From Venice To Orient Part II by Bado e Mart

BADO E MART AUCTIONS

FROM VENICE TO ORIENT PART II Padua, 15 October 2020

BADO E MART AUCTIONS

FROM VENICE TO ORIENT PART II Padua, 15 October 2020 Starts at 2.30 pm

Viewing: From Saturday 10th October to Thursday 13th October 10 a.m. â&#x20AC;&#x201C; 6 p.m.

Via Dei Soncin, 25 35122 Padova Veneto Italy Tel. +39 049 8755317 Fax +39 049 8755317 E-mail: info@badoemart.it

ANTIQUES Numbers 1 - 117

1. Antique Imperial Russian Gardner Kuznetsov Factory Design Porcelain Tea set Ca. 1870 - 1890 according to the mark. A Russian porcelain tea set for twelve persons, with fine decoration of bunches of purple and gold vine leaves. Nicely marked on the bottom by Gardner in red in under glaze. The set includes twelve cups with saucers, a teapot, a sugar-bowl with cover, a milk jug, a cake stand, a serving dish, a rectangular shaped tray, eighteen butter bowls, and eighteen little dishes. Founded at Verbilki, near Moscow, by the Englishman Francis Gardner in 1766, and known for its hard paste porcelains, the Gardner factory served as important competition for the Imperial Porcelain Factory, spurring artists at both institutions to produce more complicated wares in terms of both form and decoration. One of two porcelain works in Russia during the 18th century, The factory was situated in the Gjelsk region where local clay, which proved suitable for porcelain, could be used. Gardner started with a German manager called Gattenberg, who later joined the Imperial Factory, and he employed a well-known German painter, Kestner. But these and other foreigners taught many Russian craftsmen, principally serfs, who gradually replaced them, as soon as they had mastered the various techniques; so that the number of foreigners employed in key positions steadily diminished in course of time. The factory was operated by the family for three generations until 1891, when it was taken over by Kusnetzoff. Gardner porcelain had a wide variety of marks in the 140 years of its existence. Different shapes of the Latin letter G, painted underglaze in blue or black, were most frequent in the late eighteenth and early nineteenth centuries. Occasionally the mark is similar to the Meissen crossed swords with a star. In the first quarter of the nineteenth century the full name of the factory, impressed either in Cyrillic or Latin characters, becomes more frequent. In the second half of the nineteenth century the mark is usually the Moscow St George and Dragon crest, surrounded by a circle, bearing the full name of the factory, at first impressed, and later painted in green or red. In the last decades of the factoryâ&#x20AC;&#x2122;s existence the double-headed eagle was added to the design, and this elaborate mark continued after the Gardner firm had been absorbed by Kuznetsov. Sizes, height/diameter: 12 cups, 50x80 mm.; 12 saucers, 20x142 mm.; 1 tea-pot, 150x115 mm.; 1 sugar-bowl, 100x150 mm.; milk jug, 110x170 mm.; 1 serving dish, 40x325 mm.; 1 cake stand, 155x215 mm.; shaped tray, 295x185 mm.; 18 butter bowls, 20x94 mm.; 18 little dishes, 250x163 mm. Restoration on a cup and crack on a cup, otherwise very good condition.

â&#x201A;Ź 1500

2. Japanese Meiji Period Cloisonné Enamel Plates Cranes and Mandarins diamond Four attractive Japanese cloisonné enamel plates, dating from the late Meiji Period (1868-1912). Two plates depicts a crane in flight, the others depicts Mandarins diamond. They are surrounded by dense foliage, with lilies, chrysanthemums, peonies and camellia. The plates are finished with a tight border of scrolling floral and geometric patterns. In the diffusion of the cloisonné of the East, the greatest chromatic use was made in Japan. With the founding of the Arhens Company in Tokyo in 1875, the owners secured the collaboration of the most famous cloisonné artist Tsukamoto Kaisuke, and of Gottfried von Wagner, one of the western technologists transferred to Japan to improve traditional arts and crafts. With his experimentation, Wagner had the enamel technique take another step towards a modern and scientific practice of this art, with the introduction of enamels of new chemical composition. 4 plates. Height 250 mm; Diameter 240 mm. Some damages, bowed with some cloisonné missing on the border area. Minor defects.

€ 400

3. Japanese Meiji Period Cloisonné Enamel Plates with different birds, flowers and plants Four attractive Japanese cloisonné enamel plates, dating from the late Meiji Period (1868-1912). The plates depicts different birds surrounded by dense foliage, with lilies, chrysanthemums, peonies and camellia. The plates are finished with a tight border of scrolling floral and geometric patterns. In the diffusion of the cloisonné of the East, the greatest chromatic use was made in Japan. With the founding of the Arhens Company in Tokyo in 1875, the owners secured the collaboration of the most famous cloisonné artist Tsukamoto Kaisuke, and of Gottfried von Wagner, one of the western technologists transferred to Japan to improve traditional arts and crafts. With his experimentation, Wagner had the enamel technique take another step towards a modern and scientific practice of this art, with the introduction of enamels of new chemical composition. 4 Large plates. Height 250 mm; Diameter 303 mm. The condition of the plates is good, with only some minor stress cracks and firing flaws to the background enamel.

€ 400 8

4. Japanese Meiji Period Cloisonné Enamel Plates with different birds, flowers and plants Four attractive Japanese cloisonné enamel plates, dating from the late Meiji Period (1868-1912). The plates depicts different birds surrounded by dense foliage, with lilies, chrysanthemums, peonies and camellia. The plates are finished with a tight border of scrolling floral and geometric patterns. In the diffusion of the cloisonné of the East, the greatest chromatic use was made in Japan. With the founding of the Arhens Company in Tokyo in 1875, the owners secured the collaboration of the most famous cloisonné artist Tsukamoto Kaisuke, and of Gottfried von Wagner, one of the western technologists transferred to Japan to improve traditional arts and crafts. With his experimentation, Wagner had the enamel technique take another step towards a modern and scientific practice of this art, with the introduction of enamels of new chemical composition. 4 Large plates. Height 25 mm; Diameter 303 mm. The condition of the plates is good, with only some minor stress cracks and firing flaws to the background enamel.

€ 400

5. A Pair of Chinese Cloisonné Enamel Pear-Shaped Bottle Vases Qing dynasty, 19th century. Chinese antique pair of cloisonné enamel bottle vases, decorated with flowers and leaves on a green background with geometric patterns, ring neck. Two Vases. Height 235 mm; Diameter 110 mm. Dent on a vase and minor defects.

€ 300

6. Old Chinese bronze pierced vase Qing dynasty, 19th-20th century. Lucky vase, with beautiful openwork decoration depicting the Dragon and the Phoenix. The Dragon and Phoenix motif is full of auspicious connotation, and vessels decorated with two of the most important mythical animals in Chinese tradition are typically made as wedding gifts. The phrase uttered as one of many good luck wishes during the wedding ceremony is long feng cheng xiang - meaning "Dragon and Phoenix bring Auspiciousness". Height 350 mm; Diameter 130 mm. Good condition.

â&#x201A;Ź 150

7. Chinese carved jade with a fish and a kingfisher, on a carved black base China, early 19th century. Green-turquoise jade. Refined allegorical composition, with a kingfisher on top of flowers overlooking a fish. In China, kingfishers are admired for their bright, iridescent plumage and their name in Chinese also refers to a type of luxurious green jade.

â&#x201A;Ź 350

8. Rare Gilt Lacquered Wood Statue of Bodhisattva Guanyin Qing dynasty, 19th century. Guanyin, dressed in flowing robes, is seated in the padmasana or lotus position with both her feet tucked under her legs facing up and with the hand posture of zazen Hokkai-join (cosmic mudra): fingers of left hand over fingers of right, thumbs lightly touching, little fingers resting against the lower abdomen. Kwan Yin or Guanyin or Guan Yin (/ˌɡwɑːnˈjɪn/) is the most commonly used Chinese translation of the bodhisattva known as Avalokiteśvara. Guanyin is the Buddhist bodhisattva associated with compassion. Guanyin also refers to the bodhisattva as adopted by other Eastern religions. She was first given the appellation of "Goddess of Mercy" or the Mercy Goddess by Jesuit missionaries in China. The Chinese name Guanyin is short for Guanshiyin, which means " [The One Who] Perceives the Sounds of the World". Height: 650 mm. Width: 480 mm. Some defects and damages.

€ 1000

9. Goddess Guanyin Sitting on a Qilin. Rare Wooden Statue with Traces of Red Lacquer Qing dynasty, 19th century. The bodhisattva of mercy rides the mythical unicorn, symbol of the of luck, good omens, protection, prosperity, success, and longevity by the Chinese. Qilin are also a symbol of fertility, and often depicted in decorations as bringing a baby to a family. The qilin may be described or depicted in a variety of ways. Qilin generally have Chinese dragon-like features. Most notably their heads, eyes with thick eyelashes, manes that always flow upward and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse. They are always shown with cloven hooves. In modern times, the depictions of qilin have often fused with the Western concept of unicorns. Qilin (麒麟) is often translated into English as "unicorn" as it can sometimes be depicted as having a single horn, although this is misleading as qilin may also be depicted as having two horns. A separate word, "one-horned beast", is used in modern Chinese for "unicorns". A number of different Chinese mythical creatures can be depicted with a single horn, and a qilin, even if depicted with one horn, would be called a "one-horned qilin" in Chinese, not a "unicorn". Kwan Yin or Guanyin or Guan Yin (/ˌɡwɑːnˈjɪn/) is the most commonly used Chinese translation of the bodhisattva known as Avalokiteśvara. Guanyin is the Buddhist bodhisattva associated with compassion. Guanyin also refers to the bodhisattva as adopted by other Eastern religions. She was first given the appellation of "Goddess of Mercy" or the Mercy Goddess by Jesuit missionaries in China. The Chinese name Guanyin is short for Guanshiyin, which means " [The One Who] Perceives the Sounds of the World." Height 650 mm. Width 480 mm. Some damages.

€ 1000

10. Bisquit Famille-Verte. Antique Chinese Glazed Biscuit Porcelain Buddhistic Foo Lions Qing dynasty, mid of XIX century. They are made of porcelain painted with enamels applied directly on the ceramic cooked body. (bisquit) The lions are crouched on their hind legs on a high cubic base decorated with flying herons and floral motifs. The male holds a carved sphere between his claws under his left paw, symbolizing the emperor's dominion on the terraqueous globe; the female holds a playful puppy supine below her, symbolizing nourishment. The "Chinese Guardian Lions" or "Imperial Guardian Lions" are an architectural ornament typical of the Chinese tradition. Typically made of stone, they are also known as "Stone Lions" or "Shishi". In English they are also called "Dog Lions" or â&#x20AC;&#x153;Foo Dogs". It is a decorative style born in the environment of Chinese Buddhism with apotropaic intent: the lions, greatly stylized in the form often a male with a globe between the claws and the other female with a cub, had to protect the building of which they were placed in defense of both harmful spiritual influences and ill-intentioned people. Height 470 mm. Some chips and lack at a corner of the base, otherwise good condition.

â&#x201A;Ź 1000

11. Ensemble of 17 Pieces in Green and Enamel over polychrome terracotta Ming dynasty, 15th-16th century. Extraordinary and Preserved Funeral Ensamble of Terracotta Glazed Figures in green and caramel colors depicting a votive procession with four statues “figurines”, a chest with offerings for the afterlife, a duck, some daily life objects and a large altar. A rare Ming dynasty terracotta funerary set from 15th-16th century. This set was made with terracotta during the Ming Dynasty and displays a variety of elements of food and drink. Called Mingqi, these kinds of terracotta models were traditionally placed in the Chinese burials for the wealthy deceased, in order to assist the them in the afterlife, a practice that dates back to the Neolithic Period. Mingqi, sometimes referred to as "spirit objects", are Chinese burial goods. They included daily utensils, musical instruments, weapons, armour, and intimate objects such as the deceased's cap and bamboo mat. Mingqi also could include figurines of soldiers, servants, musicians, polo riders, houses, and horses. Mingqi served to provide the deceased with necessities and comforts in the afterlife. The deceased person's corporeal spirit was said to remain in the realm of the tomb while the ethereal spirit ascended to heaven. To appease the deceased's corporeal spirit mingqi that were relevant and liked by the deceased were placed in his tomb. Upon placing mingqi in the tomb, humans, according to the Confucian ideal, were harmonizing the cosmos by striking a balance for the comfort of the deceased who is also comforted in heaven. 17 pieces of different sizes and typologies in Green and Enamel over polychrome terracotta. The four “figurines”: h. 380 mm. Some damages restored, and some defect.

