmino a due libretti, uno de quali s'intitola Risposta di un Dottore in teologia, ad una lettera serittagli da un Rever. suo amico, sopra il Brevz si Censure dalla Santita di Paolo V publicate contra li Signori Venetiani. Et l'altro trattato, & revolutione sopra la validità delle Scommuniche di Gio. Gersone teologo, & Cancelliere Parisino ; tradotto dalla lingua latina nella volgare con ogni sedeltà, in opusculi due. Roma, Appresso Guglielmo Faciotto, 1606, et restampata in Ferrara, nella Stampa Camerale, 95 pp. followed by 2 BOVIO (Giovanni Antonio): Risposta del P. Maestro Gio. Antonio Bovio da Novara carmelitano alle considerationi del Padre Maestro Paolo da Venetia, sopra le Censure della Santità di Papa Paolo Quinto contra la Republica di Venetia. Roma, Appresso Guglielmo Facciotto, et in Bologna, 1606, 158 pages. 2 works in 1 volume, 10 by 15.3 cm. Muted 19th century covers. Small wetness in the lower margin of the first 10 ff. of the 1st work, otherwise very good condition. Interesting combination of two works refuting the positions of the Venetian Republic, which contested the Pope's temporal power. 1) Ferrara printing, published the same year as the original. Rare. IT \ICCU \UBOE\ 117769. The Republic of Venice commissioned Paolo Sarpi and various theologians, including Marsili, to defend its policies. They published two incendiaries, which Bellarmin refutes in this work, first published in Rome in 1606 and reprinted the same year in the main cities of the Papal States. This Ferrara edition is rare: the ICCU locates only 3 copies. 2) Edition published the same year as the original in-4. IT \ICCU \UBOE\021629. Sarpi also published his considerations on Paul V's censorship, denouncing it. Father Bovio, provincial of the Carmelite order, responded with this work, in which he justifies Venice's excommunication.

Estim. 3 000 - 4 000 EUR

Italian school, XVII-XVIII century. Following models of ORAZIO GENTILESCHI (Pisa; 1563-London; 1639). "Virgin of the milk". Fragment of the "Rest in the Flight into Egypt" (Louvre Museum). Oil on canvas. Presents some lack in the frame. It needs restoration. Measurements: 117 x 102 cm; 131 x 116 cm (frame). This painting of classicist school retakes the motive of the maternity extracted from the painting of the mannerist painter Orazio Gentileschi dedicated to the theme of the flight to Egypt (oil painting conserved in the Louvre), where the Holy Family appears making a rest in its way, after leaving Bethlehem to escape to the persecution of Herod. The painter in question is inspired by that image of the Virgin breastfeeding the Child Jesus, respecting the volumetric and monumental proportions of the bodies. He also follows the model of the Virgin of the Milk. Jesus suckles the breast while looking at us out of the corner of his eye, adopting a natural gesture, without any artifice. The mother has classical features that remind us of the timeless. Her hair is gathered in a silky, light brown bun. The painter has chosen a range of more contrasting and earthy tones than the original, so that the flesh tones are slightly atheistic and the light models bodies and features with ingenuity. The whole shows a sacred and leisurely image without the need to introduce symbolic elements. Orazio Lomi Gentileschi was an Italian painter born in Tuscany. He began his career in Rome, painting in a mannerist style. Much of his early work in Rome was collaborative in nature. He painted the figures in Agostino Tassi's landscapes in the Rospigliosi palace, and possibly in the great hall of the Quirinal palace. After 1600, he was influenced by the more naturalistic style of Caravaggio and began to have commissions in Fabriano and Genoa before moving to Paris, to the court of Maria de' Medici. He remained there for two years, but only one painting from his stay has been identified, an allegorical figure of Public Happiness, painted for the Luxembourg Palace, and now in the Louvre collection. In 1626, Gentileschi, accompanied by his three sons left France for England, where he joined the household of the king's prime minister, George Villiers, 1st Duke of Buckingham. He was a favorite artist of Queen Henrietta Maria, for whom he painted the ceiling of the Queen's House at Greenwich. The paintings of his English period are more elegant, artificial and sober than his earlier works. They include two versions of The Finding of Moses (1633), one of which was sent to Philip IV of Spain; it was previously supposed to have been a gift from Charles I, but is now known to have been sent on Gentileschi's own initiative.

Estim. 150 - 300 EUR

Salvatore Fiume (Comiso 1915 - Canzo 1997). The stuff. Sheet: 49.8x69.8 cm. Color lithograph on paper. Work signed at lower right Fiume and with print run number at lower left 67/200. From the collection of eight novellas by Giovanni Verga from the master.

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