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Ancient, Modern, and Contemporary Art - Session I

Ancient, Modern, and Contemporary Art - Session I

Live

Le mardi 17 novembre | 10:00

Gonnelli Casa d'Aste

+39 055 268279 aste@gonnelli.it

Via Fra Giovanni Angelico, 49 50121, Firenze

146 résultats

Giovanni Battista Piranesi, Remains of Maecenas’s

101 - Giovanni Battista Piranesi, Remains of Maecenas’s Villa in Tivoli, built of travertine in the “opera incerta” style. 1763 [I/3]. Etching. 455 x 675 mm. Sheet: 557 x 795 mm. Focillon, 768. Hind, 65. Signed within the title cartouche in the lower left corner. 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 first state, prior to the appearance of the numbering in the upp

Estimation

300 - 600 €

Giovanni Battista Piranesi, View of the Lugano Bri

102 - Giovanni Battista Piranesi, View of the Lugano Bridge over the Anione on the Via Tiburtina, restored during times of low water. 1763 [I/4]. Etching. 453x657 mm. Sheet: 523x750 mm. Focillon, 773. Hind, 68. 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 impression in State I of 4, with the address and price, prior to the price being crossed out and the n

Estimation

300 - 600 €

Giovanni Battista Piranesi, View of the Lugano Bri

103 - Giovanni Battista Piranesi, View of the Lugano Bridge over the Anione on the Via Tiburtina, restored during the Low Waters. 1763 [I/4]. Etching. 457x664 mm. Sheet: 485x720 mm. Focillon, 773. Hind, 68. Signed in the lower right margin. From the Views of Rome, a series of 135 plates on which Piranesi began working in 1748 and which he continued to expand with new plates throughout his life. A good, slightly worn proof, in the first state of four, with the address and price, prior to the price bein

Estimation

140 - 280 €

Giovanni Battista Piranesi, Interior View of Maece

104 - Giovanni Battista Piranesi, Interior View of Maecenas’ Villa. 1764 [II/4, 1st edition, Paris]. Etching. 474x623 mm. Sheet: 535x775 mm. Focillon, 769. Hind, 73. Signed in the lower left 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 II of 4, following the addition of vertical hatching to the left side of the upper ring of the large arch and new etching points, but

Estimation

280 - 560 €

Giovanni Battista Piranesi, View of the Tomb of Pi

105 - Giovanni Battista Piranesi, View of the Tomb of Piso Licinianus on the Ancient Appian Way, Beyond the Aqueducts of Torre di Mezza Via d’Albano… 1764 [I/3, 1st edition, Paris]. Etching. 415 x 615 mm. Sheet: 533 x 750 mm. Focillon, 777. Hind, 72. Signed in the lower left margin. From the Views of Rome, a series of 135 plates on which Piranesi began working in 1748 and which he continued to expand with new plates throughout his life. Excellent proof in State I of 3, prior to numbering. Thick la

Estimation

280 - 560 €

Giovanni Battista Piranesi, View of the Octagonal

106 - Giovanni Battista Piranesi, View of the Octagonal Temple of Minerva Medica. 1764 [II/4, 1st edition, Paris]. Etching. 467x704 mm. Sheet: 535x770 mm. Focillon, 778. Hind, 74. Signed in the lower left 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 4, following the addition of bold parallel lines to accentuate the shadow in the dome’s vault but prece

Estimation

340 - 680 €

Giovanni Battista Piranesi, Ruins of an Ancient To

107 - Giovanni Battista Piranesi, Ruins of an Ancient Tomb Set Before Other Ruins of an Equally Ancient Aqueduct;... 1761–1765 [2nd edition, from the 4th to the 5th issue]. Etching, engraving, and drypoint. 365 × 245 mm. 200 × 250 mm (caption plate). Sheet: 500 × 350 mm. Focillon, 6. Robison, 17. Signed in the lower left margin and numbered “6” in the right-hand corner. From the First Part of Architectures and Perspectives Invented and Engraved by Gio. Batta Piranesi, Venetian Architect, Dedi