€ 2500

12. Antique Chinese Ginger Jar in Gilded bronze and Porcelain Qing dynasty, 19th century. Beautiful white and blue rectangles alternated with floral decoration. Gilded bronze lid with embossed ornamental decoration. The Ginger Jars are born in China in very ancient times, so as to be extremely popular already in the third century BC. Products for preserving tea and spices, they have always been hand-painted in porcelain, both in blue and bright colors. Height 102 mm; Diameter 85 mm. Good condition.

â&#x201A;Ź 200

13. A pair of Antique Chinese covered Jar and Porcelain. Silver cover and base, punched Qing dynasty, 19th century. Beautiful white and blue rectangles alternated with floral decoration. Gilded bronze lid with embossed ornamental decoration. The Ginger Jars are born in China in very ancient times, so as to be extremely popular already in the third century BC. Products for preserving tea and spices, they have always been hand-painted in porcelain, both in blue and bright colors. Height 112 mm; Diameter 85 mm. Good condition.

â&#x201A;Ź 450

14. Antique Jewish-Indian Handmade Rug with Precious Embroidery India, Jewish handcraft, XVIII century. Antique Rug or Tapestry. Silk and metallic thread go very well together and have historically been used by various different cultures to create fine works of art. Pure silk rugs feature a very fine weave. They have significantly more knots per square inch than their wool or cotton counterparts, allowing for incredibly complex designs. The detail work of these Oriental rugs is complemented by the gold or silver thread, giving these rugs a shimmering quality. Unlike their sturdier cotton and wool counterparts, these silk and metallic rugs are almost never meant to be placed on the floor. Their designs would degrade very quickly under frequent foot traffic, so instead they serve a function similar to tapestries. For this reason, rugs of this kind should be used as wallhangings, table coverings or be displayed in another way that allows their beauty to shine. Silk and Metallic Threading Rug, 233x117 mm. Some damages.

â&#x201A;Ź 1500

15. Porcelain plate Chateau de S Cloud, XIX century. Refined porcelain plate with concentric gilt frames. The exterior is painted in blue, in the large central circle a gallant country scene of Rococo style. On the back, a gilt circle and the red crown mark 'Chateau de S Cloud' in the center. The external brass frame is carved with geometric motifs: a more elaborate stylized ornamentation at the height of the rear hook. Diameter 270 mm. Height 32 mm. The plate has a decorated brass frame with rear hook. On the back the red mark with a crown and the written: “Chateau de S Cloud”. Nice condition.

€ 150

16. A pair of Chinese Canton Famille Rose Celadon-Ground Vases Canton, 19th century. Each approx Height 630 mm; Diameter 185 mm. Externally just about perfect except for light rubbing of the gold and the foot. Internally, restoration with loss of nail varnish. Pair of Chinese 19th Century Rose Medalion vases depicting classical Chinese scenes of women in the gardens and court life, set in panels with floral, birds and dragons decorations to the surrounds and gilt handles.

€ 1000

17. Chinese Celadon Porcelain “Guan”. The Three Vinegar Tasters. Chinese Mudman Handcraft Sculpted Figurine Qing dynasty, 18-19th century. The figurines are glazed in Jade Green, with yellow highlights. Three Vinegar Tasters, representing the three religions, Buddhism, Daoism and Confucianism, standing around a cask of vinegar. The Vinegar Tasters is a traditional subject in Chinese religious painting. The allegorical composition depicts the three major religious and philosophical traditions: Confucianism, Buddhism, and Taoism. The theme in the painting has been interpreted as favoring Taoism and critical of the others. Height 183; Width 153. Brown wooden stand. Good condition.

€ 900

18. Chinese Celadon Green Porcelain with knot Vase Qing Dynasty, 18th century. This vase is particularly fine in the quality of its glaze to accentuate the elegant proportions, covered with an even celadon glaze of sage-green tone. Decorative motif of a knot in relief on the body of the vase. Height 110mm; Width 100mm. Low restoration and minor defects.

â&#x201A;Ź 500

19. Caltagirone majolica. Anthropomorphic lamp. Caltagirone, late 18th - early 19th century. Very rare oil lamp, called "lumiera". Vivid polychrome ceramic depicting a young woman in costume holding an amphora resting on her right side. Starting from the sixteenth century in eastern Sicily, anthropomorphic ceramic lamps began to be produced. The idea of the figurine-lumiera was born from the interest of ceramists in studying how to embellish and bring ceramic, considered poor material, into elegant environments. The plastic decoration through elegant female figurines was a valid vehicle for the passage of the ceramic lamps from the poor to the noble classes. In the eighteenth century the lamp underwent a notable modification, the heavy and capacious tank that contains the oil disappeared and only a small tray obtained in the head of the lumiera was used to contain the oil. The empty and bottomless lamp has a raised edge at the base for the possible collection of oil poured from above. In the eighteenth century, thanks to the processing of Calatini majolica, the lamp took on new forms. Thus there were richly dressed up ladies, gentlemen, monks, priests, brigands, historical figures and other characters drawn from everyday life, such as this magnificent commoner with amphora. The rich polychromy used allowed these subjects to enter noble houses and living rooms, fully replacing the metal lamps which, by comparison, were chromatically monotonous and not very dĂŠcor. Polychrome majolica. Height 310 mm. Width 150 mm. Excellent condition.

â&#x201A;Ź 200

20. A Fine and Rare Pair Celadon-Glazed Double-Gourd Vase Qing Dynasty, 17-18th century. Elegant and robustly potted with a globular lower bulb supporting a slightly smaller upper bulb with a narrow mouth, covered overall in a lustrous glaze thinning at the rim. The base is on terracotta. 165x95 mm. Good condition.

€ 500

21. Dignitary kneeling on one leg. Celadon figurine Qing Dynasty, 19th century. The figurine are glazed in Jade Green, with yellow highlights. 100x140 mm. Brown wooden stand. Good condition.

€ 300

22. White and blue Chinese teapot, with lid Qing dynasty, 19th century. On the cover, the typical design of underglaze blue double happiness character. “Jian Ding” Certified. Export approval seal mark. This seal is from Guangdong (Province) Cultural Relics Bureau #1, Guangdong (Canton) Province. 90x120 mm. Wax export approval seal mark on the bottom. Black wooden stand. Cracked, loss on the upper part.

€ 100

23. A Chinese Celadon Vase round shape Qing Dynasty, 18-19th century. Elegant Celadon vase, the body impressed with covered overall with a pale celadon glaze. On both sides, are embossed respectively a phoenix and a dragon. 167x140mm. Slight spinning on the upper part and minor defects.

â&#x201A;Ź 300

24. A Chinese Blue and White 'Lotus' Cupfull and Cover China, Kangxi Period (1662-1722). Modelled as a lotus flower with moulded petals, and painted in vibrant shades of cobalt blue with blossoming flowers, the cover modelled as a lotus pod. Qing dynasty (1644-1912), Kangxi reign (1662-1722). Porcelain 70x75 mm. Carved wooden Stand. Minor defects.

â&#x201A;Ź 600

25. Ancient Chinese Inkwell Porcelain period Guan with bronze dragon China, Chenghua Period (1465-1487). The porcelain in white and mustard is decorated with a big lion of Fo in blue. The official or Guan ware was produced for the court in the capital, Hangzhou in Zhejiang province. Laohudong in southern Hangzhou appears to have been the most important Guan kiln creating wares with an attractive crackled glaze, a version of which is seen on the present piece. The crackle was purposefully made utilizing refined technical skill to calibrate a cooling rate for the wares that would produce the different layers of fissures and allow them to be filled with two to three different colors. 55x60 mm. Mark with four characters in the bottom. Good conservation.

€ 800

26. A Chinese Porcelain Blue and White Lidded Jar on Wooden Carved Stand Qing Dynasty, About 1650-1660, Shunzhi period. Cover decorated in blue underglaze of bulbous shape with a short neck and cylindrical cover with flared rim; hand painted in blue underglaze with continuing panoramic wintly view of a village invernale with mountains in background and a brown bear. 75x55 mm. Age appropriate wear, some losses to the lid rim, some firing flaws, a few hairline to the glaze.

€ 300

27. A Famille Rose and Iron-Red Decorated Bowl, With Lid. Qing Dynasty, 19th century. Beautiful bowl in white porcelain with lid, decorated with various painted court life scene and flowers. 130x175 mm. On the bottom, red mark with four characters in double square. Slight defects.

€ 300 30

28. Chinese Porcelain hexagonal Vase China, Qing Dynasty, late 19th century. A Chinese porcelain irregular hexagonal vase, decorated with flowers, vases, Taoist symbols and geometric patterns. Fully detailed and colourful. Size measurement is: 250mm height, 110mm in diameter on the top. Red square mark with six characters in the bottom. Good condition.

€ 150

29. A famille rose and iron-red decorated bowl, with lid Qing Dynasty, 19th century. Beautiful bowl in white porcelain with lid, decorated with various painted court life scene and flowers. 160x160 mm. Several characters in double square. Slight defects.

€ 300

30. Large Carved Chinese Bamboo Brush Pot China, Qing Dynasty, 18th century. Refined openwork bamboo brush pot, decorated with many figures, trees and work scenes. Size measurement is: 250 mm height, 120 mm diameter. Excellent condition.

€ 800

31. Chinese Enameled Porcelain Seated Budai Buddha Qing Dinasty, XVIII - XIXth century. Enameled Porcelain with pink-tone and polychrome details. 180x148 mm. Carved Wooden Stand. Little rift on the back and minor defects.

€ 350

32. Chinese Enameled Famille Rose Porcelain Seated Budai Buddha Qing Dinasty, XVIII-XIXth century. Beautiful Antique Rose family Fine Porcelain Laughing Buddha Statue. Fine rose family enamel decoration. 180x130 mm. Good condition.

€ 200

33. Chinese Enameled Famille Rose Porcelain Seated Immortal Shou Lao Qing Dinasty, XVIII-XIXth century. Beautiful Antique Rose Family Immortal Statue of Shou Lao, God of Longevity. Fine rose family enamel decoration. 164x130 mm. Good condition.

€ 200

34. Wood chinese hexagonal essences holder decorated with precious stones China, beginning of XX century. Walnut casket with four feet and four compartments with lids. Height 120 mm, with handle 215 mm.; width 25 mm. Entirely decorated with carved geometric and ornamental motifs, and enriched with lines of colored semiprecious stones. On the handle two stylized birds. Good condition. Unusual casket in carved wood, richly decorated and embellished with semi-precious stones. In the four compartments were stored medicinal essences, aromatic herbs, drugs.

€ 400

35. Chinese Bottle Shape Celadon Green Porcelain Dragon bottle Vase Qing Dinasty, XVIII century. This vase is particularly fine in the quality of its glaze to accentuate the elegant proportions, covered with an even celadon glaze of sage-green tone. Decorative motif of a dragon in relief on the body of the vase. Height 240mm; Width 90mm. Mark double blue circles on the bottom. Slight rift on the upper part and minor defects.

€ 300

36. Chinese Blue and White Brush Pot Qing Dynasty and Period Kangxi (1662 -1723). Decorated with five-petalled flowers, plum blosse, and floral motifs. The five petals of the flower represent one of the many ‘fives’ in Chinese symbolism including the five gods of prosperity; five good fortunes; five good luck gods. A brush pot (Chinese: 笔筒; pinyin: bǐtǒng) is a container for holding the brushes used by scribes for Chinese calligraphy. Made in wood, stone, porcelain and bamboo, brush pots were mostly cylindrical and were often decorated with traditional symbols inscribed on their body. 156x80 mm. Minor defects.

€ 250 33

37. Japanese 19th century teapot and milk jug Japan, 19th century. Beautiful pair of Japanese milk jug and teapot with floral motifs. Six characters mark on the bottom. 123x 160 mm; 100x 80 mm. Restored.

â&#x201A;Ź 250

38. Chinese Blue and White Teapot Qing dynasty, XVII century. Beautiful teapot with a stylized landscape depicting animals and plants. 160x115 mm. Wax export approval seal mark on the bottom. Minor defects.

