Calendario aste

Ancient, Modern, and Contemporary Art - Session I

Ancient, Modern, and Contemporary Art - Session I

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Il martedì 17 novembre | 10:00 AM

Gonnelli Casa d'Aste

+39 055 268279 aste@gonnelli.it

Via Fra Giovanni Angelico, 49 50121, Firenze

146 risultati

Anonymous Italian artist, 16th century. Medal depi

1 - Anonymous Italian artist, 16th century. Medal depicting Emperor Constantius III. ca. 1500. Niello (engraving). Ø 53/54 mm. In the center is the figure of the emperor wearing a diadem, holding the globe surmounted by the imperial eagle in one hand and, in the other, the treaty signed with the Goths in 419. In the double ring of the frame, the inscription on the reverse reads “DNFL CONSTAN PP AVGV” (Dominus Noster Flavius, Constan, Pater Patriae, Augustus). Thin laid paper; on the reverse, a

Stima

240 - 480 €

Northern European School, Frieze with allegorical

2 - Northern European School, Frieze with allegorical figures and Siamese twins (r) / Phytomorphic decoration (v). ca. 1500–1520. Woodcut. 140 × 24 mm. Small border frieze, likely a three-dimensional decorative element. At the top, two allegorical figures with serpentine legs separated by a pomegranate: an old man with a thick, braided beard and a bare-breasted elderly woman holding a spindle (perhaps corresponding to the Moira Lachesis). In the center are Siamese twins, and at the bottom are fiv

Stima

120 - 240 €

Italian school of the first half of the 17th centu

3 - Italian school of the first half of the 17th century, Eagle / Owl. 1600–1650. Colored engraving. 192/205 × 140/150 mm. Sheet: 277/280 × 200/205 mm. Two plates from Varii, et diversi ucelli (Various Birds), drawn from life and engraved on copper with the utmost care, a collection by an anonymous author or multiple authors in loose sheets. Since this is a collection of loose sheets rather than a published volume with a fixed table of contents, the exact composition in terms of the number of

Stima

100 - 200 €

Various authors, Galleria Giustiniana by Marquis V

4 - Various authors, Galleria Giustiniana by Marquis Vincenzo Giustiniani. Rome: Carlo Losi, 1757. Engraving. 235/395 × 193/255 mm. Sheet: 535/540 × 365/370 mm. Provenance: an important noble collection. A complete and uniform collection of loose sheets, in two parts. First part: 153 plates numbered 1 through 153, including the title page and the portrait of Marquis Giustiniani dated 1631; Second part: 169 plates numbered 1 through 169, including the title page and the portrait of Marquis Giustini

Stima

1000 - 2.000 €

Artist AG, The Flagellation. c. 1480. Engraving.

5 - Artist AG, The Flagellation. c. 1480. Engraving. 147x108 mm. Bartsch, VI, 7. Lehrs, VI, 11. With the artist’s monogram on the plate at the bottom center. From a series of twelve plates dedicated to the Passion of Christ. Excellent impression in State I of 3, prior to the appearance of the text on the reverse (characteristic of State II), the squaring of the floor, the round window above the door, and the new “IS” monogram with interlaced letters (variants of State III). Thin laid paper, a

Stima

480 - 960 €

Heinrich Aldegrever, Eight Putti Around a Well. 15

6 - Heinrich Aldegrever, Eight Putti Around a Well. 1539. Burin. 36x93 mm. Bartsch, VIII, 267. New Hollstein, 267. With the monogram on the small panel at the bottom leaning against the well and the date “1539” at the top left. A good proof of this uncommon engraving on laid paper. (1) Copy trimmed to the impression with narrow margins on the sides. Mounted at the top with two staples within a modern cardboard mount. Traces of a fold dividing the sheet into four parts. On the reverse, traces of

Stima

140 - 280 €

Heinrich Aldegrever, Dancing Couple. 1551. Burin.

7 - Heinrich Aldegrever, Dancing Couple. 1551. Burin. 54x38 mm. Sheet: 56x41 mm. Bartsch, VIII, 157. New Hollstein, 157. With the monogram and the date “1551” in the upper-left panel. In the upper-right corner, the number “6.” From the series of eight plates titled Small Wedding Dances. Excellent impression in the second state of 2 following the appearance of the number, on slightly stiff laid paper. (1) Copy with narrow margins extending beyond the copperplate’s edge and mounted with

Stima

180 - 360 €

Albrecht Altdorfer, Christ on the Cross between th

8 - Albrecht Altdorfer, Christ on the Cross between the Virgin Mary and Saint John the Evangelist (The Little Crucifixion). c. 1520. Engraving. 61x41 mm. Sheet: 63x43 mm. Bartsch, VIII, 7. Winzinger, 120. Hollstein, 8. With the monogram on the plate at the bottom center. Excellent impression on thin laid paper. On the reverse, a black ink mark reading “R. H. LOVE” (not listed in Lugt). (1) Copy with narrow margins extending beyond the plate’s edge and mounted at the top with two staples with

Stima

280 - 560 €

Albrecht Altdorfer, Reclining Venus with Two Cheru

9 - Albrecht Altdorfer, Reclining Venus with Two Cherubs, One Winged. c. 1525. Engraving. 28x68 mm. Sheet: 30x70 mm. Bartsch, VIII, 35. Winzinger, 161. New Hollstein, e.42. With the monogram on the tablet hanging from the tree on the right. Excellent impression in the second state of two on slightly stiff laid paper. On the reverse, a collection mark in black ink with letters within a double circle (not listed in Lugt). (1) Copy with narrow margins extending beyond the copperplate impression and m

Stima

200 - 400 €

Carlo Antonini, Series LXXXV. Drawings of various

10 - Carlo Antonini, Series LXXXV. Drawings of various sizes by the famous painter Salvator Rosa, published and engraved by Carlo Antonini and dedicated to His Excellency Count Stanislao Potoki, Knight of the Order of St. Stanislaus. Rome: at the Casaletti printing house, MDCCLXXX [1780]. Large folio (492 x 378 mm). Half-morocco binding, with gold decoration and the artist’s name on the spine, morocco corners, and a gold-decorated fillet. Covers in marbled paper. On the inside front cover, an ex-li

Stima

800 - 1.600 €

Filippo Arena and Mario Cammareri, Three plates fr

11 - Filippo Arena and Mario Cammareri, Three plates from Della natura, e coltura de fiori fisicamente esposta. Two treatises by Rev. Ignazio Arena da Piazza...: Papaver / Apocynum or Fritillaria crassa / Ranunculus. Palermo: published by Angelo Felicella, MDCCLXVIII [1768]. Colored etching. 193x297 mm. Sheet: 288/290x420/430 mm. Three plates from one of the most significant Italian botanical works of the 18th century, compiled by the Jesuit priest Filippo Arena (who, however, signed under the name

Stima

180 - 360 €

Francesco Bartolozzi François Vivares, *The Rural

12 - Francesco Bartolozzi François Vivares, The Rural Italians' Wedding—Les Noces Champêtre d'Italie / The Rural Italians' Ball—Le Bal Champêtre d'Italie. London: François Vivares, 1775. Etching. 485x472 mm. De Vesme/Calabi, 2476–2477. After paintings by Francesco Zuccarelli (Pitigliano, 1702 – Florence, 1788). (2) Plates trimmed to the edge of the copper plate. Two small missing sections at the top of one of the two. Minor defects and slight signs of wear.