Estimation

160 - 320 €

Giovanni Battista Piranesi, Ruins of the Antonine

108 - Giovanni Battista Piranesi, Ruins of the Antonine Baths. 1765 [I/3, 1st edition, Paris]. Etching. 443x696 mm. Sheet: 518x750 mm. Focillon, 852. Hind, 76. 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 first state of 3, prior to the appearance of the numbering in the upper right corner. Thick laid paper with a watermark of “a lily flower within a double circle over

Estimation

340 - 680 €

Giovanni Battista Piranesi, View of the Interior o

109 - Giovanni Battista Piranesi, View of the Interior of the Flavian Amphitheater, known as the Colosseum. 1766 [III/5, 1st edition, Paris]. Etching. 458x697 mm. Sheet: 525x747 mm. Focillon, 760. Hind, 78. 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 5, after the appearance of the crack in the lower left corner of the plate but before

Estimation

280 - 560 €

Giovanni Battista Piranesi, Another Interior View

110 - Giovanni Battista Piranesi, Another Interior View of Maecenas’ Villa in Tivoli. 1767 [I/3, 1st edition, Paris]. Etching. 425x605 mm. Sheet: 508x747 mm. Focillon, 770. Hind, 84. Signed within the title cartouche in the lower right corner. 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 first state, prior to the appearance of the numbering, on thick laid paper with a watermar

Estimation

240 - 480 €

Giovanni Battista Piranesi, Interior View of the P

111 - Giovanni Battista Piranesi, Interior View of the Pronaos of the Pantheon. 1769 [I/3, 1st edition, Paris]. Etching. 387x537 mm. Sheet: 530x762 mm. Focillon, 762. Hind, 82. 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 first state, prior to the appearance of the numbering in the upper right margin, on heavy laid paper apparently without a wat

Estimation

280 - 560 €

Giovanni Battista Piranesi, Ruins of a Gallery of

112 - Giovanni Battista Piranesi, Ruins of a Gallery of Statues in Hadrian’s Villa at Tivoli. 1770 [I/3, 1st edition, Paris]. Etching. 455x583 mm. Sheet: 500x700 mm. Focillon, 785. Hind, 93. Signed in the lower left margin. From the Vedute di Roma (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 first of three states, prior to the appearance of the numbering in the upper right

Estimation

280 - 560 €

Giovanni Battista Piranesi, A Burial Chamber Conce

113 - Giovanni Battista Piranesi, A Burial Chamber Conceived and Designed in Accordance with Custom and the Ancient Splendor of the Roman Emperors. ca. 1770 [2nd edition, 6th issue]. Etching, engraving, and drypoint. 398x278 mm. Sheet: 524x364 mm. Focillon, 18. Robison, 20. Signed on the plate in the lower left corner. From Prima parte di architetture e prospettive inventate ed incise da Gio. Batta Piranesi architetto veneziano dedicate al sig. Nicola Giobbe, a work consisting of a title page and 1

Estimation

160 - 320 €

Giovanni Battista Piranesi, View of the Tiber Isla

114 - Giovanni Battista Piranesi, View of the Tiber Island. 1775 [I/3, first Paris edition]. Etching. 478x720 mm. Sheet: 520x770 mm. Focillon, 836. Hind, 121. Signed in the title cartouche at the bottom center. 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 first state of 3, prior to the appearance of the numbering in the upper right margin. Thick laid paper, apparently without

Estimation

380 - 760 €

Giovanni Battista Piranesi, View of the Monument E

115 - Giovanni Battista Piranesi, View of the Monument Erected by Emperor Titus Vespasian to Commemorate the Restoration of the Aqueducts of the New Aniene and Claudia... 1775 [I/3, first Paris edition]. Etching. 490x708 mm. Sheet: 524x750 mm. Focillon, 839. Hind, 119. Signed in the lower left margin. From the “Views of Rome,” a series of 135 plates on which Piranesi began working in 1748 and which he continued to expand with new plates throughout his life. Excellent proof in the first state, prio