â&#x201A;Ź 250

39. Cine Blue and White Amphora with a Dragon-Shaped Handle Qing Dynasty, 18th century. An 18th century Chinese, Quianlong period blue & white porcelain bottle-shaped ewer with dragon handle, the bulbous body & narrow cylindrical neck painted with figures, trees, buildings on a river landscape. 253x105 mm. Slight sign of loss on the upper side, soiled.

â&#x201A;Ź 800

40. A Chinese Imperial Enamel Mounted Gilt Bronze bottle Qing dynasty, XVIII century. A beautiful Chinese Qing Porcelain yellow Vase from Famille Rose. Decoration throughout butterflies and the typical design of underglaze double happiness character. Foot and cover with little chains in bronze. 180x80 mm. Foot and cover with little chains in bronze. Minor defects.

â&#x201A;Ź 300

41. Ancient Chinese inkwell porcelain with gilded bronze lid Qing dynasty, XIX century. Rare Blue and white inkell porcelain decorated with floral motifs, gilded bronze lid.

â&#x201A;Ź 400

110x90 mm. Good condition.

42. Two immortals, Chinese porcelain glazed figurines Qing Dynasty, XIXth century. Two Chinese porcelain figurines depicting Immortals standing on stylized waves. The one holding the fan is Zhongli Quan. The other, depicted carrying a flute, is Han Xiangzi. 257x 85 mm. Mark within oval impressed on the bottom. Good condition.

â&#x201A;Ź 300

43. Imari Porcelain Navy Vase Meiji Period, XIXth century. Imari porcelain vase of baluster form with short flared neck decorated with shield-shaped panels enclosing trees, flowers and peacocks in underglaze blue and iron red colors. The side panels have a shaped shield with a cherry blossom branch. 302x160 mm. Restorations on the inner neck, minor defects.

â&#x201A;Ź 400

44. Pair of Kangxi Porcelain Lidded Tea Jars Qing Dynasty, 19th century. Pair of Kangxi porcelain tea jars but from the 19th century Qing dynasty. These Chinese hexagonal shape underglaze blue and white tea jars, are adorned with examples of court scenes, lakeside theme. 210x120 mm. Minor defects.

â&#x201A;Ź 450

45. Antique Chinese porcelain lidded teapot featuring Xi Wang Mu riding unicorn - Master Chinese porcelain maker Qing Dynasty, XVII century. Antique Chinese blue on white porcelain teapot with figural design probably dating to 17th century. It features a procession led my man holding a flag and followed by Xi Wang Mu, riding an unicorn. Extremely rare teapot with Xi Wang Mu representation, the owner of the peach tree producing the fruit of immortality, and two other figures carrying flags. The porcelain teapot is in good condition with original intact lid. On the cover, the blue Kanji č¨&#x20AC; (Word). 195x180 mm. Good condition.

â&#x201A;Ź 800

46. A Pair of Blue Ground Famille Rose Chinese Yangcai Glazed Vases Qing Dynasty, 19th century. Chinese imperial Yangcai glazed vases. The bulbous body and tall flaring neck are elaborately enamelled with colourful blooms, ornamental patterns, kanji, symbols, games and peaches, all set against a blue ground. The neck is further decorated with vases and floreal motives. The twin-handed are made in the shape of a dog or lion of Fo. 350x165 mm. Restoration at the mouth of only one of the two vessels. The other vase in good condition.

â&#x201A;Ź 1000

47. A Japanned Brass-Mounted Lacquer Cabinet on a Charles II Gilt-wood Stand England, XVII century. Green is one of the rarest japanning colours to be found, and only a very small number of workshops managed to produce pieces in these hues. The patterns for the decoration were often traced from Chinese or Japanese import china of the period. The doors and sides of the cabinet are in green lacquer with polychrome decorations. In the foreground an official of the Emperor who arrives at the village and various characters who welcome him, in the background we can see a mountain landscape. Chrysanthemums and other flowers that decorate the sides. Foliate perforated hinges and gilded bronze closing plates that enclose the interior furniture in black lacquer with eleven drawers decorated in gold with representations of herons, other birds and floral motifs. Console in gilded silver that supports the Cabinet, golden foliage ornaments and in the center the emblem of a crab. Dimensions: W. 870 mm.H. 1450 mm. D. 520 mm. Restoration on the back of the cabinet, some little loss on the sides; otherwise good condition. Percy Macquoid, A History of English Furniture, vol. II, ‘The Age of Walnut’, 1905, p. 144, fig. 131; M. Harris & Sons, ‘An Abridged Introductory Catalogue of Antique Furniture and Works of Art’, 1926, p. 52; illustrated in the Long Gallery in their shop premises; A Loan Exhibition Depicting the Reign of Charles II catalogue’, J. Drinkwater (ed.), 1932, p. 90. ‘Art Treasures Exhibition catalogue’, 1932, p. 12, illus. p. 13.

€ 5 000

48. A Chinese blue-ground ginger jar vase Qing dynasty, 19th century. A large Chinese blue-ground vase with cover, overglaze flowers design, dragonflies and butterflies. 450x245 mm. Loss defects to the edge of the vessel and restorations.

€ 400

49. A Chinese blue and white bowl Qing dynasty, Kangxi period, 1661–1722. A blue and white scrolling foliage footed bowl. Decorated to the exterior depictions of scrolling foliage and flowers, in the interior two women in a garden and a pair of the typical Swastika of the Kangxi period. 85 x148 mm. Good condition. Minor defects.

€ 1000

50. A Chinese blue-ground ginger jar vase Qing dynasty, 19th century. Blue Chinese vase with floral motifs. 185x170 mm. Brown wooden lid and stand. Minor defects.

â&#x201A;Ź 400

51. Pair of portraits of Arab characters XIX century. Beautiful pair of portraits of Arab characters, in the orientalist taste of the nineteenth century. The warrior, armed with a scimitar and rifle, bears the monogram of the painter 'G L.' The rhombus shape of the two paintings is particular. Oil on canvas. Two paintings with a rhombus frame. Each with measures of 450x295. Good condition.

â&#x201A;Ź 300

52. Two Arab warriors Italy, XIX century. Animated scene reminiscent of Caffi's manner. Two Arab warriors with long rifles gallop in the desert. Oil on board. 375x455 mm. Some slight defects, good condition.

€ 300

53. View of a street View of a street populated by various costumed characters. In the foreground, an Arab carpet, in the background an imposing minaret. On left lower the artist's signature. Tempera on cardboard. 980x360 mm. Signature on left lower. Good condition.

€ 300

54. Chinese blue and white bowl with lid. Three pieces Jingdezhen, China. 19th century. A bowl, a cup that fits into the bowl and a lid. Decorated on the outside with floreal motives and scrolling foliage. 140x140 mm. Minor defects.

€ 300

55. A Chinese blue and white porcelain bottle vase Qing dynasty, 18th century. Chinese porcelain blue and white bottle vase of 18/19th century. Thickly potted porcelain decorated with seaside landscape with boats and houses. 215x120 mm. Good condition. Minor defects.

â&#x201A;Ź 250

56. Chinese Coffee pot with lid in white and blue porcelain Qing dynasty, 18th century. Coffee pot with lid in white and blue porcelain, China, Qing dynasty, 18th century, decorated with lotus flower and scrolling foliage. 170x170 mm. Blue mark on double square and wax export approval seal mark in the bottom. Minor defects.

â&#x201A;Ź 300

57. Chinese Blue and White Porcelain Dragon Teapot, with smooth lid Qing dynasty, 18-19th century. A figural decorated blue and white teacup 18-19th century, China, finely painted porcelain. Dragon with the Taoist symbol of Yin-Yang on the lid. The dragons in the body of the teapot are in circles with an intricate ornamental pattern. 100x130 mm. Carved Wooden Stand. Minor defects.

€ 300

58. Chinese Antique Blue-and-White Cup Ming Dynasty, 17th century. The bowl is shaped in a barbed pattern, with gentle waves and purely decorative motifs of flower sprays line. Size measurement is: 70mm in height, 160mm in diameter. Good condition.

€ 150

59. Chinese Porcelain Blue & White Painted under Glaze Coffee Pot China, Qing Dynasty, Early 20th century. The jug is entirely decorated with stylized blue floral motifs on a white background. The handle and spout are in blue. Size measurement is: 210 mm in height, 130 mm in diameter. Blue mark with six characters in the bottom. Good condition.

€ 150

60. Chinese Blue White Ginger Jar, with smooth lid Qing dynasty, 19th century. Blue and white Chinese porcelain 19th century, China, ginger jar, decorated on the outside with lake and mountains landscape. 83x72 mm. Good condition. Minor defects.

â&#x201A;Ź 100

61. Chinese Tea Cup and Cover, underglaze blue and white decoration China, 20th century. Chinese Kangxi style blue and white porcelain. The Tea Cup with floral and vine motif throughout; the lid decorated with vases, furniture and scroll ornaments. Two marks of XX century with four characters. Two pieces: Tea Cup, 70 x 134 mm cup; Cover, 40 x 124 mm. Good condition.

â&#x201A;Ź 200

62. Tribal Antique Turkish Bergama Rug

Late 19th century. A very rustic West Anatolian rug with a traditional design that is also found in earlier rugs. . This carpet features an amazing array of geometric and symbolic patterned decorations that have universal significance and transcend national borders. The rug has a coarse weave and very earthy colour tones. as can be seen the lower end is quite uneven in shape adding to the rustic charm. The dominant colors are red and white, but dark blue, green and yellow also appear, used in the oldest carpets. The carpet is highly decorative, and is composed with geometric ornaments typical of tribal rugs and particularly of the nomadic populations of Turkish ethnicity. The decorative motifs are varied. The eight octagonal medallions stand out, with the typical broad zig-zag borders with latch hooks. This model is associated with the Yoruk tribe, nomads from Anatolia. Measurements: 132x116.5 cm. The rug has even wear and medium pile, good condition.

â&#x201A;Ź 3000

63. Pair of Chinese small bottles, white and blue porcelain Qing dynasty, 19th century. A small Chinese pair blue and white porcelain flasks, decorated with flowers and branches. 55x45 mm. Good conditions, minor defects.

€ 150

64. Chinese Blue and White Porcelain Pedestal Dish Qing dynasty, 19th century. Decoration of the plate with a large flower in the center, around a thick tangle of branches with four other flowers. Ornamental and waves motifs in the pedestal.

€ 150

90x143 mm. Good condition.

65. Chinese enameled ointment jars, with bronze lid Qing dynasty, 18-19th century. Blue decorations with symbolic motifs within three white rounds, on amber colored background. Blue decorations in blue on a white background in the cloisonné cover. 82x90 mm. Cover in bronze with small chain. Carved Wooden Stand. Restored damages.

€ 300

66. Chinese Blue and White Porcelain Pedestal Dish Qing dynasty, 19th century. Decoration of the plate with a large flower in the center, around a thick tangle of branches and ornamental scroll pattern on the top near the edge. Geometrical motifs to the pedestal. 106x142 mm. Good condition.

€ 150

67. Mario Bucci (1903-1970). Still Life (1944). Beautiful still life with different fruits surrounding a carafe in the center of the composition, a fruit bowl rises on the bottom. In the signature at the bottom right, the date '44'. Oil on canvas. 380x485. Signature and date on the right lower. Good condition.

€ 100

68. Mario Bucci (1903-1970). Still life Nice still life with fruits, a bottle and a carafe. Oil on canvas. 310x545. Signature and date on the right lower. Good condition.