Stima

80 - 160 €

Barthel Beham, Winged Genius on a Globe. 1520. Eng

13 - Barthel Beham, Winged Genius on a Globe. 1520. Engraving. 56x34 mm. Bartsch, VIII, 32. Hollstein, 57. New Hollstein, 64. With the date "1520" on the plate in the upper right corner. An excellent, crisp impression of this rare subject on thin laid paper. This small plate is one of eleven known engravings dated 1520 and created by Barthel when he was just eighteen years old. A highly original composition in which the figure of the Genius—a spirit of the air who conveyed divine messages to humans

Stima

480 - 960 €

Barthel Beham, Apollo and Daphne. 1520–1540. Engra

14 - Barthel Beham, Apollo and Daphne. 1520–1540. Engraving. 81 × 49 mm. Bartsch, VIII, 25. Hollstein, 15. New Hollstein, 14. With the title in the lower right panel. An excellent print with good definition of the lines, in the fourth and final state of four, on thin laid paper. On the reverse, the mark of the Richard Jung collection (Frankenthal, 1911–Aachen, 1986) (Lugt, 3791). (1) Copy trimmed slightly inside the copper plate’s border and mounted with two staples at the top onto a modern ca

Stima

240 - 480 €

Hans Sebald Beham [attributed to], Soldier with Hi

15 - Hans Sebald Beham [attributed to], Soldier with His Fiancée. 1521. Engraving. 76x52 mm. Bartsch, VIII, 202. Hollstein, 198 (copy?). With the monogram and the date “1521” on the plate in the upper left corner. A fine impression on thin laid paper of this uncommon engraving. Recently, some critics have suggested that this is a deceptive, uncataloged copy of an original by Sebald Beham. On the reverse, a stamp from the Henry Hirsch Collection, Johannesburg (not listed in Lugt). (1) Copy trimm

Stima

240 - 480 €

Hans Sebald Beham, Frieze with Cimon and Pero. ca.

16 - Hans Sebald Beham, Frieze with Cimon and Pero. ca. 1525–1528. Etching on an iron plate. 39 × 101 mm. Sheet: 41 x 103 mm. Bartsch, VIII, 73. Hollstein, 77. With the monogram in the upper left corner within the circle depicting the main scene. On either side of the frieze are two tritons brandishing a club. A fine proof of this rare engraving, with the usual oxidation spots on the iron plate. Thin laid paper. (1) The print is mounted at two points at the top within a modern cardboard mount. Ve

Stima

180 - 360 €

Hans Sebald Beham, Christ Carrying the Cross. 1521

17 - Hans Sebald Beham, Christ Carrying the Cross. 1521–1522. Woodcut. 125 × 85 mm. Bartsch, VIII, 89. Hollstein, 823. Signed with a monogram in the upper right corner. From The Passion, a series of eight plates that Beham began carving in 1521; in 1522, after completing six woodcuts, he added the remaining two— The Betrayal and Christ Before Caiaphas, in 1535; at the same time, he reportedly removed the dates from the earlier blocks. Excellent proof in the second state of 2 following the

Stima

140 - 280 €

Hans Sebald Beham, Couple Walking to the Left. ca.

18 - Hans Sebald Beham, Couple Walking to the Left. ca. 1535–1540. Engraving. 47 × 39 mm. Bartsch, VIII, 181. Hollstein, 170. New Hollstein, 175. Signed with a monogram on the plate in the upper right corner. From The Wedding Procession, a series of eight unnumbered plates dating from 1535–1540. Good proof in the only state on thin laid paper. (1) Copy trimmed to the edge of the copper plate, visible in places, and mounted with two pins at the top within a modern cardboard mount. Probable very

Stima

140 - 280 €

Hans Sebald Beham, Hercules Abducts Iole. 1544. En

19 - Hans Sebald Beham, Hercules Abducts Iole. 1544. Engraving. 52x78 mm. Bartsch, VIII, 99. New Hollstein, 106. With the title, the monogram, and the date “1544” in the cartouche at the top center. From The Labors of Hercules, a series of twelve plates, all bearing the monogram and dated from 1542 to 1548. Excellent impression on thin laid paper. (1) Sheet mounted with two staples at the top onto modern cardboard. Narrow margins extending beyond the frame line.

Stima

180 - 360 €

Hans Sebald Beham, Hercules and Cacus. 1545. Engra

20 - Hans Sebald Beham, Hercules and Cacus. 1545. Engraving. 50x73 mm. Bartsch, VIII, 104. New Hollstein, 104. With the title in the upper right corner and the monogram and date “1545” in the left panel. From The Labors of Hercules, a series of twelve plates, all bearing the monogram and dated from 1542 to 1548. Excellent impression on thin laid paper. On the reverse, a mark from the collection of Georg Hamminger (Lugt, 1159). (1) The sheet is attached at the top by two dots to modern cardboar

Stima

180 - 360 €

Hans Sebald Beham, Hercules Carrying the Columns o

21 - Hans Sebald Beham, Hercules Carrying the Columns of Gades. 1545. Engraving. 50x71 mm. Bartsch, VIII, 103. New Hollstein, 100. With the title on the plate at the top center, the monogram, and the date “1545” in the small panel in the upper left corner. From The Labors of Hercules, a series of twelve plates, all bearing the monogram and dated from 1542 to 1548. Excellent impression on thin laid paper. (1) Narrow margins extending beyond the framing line.

Stima

140 - 280 €

Hans Sebald Beham, Village Brawl. 1547. Engraving.

22 - Hans Sebald Beham, Village Brawl. 1547. Engraving. 51x73 mm. Bartsch, VIII, 162. New Hollstein, 190. With the monogram in the upper center of the plate, the number “9” shifted to the left, and the date “1547” below the ribbon-shaped cartouche bearing the inscription. Ninth plate from Peasant Festival and the Twelve Months, a series of ten sequentially numbered plates executed between 1546 and 1547: the scenes depict a series of thirteen pairs of dancers and two musicians, followed by a

Stima

280 - 560 €

Pietro Benvenuti, *Galleria Riccardiana*, painted

23 - Pietro Benvenuti, Galleria Riccardiana, painted by Luca Giordano, published by Marquis Francesco Riccardi Vernaccia, Knight of the Order of St. Stephen; engraved by Lasinio Figlio after drawings by V. Gozzini, under the direction of Knight Pietro Benvenuti. Florence: Published by Guglielmo Piatti, 1822. Folio (545x383 mm). One blank page, Title page, Dedication to Ferdinand III and Francesco Riccardi, 52 pages + [1] table of contents page, and XIII full-page plates, engraved by Lasinio Figlio.

Stima

180 - 360 €

Pietro Berrettini (known as Pietro da Cortona), *T

24 - Pietro Berrettini (known as Pietro da Cortona), Tabulae anatomicae ex Archetypis Egregii Pictoris Petri Berrettini Cortonensis expressae et in aes incisae opus chirurgis et pictoribus apprime necessarium... Rome: Published by Venantius Monaldini, 1788. Etching. 375/378 x 253/255 mm. Sheet: 460x315/320 mm. Excerpt containing 25 plates out of 27 (plates VI and XXVII are missing) from the second edition, edited and with text by the physician and philosopher Francesco Petraglia. Francesco Petragl

Stima

1100 - 2.200 €

Luca Bertelli [excudit], Adoration of the Shepherd

25 - Luca Bertelli [excudit], Adoration of the Shepherds. c. 1580. Chisel engraving. 392x500 mm. Muraro/Rosand, 55A. On the plate, lower right: “Tytianus pro Luca Berteli.” The engraving, published by Bertelli toward the end of the 16th century, reproduces as a reverse image a well-known composition by Titian that has been replicated in various copies. The subject was also rendered in woodcut form, long attributed to Nicolò Boldrini but actually carved by Giovanni Britto around the middle of th