Estimation

280 - 560 €

Giovanni Battista Piranesi, Remains of the Neronia

116 - Giovanni Battista Piranesi, Remains of the Neronian Aqueducts, Which Were to Be Demolished Due to Their Age... 1775 [I/4]. Etching. 488x703 mm. Sheet: 532x774 mm. Focillon, 850. Hind, 118. Signed in the lower left 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 splendid proof from the Roman edition in the first state of 4 preceding any numbering, printed on heavy laid paper with a w

Estimation

340 - 680 €

Giovanni Battista Piranesi, View of the Ancient St

117 - Giovanni Battista Piranesi, View of the Ancient Structures Built by Tarquinius Superbus, Known as the Bel Lido... 1776 [I/3, 1st edition, Paris]. Etching. 450x673 mm. Sheet: 523x750 mm. Focillon, 841. Hind, 125. Signed in the lower right margin. From the Views of Rome, a series of 135 plates on which Piranesi began working in 1748 and which he continued to expand with new plates throughout his life. A beautiful print in the first state of 3, prior to the appearance of the numbering in the upper

Estimation

380 - 760 €

Giovanni Battista Piranesi, Dieta, or the Place Le

118 - Giovanni Battista Piranesi, Dieta, or the Place Leading to Various Grand Chambers and Other Magnificent Rooms, Located in Villa Adriana... 1777 [I/3, 1st edition, Paris]. Etching. 440x577 mm. Sheet: 536x765 mm. Focillon, 848. Hind, 134. Signed at the end of the inscriptions in the cartouche at the bottom center. From the Views of Rome, a series of 135 plates on which Piranesi began working in 1748 and which he continued to expand with new plates throughout his life. A beautiful impression in the

Estimation

280 - 560 €

Giovanni Battista Piranesi, A View of the Remains

119 - Giovanni Battista Piranesi, A View of the Remains of the Pronaos of the Building, Which May Be Considered the College of the Anfictions. 1778 [Paris, 1810]. Etching. 500x680 mm. Sheet: 600x888 mm. Focillon, 587. Wilton-Ely, 722. Signed in the lower right margin “Cav. Piranesi F.” Fifth plate from Différentes vues de quelques Restes de trois grands Edifices qui subsistent encore dans le milieu de l'ancienne Ville de Pesto autrement Posidonia qui est située dans la Lucanie. Good impression

Estimation

340 - 680 €

Giovanni Battista Piranesi, Title page with a stat

120 - Giovanni Battista Piranesi, Title page with a statue of Minerva. c. 1748 [IV/7] [1760–1778]. Etching. 500 × 633 mm. Sheet: 518 × 738 mm. Focillon, 786. Hind, 2. Signed in the lower right margin. Title page for the Vedute di Roma (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 fourth state of seven, featuring the address and price, with the addition of crisscrossing lines—s

Estimation

380 - 760 €

Giovanni Battista Piranesi, Interior View of the H

121 - Giovanni Battista Piranesi, Interior View of the Hypothetical College of the Anfictions. Rome: 1778. Etching. 483x682 mm. Sheet: 560x780 mm. Focillon, 589. Wilton-Ely, 74. Signed in the lower right margin “Cav. Piranesi F.” Seventh plate from Différentes vues de quelques Restes de trois grands Edifices qui subsistent encore dans le milieu de l’ancienne Ville de Pesto autrement Posidonia qui est située dans la Lucanie. A beautiful print from the Roman edition, printed with rich, vibrant

Estimation

380 - 760 €

Giovanni Battista Piranesi, Tomb of the Three Cura

122 - Giovanni Battista Piranesi, Tomb of the Three Curazj Brothers in Albano. 1756 [1784]. Etching. 395x600 mm. Sheet: 525x710 mm. Focillon, 295. Wilton-Ely, 430. Signed in the lower right margin. Tenth plate from Book III of Le antichità romane, a magnificent four-volume work first published in 1756 and in a posthumous second edition in 1784. A beautiful print with excellent inking on heavy laid paper with a faintly visible watermark. (1) Sheet intact with wide margins as originally printed, slig