€ 100

69. Andrea Meldolla, called SCHIAVONE. Attributed to.(C.1510-1515 -1563) Cristo alla Colonna. Olio su legno. Pittura: 694x370 mm. con cornice: 800x478 mm. Restauri. Buono stato di conservazione

Splendido quadro del ‘500 in cornice coeva dipinto su legno, raffigurante il Cristo alla colonna. In questo quadro del XVI secolo, di scuola veneta, nell’ambito del pittore Andrea Meldolla detto Andrea Schiavone, il Cristo è raffigurato a figura piena con una originale prospettiva laterale, in una sofferente torsione, con le mani legate e i segni della frusta sulla schiena. Da notare le gocce di sangue che scendono dal costato di un rosso acceso che contrasta con il nero cupo dello sfondo, che rendono la scena ancora più cruenta. La figura del Cristo è sottoposta ad un processo di sfinimento nella sua consistenza materiale resa con piccoli e rapidi colpi di pennello. Il Meldolla rinforza in questo dipinto l’impianto chiaroscurale, insistendo su uno sfondo buio e su tonalità brunite appena ravvivate da accensioni luministiche preziose e sottilmente calibrate. Il quadro, è in buono stato di conservazione ed è corredato di una cornice coeva con qualche piccolo difetto. Andrea Meldolla, detto Andrea Schiavone o lo Schiavone è stato un pittore e incisore italiano, attivo soprattutto a Venezia, ed è stato uno dei principali protagonisti del Manierismo veneto. Ebbe una formazione quasi da autodidatta formandosi sulle stampe del Parmigianino, del Tintoretto e di Francesco Salviati. Fu influenzato dall’arte dei suoi contemporanei Tiziano e Tintoretto, toccando alti vertici nell’arte pittorica con il suo monumentalismo esasperato e nel suo stile enfatico e quasi espressionista, che sarà esemplare per le successive sperimentazioni di Jacopo Bassano e Rembrandt. Le sue opere sono nei musei più importanti del mondo: l’Adorazione dei Magi (1547) alla Pinacoteca Ambrosiana di Milano, (i Filosofi) nella Biblioteca nazionale Marciana di Venezia, ancora a Venezia nella Chiesa dei Carmini sono presenti sue tele, (Caino e Abele circa 1542) nella Galleria Palatina degli Uffizi, al Metropolitan Museum di New York.

€ 3500

70. Lot of 3 Chinese small cups Qing dynasty, 18-19th century. Set of three small cups most of them decorated with blue cobalt animals and floral motives. 65x50mm; 30x60 mm; 35x65 mm, with cover. Minor defects.

â&#x201A;Ź 200

71. Still life. Italian School of XIXth century Elaborate composition of remarkable technical quality, with fruit, a carafe and bottles, in the foreground a lobster. The reflections of light on the glass are rendered with great skill. Oil on canvas. 365x450 mm. Painting with is original frame, 630x640 mm. Good condition.

â&#x201A;Ź 400

72. Pair of Blue and White Chinese Porcelain Trumpet Vases Qing dynasty, 18th century. A fine pair of blue and white porcelain vases of trumpet form, the bodies decorated with stylized foliage, Greek key and family marks, with double happiness symbols. The color of the blue is deep and rich, while the symbols are typical of the time and the overall design is freely drawn with a lively hand. 375x194 mm and 360x195 mm. Good conservation, minor defects.

â&#x201A;Ź 800

73. Servizio di Murano in Vetro Soffiato Color Rubino del XIX Secolo Venezia, XIX secolo. Include: 1 Zuccheriera con coperchio 140x80 mm; 1 Porta Bon Bon 130x98 mm; 5 bicchieri 96x68 mm. Buone condizioni. Bel servizio di Murano in vetro soffiato color rubino del XIX secolo dipinto a mano, monocromo, color bianco con raffigurazioni di bambini e bambine.

â&#x201A;Ź 300

74. Giuseppe CANELLA (1837-1913). La lettera, 1909 Vivid representation of an elderly couple absorbed in reading a letter. Born in Venice, Giuseppe Canella was a pupil of Napoleone Nani at the Academy of Venice, where he entered in 1857, where he received several awards, and also, in 1860, a pensioner. Its production is very varied due to the numerous oils and watercolors, marine representations, landscapes, still lifes, portraits and interiors. He shows special care in reproducing the smallest details and details and is always admirable for the technique, for the harmony and for the vividness of the representations. With Eugenio Prati he was set designer of the La Fenice theater in Venice. In 1870 he was appointed director of the Padua school of decorative art, a position he held for forty years. Oil on canvas. 820x640 mm. Signature and date on the right lower. Canvas with frame. Defects on frame and canvas. Fair condition.

â&#x201A;Ź 300

75. Russian porcelain egg in fabric decorated with cross and emblem Russia, 19th century Porcelain gzhel technique marked “XB”. Russian egg in natural wood. This egg has the images silk-screen decorated on and hand-made with découpage and embroidery techniques. It is an artistic object made in Russia from skilled artists, specialised in miniatures. It recalls the motif of famous goldsmith Fabergè. Included: Russian Egg with ribbons, painted noble symbol End of XIXth century Russian Imperial Egg. Black double-headed eagle under a yellow flag, in the center emblem of Moscow, on the back marked “XB”. 70x45 mm. Minor defects.

€ 300

76. Russian egg with maritime scene and view of St. Petersburg Russia, 19th century Russian egg in ceramics. This egg has gilt decoration with a nautical view of Saint Petersburg. 90x65 mm. Painting slightly faded, good condition. Included: Pair of Russian eggs with floral motifs. Russia, 19th century 95x70 mm and 90x65 mm. Good condition. Porcelain gzhel technique marked “XB”. A pair of Russian porcelain eggs, about 1890. Hand-made pink flowers & greenery decorations, the opposite side with greeting “Christ is Risen” (Khristos voskrese) in gilt Old Slavonic style Cyrillic letters

€ 350

77. Russian eggs of different sizes with religious subjects on a gold background End of 19th century. Three Russian eggs in ceramics all gilt in the background with the images of the Trinity, Madonna and Russian Bishop. 105x75 mm., 110x80 mm., 110x80 mm. Minor defects on back, good condition.

â&#x201A;Ź 400

78. Veduta di Istanbul con personaggi e barche 1989. Beautiful and very lively view of Istanbul. The author's signature is not perfectly legible. On the reverse, in an applied card, the dedication dated 1991, signed Kasif Gündoğdu. Watercolor ink drawing on cardboard. 390x580 mm. Signature and date lower left. Excellent condition.

€ 300

79. View of Istanbul Italy, XIX century. Suggestive view of Istanbul. View of a street populated by merchants with a minaret in the background. Oil on canvas. 630x480 mm. Signature on the left lower. Some defects on canvas.

€ 300

80. Large Chinese Famille Rose porcelain plate Yongzheng period Qing dynasty, 18th century - Yongzheng period (1723–1735). Wonderful plate withy roosters depiction surrounded by flowers. Eggshell porcelain with famille rose enamels. Painstakingly pared down with sharp trimming tools until the walls are phenomenally thin, this “eggshell” porcelain is amazingly light and transparent. Diameter mm 410. Minor defects, good condition.

€ 3000

81. Russian dish in Gardner porcelain. Alexander I Moscow, Period of Catherine II, 1778-1780. Wonderful Gardner porcelain plate made for the Order of St. Alexander Nevsky service, 1778-1780. “The porcelain is of exquisite quality,” said AGOPB partner Leslie Baker. “Catherine the Great was so impressed by the Gardner factory, she commissioned three large services in 1777. The factory’s owner, an Englishman named Francis Gardner, had expert knowledge of the different techniques for decorating porcelain. In addition to underglazed and overglazed designs, the factory also added transfer prints, colored lusters, and relief compositions to their wares.” M. Penkala 164. “From 1777 to 1780 he made three dinner services commissioned by the Empress, the services for the knight of St. George for eighty guests, for the Knights of St Alexander for forty, and for the Knights of St. Andrew for thirty guests”. M. Penkala, 166, Verlag, 1947. 237 mm. Brilliant specimen.

€ 1500

82. Piatto di Capodimonte Napoli, dopo 1830. Grande piatto in porcellana di Capodimonte Decorato con figure a rilievo. Al centro Venere e Cupido circondati da fleurons e putti. Marchio N sormontato da corona. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London 1953. 260 mm. Marchio N sormontato da corona. Bello stato di conservazione.

â&#x201A;Ź 300

83. Set Capodimonte: Una Lattiera, Due Tazzine, Due Piattini Napoli, 1771- 1834. Splendido lotto di ceramiche della manifattura di Capodimonte marchiato al fondo su tutti i pezzi. Marca N con corona, databile tra il 1771-1834, Ferdinando IV di Borbone. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London 1953. Include 1 Lattiera: 92x55 mm; 2 Tazzine con manico dorato: 60x72 mm; 2 piattini: 122 mm. Buono stato di conservazione.

â&#x201A;Ź 800

84. Lotto Capodimonte: 2 tazzine Capodimonte con Manico a forma e colore del corallo, 2 Piattini e una Zuccheriera Napoli, XVIII-XIX secolo. Splendido lotto di ceramiche manifattura Capodimonte, solamente la zuccheriera marchiata al fondo. Marca N con corona, databile tra il 1771-1834, Ferdinando IV di Borbone. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London 1953. Include: tazza con scena fluviale: 79x75 mm.; tazza con scena agreste: 77x70 mm.; Piattino con festone: 138 mm.; Piattino con putti: 136 mm.; Zuccheriera: 138x128 mm. Bello stato di conservazione.

â&#x201A;Ź 800

85. Bicchiere. Capodimonte Raffigurante Divinità Non marchiata ma presumibilmente Napoli, XVIII secolo. Bellissimo bicchiere Capodimonte raffigurante 2 scene di stampo mitologico: una divinità su un carro mentre attorno a lui si raccoglie una folla di satiri, putti e uomini ebbri e danzanti e la stessa divinità con in mano una brocca in compagnia di due uomini, una donna e un satiro aggrappato al ramo di un albero. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London 1953. 75x70 mm. Bello stato di conservazione.

€ 300

86. Scatola Ovoidale Capodimonte con raffigurazione di Putti e Bronzo Dorato ai Bordi. Napoli, XVIII secolo. Bellissima scatola ovoidale con bronzo dorato ai bordi e raffigurazione di putti. Marchiata al fondo databile tra il 17711834 Ferdinando IV di Borbone. Bell’esemplare. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London 1953. 85x140 mm.

€ 300

87. Pair of Antique Chinese Rugs Beijing beginning XXth century, before 1920. This antique Chinese rug was made with soft and shiny wool from the central region of the Chinese capital. The decorations often with floral motifs that recall those of porcelains, very airy, consist of a round central medal and a few other signs that fill the remaining surface. Blue, with all its nuances, is the traditional color of this glittering artifact. In general, the yarns used to deform the old carpets are very thin and together with the coarse fleece cause large knots and, therefore, thick but soft carpets. Antique Pekino pictorial large rug, beige and cobalt color, floral motives of 277x367 cm. Very good condition, original unaltered condition. Offered with: Antique Chinese Pictorial Baotou rug with chinoiserie Art Deco style With color and exotic patterns, this beautiful antique Chinese rug features a traditional Chinese design in blue and sapphire tones. Handwoven in China in the early 20th century, this distinctive piece showcases a sophisticated pattern inspired by floral and Chinese motifs. Luminous and rich in color and design, this carpet is a true collector's item. Large Chinese Rug in Sapphire Tones with Ornate Floral Motifs of 245x305 cm. Very Good Condition, original unaltered condition.

â&#x201A;Ź 5000

88. Zuccheriera Capodimonte con Coperchio e Piattino Napoli, 1771-1834. Splendida zuccheriera con decorazione in bronzo dorato e raffigurazione di putti. Marchiata al fondo, databile tra il 1771-1834 Ferdinando IV di Borbone. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. 125x164 mm. Bellâ&#x20AC;&#x2122;esemplare.

â&#x201A;Ź 500

89. Coppia di Vasi Capodimonte raffiguranti Personaggi e Stemmi Napoli, 1760 ca. Bella coppia di vasi ornamentali ornati con personaggi e stemmi, marchiati alla base, databili al 1760 ca. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. 250x75 mm.

â&#x201A;Ź 500

90. Bicchiere Capodimonte con Dioniso e Fanciulle Napoli, XIX secolo. Grazioso bicchiere raffigurante Dioniso con fanciulle danzanti e satiri. Marchiata al fondo databile al XIX secolo. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. 98x70 mm. Bellâ&#x20AC;&#x2122;esemplare.

â&#x201A;Ź 300

91. Tazza da Puerpera Capodimonte con manici a forma di corallo con Coperchio raffiguranti Putti e Piatto. Napoli, 1760 ca. Bellissima tazza da Puerpera Capodimonte, marchiata al fondo, databile al 1760 ca. La tazza presenta anche il suo piatto, decorato con festoni. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. Tazza: 175x 215 mm. Bellissimo esemplare. Difetti minori, leggera perdita di smalto dorato al piatto.