Stima

180 - 360 €

Jacob Binck, Madonna and Child on a Grassy Bank. 1

26 - Jacob Binck, Madonna and Child on a Grassy Bank. 1520–1569. Engraving. 127 × 80 mm. Bartsch, VIII, 19. Hollstein, 40. With the monogram on the plate in the lower left corner within a small panel. An excellent proof of this rare engraving in the first state of two on thin laid paper, apparently without a watermark. On the reverse, a mark from the collection of Baron Adalbert Freiherr von Lanna (1836–1909) (Lugt, 2773). (1) The print is mounted with two staples at the top within a modern car

Stima

380 - 760 €

Nicolò Boldrini, Samson and Delilah. ca. 1540–1543

27 - Nicolò Boldrini, Samson and Delilah. ca. 1540–1543. Woodcut. 302 × 490 mm. Sheet: 315 × 507 mm. Mauroner, 18. Dreyer, 10. Muraro/Rosand, 48. After Titian. A good impression of this uncommon woodcut on laid paper apparently without a watermark. (1) Margins of 6/9 mm beyond the woodblock impression. The sheet is mounted at three points at the top onto modern cardstock. Traces of a vertical fold in the center and other slight creases. A few minor tears along the fold, at the corners, and along

Stima

320 - 640 €

Nicolò Boldrini [attributed to], Madonna and Child

28 - Nicolò Boldrini [attributed to], Madonna and Child with a Little Angel. c. 1550. Woodcut. 203x99 mm. A rare black-and-white woodcut, apparently unlisted in any catalog, printed on blue paper with a partially indecipherable watermark. The sheet has been attributed to Nicolò Boldrini. Another copy is held in the Department of Drawings and Prints at the Accademia Carrara (inv. 02507.1958), classified as Italian School, 1500–1549. (1) The sheet has been trimmed very slightly within the border li

Stima

600 - 1.200 €

Nicolò Boldrini, Venus and Cupid. 1566 [printed in

29 - Nicolò Boldrini, Venus and Cupid. 1566 [printed in the first half of the 17th century]. Woodcut. 310 x 235 mm. Bartsch, VII, 29. Mauroner, 31. Dreyer, 21. Muraro/Rosand, 78A. Takahatake, 85. Lower left: a block with the inscription “TITIANUS INV. / Nicolaus Boldrinus / Vincentinus inci / debat. 1566.” A fine print on thin laid paper with a watermark depicting “an Easter lamb within a four-leaf clover on three hills” (Piccard, DE8100-HBV12_999b; Northern Italy, 1625–1653). (1) Complete

Stima

180 - 360 €

Orazio Borgianni, Saint Christopher with the Infan

30 - Orazio Borgianni, Saint Christopher with the Infant Jesus on His Shoulders. ca. 1614–1616 [Giovan Giacomo De Rossi, 1650–1690]. Etching. 390 × 294 mm. Sheet: 395x300 mm. Bartsch, XVII, 53. Signed in the lower right margin beneath the dedication to Juan de Lezcano, secretary to De Castro, the Spanish ambassador to Rome. Good proof in the second state of two, following De Rossi’s inscription, on heavy laid paper with a watermark of “a lily flower in a single circle over the letter V.” A

Stima

240 - 480 €

Jean-Baptiste Marc Bourgery Nicolas Henri Jacob, S

31 - Jean-Baptiste Marc Bourgery Nicolas Henri Jacob, Seven Large Anatomical Plates. Brussels: Meline, Cans et Cie; Comptoir des Éditeurs, 1836 [1854 and later]. Color lithograph. 890/915 × 560/595 mm. Seven large anatomical plates from the atlas Anatomie élémentaire en vingt planches, representant chacune un sujet dans son entier à la proportion de demi-nature... comprising a title page and 20 lithographed plates, most of which are hand-colored. The first edition of this collection of anatomi

Stima

380 - 760 €

Jean-Baptiste Marc Bourgery Nicolas Henri Jacob, S

32 - Jean-Baptiste Marc Bourgery Nicolas Henri Jacob, Seven Large Anatomical Plates. Brussels: Meline, Cans et Cie; Comptoir des Éditeurs, 1836 [1854 and later]. Color lithograph. 890/915 × 560/595 mm. Seven large anatomical plates from the atlas Anatomie élémentaire en vingt planches, representant chacune un sujet dans son entier à la proportion de demi-nature... comprising a title page and 20 lithographed plates, most of which are hand-colored. The first edition of this collection of anatom

Stima

380 - 760 €

Jean-Baptiste Marc Bourgery Nicolas Henri Jacob, E

33 - Jean-Baptiste Marc Bourgery Nicolas Henri Jacob, Eight Large Anatomical Plates. Brussels: Meline, Cans et Cie; Comptoir des Éditeurs, 1836 [1854 and later]. Color lithograph. 890/915 × 560/595 mm. Eight large anatomical plates from the atlas Anatomie élémentaire en vingt planches, representant chacune un sujet dans son entier à la proportion de demi-nature... comprising a title page and 20 lithographed plates, most of which are hand-colored. The first edition of this collection of anatom

Stima

480 - 960 €

Hans Brosamer, The Lute Player. 1537. Burin engrav

34 - Hans Brosamer, The Lute Player. 1537. Burin engraving. 138x107 mm. Bartsch, VIII, 17. Hollstein, 24. New Hollstein (Hans and Martin Brosamer), 11. With the monogram and the date “1537” on the plate in the lower right corner. A fine proof of this rare engraving in its only known state, printed with good definition and tonal range on thin laid paper without a watermark. (1) The print has been trimmed to the fully visible framing line and retains some narrow margins. Mounted at the top with two

Stima

600 - 1.200 €

Robert Bryden, A Series of Burns Etchings / A Memo

35 - Robert Bryden, A Series of Burns Etchings / A Memorial of 1796 (Some Etchings from Burns). Glasgow: R. Stewart and Son / Edinburgh: John Stewart, 1896. A red-cloth-bound portfolio (643x520 mm) containing a collection of ten etchings and a title page inspired by the poems of Robert Burns (Alloway, 1759 – Dumfries, 1796), a Scottish poet who died young and is regarded in Scotland as the national poet. The etchings were created by the Ayrshire artist Robert Bryden. The accompanying texts provide

Stima

240 - 480 €

Monogramist bxg, Coat of arms of the Von Rohrbach

36 - Monogramist bxg, Coat of arms of the Von Rohrbach and Von Holzhausen families. Post 1470 [printed in 1856]. Engraving. 92x92 mm. Sheet: 135x96 mm. Lehrs, VIII, 40. Shestack, 140. With the monogram “bxg” on the plate at the bottom center. According to Lehrs, the engraving is based on a lost drawing by the Master of the House Book (Hausbuchmeister). Initially, the engraving was interpreted as a celebration of the 1466 marriage between Bernhard von Rohrbach and Adelgunde von Holzhausen. However

Stima

380 - 760 €

Jacques Callot, *Le Bénédicité* (*The Holy Family

37 - Jacques Callot, Le Bénédicité (The Holy Family at Table). c. 1628 [IV/4]. Etching. 193 x 170 mm. Lieure, 595. A fine impression in the fourth state of four, following the appearance of Israel Silvestre’s “excudit” and the royal privilege. Thin laid paper without a watermark. ALSO INCLUDED: Id. [from]. Le passage de la Mer rouge. Etching. 121x228 mm. Lieure, 665 (copies, 1). The signature on the plate in the lower right is missing the dot after the “f” and the dot after “Parisi