Estimation

240 - 480 €

Giovanni Battista Piranesi, Dark Prison with a Gal

123 - Giovanni Battista Piranesi, Dark Prison with a Gallows for the Punishment of Criminals. 1743–1744 [3rd edition, 2nd issue, ca. 1785–1799]. Etching, burin engraving, and drypoint. 360 × 237 mm. 20 × 237 mm (caption plate). Sheet: 525 × 375 mm. Robison, 3. Signed in the lower left margin; the number “2” appears in the lower right corner of the caption and in the upper right corner above the framing line. From *Prima parte di architetture e prospettive inventate ed incise da Gio. Batta P

Estimation

240 - 480 €

Marcantonio Raimondi, The Descent from the Cross.

124 - Marcantonio Raimondi, The Descent from the Cross. c. 1520–1525. Engraving. 410 × 285 mm. Bartsch, XIV, 32. Shoemaker, 50. Raphael invenit, p. 171, 1. The subject is similar to the Borghese Deposition and relates to the study—unanimously attributed to Raphael by critics and dated to 1507—preserved at the Albertina (Vol. IV, 245 verso), which served as a preparatory sketch for the body of Jesus in the act of being taken down from the cross. Controversial, however, is the attribution of th

Estimation

380 - 760 €

Jusepe (de) Ribera, The Lamentation. Before 1624.

125 - Jusepe (de) Ribera, The Lamentation. Before 1624. Etching and drypoint. 193x257 mm. Bartsch, XX, 1. Brown, 17. Attributed to Ribera since Basan’s time, the print was deemed doubtful in 1970 by Neil MacLaren (N. MacLaren, A. Braham, The Spanish School. National Gallery catalogues, National Gallery, Great Britain, 1970), an opinion accepted in 1973 by Jonathan Brown, who, however, definitively reattributed the print to Ribera in 1982. A good impression, though with some areas of wear, in the s

Estimation

280 - 560 €

Jusepe (de) Ribera, Saint Jerome Reading. 1624. Et

126 - Jusepe (de) Ribera, Saint Jerome Reading. 1624. Etching, engraving, and drypoint. 196x257 mm. Sheet: 1988x263 mm. Bartsch, XX, 3. Brown, 13. With a false monogram in reverse and interlaced letters on the plate in the upper left corner. A fine impression in the only state on thin laid paper, apparently without a watermark. On the reverse, at the bottom, a collection mark in black ink not listed in Lugt. (1) Copy with narrow margins extending beyond the copperplate impression and mounted at the to

Estimation

380 - 760 €

Jusepe (de) Ribera, Drunken Silenus. 1628 [printed

127 - Jusepe (de) Ribera, Drunken Silenus. 1628 [printed by Gio Iacomo Rossi in Rome, 1649]. Etching and engraving. 274x353 mm. Bartsch, XX, 13. Brown, 14. Signed, dated “1628,” with the artist’s city of birth and the city where the engraving was executed inscribed on the stone in the lower right corner. At the bottom center is the dedication: “To the Most Illustrious Sir Don Gioseppe Balsamo, Baron of Cattasi, Member of the Illustrious Senate of the Noble City of Messina / Giovanni Orlandi Ro

Estimation

380 - 760 €

Ferrantes Rosatti, David with the Head of Goliath.