â&#x201A;Ź 800

92. 19th Century Russian Popov Porcelain Shell-Shaped Cup and Saucer Popov, Russia, mid 19th century. 19th century Russian Popov porcelain shell-shaped cup and saucer with moulded coral handle, impressed mark ‘K’ on the bottom of the cup. Ancient label on the bottom of the saucer, with handwritten “Cup and saucer embossed to the Russian China gold + mark on cup. Gagliardi, Florence in 1880”. According to what is written in the label, the set comes from the famous antiquarian Gagliardi of Florence. Tito Gagliardi is one of the most active and stimulating antique dealers of the second half of the nineteenth century, both from the point of view of the longevity of his activity, which covers the entire second half of the century, both as regards the load and the width of his tour of business. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. Cup: 70x90 mm. Saucer: 154 mm. In good original condition, very minor defects.

€ 1600

93. Scatola Capodimonte con Coperchio Napoli, 1771-1834. Bellissima scatola con bronzo dorato ai bordi e raffigurazione di scene mitologiche. Marchiata al fondo, databile tra il 1771-1834 Ferdinando IV di Borbone. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. 86x 164 mm. Bell’esemplare.

€ 500

94. Scatola Capodimonte rotonda Napoli, 1830-1890. Graziosa scatola manifattura Capodimonte con bronzo dorato ai bordi. Marchiata al fondo databile al XIX secolo. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. 42x80 mm. Bell’esemplare.

€ 300

95. Scatola Capodimonte quadrangolare con coperchio Napoli, 1771-1834. Grazioso scatola manifattura Capodimonte decorata con coperchio e bronzo dorato ai bordi. La scatola è decorata con quattro scene mitologiche a rilievo. Marchiata al fondo databile tra il 1771-1834 Ferdinando IV di Borbone. M. Penkala, European porcelain, Verlag, 1947; F. Litchfield, Pottery and Porcelain, London, 1953. 145x80 mm. Bell’esemplare.

€ 300

96. Georges BROCKS. Paris. Arc de Triomphe 1920-1930. Parisian view of expressionist taste with a luxurious vintage car in the foreground. On the back of the canvas there is the writing "Georges Brocks d'apres Leo Fontan". Léon Victor Fontan, aka Léo Fontan, 1884-1965, was a famous painter, illustrator and decorator. Oil on canvas with frame. 460x610 mm. Good condition.

€ 300

97. Rare Chinese Blue and White Ming-Style 'Anbaxian' Moonflask Qianlong Period (1736-1795). Sturdily and robustly potted, the generously proportioned vessel with a circular body rising from a splayed rectangular foot to a flaring neck flanked by a pair of-scroll handles, the substantial vessel superbly painted overall in shaded tones of cobalt blue. Under the base, Mark: Qianlong Nian Zhi“Qianlong (1736-1795) Period Make”. Height 392 mm; Diameter 250 mm. Perfect condition.

€ 400

98. A Chinese Blue and White Vase Depicting a Man and Two Courtesans Qing dynasty, mid 18th century–late 19th century, Jiangxi. Porcelain, underglaze cobalt blue depicting a Man and Two Courtesans. Double circle on the bottom. 210x84 mm. Mark with double circle on the bottom. Minor defects, good condition.

€ 400

99. Papier-mache cherub of the XVIIIth century creamcolored lacquered h. 580 mm. Restorations, some loss and minor defects. 18th century hand-made paper-mache cream-color lacquered, model of a cherub for a sculpture, mounted to an original wooden plinth base.

€ 600

100. A Chinese Blue and White Pot with Lip decorated with Floral and Vegetable Motives Qing dynasty, mid 18th century–late 19th century, Jiangxi. Porcelain, underglaze cobalt blue depicting different kinds of flowers. 130x112 mm mm. Mark with double circle on the bottom. Minor loss, cracked and restored.

€ 200

101. Chinese Blue and White Porcelain Teapot China, End of 19th-early 20th century. Chinese end of 19th-early 20th century teapot hand painted on porcelain with a blue and white technique. This teapot adopts a refined cylindrical shape with a spout, surmounted by a small neck and a carved brass handle. A stylized blue hand painted dragon surrounded by scroll clouds adorns the white porcelain belly. This item was made following the Chinese blue and white porcelain tradition, a craft wellknown for the finesse of its porcelain and its adornments. 225x180 mm. Minor defects.

€ 200 102.

A Chinese Blue and White Fish Jar and Cover China, End of 19th-early 20th century. The ovoid body rising from a short foot to a tapering neck, painted to the exterior with three fish swimming amongst aquatic plants, all between head at the shoulder and a decorated band at the foot. 230x170 mm. Double circle on bottom. Good condition.

€ 200

103. A Chinese Blue and White Porcelain Teapot Qing Dinasty, End of 19th-early 20th century. Chinese end of 19th - early 20th century teapot hand painted on porcelain with a blue and white technique. This teapot adopts a refined cylindrical shape with a spout, surmounted by a small neck and a carved brass handle. Stylized blue hand painted dragons surrounded by scroll clouds adorns the white porcelain belly. This item was made following the Chinese blue and white porcelain tradition, a craft wellknown for the finesse of its porcelain and its adornments. 240x 275 mm. Minor defects.

€ 300

104. Chinese Blue and White Porcelain vase Qing dynasty, Beginning of 20 century. Chinese end of 19th - early 20th century vase hand painted on porcelain with a blue and white technique. Stylized blue hand painted phoenixes surrounded by flowers and foliage adorn the white porcelain belly. This item was made following the Chinese blue and white porcelain tradition, a craft well-known for the finesse of its porcelain and its adornments. 250x140 mm. Marked on the bottom. Good condition.

€ 200

105. A Chinese Blue and White Porcelain vase Qing dynasty, Beginning of 20th century. Chinese end of 19th - early 20th century vase hand painted on porcelain with blue and white technique. Depiction of a pond with waterlilies, plants and crane scene. 260x115 mm. Marked on the bottom. Good condition.

€ 200

106. Chinese Blue and White Porcelain Coffee pot Qing dynasty, Beginning of 20th century. Chinese end of 19th - early 20th century coffe pot hand painted on porcelain with blue and white technique. Stylized blue hand painted dragons, surrounded by scroll clouds adorns the white porcelain belly. 175x145 mm. Mark on the bottom. Good condition.

€ 200

107. 19th Century Chinese Painting On rice paper, glued on a heavier paper backing. Embossed golden paper frame. Some defects and damp spots that do not affect the images, otherwise good condition. 1150x915 mm.

â&#x201A;Ź 400

108. Maniera di Valentin de BOULOGNE La Buona Ventura XVII century. Oil on canvas, 1000x800 mm with frame 1230x980 mm. The painting shows ancient restorations and spread traced of dirty. Contemporary frame in mecca silvered wood, adorned by two carving orders with floreal motifs and matchboarding profile. Some loss and breaks. The scene represented, with four characters, refers to the subject of the "Good luck", with the gypsy fortune teller who reads the knight's hand while he is pickpocketed by an accomplice behind him. This subject was spread with various variations by Caravaggio painters, particularly by French painters who followed Caravaggio in Rome. The author seems to refer to the manner of Valentin de Bologne. See, for a comparison, the work with a similar subject, from 1628, now at the MusĂŠe du Louvre, Paris, entitled "The Fortune Teller".

â&#x201A;Ź 4000

109. Chinese Bodhisattva Statue China, 18th century. Made of wood painted with gold-paint and lacquer-paint. Figure of Bodhisattva in lacquered and golden wood seated on lotus flower. Young Bodhisattva sitting in seize, with the hands in the act of prayer, gassho mudra (in Sanskrit Anjali). Applied on a modern woodblock. Height: 320 mm. Loss of gilt lacquer. Fine specimen.

â&#x201A;Ź 1500

110. Elvira VIRETTE BARBIERI CONTU

Veduta di Roma (1951) Parigi 1909 -1997. Curious view showing the church of San Salvatore in Lauro, of which you can see the dome and the upper part seen from a courtyard with trees. On the back, two pieces bear the date and the title 'Roman courtyard'. Oil on cardboard, 775x595 mm. Painting with the original frame, 930x700 mm. Signature on the right lower. Good condition.

â&#x201A;Ź 300

111. Chinese Pair of White and Blue Dishes with Fortune character at the center Qing Dinasty, 18th century. 263 mm and 267 mm. Rift restoration and minor defects on a plate. Chinese end of XVIIIth century pair of dishes hand painted on porcelain with blue and white technique.

â&#x201A;Ź 300

112. Pair of white and blue Chinese dishes with stylized flowers Qing Dinasty, end of 18th century. Chinese end of XVIIIth century pair of dishes hand painted on porcelain with blue and white technique. 216 mm both. Minor defects.

â&#x201A;Ź 300

113. Scuola Veneziana. Venezia. Vista della Piazzetta verso il Bacino di San Marco End of XIX century. Magnificent and unusual view of the San Marco Basin, with a dizzying perspective that opens onto the San Marco Basin. The Doge's Palace on the left and the Marciana Library on the right form the backdrop to a spectacular opening onto the Basin where the island of San Giorgio stands out on one side, the end of the Giudecca on the other. The view recalls an analogous painting by Canaletto: this painting of ours offers a different perspective with a much wider view of the Basin. The square is animated by various characters in eighteenth-century costumes, with some dogs playing, a typical theme of Venetian landscape painting of the eighteenth century. Canaletto's painting, 'Venice, the square with the library of San Marco', c. 1738, is present in the National Gallery of Ancient Art of Palazzo Barberini in Rome. Oil on canvas with frame. 700 x1600 mm. Very nice condition.

â&#x201A;Ź 10000

114. Bottega di Jacopo Tintoretto Ritratto di Senatore Veneziano della Famiglia Cappello. Seconda metà XVI secolo. Il personaggio effigiato di tre quarti indossa il robone rosso, soppannato d'ermellino, caratteristico dei senatori veneziani. Nella mano sinistra compare il fazzoletto da mano, importante simbolo di stato sociale, ostentato sempre più nel corso del secolo. La scena è incorniciata da una tenda drappeggiata che si estende sui due lati della stanza e in alto; sulla destra una finestra si apre su un paesaggio collinare con un paese sullo sfondo. La generale impostazione, la tipizzazione dell’uomo di cui sono naturalisticamente descritti gli occhi e l’incipiente calvizie, nonché i rialzi a corpo che movimentano e illuminano le pieghe ansate del velluto della sua veste d’ordinanza, riconducono il dipinto alla bottega di Jacopo Tintoretto dalla quale uscirono molti ritratti di notabili veneziani. La medesima tipologia, con la tenda, la finestra sulla destra e il fazzoletto da mano, è presente in un ritratto di senatore veneziano conservato nella Biblioteca Ambrosiana. Possiamo supporre che il personaggio raffigurato sia un esponente di spicco dell’importante famiglia Cappello, Bartolomeo Cappello, 1519 – 1594, celebre per essere stato il padre di Bianca Cappello. Ricoprì numerosi incarichi nella Repubblica di Venezia: Uno dei Quaranta di Venezia (1549 e 1552), Uditore Vecchio (1555), Provveditore sopra i Dazi (1562), Provveditore alla Santità (1567), Officiale alle Ragion Nuovo (1568), Consigliere di Pregadi (1573) e Podestà di Treviso (dal 1575 al 1577). In questo ritratto sembra avere un’età compresa fra i quaranta e cinquant’anni, quindi la tela potrebbe essere datata nel sesto decennio del ‘500. S. Mason Rinaldi, Domenico Tintoretto e l’eredità della bottega, in Jacopo Tintoretto, atti del congresso internazionale (Madrid, Museo Nazionale del Prado, 26 – 27 febbraio 2007) a cura di M. F. Falomir e B. Aikema, Madrid 2009, pp. 84-90. Cfr. Il Ritratto di senatore, conservato presso The Havard Art Museums a Cambridge (1927.204; E. P. Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), pp. 131, 339, repr. b/w cat. no. 703). Olio su tela. Cm 144x128. Cornice Luigi XIV in legno intagliato e dorato. Tela montata su telaio moderno, difetti alla cornice, buono stato di conservazione.

€ 6000 89

115. Orologio a pendolo da appoggio. Orologio a portico in palissandro con intarsi dorati. Francia, Epoca Napoleone III. Pendola parigina lastronata in palissandro nero con intarsi in bronzo dorato. Struttura a quattro colonne a torciglione con base e capitello in bronzo dorato. Battacchio e cornice del quadrante in bronzo dorato, decorati a sbalzo. Quadrante in smalto bianco con ore a numeri romani in nero. Meccanica timbrata “Pouille à Paris”. Ottimo stato di conservazione. Altezza: 50 cm. Larghezza: 24 cm. Profondità: 14 cm.