Stima

180 - 360 €

Antonio Canal (known as Canaletto), Alpine Landsca

38 - Antonio Canal (known as Canaletto), Alpine Landscape with Five Bridges. ca. 1752–1755. Etching. 144 × 213 mm. Sheet: 245 × 338 mm. Bromberg, 22. Montecuccoli degli Erri, 24. Signed lower center “A Canal f.” Excellent proof in State II of 2 according to Bromberg and in State I of 3 according to Montecuccoli (following the appearance of the second convex line in the small arch on the right and the parallel horizontal lines in the sub-arch) on heavy, dense-textured laid paper with a portion

Stima

600 - 1.200 €

Antonio Canal (known as Canaletto), Landscape with

39 - Antonio Canal (known as Canaletto), Landscape with a Woman at the Well. Pasquali, 1752/1755–1759. Etching. 127 × 200 mm. Bromberg, 29. Montecuccoli degli Erri, 25. A beautiful print in the second state of three (variant a of b) according to Bromberg, State I (later) or State II (early) of 4 according to Montecuccoli degli Erri, prior to the diagonal crack at the base of the right wall of the house, printed with fine line definition on thick Venetian laid paper without a watermark. At the bot

Stima

280 - 560 €

Antonio Canal (known as Canaletto), *Ale Porte del

40 - Antonio Canal (known as Canaletto), Ale Porte del Dolo. Remondini, ca. 1778. Etching. 298 x 428 mm. Sheet: 410 x 565 mm. Bromberg, 5. Montecuccoli degli Erri, 5. In the lower margin, from left to right, the signature “A. Canal f.”; the title in the center; and to the right, the initials “FF1.” A beautiful proof from the posthumous print run of the Bassano-based Remondini engraving workshop, in the third state of 3 for Bromberg, and in the fourth state of 4 for Montecuccoli, following t

Stima

1000 - 2.000 €

Simone Cantarini, The Crowned Virgin. c. 1640. Etc

41 - Simone Cantarini, The Crowned Virgin. c. 1640. Etching. 211 x 141 mm. Sheet: 245 x 173 mm. Bartsch, XIX, 21. Bellini (Cantarini), 28. On the plate, lower right: “S.C. da Pesare fe.” A good proof in the third and final state, with the addition of a period after “fe” in the signature at the bottom. Slightly thick laid paper without a watermark. (1) Copy with generous margins of 16/17 mm beyond the copper engraving. Minimal residue of tape on the reverse and slight signs of wear.

Stima

140 - 280 €

Agostino Carracci, Dog Facing Left. 1582–1585. Eng

42 - Agostino Carracci, Dog Facing Left. 1582–1585. Engraving. 155 × 123 mm. Sheet: 170 × 140 mm. Bartsch, XVIII, 259. De Grazia, 95. Signed “A. Caraza f.” on the plate in the lower right corner. Excellent impression in the second state of 2 following the appearance of the signature, on thin laid paper without a watermark. (1) Copy with margins of 5/8 mm beyond the copper plate’s edge, backed with thin restoration paper. Retouching in the upper right corner.

Stima

240 - 480 €

Agostino Carracci, Madonna and Child with an Angel

43 - Agostino Carracci, Madonna and Child with an Angel. ca. 1590–1595. Etching. 92x91 mm. Bartsch, XVIII, 7. DeGrazia, 15. On the plate, top left: “A.C.I.F.”; below: “Pietro Stefanone for.” An excellent proof of this rare engraving, in the second state of two following the appearance of Pietro Stefanoni’s signature, on thin laid paper without a watermark. On the reverse, a slightly faded ownership note in pen and brown ink by Pierre Mariette II (1634–1716) (Lugt, 1789). (1) The print h

Stima

280 - 560 €

Giovanni Benedetto Castiglione (known as “il Grech

44 - Giovanni Benedetto Castiglione (known as “il Grechetto”), La Malinconia (Ubi Inletabilitas ibi Virtus). 1645–1647. Etching. 217 × 114 mm. Sheet: 255 x 154 mm. Bartsch, XXI, 26. Bellini (Castiglione), 15. Signed “G. BENED.TO / CAS / in” on a sheet protruding from the book at the lower right, below the woman’s elbow. At the top of the plate is the inscription “Ubi Inletabilitas ibi Virtus”; at the bottom, “Printed in Rome by Gio. Dom.co Rossi alla Pace under the Sign of Pari

Stima

280 - 560 €

Lucas Cranach (the Elder), The Lamentation. 1509.

45 - Lucas Cranach (the Elder), The Lamentation. 1509. Woodcut. 248x167 mm. Bartsch, XI, 18. Hollstein, 21. The coat of arms of Saxony appears in the upper left corner. From The Passion, a series of fourteen woodcuts first printed in Wittenberg in 1509. An excellent print, still showing traces of embossing on the reverse, on laid paper apparently without a watermark. On the reverse, at the bottom, the mark of the Jean Cantacuzène collection (Bucharest 1863–1934), (Lugt, 4030). (1) Copy trimmed t

Stima

600 - 1.200 €

Giovanni Antonio da Brescia Amico Aspertini, Five

46 - Giovanni Antonio da Brescia Amico Aspertini, Five Dancing Angels. 1515–1520. Engraving. 94x189 mm. Bartsch, XIII, 19. Hind (1910), 25. Levenson/Oberhuber/Sheenan (1973), 13. Faietti/Oberhuber (1988), 2. Marzia Faietti was the first to point out that this engraving by Giovanni Antonio da Brescia is derived from another by Amico Aspertini (with slight differences, such as the drummer’s headdress, the object held by the second putto on the left, and the shadows cast on the ground); the scholar

Stima

340 - 680 €

Antonio da Trento, *The Martyrdom of Two Saints*.

47 - Antonio da Trento, The Martyrdom of Two Saints. c. 1527–1530. Three-block woodcut in light brown-gray, medium brown-gray, and black. 293 × 482 mm. Bartsch, XII, 28. Takahatake, 35. Based on a drawing by Parmigianino that the artist first provided for use as a chisel engraving by Jacopo Caraglio (Bartsch, XV, 8) and then for the execution of this chiaroscuro print. Vasari describes the subject as the Martyrdom of Saints Peter and Paul, but only the saint kneeling in the foreground, in the ac

Stima

600 - 1.200 €

Antonio Da Trento Andrea Andreani [attributed to],

48 - Antonio Da Trento Andrea Andreani [attributed to], The Holy Family with Saint Margaret and Saint Petronius (?). c. 1540 [1602–1610]. Two-block woodcut, black and light green. 311 x 219 mm. Bartsch, XII, 24. Takahatake, pp. 22–23, Figs. 11–12. On the wood, lower left, is the monogram with the “A” of Andreani. Related to a drawing by Parmigianino in the Uffizi (inv. 1517E), which in turn can be compared to the Madonna of Saint Margaret. Madonna and Child with Saints Margaret, Jerome, and

Stima

380 - 760 €

Nicolaes De Bruyn, The Massacre of the Innocents.