128 - Ferrantes Rosatti, David with the Head of Goliath. 1649. Etching. 249x184 mm. Sheet: 255x191 mm. Bartsch, XXI, 1. TIB (Commentary).001. In the cartouche at the bottom on the reverse: “Gladium Davidicum ense me spadae Crad. Dicat humillime servitutis obsequio Ferrantes Rosatus à Polimartio delin. 1649.” A rare engraving by this artist, of whom Bartsch identified only six known works. An excellent, well-inked, and crisp print on watermarked laid paper. On the reverse, a collection mark belong

Estimation

280 - 560 €

Martin Schongauer, The Death of the Virgin. c. 147

129 - Martin Schongauer, The Death of the Virgin. c. 1470–1474 [III/3, late 16th century]. Engraving. 253 x 170 mm. Bartsch, VI, 33. Lehrs, 16. Hollstein, 16. With the monogram on the plate at the bottom center. A proof still showing good definition and legibility, despite signs of wear, of this rare engraving in the third and final state of 3 according to Lehrs and in the second variant according to Hollstein (a faint trace of the horizontal scratch crossing the right foot of the kneeling Saint Phi

Estimation

1 500 - 3 000 €

Charles Segoing and Pierre Nolin, Six heraldic pla

130 - Charles Segoing and Pierre Nolin, Six heraldic plates in color. Paris: N. Berey, 1654 and later. Engraving in color. 176x140 mm. Sheet: 274x178 mm. Set of six beautiful decorative plates by Charles Segoing, *Armorial universel, contenant les Armes des principales Maisons, Estates, and Dignities of the Most Notable Kingdoms of Europe, an important work on heraldry first published in Paris in 1654 and containing 200 plates with noble coats of arms engraved by Pierre Nolin. (6) All plates are moun

Estimation

80 - 160 €

Louis Surugue of Arise, The Sacrifice of Isaac. Dr

131 - Louis Surugue of Arise, The Sacrifice of Isaac. Dresden: Christian Heinrich Hagenmüller, 1757. Etching and engraving. 510x370 mm. Sheet: 595x450 mm. After Andrea del Sarto. Plate from Recueil d’Estampes d’après les plus célèbres Tableaux de la Galerie Royale de Dresde, Dresden 1757. (1) Plate with wide margins, attached at the top by two points within a modern cardboard mount.

Estimation

100 - 200 €

Antonio Tempesta, *Avorum Societas Romanorum et Ba

132 - Antonio Tempesta, Avorum Societas Romanorum et Batavorum. 1611. Album in oblong quarto (200x270 mm). Half-leather binding with gold title on the spine. Covers and endpapers in marbled paper. Bartsch, XVII, 560–595. Collection of 35 plates (out of 36; plate 4 is missing), including a title page with the author’s signature and the date “1611.” The series is dedicated to the Batavian Revolt, which took place in the Roman province of Lower Germany between A.D. 69 and 70. The Germanic tribe

Estimation

240 - 480 €

Giandomenico Tiepolo, *Apparition of the Virgin to

133 - Giandomenico Tiepolo, Apparition of the Virgin to Saints Agnes of Montepulciano, Rose of Lima, and Catherine of Siena. 1750–1780. Etching. 513 × 227 mm. Sheet: 552x265. De Vesme, 54. Rizzi, 125. Succi, 36. The dedication and signature appear in the lower margin. Engraving based on the reverse view of Giovanni Battista’s painting in the Church of the Gesuati, completed between 1748 and 1749, the year the altar on which it is placed was consecrated. A beautiful impression in the first state

Estimation

480 - 960 €

Giovanni Battista Tiepolo, Woman with Chained Arms

134 - Giovanni Battista Tiepolo, Woman with Chained Arms and Four Figures. ca. 1739–1743. Etching. 135 × 174 mm. Sheet: 172 × 218 mm. De Vesme, 9. Rizzi (1971), 35. Succi, 47. Signed “Tiepolo” at the base of the column on the left. Plate from the Capricci, a series of ten engravings executed by Giovanni Battista between 1739 and 1743 (more recently, Jaco Rutgers has proposed a date of execution between 1733 and 1735) and published for the first time by Anton Maria Zanetti in the second volum