€ 350

116. Orologio a pendolo da appoggio. Bronzo dorato con smalti policromi, ornato con due animali fantastici alati. Francia, Epoca Napoleone III. Interamente decorato a sbalzo con motivi geometrici e vegetali, decori a volute, due sfingi sui lati. Scena galante su smalto policromo sotto il quadrante, quadrante in smalto con paesaggio policromo e ore a numeri romani in nero, in cima piccola anfora con coperchio fisso in bronzo e smalto dipinto. Ottimo stato di conservazione. Altezza: 39 cm. Larghezza: 26 cm. Profondità: 11 cm.

€ 350

117. A Famille Rose Baluster Vase

China, Qing Dynasty, 20th century. A Chinese porcelain baluster vase, decorated with plants, birds, flowers and ornamental motifs. Gold lip. Fully detailed and colourful. Size measurement is: Height 390 mm; Diameter 140 mm on the top. Red square mark with six characters in the bottom. Good state of conservation

â&#x201A;Ź 300

JAPANESE PRINTS Numbers 118â&#x20AC;&#x201C;174

118. ILLUSTRATED PHRA MALAI MANUSCRIPT. A Buddhist Saint’s Journeys to Heaven and Hell Thailand, 19th century. On mulberry paper in concertina form, with gilt embossed thick paper covers. 145 x 690 mm each page; 145 x 690 x 85 mm manuscript close. 93 Folios, of which 7 blank, with 20 miniatures in colors. Each image 290 x 190 mm. In Khmer script. Damage on the covers, internally good state of conservation This classic Thai Theravada Buddhist text recounts the experiences of the Sinhalese monk, Malai, on his journey to hell and to heaven. In the form of a poem, it serves as a moralising tale in which the consequences of one’s deeds in this life impact on one’s fate in the next. The story is one of the most popular subjects of 19th-century illuminated Thai manuscripts. In 19th-century Thailand, it became a very popular chanting text for weddings and funerals. The legend describes Phra Malai’s visits to heaven and hell by the powers he achieved through meditation and great merits. Afterwards he teaches the laity and fellow monks about the karmic effects of human actions, which he learned about when meeting Buddha Maitreya in heaven. It was through these narratives that the Buddha’s message of hope for a better rebirth and for attaining nirvana was conveyed. Phra Malai manuscripts were frequently produced and donated to Buddhist monasteries as acts of merit. By the mid-19th century the representation of celestial and royal figures in Thai painting was entirely stylised complete with its own iconography. However, the corruptible individual, still motivated by his/her own desires, such as the two adulterers located in an earthly landscape were depicted in a naturalistic manner that demonstrates an awareness of European pictorial devices. See Ginsburg, Henry, (1989), Thai Manuscript Painting, The British Library, London. Jana Igunma, Henry D. Ginsburg and the Thai Manuscripts Collection at the British Library, Collectors and Collections in the History of Thai Manuscripts, Volume 2 Issue 1, 5-4-2018.

€ 1000

119. Japan. Seto inner sea XIXth century, Edo period. Manuscript nautical chart, mm. 3300 x 5750. Very rare commercial nautical chart engraved on wood with the commercial nautical routes highlighted in red, along the coasts are visible in the main urban centers and castles. Some tears, some stains and paper folds. The Seto Inland Sea (瀬戸内海, Setonaikai) lies between the Japanese main islands of Honshu, Shikoku and Kyushu. Its calm waters stretch over 400 kilometers from Osaka to Kitakyushu and include some 3000 islands, many of which are inhabited. The Seto Inland Sea's mild climate and its islands' relaxed atmosphere invite comparisons with the Mediterranean Sea. Most of the sea is part of the Setonaikai National Park, one of the first national parks designated in Japan.

€ 1200

120. Traditional Japan. Ceremonial and Etiquette for the Japanese nobility, Daimyo and Samurai Manuscript, Edo / Mejii period, mid-19th century. [On the front cover is written, in Japanese characters, the date 1868] Are depicted: kimono, hakama, jimbei, katana, haori, fans, belts and knots, hats, utensils for dressing. Text in Kanji script and cursive Hiragana, some parts with red ink. Wormholes Gallery near the inner edge and lowe margins, otherwise good condition. Very rare and important manuscript work, magnificently illustrated, which concerns the complex ceremonials that characterized the life of Japanese nobility. There are detailed depictions and explanations of the traditional costume of the Daymio, the ruler of his region, with the characteristic kimono and dress code for celebrations, the illustration of the procedure for knotting the ribbons that collect hair and green and pink surcoats for special rituals. Specific details are dedicated to kimono and utensils such us swords and shoes. Small Folio, 263x180 mm; Original blue boards; 43 not numbered leaves. 26 colored drawings in different sizes, almost at full page, some smaller drawings in black and white.

â&#x201A;Ź 800

121. TOSA SCHOOL. River scene with three boats XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 297x840 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

122. TOSA SCHOOL. Court scene XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 297x827 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

123. TOSA SCHOOL. Princess and three courtesans XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 297x563 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

124. TOSA SCHOOL. Princess and two courtesans in the palace XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 297x540 mm. Red mark and seal. Vivid colours. Llittle tears, but nice condition.

€ 500

100

125. TOSA SCHOOL. Four characters and chariot XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 295x758 mm. Red mark and seal. Vivid colours. Some loss and restoration, but nice condition.

€ 500

126. 101

TOSA SCHOOL. Court Life XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 298x486mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

102

127. TOSA SCHOOL. Lake scene XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 298x643mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

103

128.

TOSA SCHOOL. Temple entrance XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 298x787 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

104

129. TOSA SCHOOL. Court Life with Princess, Daymio and courtesans XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 298x743 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

105

130. TOSA SCHOOL. Visiting the princess XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 297x662 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

106

131. TOSA SCHOOL. Dock Boat XIXth century. The mastery of Japanese art Tosa School was spitted into two main group and lasted from great 15th-century until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court. The illustration of Japanese literary classics, especially the Genji monogatari (“Tale of Genji”), were subjects especially favoured by Tosa artists. Delicate ink drawing combined with a decorative use of colour create a precious effect in the small-scale treatment of the Tosa style. Watercolored drawing with ink text, 320x1210 mm. Red mark and seal. Vivid colours. Nice condition.

€ 500

107

132. Japan. Rules and dress for Daimyo and Samurai End XIX century, beginning XX century. Curious printed volume that illustrates the complex ceremonial for the dressing of Japanese samurai and nobles. The numerous figures are accompanied by explanatory texts. 4to; 250x180 mm; binding in boards. Cc. 105. Gilt written on cover. A lot of illustrations in the text. Damages and defects on binding, with looses on back. Inside some tears and trace of humidity on margin. Good specimen.

â&#x201A;Ź 350

108

133. Utagawa HIROSHIGE (Ando) 1797–1858. Odawara: Fishermen's Huts Along the Coast 1855. Beautiful view with a picturesque foreshortening of Odawara, ink and color on paper, no. 10 from the series Collection of Illustrations of Famous Places near the Fifty-Three Stations [Along the Tokaido]. Date: seventh month 1855. A fine Hiroshige reprint with excellent detail. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. See Van Gogh Museum, Amsterdam, gift of Tokyo Shimbun. Polychrome woodcut. Vertical ôban, image of 357x230 mm. Margins. Signed: Hiroshige hitsu 広重筆. Sign in red rectangle on the left in the center. Above the round seal of the censor. Slight signs of wear, good condition.

€ 400

109

134. Utagawa KUNISADA (Toyokuni III) 1786-1864. Agemaki and Sukeroku. Scenes from Kabuki plays 1860 ca. Beautiful print depicting two celebrated kabuki actors: Iwai Kumesaburô III as Agemaki, Kawarazaki Gonjûrô I as Sukeroku. One of the great entertainments of Kabuki, Sukeroku tells the story of the handsome and dashing Sukeroku and his lover, Agemaki. One of The Eighteen Favorite Plays (Juhachiban) of the Ichikawa family of actors. First performed in 1713. Polychrome woodcut. 379x254 mm, trimmed within margins. On the left the Toshidama cartouche with the name “Kōchōrō Toyokuni ga”. On the side of the author's cartouche, appears the oval censor seal. Print on thick paper. Good condition.

€ 300

110

135. Utagawa KUNISADA (Toyokuni III) 1786-1864. Two ladies with herons in flight 1860 ca. Polychrome woodcut. 370x250 mm, trimmed within margins. On the lower left corner the Toshidama cartouche with the name “Kōchōrō Toyokuni ga”. On the side of the author's cartouche, appears two round censor seals. Good condition.

€ 300

111

136. Tsukiyoka YOSHITOSHI 1839-1892. Magaki Heikuro climbs the staircase with his horse 1867-68, with the red seal ‘Kiri’. Very rare print from the series “Tales of the Floating World in Eastern Brocade”. The stairs seemed to have a particular allure to samurai equestrians. “The most famous story, passed down through generations of storytellers, has it that in 1634, Magaki Heikuro swiftly rode his horse up and down the grade to fetch a branch of plum blossoms as requested by the third shogun, Tokugawa Iemitsu. Iemitsu was returning to his castle from Zojo-ji temple, where his father the second shogun, Hidetada, was buried. Looking up the steep stairway, Iemitsu asked his retinue if anyone would get the flowers for him, and Magaki immediately obliged and sped up the stairs on his horse. Magaki was barefoot on his ride up those stairs. Fictional or real, credit must be given to Yoshitoshi's artistic intellect. If you use the enlargement tool for this print you will see that Magaki is not wearing any socks (tabi) or sandals. A most unusual representation. Tsukioka Yoshitoshi, is widely recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. He is also regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Before 1873, he had signed most of his prints as "Ikkaisai Yoshitoshi" (一魁斎芳年), perhaps in honour of the name his master Kuniyoshi had used, "Ichiyūsai". Related links: Museum of Fine Arts, Boston; Minato City Historical Museum; Yoshitoshi.net; Museum of Fine Arts - 1863 Hiroshige II print showing the stairs; Museum of Fine Arts - ca. 186o Hiroshige II print showing the stairs in snow; Museum of Fine Arts - 18th century Kiyonobu II example; Museum of Fine Arts - ca. 1839+ by Hiroshige; Museum of Fine Arts - Hokuju example; Ritsumeikan University; Polychrome woodcut. 345x240 mm, trimmed within margins. On the lower right corner the author's cartouche with the signature signed: Ikkaisai Yoshitoshi hitsu, 一魁斎芳年筆, and the red seal ‘Kiri’. Publisher Sanoya Tomigorō (Marks 448 - seal 25-157). Print pasted on support card, good condition.

€ 500

112

113

137. Anonymous. Yakusha-e. Kabuki actor 1853. Curious scene with a circumspect samurai, probably a centerpiece of a triptych. Yakusha-e (役者絵), often referred to as "actor prints" in English, are Japanese woodblock prints or, rarely, paintings, of kabuki actors, particularly those done in the ukiyo-e style popular through the Edo period (1603–1867) and into the beginnings of the 20th century. Most strictly, the term yakusha-e refers solely to portraits of individual artists, or sometimes pairs. The print contain a "paired" nanushi seals Fuku – Muramatsu, and the oval zodiacYear/month seal: “1853 Ox Year 2nd Mo.” Polychrome woodcut. Oban:3255x250 mm. The print is presented in the traditional form: glued on thickr paper and surrounded by a large frame in decorated ivory paper. Date seal and double nanushi censor seals: II/1853 (Kaei 6); Fuku & Muramatsu. Good condition.