49 - Nicolaes De Bruyn, The Massacre of the Innocents. 1612. Engraving. 425x680 mm. Hollstein, 65. New Hollstein, 63. Signed on the plate in the lower right corner “Nicola de Bruyn Inuent. et Sculptor.” and dated “1612” in the center. A good proof prior to the Frederick de Wit edition, on slightly thick laid paper. (1) Narrow margins beyond the framing line. On the reverse, paper residue resulting from detachment from the backing. Some defects (creases, some abrasions on the lower right corne

Stima

280 - 560 €

Francesco De Nanto (or Denanto), Adoration of the

50 - Francesco De Nanto (or Denanto), Adoration of the Shepherds. 1520–1525 [printed in the early 19th century]. Woodcut. 433 × 298 mm. Sheet: 440 × 304 mm. Passavant, I, p. 150. Urbini/Piazzi, Atlas of Italian Renaissance Woodcuts, ALU.0292.1, ALU.0292-M. (plate). T. Depaulis, “From Savoy to Rome: Francesco de Nanto, a Neglected Printmaker of the Early Sixteenth Century,” in Print Quarterly, 2020, vol. XXXVII, pp. 123–139. Lower right: “FRANCIS(CUS)/ DE NANTO.” The woodcut is part of

Stima

200 - 400 €

François de Poilly [publisher], *Livre de Portrait

51 - François de Poilly [publisher], Livre de Portraiture d'Anib. Carrache. Paris: Chez De Poilly, near the statue of St. Benoist, ca. 1650. Oblong 8vo (240x350 mm). Half-cloth binding, cardboard covers. A collection of 30 plates, including the title page, based on drawings by Annibale Carracci and engraved with a burin by Jan van Haelbeck (a Flemish engraver active in Paris between 1600 and 1630). All plates bear the publisher’s marks at the bottom of the plate, “De Poilly ex.” and “Anib

Stima

240 - 480 €

Giovanni Battista de' Cavalieri [attributed to], C

52 - Giovanni Battista de' Cavalieri [attributed to], Christ on the Cross Between the Two Thieves. ca. 1590–1601. Etching and engraving. 498 × 350 mm. Inscribed “Cavalieri” in pen and brown ink in the lower left corner of the mount. A rare engraving attributed to Giovanni Battista de' Cavalieri; however, the plate is not listed in the catalog of loose prints compiled by Monica Scorsetti (Giovan Battista de' Cavalieri. Catalog of Unmounted Prints, “Grafica d’Arte,” 2002, nos. 49–50). (

Stima

340 - 680 €

Giovanni Battista de' Cavalieri Niccolò Circignani

53 - Giovanni Battista de' Cavalieri Niccolò Circignani (known as “il Pomarancio”), The Triumphs of the Militant Church, or the Glorious Struggles of the Martyrs Beloved by God for the Faith of Christ, as compiled by the Reverend Fathers Fathers of the Society of Jesus, moderators of the German and Hungarian Colleges, at the behest of His Holiness Gregory XIII, in the Church of St. Stephen Rotunda, Rome... [Rome]: [From the press of Bartholomeus Grassi], 1583. In-4° (318x230 mm). Decorated h

Stima

240 - 480 €

Stefano Della Bella, *The Banquet of the Piacevoli

54 - Stefano Della Bella, The Banquet of the Piacevoli. 1627. Etching. 255 x 387 mm. Sheet: 334 x 503 mm. DeVesme/Massar, 43. Signed and dated “1627” in the lower margin following the dedication to Giovanni Carlo de’ Medici. An excellent proof in the only known state, printed on slightly thick laid paper apparently without a watermark. Of note on the upper margin is a six-line inscription, in pen and brown ink in old-style handwriting, providing details on the location of the hall where the

Stima

280 - 560 €

Stefano Della Bella, Plan and View of the City of

55 - Stefano Della Bella, Plan and View of the City of Arras (lower section). 1641. Etching. 258 x 505 mm. De Vesme/MAssar, 880. On the plate, lower right: “Ste. Della Bella In.t et F. Parisi / 1641.” Lower part of the plate depicting a plan and view of the siege of Arras, showing a topographical view with the besieging troops in the foreground descending the hill; in the center of the plain lies the city of Arras, surrounded by military fortifications, with troops to the right and left; The uppe

Stima

180 - 360 €

Stefano Della Bella, Suite of Twelve Landscapes. c

56 - Stefano Della Bella, Suite of Twelve Landscapes. ca. 1641. Etching. 82/95 x 135/142 mm. Sheet: 128 x 212 mm. De Vesme/Massar, 769–780. A rare, complete, and uniform series of twelve plates, sequentially numbered in the lower right corner and signed “Stella (or Stel.) Della Bella fecit (or fe.)”. Excellent proofs in the third state, not described by De Vesme and Massar, following the removal of Mariette’s inscription, of which “Chez” is still legible on plate 1 and “Mariette ex.”

Stima

300 - 600 €

Stefano Della Bella, Jacob’s Journey to Egypt. 164

57 - Stefano Della Bella, Jacob’s Journey to Egypt. 1645. Etching. 183x273 mm. Sheet: 189x278. De Vesme/Massar, 2. Signed lower left. Excellent impression in the third state of four, following the addition of the two French verses “Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie” in the lower margin. Thin laid paper with a watermark of “a hunting horn within a crowned coat of arms above the letters AB.” (1) Sheet mounted with two staples at t

Stima

140 - 280 €

Stefano Della Bella, Six plates from *Collection o

58 - Stefano Della Bella, Six plates from Collection of Various Capriccios and Nine New Designs for Frames and Ornaments. 1646. Etching. 135/247 × 183/192 mm. De Vesme/Massar, 1028, 1029, 1030, 1033, 1035, 1044. Plates 2, 3, 4, 7, 9, 18 from Collection of Various Capriccios and Nine New Inventions of Borders and Ornaments, a series of eighteen plates including the title page; all are sequentially numbered in the upper right corner and signed in the lower left corner; the date “1646” appears

Stima

320 - 640 €

Stefano Della Bella, Ornaments of Friezes and Foli

59 - Stefano Della Bella, Ornaments of Friezes and Foliage. ca. 1648 [complete series VI/6]. In-8° album (228x290 mm). Hardcover binding covered with decorated paper. The album consists of one blank sheet, eight sheets each featuring two engraved friezes, and one blank sheet. The engravings constitute the complete series of sixteen etchings, Ornamenti di fregi et fogliami, executed by Stefano Della Bella around 1648. 75/84 x 240/253 mm. DeVesme/Massar, 987–1002. Beautiful proofs in a uniform pri

Stima

400 - 800 €

Stefano Della Bella, Various Figures and Landscape

60 - Stefano Della Bella, Various Figures and Landscapes. 1649. Etching. 90/97 × 155/168 mm. De Vesme/Massar, 165–172. Complete and uniform series of eight unnumbered plates, all bearing Israel’s signature and publisher’s mark in the lower margin; the title page bears the title, signature, and date “1649.” Excellent impressions in the only state on thin laid paper. ALSO INCLUDED: Id., Five plates from Paysages et ruines de Rome. 1643–1648. Ø 126/131 mm. De Vesme/Massar, 822, 824, 825,

Stima

280 - 560 €

Stefano Della Bella, Eight plates of ornamental fr

61 - Stefano Della Bella, Eight plates of ornamental friezes and foliage. ca. 1648 [late print]. Etching. 75/83 x 241/252 mm. Sheet: 94/100 x 253/262 mm. De Vesme/Massar, 989, 990, 991, 992, 994, 995, 999, 1001. Plates 3, 5, 6, 7, 8, 9, 13, 15 from Ornamenti di fregi e fogliami, a series of sixteen etchings, all signed in the lower left corner and bearing the printer’s mark and numbering on the right. Excellent impressions in the sixth and final state following numbering, retouching, and the remo

Stima

240 - 480 €

Stefano Della Bella, Two plates from *La gara dell

62 - Stefano Della Bella, Two plates from La gara delle stagioni (Carrousel représenté à Modene). 1652. Etching. 223x310 mm and 181x310 mm. De Vesme/Massar, 55 and 56. Two of fourteen plates depicting, according to Mariette, La gara delle Stagioni (The Contest of the Seasons), a horseback tournament staged in Modena during the visit of Their Most Serene Highnesses Archduke Ferdinand Charles, Archduke Sigismund Francis of Austria, and Archduchess Anna of Tuscany (in Modena on April 10, 1652).

