Null Giovanni Battista PIRANESI (1720-1778)
Altra Veduta del Tempio della Sibill…

Description

Giovanni Battista PIRANESI (1720-1778) Altra Veduta del Tempio della Sibilla in Tivoli - Veduta del Pantheon d'Aggripa Two etchings Late-edition proofs from the 19th century Yellowed Framed Two etchings, late 19th-century proofs, yellowed, framed 44 x 66 CM ; 47 x 67 CM

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Giovanni Battista PIRANESI (1720-1778) Altra Veduta del Tempio della Sibilla in Tivoli - Veduta del Pantheon d'Aggripa Two etchings Late-edition proofs from the 19th century Yellowed Framed Two etchings, late 19th-century proofs, yellowed, framed 44 x 66 CM ; 47 x 67 CM

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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. 4 000 - 5 000 EUR

After ANDREA DEL VERROCCHIO (Florence, 1435 - Venice, 1488). "The Condottiero Bartolomeo Colleoni". Bronze. Ferdinand Barbedienne Fondeur. Measurements: 16 x 43 x 17 cm. Replica in medium format of the equestrian monument in bronze dedicated to the Condottiero Bartolomeo Colleoni, 395 cm high without the pedestal, realized by Andrea del Verrocchio between 1480 and 1488 and located in Venice, in the square of Saints John and Paul. It is the second equestrian statue of the Renaissance, after the monument to Gattamelata by Donatello in Padua, 1446-53. Its history dates back to 1479, when the Republic of Venice decreed the realization of an equestrian monument dedicated to this Condottiero, who died three years earlier, to be placed in the Piazza dei Santi Giovanni e Paolo. In 1480 Verrocchio was commissioned to execute it, and he began the work in his workshop in Florence. In 1481 the wax model was sent to Venice, where the artist went in 1486 to personally direct the casting of the final model, in lost-wax bronze. Andrea Verrocchio died in 1488 with the work unfinished, although the wax model was to remain, and in his will he determined that Lorenzo di Credi should continue the project. However, the Venetian Signoria preferred the local artist Alessandro Leopardi, a painter and sculptor, multidisciplinary in the modern way, as Verrocchio himself had been. The Florentine artist based the creation of the monument on the equestrian statue of Donatello's Gattamelata, the ancient statues of Marcus Aurelius and the horses of St. Mark (13th century) and of the Regisole (a work of late antiquity in Pavia, lost in the 18th century). There were also frescoes by Giovanni Acuto, Paolo Ucello and Andrea del Castagno. There was, on the other hand, the important technical problem of representing the horse with a raised front leg, in a majestic forward position, which Donatello had prudently solved by placing a sphere under the raised leg. Verrocchio will be the first to succeed in erecting an equestrian statue supported only on three legs.

Estim. 150 - 250 EUR

White and polychrome majolica cachepot, Nove, Giovanni Battista Viero, late 19th century ribbed body with jagged opening, finely painted with floral, butterfly, and insect compositions; two scroll handles with zoomorphic mask; tall base with foot with plant elements; crown mark in blue above G.B.V. Nine, c. 37x33 cm. (restoration to neck; chipping)

Estim. 600 - 800 EUR

MICHELUCCI GIOVANNI (1891 - 1990) MICHELUCCI GIOVANNI (1891 - 1990) Sideboard from the Torbecchia series for Poltronova, Florence. 1964. Walnut wood. 83x200x53 cm. Signature in fire. Bibliography: Domus no. 426, May 1965, advertising page; G. Gramigna, Repertorio del design italiano 1950-2000 per l'arredamento domestico, Allemandi, Torino 2021, p. 111

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