€ 400

114

138. Kitagawa UTAMARO I Early 1750s–1806 Happy Togetherness for Umegawa and Chûbei (Umegawa Chûbei no kihan) Around 1800. Very rare print from the series Eight Pledges at Lovers' Meetings (Ômi hakkei). The two young lovers stroll and Chûbei protects Umegawa with an umbrella. Chûbei, aged 24, was a courier who stole money from a client to ransom his lover, the low-ranking courtesan Umegawa, aged 22. They fled and went into hiding, but were eventually captured and executed (or in some theatrical versions, they committed double suicide). See: Asano and Clark 1995, #294; Ukiyo-e shûka 3 (1978), list #312.2; Shibui, Ukiyo-e zuten Utamaro (1964), 161.1.2; Yoshida, Utamaro zenshû (1941), #408. Museum of Fine Arts Boston, Accession Number 11.14212, credit line: William Sturgis Bigelow Collection. Polychrome woodcut. Oban:375x252 mm. The print is presented in the traditional form: glued on thickr paper and surrounded by a large frame in decorated ivory paper. At the bottom right the signature “Utamaro hitsu”. Under the publisher’s mark of Ômiya Gonkurô, Japanese Edo period about 1798–99 (Kansei 10–11). Good condition.

€ 750

115

139. Utagawa KUNISADA (Toyokuni III) 1786-1864 Yakusha-e. Half-length portrait of a Kabuki actor Around 1832 – 1834. A fine Japanese ukiyo-e woodblock print. It is probably the famous actor Ichikawa Ebijûrô I, 1777-1827. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and commercially successful designer of ukiyo-ewoodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. Ōmiya Heihachi, Edo print publisher (Marks 413). Artists published by this house include Eisen, Eizan, Kunisada, Kuniyasu, Kuniyoshi, Sadahide, Shunkō, Shunshō II, Shuntei, Toyokuni I and Toyokuni II. There is not much known about the publisher Ōmiya Heihachi apart from his location at Nihonbashi Yagenborichō. His earliest publications date to 1811 when he began to issue actor prints and prints of beautiful women. Quoted from: Japanese Woodblock Prints: Artists, Publishers and Masterworks 1680-1900 by Andreas Marks, p. 254. Polychrome woodcut. 381x260 mm, trimmed within margins. Sign left near the margin: “Kōchōrō Kunisada ga”. Under the signature: Artist's seal, double toshidama in red. Censor's seal: kiwame. Publisher’s mark of Ōmiya Heihachi. Print pasted on support card. Some minor defects.

€ 300

116

140. Ippitsusai BUNCHŌ 1755–1790 Yakusha-e: Ichimura Uzaemon X 1770. This print is from one of the two "finest of all colour-printed picture books" (J. Hillier), the early masterpiece in Japanese book illustration, Ehon butai og “Picture-book of Stage Fans”, depicting 121 portraits of actors from the kabuki stage in a fan-shaped cartouches, a collaboration between Buncho and Katsukawa Shunsho, published in 1770. Bunchō and Katsukawa Shunshō are credited with having developed kabuki actor portraiture focuses on producing likenesses of the subjects, rather than stereotyped faces. This illustration depicts the actor Ichimura Uzaemon X, 1748 – 1799. Colour woodblock print. 240 x101mm, trimmed within margins. With the red seal “mori uji” used by Buncho in "Ehon Butai Ogi" (Picture Book of Stage Fans) issued together with Shunsho in 1770. Print pasted on support card, good condition.

Together with: Katsukawa SHUNSHO 1726-1792 Yakusha-e: Ichikawa Tomozo 1770 Shunsho is one of the great masters of ukiyo-e. He is known for the balance of strength and delicacy in his designs. Originally a member of the Torii school, Shunsho broke away from this reigning school of actor prints to establish his own, more realistic style known as the Katsukawa School. He taught many great ukiyo-e artists, including Shuncho, Shunko, Shunei, and Shunro (Hokusai). The root “shun” identifies artists of the Katsukawa school. While his early depictions of bijin indicate the influence of Harunobu, Shunsho developed a parity of idealism and realism in his prints of kabuki actors. Focusing on the individual rather than the role portrayed, Shunsho marked a pivotal moment in ukiyo-e. From his actor portraits to his backstage views of the theater, Shunsho introduced individualism to yakusha-e (actor prints). Colour woodblock print. 240 x101mm, trimmed within margins. With the red seal “rin”, used in "Ehon Butai Ogi" (Picture Book of Stage Fans", issued together with Buncho in 1770. The seal he used had Hayashi (forest) on the side of a jar (tsubo), hence he was called Tsubo. Print pasted on support card, good condition. Jack Hillier, "The Art of the Japanese Book", London, 1987; vol. I, pp. 330-335.

€ 500 117

141. Kitagawa UTAMARO I Early 1750s–1806 San'enzan Zōjō-ji Temple (San'enzan Zōjō-ji zu - 三園山増上寺図) Early 1800’s. Very rare panoramic view of the Buddhist temple, facing the wide entrance, animated by many visitors, monks, animals. San'en-zan Zōjō-ji (三縁山増上寺) is a Jōdo-shū Buddhist temple in Tokyo, Japan. It is the main temple of the Jōdo-shū ("Pure Land") Chinzei sect of Buddhism in the Kantō region. Published by Yamaguchi Tobei, early 1800’s. See Marks #591. Colour woodblock print. Horizontal oban, 369x235 mm, trimmed within margin. Title, signature of the engraver and publisher’s mark on the right margin. Signs of wear, some defects in the right margin.

€ 500

118

142. Fujikawa TAMENOBU 1890-1910 Yaji and Kita arrive at the Tenno-ji Temple in Osaka Around 1910. Rare and splendid print depicting the Torii of Shiramine-gu, entrance of the Buddhist Temple Tennō-ji Kōshōin. From the series The Shank's Mare Tokaido, 1918 ca. Shank's Mare ("Tōkaidōchū Hizakurige"), a comic novel by Jippensha Ikku, is about the misadventures of two travelers (Kita and Yaji) on the Tōkaidō, the main road between Kyoto and Edo during the Edo Period. The book was published in twelve parts between 1802 and 1822. Stories from it have been illustrated by Ukiyo-e artists, most completely by Fujikawa Tamenobu, who created a series of woodblocks in the 1890's. Tamenobu was a woodblock artist working at the turn of the century. Little is known about this Meiji-period artist. He is best known for a series of prints depicting the travels of Yajirobe and Kitahachi, the popular protagonists of Jippensha Ikku’s Tokaidochu Hizakurige. Colour woodblock print. Horizontal aiban, 332x227 mm, margin. Signature of the artist in two square red seals in the lower right corner. With excellent color and detail, very finely printed.

€ 250

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143. Inoue YASUJI (井上安治) 1864-1889 Tokyo Ueno Taksaki gai shinkei 1884. Translated title: [True views of Tokyo's Ueno [railroad station] and Takasaki City The print is divided into two sections: the upper portion depicts Takasaki City (Gunma Prefecture) with its dwellings, street scenes, railroad station, and a train approaching the city; the lower portion shows a departing train at the Ueno station with decorative flag poles and viewers against the background of the Ueno park filled with cherry blossoms. The scenes show the opening ceremony of the railway connecting Ueno (Tokyo) and Takasaki, one of the most important silk fabric centers. Inoue Yasuji 井上安治 (1864-1889) [aka Inoue Tankei 井上探景], was Kobayashi Kiyochika's (1847-1915) only true disciple. By the time Kiyochika gave up Western-style landscapes in 1881, Yasuji had designed only eight prints in his own name, but he perpetuated his master’s style over the next three years, particularly in the format of small postcard-size prints, reaching a total of 134 by 1884, with his best known series of small prints being titled Tokyo meisho (Famous Views of Tokyo). He also created prints that were nearly identical to those of Kiyochika’s as in the example below. Like his master, Yasuji would produce several versions of the same print, for instance, one at daylight and one at night. Yasuji’s landscape work has a greater clarity than that of his teacher, and tends to be less dramatic or sentimental. In 1884, however, he completely abandoned this style and turned to conventional nishiki-e triptychs depicting the sights and events of the day in the traditional heroic style, working under the name of Tankei 探景, which the publisher Matsuki Heikichi bestowed on him in 1884. One specimen at the Smithsonian Museum. Colour woodblock triptych. Overall size of the three jointed prints, 713x358 mm, trimmed within margin. Signed “Inoue Tankei”. Title and signature in the lower right pane. Next to it, two square red seals. Some slight defect and small losses along the margins, otherwise good condition.

€ 500

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144. Utagawa KUNISADA (Toyokuni III) 1786-1864 Full-length Portrait of a Beauty. Vertical Diptych 1843-45. A very elegant lady wearing a kimono with floral motifs and holding a fan with a painting of a little bird. The single Nanushi Censor Seal of Tanaka appears in the years 1843-45. Colour woodblock diptych Overall size of the two jointed prints, 620x100 mm, trimmed within margin. Title at the top right, signature at the top left, with the censor seal and publisher's mark next to it. Signed: “"ōju Kunisada aratame nidaime Toyokuni ga”. Nanushi Censor Seal of Tanaka. The diptych is presented in the traditional form: glued on thick paper and surrounded by a large frame in decorated ivory paper. Slight signs of wear, good condition.

€ 500

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145. Katsukawa SHUNSEN (Shunko II) 1762ca.1830 Kakemono-e. Bijinga 1810-1820. Very rare vertical diptych, depicting a courtesan (oiran) parading, clad an ornate kimono with a tiger pattern, holding rolled sheet of paper in her right hand. Katsukawa Shunsen ( 勝川春扇), who is also known as Shunkō II, was a designer of books and ukiyo-e style Japanese woodblock prints. He was born in 1762 and designed prints from about 1805 to about 1821. He initially studied with the Rimpa school artist Tsutsumi Tōrin III. In 1806 or 1807, Shunsen became a student of Katsukawa Shun'ei, and changed his name from “Kojimachi Shunsen” to “Katsukawa Shunsen”. In 1820 he succeeded Katsukawa Shunkō I, becoming Katsukawa Shunkō II. In the late 1820s, he ceased producing woodblock prints and devoted himself to painting ceramics. He died about 1830. Shunsen is best known for his genre scenes, landscapes, and prints of beautiful women. A similar diptych at the British Museum, Registration number1906, 1220, 0.196. Colour woodblock diptych. Overall size of the two jointed prints, 740x241 mm, trimmed within margin. Signature at the middle “Shunsen ga” (春扇画). Below, the red artist’s seal. No censor seal. Good condition.

€ 1000

122

146. Utagawa KUNISADA (Toyokuni III) 1786-1864.

SHUNGA-Erotic Print About 1850. A fine Japanese ukiyo-e shunga scene. A couple of lovers has sex: in the background a landscape with a bridge over the river. Print very similar to those of the Kunisada’s Shunga Masterwork around the subject of Genji monogatari (The Tale of Genji), entitled ‘Shõ-utsushi Aioi Genji (A True-life Devoted Genji), composed around 1851, in oban format. The man is almost identical to the protagonist of the series. Shunga (春画) is the Japanese term for erotic art. The word “shunga” literally means spring picture, with “spring” being a euphemism for sex. Most shunga was published in books, with the larger images spanning two facing pages. Although shunga is generally unsigned, hidden signatures and known pseudonyms often permit identification of the artist. Hayashi and Lane: “When Kunisada assumed the name Toyokuni III, he was already 59 years old. When the Shõ-utsushi Aioi Genji appeared, he was probably in his mid sixties. While the work does not carry a hidden Toyokuni III signature, I believe we should regard this work as literally the grand finale in Kunisada’s career as a shunga artist.” Yoshikazu Hayashi and Richard Lane’s The Complete Ukiyo-e Shunga, Part 19. Polychrome woodcut. 75x118, little margin. Minor defects, good specimen.

€ 250

123

147. Katsukawa SHUNSHO 1726-1792. SHUNGA - Erotic scene A shunga print depicting two men and a woman having sex. Probably, from the Ehon jinkōki 会本腎強喜 (Picture Book: Joys of Ejaculation), 1789. Shunga (春画) is the Japanese term for erotic art. The word “shunga” literally means spring picture, with “spring” being a euphemism for sex. Most shunga was published in books, with the larger images spanning two facing pages. Although shunga is generally unsigned, hidden signatures and known pseudonyms often permit identification of the artist. Katsukawa Shunshō was a Japanese painter and printmaker in the ukiyo-e style, and the leading artist of the Katsukawa school. Shunshō is most well-known for introducing a new form of yakusha-e, prints depicting Kabuki actors. However, his bijinga (images of beautiful women) paintings, while less famous, are said by some scholars to be "the best in the second half of the [18th] century". Erotic works by the artist Katsukawa Shunsho are illustrated in Gian Carlo Calza, Poem of the Pillow and other stories by Utamaro, Hokusai, Kuniyoshi and other artists of the Floating World, New York, 2010, pp.193-210. Polychrome woodcut. Two sheets joined together, altogether 180x270 mm. Little margin. A few small wormholes, clever restoration with Japanese paper glued on the verso. Minor defects, good specimen.