Stima

240 - 480 €

Stefano Della Bella, *Romae in hortis medicaeis va

63 - Stefano Della Bella, Romae in hortis medicaeis vas marmoreum eximium (The Medici Vase). 1656. Etching. 305x270 mm. De Vesme/Massar, 832. Signed with interlaced initials and dated “MDCLVI” in the lower right margin; the title is centered. First plate in the series Six Great Views, four of Rome and two of the Roman countryside. A beautiful proof in the second and final state following the appearance of the letter, on thin laid paper apparently without a watermark. (1) Sheet trimmed within

Stima

280 - 560 €

Stefano Della Bella, Templi Concordie inter Capito

64 - Stefano Della Bella, Templi Concordie inter Capito.um et forum R. reliquiæ. 1656. Etching. 300x268 mm. De Vesme/Massar, 835. Signed with interlaced initials in the lower right margin; the title is centered. Fourth plate in the series Six Great Views, four of Rome and two of the Roman countryside. A beautiful proof in the second and final state following the addition of the letter, on thin laid paper apparently without a watermark. (1) Copy trimmed within the print’s border, with the framing

Stima

280 - 560 €

Stefano Della Bella, Templi Antonini Pii, and frag

65 - Stefano Della Bella, Templi Antonini Pii, and fragments of the Palatine ruins in the Forum Boarium. 1656. Etching. 314x280 mm. De Vesme/Massar, 833. Signed with interlaced initials and dated “1656” on the plate on the lower right column. The title appears at the center of the lower margin. Second plate in the series Six Great Views, four of Rome and two of the Roman countryside. A beautiful proof in the second and final state following the appearance of the letter, on thin laid paper. (1)

Stima

180 - 360 €

Albrecht Dürer, Christ as the Man of Sorrows, Seat

66 - Albrecht Dürer, Christ as the Man of Sorrows, Seated. 1515. Etching on an iron plate. 112x68 mm. Sheet: 114x70 mm. Bartsch, VII, 22. Meder, 22. Strauss (Intaglio Prints), 81. Schoch, Mende, Scherbaum, I, 78. Dated “1515” at the bottom center, without the monogram. An excellent proof of this rare engraving in the first state of three and in the d/d variant according to Meder’s cataloging, prior to the cleaning of the plate to remove rust spots, with the framing lines still partially visib

Stima

600 - 1.200 €

Giuseppe Galli Bibiena [by], Five Theater Sets. A

67 - Giuseppe Galli Bibiena [by], Five Theater Sets. Augsburg, Andrea Pfeffel, 1740. Etching and engraving. 300/345 x 503/535 mm. Sheet: 345/395 x 547/585 mm. From Architectures and Perspectives Dedicated to His Majesty Charles VI, Holy Roman Emperor, by Giuseppe Galli Bibiena, his Chief Theater Engineer and Architect, and the inventor of the same. Augsburg, Andrea Pfeffel, 1740, a work comprising 50 plates (numbered 1 through 10 in 5 groups) based on Bibiena’s architectural and theatrical drawi

Stima

140 - 280 €

Francisco Goya y Lucientes, *The Dream of Reason P

68 - Francisco Goya y Lucientes, The Dream of Reason Produces Monsters. 1798–1799 [4th edition, ca. 1878]. Etching and aquatint. 213 × 150 mm. Sheet: 285 × 208 mm. Delteil, 80. Harris, 78. The forty-third plate, numbered in the upper right corner, from Los Caprichos, a series of 80 plates first published by Goya himself in 1799 and issued in a total of 12 editions. A beautiful proof in State III of 3, common to all publisher’s impressions, printed with full ink, beautiful aquatint tones, an

Stima

1200 - 2.400 €

Francisco Goya y Lucientes, *Devota profesion*. 17

69 - Francisco Goya y Lucientes, Devota profesion. 1798–1799 [4th edition, ca. 1878]. Etching, aquatint, and drypoint. 207 × 163 mm. Sheet size: 307 × 223 mm. Delteil, 107. Harris, 105. Signed on the plate in the lower left corner. The 70th plate, numbered in the upper right corner, from Los Caprichos, a series of 80 plates first published by Goya himself in 1799 and issued in a total of 12 editions. A beautiful proof in State III of 3, common to all publisher’s impressions, printed with fu

Stima

280 - 560 €

Francisco Goya y Lucientes, *Brabisimo!* 1799 [5th

70 - Francisco Goya y Lucientes, Brabisimo! 1799 [5th Edition, 1881–1886]. Etching, burnished aquatint, and drypoint. 215 × 150 mm. Sheet size: 288 × 205 mm. Harris, 73. The 38th plate from Los Caprichos, a series of 80 plates first published by Goya himself in 1799 and issued in a total of 12 editions. A beautiful proof in the third state out of three, common to all publisher’s impressions, printed in sepia and black on thick, unlined paper. The copy likely comes from the fifth edition pri

Stima

240 - 480 €

Francisco Goya y Lucientes, *Porque esconderlos?*

71 - Francisco Goya y Lucientes, Porque esconderlos? 1799 [5th Edition, 1881–1886]. Etching, burnished aquatint, and drypoint. 213 × 150 mm. Sheet: 295x213 mm. Harris, 65. The thirtieth plate from Los Caprichos, a series of 80 plates first published by Goya himself in 1799 and issued in a total of 12 editions. A beautiful proof in State III of 3, common to all publisher’s impressions, printed in sepia and black on thick, unlined paper. This copy is likely from the 5th edition printed by the

Stima

280 - 560 €

Francisco Goya y Lucientes, *El de la rollona*. 17

72 - Francisco Goya y Lucientes, El de la rollona. 1799 [8th edition, 1905–1907]. Etching and burnished aquatint. 205 × 150 mm. Sheet size: 370 × 265 mm. Harris, 39. Fourth plate from Los Caprichos, an 80-plate series first published by Goya himself in 1799 and issued in a total of 12 editions. A fine print in the third state of three, common to all publisher’s impressions, printed in sepia and black on thin, unlined paper. This copy has characteristics and sheet dimensions consistent with

Stima

340 - 680 €

Monogramist H, Attilio Regolo. 1528. Etching on an

73 - Monogramist H, Attilio Regolo. 1528. Etching on an iron plate. Ø 47/49 mm. Nagler, III, 530. Bartsch (Beham), VIII, 71 (copy). New Hollstein (Beham), 75 (copy). With the monogram “H” at the bottom within the frame and the date “1528” opposite it at the top. A mirror image copy of an etching on iron by Hans Sebald Beham, presumably dating from around 1520–1525. A beautiful and rare print with uniform inking, tonal variation, and evident signs of cleaning, on thin laid paper. For anothe

Stima

240 - 480 €

Wenzel Hollar, Order of the Garter. London: Printe

74 - Wenzel Hollar, Order of the Garter. London: Printed by J. Macock, for Nathanael Brooke, 1672. Engraving. 300x372 mm. Pennington, 2639. Signed and dated “1666” on the plate in the lower right corner. Plate from Elias Ashmole, The Institution, Laws & Ceremonies of the Most Noble Order of the Garter, a historical work published in London in 1672 on the laws and ceremonies of the noble orders of chivalry. The book is accompanied by a series of engravings illustrating the many aspects of th

Stima

100 - 200 €

Daniel Hopfer, Venus, Cupid, and the Devil. c. 151

75 - Daniel Hopfer, Venus, Cupid, and the Devil. c. 1515 [17th-century print]. Etching on an iron plate. 221x156 mm. Sheet: 223x158 mm. Bartsch, VIII, 46. Hollstein, 54. Metzger, 82. With the monogram on the plate at the bottom center. A fine impression in State II of 2 according to Hollstein and in State II of 4 according to Metzger, on slightly thick laid paper. Signs of oxidation at the top and traces of abrasion of Funck’s number “162” in the lower left corner. (1) Copy with small to narrow

Stima

380 - 760 €

John Baptist Jackson, The Massacre of the Innocent

76 - John Baptist Jackson, The Massacre of the Innocents. 1739. Woodcut. 440x580 mm. Kainen, 18. Chiaroscuro based on the large canvas painted by Tintoretto between 1582 and 1587 for the Sala Terrena of the Scuola di San Rocco. (1) Minor tears and missing support at the edges.