Estimation

380 - 760 €

Giovanni Battista Tiepolo, Two Soldiers and Two Wo

135 - Giovanni Battista Tiepolo, Two Soldiers and Two Women. ca. 1743–1749. Etching. 134 × 170 mm. Sheet: 400 × 280 mm. De Vesme, 5. Rizzi (1971), 31. Signed “Tiepolo” on the base of the tomb. Plate from the Capricci, a series of ten engravings executed by Giovanni Battista between 1739 and 1743 (more recently, Jaco Rutgers has proposed a date of execution between 1733 and 1735) and published for the first time by Anton Maria Zanetti in the second volume of the third edition of his *Raccolta

Estimation

600 - 1 200 €

Giovanni Battista Tiepolo, Six Figures Observing a

136 - Giovanni Battista Tiepolo, Six Figures Observing a Snake. 1750–1757. Etching. 225 × 177 mm. Sheet: 247 × 197 mm. De Vesme, 24. Rizzi, 15. Succi, 59. Signed on the reverse of the plate in the lower left corner. Twelfth plate from Scherzi di fantasia, a series of etchings created by Giovanni Battista during the 1750s and comprising twenty-three plates, including the title page plate. The twenty-fourth plate, mentioned in the inscription added to the title page after 1770, is the small one de

Estimation

800 - 1 600 €

Lorenzo Tiepolo, Rinaldo and Armida Surprised by U

137 - Lorenzo Tiepolo, Rinaldo and Armida Surprised by Ubaldo and Carlo. 1770–1776. Etching. 272 x 340 mm. Sheet: 292 x 358 mm. De Vesme, 4. Rizzi, 225. Succi, 3. In the center of the lower margin: “Joannes Bapta Tiepolo inv. et pinx./ Laurentius Filius del. et fecit.” Engraving taken from the reverse side of the painting—part of a series of four dedicated to the love affair between the sorceress and the knight—executed around 1755 by Giovanni Battista and now in the collection of the Art In

Estimation

480 - 960 €

Hendrik Adriaan van Rheede, Four plates from *Hort

138 - Hendrik Adriaan van Rheede, Four plates from Hortus Malabaricus: Narum-panel / Tamarà-tonga / Wadoúka / Panja. Amsterdam: Johannes van Someren, Johannes van Dyck (later Henricus Boom and his widow), 1678–1693. Colored copperplate engraving. 340/342 x 434/447 mm. Sheet: 378/383 x 458/475 mm. Four beautiful plates from Hortus Malabaricus, a monumental 12-volume treatise on the flora of the Malabar region (Southern India) by the governor of Dutch Malabar, Hendrik Adriaan van Rheed, publishe

Estimation

280 - 560 €

Giovanni Andrea Vavassore (Valvassore), Title page

139 - Giovanni Andrea Vavassore (Valvassore), Title page and five plates from Apochalypsis Ihesu Christi. Venice: Alessandro Paganino, 1516. Woodcut. 267/268 × 184/188 mm. Sheet: 294 × 205 mm. Six plates (Title page with the Little Ship, Eighth Figure: The Four Avenging Angels, Ninth Figure: John Devours the Book of Life; Tenth Figure: The Woman Clothed with the Sun and the Seven-Headed Dragon; Eleventh Figure: Saint Michael Slays the Dragon; Fourteenth Figure: The Harlot of Babylon) from *Apochal

Estimation

480 - 960 €

Johann Wolf Bernhard Meyer, Five Ornithological Pl

140 - Johann Wolf Bernhard Meyer, Five Ornithological Plates: Hirundo Apus Linn. / Parus Pendulinus Linn. / Corvus Pyrrhocorax Linn. / Fringilla Citrinella Nobis / Accentor alpinus. Nuremberg: Johann Friedrich Frauenholz, 1805. Colored copperplate engraving. 418/447 × 323/343 mm. Sheet: 480/528 × 357/417 mm. Five ornithological plates based on drawings by Johann Matthias Hergenröder of Offenbach (1774–1834) and engraved by Johann Carl Bock (1757–1843) from the work by Johann Wolf (1765–1824)