Stima

50 - 100 €

Ludwig Krug, Adoration of the Magi. 1516. Engravin

77 - Ludwig Krug, Adoration of the Magi. 1516. Engraving. 163 x 121 mm. Bartsch, VIII, 2. Hollstein, 4. With the monogram on the plate in the lower right corner and the date “1516” in the upper right corner above the column. A fine proof on thin laid paper without a watermark; on the reverse, in pen and brown ink in old-style handwriting, “No. 14” and “Louis Krug orpheuvre.” (1) The print is mounted with two staples at the top within a modern cardboard mat. Trimmed within the copperplate

Stima

380 - 760 €

Hans Sebald Lautensack, Battle Scene. 1546. Engrav

78 - Hans Sebald Lautensack, Battle Scene. 1546. Engraving. 202x316 mm. Bartsch, IX, 20. Hollstein, 6. On the lower right of the plate is the monogram “HSL” in interlaced letters, traces of a second monogram “HL” on the reverse, and the date “1546.” An excellent print with good line definition on thin laid paper bearing the “Nuremberg coat of arms” watermark, similar to Meder, 204–206 (second half of the 16th century). On the reverse, at the bottom, a red-ink stamp from the Richard

Stima

480 - 960 €

Pierre Lombart, *The Countesses*. London: Pierre L

79 - Pierre Lombart, The Countesses. London: Pierre Lombart, 1660–1662. Folio (555 × 440 mm). Half-leather volume with red leather spine and corners and marbled paper covers. Green leather label with gold lettering for the title on the front cover. On the inside front cover, a foreign ex-libris. Engraving. 345x239 mm. New Hollstein (van Dyck), 250–261. Complete series of 12 chalcography plates, in the second state of two, following the appearance of the letter in the lower margin. This series

Stima

240 - 480 €

Monogramist MA, Three copper plates depicting view

80 - Monogramist MA, Three copper plates depicting views of ancient Rome: Temple of Janus Quadrifrons, Temple of Fortuna Virilis, Basilica of Maxentius. ca. 1821. Set of three copper chalcographic plates engraved with views of ancient Rome. On the bottom one of the three plates, the initials “MA” and part of the date, likely “1821,” are visible. 298x360 mm. (3) Excellent condition.

Stima

380 - 760 €

Giovanni Magazzari, Treatise on the Composition an

81 - Giovanni Magazzari, Treatise on the Composition and Ornamentation of Gardens, with 112 plates depicting French and English garden plants, winter gardens, greenhouses, fences, gates... Translated from the French and expanded with a large number of architectural designs... Bologna: published by Gio. Zecchi, 1841. Oblong 8vo (230x280 mm). Half-parchment binding, covers in paper decorated with green motifs. On the front endpaper, an ex-libris by Carlos Alberto Mignacco. A chalcographic title page an

Stima

200 - 400 €

Francesco Mazzola (known as Parmigianino), The Vir

82 - Francesco Mazzola (known as Parmigianino), The Virgin and Child. ca. 1527–1530. Etching. 91 × 55 mm. Bartsch, XVI, 4. Jenkins, 13. A print with lines still clearly legible in the fifth and final state, according to Catherine Jenkins’s recent revision of Parmigianino’s engravings. Slightly thick laid paper. Bibliography: C. Jenkins, “The States of Francesco Parmigianino’s Etchings: A New Catalogue,” Print Quarterly, XLIII, 2026, 2, pp. 115–57. (1) Copy trimmed within the copper pla

Stima

600 - 1.200 €

Meister MZ, Couple in Love. 1500–1503. Engraving.

83 - Meister MZ, Couple in Love. 1500–1503. Engraving. 148 × 120 mm. Bartsch, VI, 16. Lehrs, VIII, 15. TIB / The Illustrated Bartsch, 0914.015. With the monogram on the plate at the bottom center. A proof that is still clearly legible despite the faintness of the line, by this rare artist (not unanimously identified by critics as Matthäus Zasinger), to whom Lehrs attributes only 22 engravings. Beautiful, thin laid paper without a watermark. On the front, lower right, the mark of the Dresden Kupfe

Stima

380 - 760 €

Agostino Mitelli, Architectural Friezes Dedicated

84 - Agostino Mitelli, Architectural Friezes Dedicated to His Excellency Mr. Hettore Ghisilieri by Agostino Mitelli, Painter. Bologna: 1645. Folio (395x280 mm). Half-parchment binding, decorated paper covers, author and title on the spine. On the inside front cover, an ex libris of architect Charles-Frédéric Mewès (1858–1914). Collection consisting of an engraved title page and 21 sheets, each featuring two vertical candelabra friezes with plant motifs, tendrils, and grotesques, engraved with a

Stima

340 - 680 €

Cosimo Mogalli Justus Sustermans, The Oath of the

85 - Cosimo Mogalli Justus Sustermans, The Oath of the Florentine Senate to Ferdinand II de’ Medici. Etching. 595x1080 mm. Based on an idea by Justus Sustermans and a drawing by Francesco Petrucci (1660–1719). The engraving is a reverse copy of the same subject executed by Justus Sustermans in 1625; the work was placed the following year on the first floor of Palazzo Pitti, above the door between the Sala delle Nicchie and the Sala delle Statue, and is now on display in the Sala della Niobe at th

Stima

300 - 600 €

Benedetto Montagna, Nativity. 1504–1520. Engraving

86 - Benedetto Montagna, Nativity. 1504–1520. Engraving. 185 × 116 mm. Bartsch, VII, 2 (copy). Meder, 2 (copy). Hind, V, 51. With the monogram “B.M.” on the small panel at the top hanging from the building. Reverse-side copy of Albrecht Dürer’s original engraving dated “1504.” Excellent impression in the only state on thin laid paper without a watermark. On the reverse, a mark from the collection of Richard Jung (Frankenthal, 1911–Aachen, 1986), (Lugt, 3791). (1) Copy trimmed to the

Stima

280 - 560 €

Benedetto Montagna [after], Madonna and Child in a

87 - Benedetto Montagna [after], Madonna and Child in a Landscape. c. 1540. Engraving. 200x128 mm. Bartsch, XIII, 6. Hind, V, 22 (copy). A deceptively accurate copy, executed in the same style as a rare engraving by Benedetto Montagna dating from ca. 1502. An excellent print by an anonymous engraver on fine, thin laid paper, also dating from the 16th century. Compared to the artist’s own engraving, this copy features a very fine framing line absent from the original; the boat in the background has

Stima

320 - 640 €

Benedetto Montagna, *Madonna Adoring the Child*. 1

88 - Benedetto Montagna, Madonna Adoring the Child. 1500–1520 [IV/4, second half of the 17th century]. Engraving. 205 x 160 mm. Bartsch, XIII, 7. Hind, V, 14. Levinson/Oberhuber/Sheehan (1973), 123. Based on a tempera on panel by Bartolomeo Montagna depicting the Virgin Adoring the Child, c. 1500 (Clark Art Institute, inv. 1955.944). On the plate, lower left: “IOAN.BX.” Excellent print in the fourth state of four, following the appearance of the false signature attributed to Giovanni Antonio

Stima

480 - 960 €

Niccolò Nelli [circle of], Jupiter with an eagle a

89 - Niccolò Nelli [circle of], Jupiter with an eagle and a thunderbolt, and Juno with peacocks, together on the clouds. ca. 1570. Etching and engraving. 182x294 mm. The engraving is a counterpart to a chalcograph of the same subject by an anonymous artist bearing the excudit of Niccolò Nelli (see the example at the Rijksmuseum, inv. RP-P-OB-105.245), as well as an oil painting on canvas currently on the antiquities market attributed to Agostino Ghirlanda (Massa, 1545/1550–Pisa, 1588). A beautifu

Stima

320 - 640 €

Adriaen (van) Ostade, The Spectacle Seller. c. 164

90 - Adriaen (van) Ostade, The Spectacle Seller. c. 1646 [18th-century print]. Etching. 107x93 mm. Godefroy, 29. Signed “Av Ostade” on the plate, lower right. A late proof from the sixth state of six, on thin laid paper, datable to the second half of the 18th century. ALSO INCLUDED: Id., The Smoker and the Drinker. c. 1682. Etching. 77x61 mm. Sheet: 100x80 mm. Godefroy, 24a. Late proof from State V of 5 on laid paper, datable to the second half of the 18th century. (2) WORK 1: Plate mounted at th

Stima

160 - 320 €

Jean-Michel Papillon, Saint Andrew. Paris: Publish

91 - Jean-Michel Papillon, Saint Andrew. Paris: Published by Pierre Guillaume Simon, 1766. Woodcut. 160x88 mm. Sheet size: 208x133 mm. Plate from Traité historique et pratique de la gravure en bois by J. M. Papillon,...: a work enriched with the finest examples of his compositions and engravings, Paris, 1766, a treatise on woodcut printing with a first part entirely devoted to the history and evolution of wood engraving, and a second part focused on technique: carving, inking, and printing. In add

Stima

100 - 200 €

Georg Pencz, Joseph Tells His Dreams to His Father

92 - Georg Pencz, Joseph Tells His Dreams to His Father and Brothers. 1544. Engraving. 110x73 mm. Bartsch, VIII, 9. Hollstein, 8. In the table at the top right of the plate is an inscription with the title, the date “M.D.XXXXIIII,” and the monogram. First plate in a series of four dedicated to the Story of Joseph (Genesis 37–47). Excellent proof, well-inked and printed with a sharp image on thin laid paper without a watermark. (1) The sheet has been trimmed within the print area and mounted at

Stima

140 - 280 €

Francesco Piranesi, “Artificial Firework Known as

93 - Francesco Piranesi, “Artificial Firework Known as the Girandola Igniting Above Castel Sant’Angelo, Formerly the Mausoleum of Hadrian.” 1790–1793. Etching and engraving, red ink. 768 x 513 mm. Sheet size: 820 x 600 mm. At the center of the lower margin is the title, and from left to right: “Desprez disegnò / Fran. Piranesi inc.” Based on a design by Louis-Jean Desprez (Auxerre, 1743 – Stockholm, 1804), a French architect and set designer who won the Prix de Rome in 1777. Following

Stima

2800 - 5.600 €

Francesco Piranesi and Giuseppe Subleyras, Perspec

94 - Francesco Piranesi and Giuseppe Subleyras, Perspective of the New Square in Padua, based on the general design conceived and largely executed by His Excellency Andrea Memmo, Knight and Procurator of St. Mark, when he served as extraordinary commissioner for the Most Serene Republic of Venice... Rome, 1786. Etching and engraving on three plates. 520 x 1530 mm. Sheet: 590 x 1635 mm. At the bottom, from left to right, the artist’s signature and date: “Giuseppe Subleyras drew / Cav. Frn.co Piran

Stima

1500 - 3.000 €

Giovanni Battista Piranesi, *Remains of Ancient Bu

95 - Giovanni Battista Piranesi, Remains of Ancient Buildings, Among Which Is the Burial Urn of Marcus Agrippa, Carved from a Single Piece of Porphyry, Which Today Serves as the Tomb of Clement XII. 1747 [1st edition, 3rd issue]. Etching, engraving, and drypoint. 385x240 mm. Sheet: 500x350 mm. Focillon, 5. Robison, 16. Signed in the lower left margin and numbered “5” in the right-hand corner. From *Prima parte di architetture e prospettive inventate ed incise da Gio. Batta Piranesi architetto v

Stima

240 - 480 €

Giovanni Battista Piranesi, Views of Rome drawn an

96 - Giovanni Battista Piranesi, Views of Rome drawn and engraved by Giambattista Piranesi, Venetian architect. 1748 [III/5]. Etching. 405x548 mm. Sheet: 540x767 mm. Focillon, 719. Hind, 1. Signed in the lower right margin. Title page for the Views of Rome, a series of 135 plates that Piranesi began working on in 1748 and continued to expand with new plates throughout his life. A beautiful impression in the third state of five, following the addition of the address and price, on heavy laid paper with

Stima

380 - 760 €

Giovanni Battista Piranesi, View of Piazza del Pop

97 - Giovanni Battista Piranesi, View of Piazza del Popolo. 1750 [III/7]. Etching. 404x542 mm. Sheet: 443x578 mm. Focillon, 794. Hind, 14. Unsigned plate with the title centered at the bottom margin and a legend with six references running from left to right; the address and price are in the lower right corner. Proof in the third state of seven, prior to the erasure of the price, on laid paper with a watermark of “a lily flower within a double circle surmounted by the letters CB” (Robison, 39).

Stima

160 - 320 €

Giovanni Battista Piranesi, View of the Temple of

98 - Giovanni Battista Piranesi, View of the Temple of Jupiter Tonant. 1756 [II/6]. Etching. 398x597 mm. Sheet: 498x700 mm. Focillon, 819. Hind, 44. Signed in the lower right margin. From the Views of Rome, a series of 135 plates that Piranesi began working on in 1748 and continued to expand with new plates throughout his life. A beautiful print in the second state of 6, with the address and price, and before the appearance of the horizontal parallel hatching on the lower left wall. Thick laid paper

Stima

340 - 680 €

Giovanni Battista Piranesi, View of the Atrium of

99 - Giovanni Battista Piranesi, View of the Atrium of the Portico of Octavia. 1760 [IV/6]. Etching. 398x595 mm. Sheet: 534x770 mm. Focillon, 815. Hind, 58. Signed in the lower right margin. From the Views of Rome, a series of 135 plates that Piranesi began working on in 1748 and continued to expand with new plates throughout his life. Excellent proof in the fourth state of six, with the address and price, prior to the price being crossed out and the numbering appearing in the upper right corner. Lay

Stima

280 - 560 €

Giovanni Battista Piranesi, Interior View of the A

100 - Giovanni Battista Piranesi, Interior View of the Atrium of the Portico of Octavia. 1760 [III/6]. Etching. 412 x 550 mm. Sheet: 530 x 727 mm. Focillon, 7816. Hind, 59. Signed in the lower right margin. From the Views of Rome, a series of 135 plates that Piranesi began working on in 1748 and continued to expand with new plates throughout his life. Excellent proof in State III of 6, with the address and price. Thick laid paper with a watermark of “a lily flower within a double circle surmounted b

Stima

280 - 560 €

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