Estimation

180 - 360 €

Michael Wolgemut Hartmann Schedel, The Sermon of t

141 - Michael Wolgemut Hartmann Schedel, The Sermon of the Antichrist (The Seventh Age). Nuremberg: Anton Koberger, for Sebald Schreyer and Sebastian Kammermeister, July 12, 1493. Woodcut. 361x225 mm. Sheet: 384x242 mm. From the first edition with the Latin text published in Nuremberg on July 12, 1493, followed by the German-language version on December 23 of the same year. A fine impression on slightly thick laid paper with a “Gothic P” watermark. At the bottom of the verso, in pen and green ink

Estimation

240 - 480 €

Thomas Worlidge, Portrait of Salvator Rosa. ca. 17

142 - Thomas Worlidge, Portrait of Salvator Rosa. ca. 1740–1766. Etching and engraving. 138 × 93 mm. Sheet size: 149 × 105 mm. On the plate, in the lower right corner, the number “55” is engraved twice, once in reverse. From a drawing by Carlo Maratta, to whom no reference is made in this plate; the mention appears in another identical oval portrait engraved on the reverse side by Louis Félix La Rue (Davoli, 22903). Excellent impression on thick laid paper. ALSO INCLUDED: Filippo Teodoro di L

Estimation

120 - 240 €

Giuseppe Zocchi and Vincenzo Franceschini, View of

143 - Giuseppe Zocchi and Vincenzo Franceschini, View of a Section of the Lungarno and the Ponte a Santa Trinita, as Seen from the Palace of Mr. Marchese Ruberto Capponi. Florence: published by Giuseppe Allegrini, 1744 [1754]. Etching and engraving. 515 × 690 mm. Sheet: 575 × 755 mm. Lower left: “Io. Zocchi del.”; lower right: “V. Franceschini sculp.”; in the lower corner below, the number “T. VI.” A selection of twenty-four views of the principal districts, squares, churches, and palace

Estimation

280 - 560 €

Giuseppe Zocchi Carlo Bartolomeo Gregori, View of

144 - Giuseppe Zocchi Carlo Bartolomeo Gregori, View of a Part of Florence Taken from Outside the Porta alla Croce Near the Arno River. Florence: published by Giuseppe Allegrini, 1744 [1754]. Etching and engraving. 500x680 mm. Sheet: 575x760 mm. Lower left: “Ios. Zocchi del.”; lower right: “Carolus Gregori sculp. Firenze.”; in the lower corner below, the number “T. III.” A selection of twenty-four views of the principal districts, squares, churches, and palaces of the City of Florence, col

Estimation

280 - 560 €

Giuseppe Zocchi Iohan Andreas Pfeffel, View of Flo

145 - Giuseppe Zocchi Iohan Andreas Pfeffel, View of Florence from the Convent of the Capuchin Friars in Montughi. Florence: published by Giuseppe Allegrini, 1744 [1754]. Etching and engraving. 510x700 mm. Sheet size: 573x757 mm. Lower left: “Ioseph. Zocchi delin. Floren.”; lower right: “Johan Andreas Pfeffel S.C.M. Chalcogr. sculpt. direx. Aug. Vind.”; in the lower corner below, the number “T. I.” Selected Plates from XXIV Views of the Main Districts, Squares, Churches, and Palaces of the

Estimation

280 - 560 €

Gaetano Zompini, Various Capriccios and Imaginary

146 - Gaetano Zompini, Various Capriccios and Imaginary Landscapes, drawn by the famous Genoese artist Gio. Benedetto Castiglione, taken from the Zanetti collection, etched by Gaetano Zompini, a Venetian painter, and now newly compiled and published. Venice: 1786. Large oblong folio album (403x560 mm). TIB 46 (Commentary), p. 116. Hardcover binding with blue covers and a beige spine. Complete and uniform collection comprising a title page and twelve etchings, some of which bear the dates 1758 and 1759

Estimation

600 - 1 200 €

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