€ 250

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148. Anonymous [Attribuited: Kiyochika Kobayashi] 1847-1912. In the eyes 目のでみ About 1883. Extremely rare caricature, depicting a suffering man with a gaping eye and an open mouth. Print very similar to the compilation of humorous gestures and faces created by Kobayashi Kiyochika, twenty-five prints each showing four faces in caricature. . The first eight prints were issued in 1882 and published by Hara Taneaki under the series title Thirty-Two Faces, New Edition. The series was so popular that it led to a second series in early 1883 titled One Hundred Faces: Supplement to Thirty-Two Faces (Sanjūni sō tsuika hyakumensō), some of which were published by Hara, the remainder by Morimoto Junzaburo. Kiyochika 清親 (1847-1912); family name: Kobayashi 小林. Representative painter of nishiki-e caricatures of the Meiji-period. In self-study he became a landscapist during the first period of his career. After he started to work at the newspaper Marumaru Chinbun he began to draw the caricature series Kiyochika ponchi. About the SinoJapanese (1894/95) and the Russo-Japanese War (1904/05) he created the nationalistic-satirical series Hyaku sen hyaku shō. Coloured woodblock. 116x90 mm, trimmed within margin. Title at the top right. Above and next to the image a text in Hiragana. No censor and artist seals. Pasted on cardboard. Good condition.

€ 150

125

149. Utagawa KUNITERU II 1830-1874 Emperor Meiji enters Tokyo. The procession crossing the Kyōbashi Bridge. Triptych. Tokyo-fu Kyobashi yori Gofukubashi no enkei Late November 1868. Very rare print, depicting the Emperor's entrance to Tokyo in November 1868. Soon after his coronation, the Emperor journeyed to Tokyo by road, visiting it for the first time. He arrived in late November. During the journeys, the emperor was seated in a hōren, a litter the emperor was supposed to ride on travels out of the palace. Regarding iconography, Fujitani writes: “In keeping with the emperor’s actual invisibility in the procession, however, this print and others depicting the Eastern Progress (Tokyo), such as Ichiyokusai Kuniteru’s …, did not display the emperor’s physical body. Instead, they suggest the presence of a powerful but visually absent body by focusing on the magnificent imperial palanquin with its blinds pulled down. This is especially true of Kuniteru’s print: the imposing imperial palanquin, carried by a mass of men, is placed prominently in the scene’s foreground, imperial body unseen, while in the background we can the former Edo Castle, just recently renamed Tokyo-jo, to which the imperial body is presumably be carried and hidden away again. The emphasis on the palanquin over the body is particularly remarkable if we are to accept the British diplomat Ernest Satow’s word that the emperor was carried in a smaller and far less conspicuous enclosed chair, an itagoshi, and not the hōren.” Only one specimen found in the Kanagawa Museum, described by Fujitani, which publishes the photograph with the legend: “Figure 17. Woodblock print of the Meji Emporor’s entry into Tokyo in November 1868. The imperial palanquin is crossing over the bridge at Kyobashi. Ichiyokusai Kuniteru, “Tokyo-fu Kyobashi yori Gofukubashi no enkei”, 1868. Courtesy of Kanagawa Prefectural Museum of Cultural History.” Utagawa Kuniteru II, 歌川国輝（ニ代), (1830-1874) was born Yamada Kunijirō in Edo (Tokyo) and was a print designer, painter and book illustrator. He studied under Utagawa Kunisada I. He produced yakusha-e (actor pictures), bijinga (beautiful women pictures), fuzokuga (pictures of manors and customs), meisho-e (pictures of famous places) sumo-e (pictures of wrestlers), educational prints and, most famously, bunmei kaika-e (pictures of modernization) in a late Utagawa-school manner. He was known by various names. Before 1844 he may also have been known as Sadashige 貞重 and signed works with the name Ichiyūsai. He changed his name in 1865 to Kuniteru II. See F. Fujitani, Splendid Monarchy, Power and Pageantry in Modern Japan, University of California Press, 1998, p. 198-199. Polychrome woodcut, altogether 350x710 mm, trimmed within margins. Title at the top right. Each sheet with the artist's signature on the bottom “Kuniteru ga”. Above the signature the censor seal “aratame”, with the zodiacal year sign on the top right, and the month on the bottom right. Censor seal: Dragon Year, 11 mounth (1868, November). Defects, good copy.

€ 600

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150. Utagawa KUNISADA (Toyokuni III) 1786-1864. Nobleman and Princess playing “go” game. Diptych 1852-1853. A fine Japanese ukiyo-e woodblock print. Nobleman and Princess playing “go” game under a tree. The board game and the pieces are held by a servant. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and commercially successful designer of ukiyo-ewoodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. From around 1850 on allmost (but not all) prints have the signature enclosed in a Toshidama cartouche (the first use of this signature -yellow background in red Toshidama cartouche- can be dated to 1847 on a shini-e = memorial print). Just to 1860 the very most prints were only signed with "Toyokuni ga" in these cartouches, mostly red but also yellow, blue or green coloured. About the Publisher, see Marks #299 [#08-090]. Dr. Marks gives the dates 1799-1853 for this seal. Polychrome woodcut. 350x550 mm, trimmed within margins. Sign left near the margin: “Toyokuni ga” in yellow cartouche. Above the signature, two round seals of the censors “Hama – Magomi”. Next to the cartouche, the oval zodiacal seal, Rat year. Next to the cartouche, above, the oval zodiacal seal, Rat year; down, the the publisher Maruya Seijirō. Print pasted on support card. Holes, tears, unsophisticated copy.

€ 300

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151. Utagawa KUNIYOSHI 1798 – 1861. Fashionable Living Dolls. A scene in a brothel 1856-57. Brothel scene with a courtesan having her hair done and another with a pipe. The figure in front of a mirror is Mayuzumi, a Yoshiwara courtesan. Curious variant of a triptych with the same subject and the same title. This is one of the 185 prints of the series, Modern Select Dolls (Tôsei mitate ningyô no uchi) 1855-56. This group of prints illustrates carved groups of “dolls” displayed at Kannon Temple in Asakusa. Although the word ningyô is usually translated as “dolls”, these lifelike dolls (iki-ningyô) were in fact extremely realistic life-sized clothed statues. The titles of the prints vary. Unless otherwise noted, the individual sheets are each about 14 by 10 inches (36 by 25 centimeters), a size known as ôban, and were intended to be placed side-by-side to form diptychs and triptychs. In the triptych there is, in the sheet on the left, a seated man man with pox on his face. Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school. Polychrome woodcut. 355x485 mm, trimmed within margins. Top right the title in a red cartouche: 風流生人形 (Fûryû iki ningyô, Fashionable Living Dolls). Under, signature: Ichiyûsai Kuniyoshi ga (一勇斎国芳画), in two toshidama cartouches. Aratame Seal (改) and oval Zodiac Dragon (辰)/Month Seal. Year Of The Dragon: February 6, 1856 - January 25, 1857. During this time period, prints contain an aratame seal with a zodiac dragon/month seal. Publisher seal of Mikawaya Tetsugorō (Marks #329). Pasted on cardboard. Minor defects, fine specimen.

€ 300

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152. Tsukiyoka YOSHITOSHI. 1839-1892. Scene from the Kabuki play 1863. Very beautiful colored print depicting two actors in a scene of Kabuki teather. The standing man, elderly and with long white hair is probably a ghost that appearing at the young seated actor. The censor seal Aratame bears the date 1863 “Pig Year 7th Mo” (改亥七). Tsukioka Yoshitoshi, is widely recognized as the last great master of the ukiyo-e genre of woodblock printing and painting. He is also regarded as one of the form's greatest innovators. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. Polychrome woodblock. 241x360 mm, trimmed within margin. On the left the signature in the cartouche, under the signature the seal of the censor Aratame. Probable sheet of a triptych or a diptych. Slight loss in the left margin which affects a small part of the cartouche with the signature, otherwise good condition.

€ 400

130

153. Utagawa KUNISADA (Toyokuni III) 1786-1864. Memorial Portrait of the Actor Ichikawa Ebizo V 1859. The famous actor of the Kabuki theater is portrayed doing meditation, with traditional dress and katana. In front of him the incense burns in a tripod. In his hands he holds a double mala and a ring for Buddhist prayer. Above the picture a beautiful Kanji writing that begins with: 諸行無常 . An identical print at the Art Institute of Chicago Reference Number 1937.217 Polychrome woodcut. 240x348 mm, trimmed within margin. Slight teardrop on the top margin. Good condition.

€ 350

131

154. Utagawa KUNIYOSHI. 1797-1861. Wood (ki). Yadorigi. Dyptich 1852. A fine Japanese ukiyo-e woodblock print, depicting Prince Genji entertains two beauties disguised as Nuns under a tree in the rain, from the series Select Five Elements (Mitate go gyô, 見たて五行). In this series of triptychs, Prince Genji is seen with beautiful women is various stings. The series is listed as number 139 in Kuniyoshi by Basil William Robinson (Victoria and Albert Museum, London, 1961). The individual sheets of these triptychs are each about 14 by 10 inches (36 by 25 centimeters), a size known as ôban. Chapter 49 is titled Yadorigi, which literally means “mistletoe”, but may also mean “sheltering”. Mistletoe is a woody plant, but the image is one of sheltering from the rain under a tree. Utagawa Kuniyoshi, the visionary of the fluctuating world, is considered one of the last great masters of the ukiyo-e. One copy at the Museum of Fine Arts Boston, accession number 11.28745-7. Woodblock print (nishiki-e); ink and color on paper. Vertical ôban diptych. The two joined sheets: 352x485 mm, trimmed within margins. Signed Ichiyûsai Kuniyoshi ga (on each sheet) 一勇斎国芳画. Paired Nanushi Censor Seal: Kinugasa, Murata. Publisher: Sanoya Kihei (Kikakudô) (Japanese) Japanese Edo period 1847–52 (Kôka 4– Kaei 5). It is the central sheet and the left leaf of a triptych. Good condition.

€ 500

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155. Utagawa KUNISADA. (Toyokuni III) 1786-1864. A Kabuki actor playing the part of a waiter 1858. A fine Japanese ukiyo-e woodblock print. A man with headdress between two small cupboards with tea cups and trays. He is probably the Kabuki actor Ichikawa Danjuro. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and commercially successful designer of ukiyo-ewoodblock prints in 19thcentury Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. About the publisher, see Marks #209. Polychrome woodcut. 238x350 mm., trimmed within margins. At the bottom right the signature “Toyokuni ga” in the red Toshidama cartouche, next to the oval censor seal of the censor and the publisher's brand in rectangular box. Year Of The Horse Zodiac Horse (午)/Month Seal (February 14, 1858 - February 2, 1859): 1858 Horse 5th Mo. (巳五). Publisher: Daikokuya Heikichi. Good condition.

€ 350

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156. Utagawa KUNISADA (Toyokuni III) 1786-1864.

大高主殿 Lord Ōtaka 1848. A fine Japanese ukiyo-e woodblock print depicting an actor of Kabuki theater. Utagawa Kunisada, also known as Utagawa Toyokuni III, was the most popular, prolific and commercially successful designer of ukiyoewoodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. The Mera-Murata censors were active from 1847 to 1852. A print of the same series at the Waseda University Theatre Museum. Polychrome woodcut. 364x260 mm, trimmed within margins. Title in red rectangular cartouche. Sign at the bottom to the right: "shimoto no ōju Toyokuni ga" [梓元乃応需豊国画] with Toshidama seal. "Paired" Nanushi Censor Seal Mera-Murata (米良-村田). Publisher: Maruya Seijirō, Marks #299. Some minor defects. Good condition.

€ 250

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157. Nakayama SUGAKUDO 1850-1861. Roosters fight 1859. Very interesting print depicting a roosters fight among flowers and grass. From the series “48 Birds Drawn from Life”. Nakayama Sugakudo was a mid-19th century ukiyo-e artist. Though the exact dates of his birth and death are unknown, he flourished between 1850 and 1861. A student of Hiroshige, Sugakudo is best known for his kacho-e (bird-and-flower prints), particularly for his series Exact Reproductions of Forty-Eight Birds (1858-59) and Birds and Flowers of the Four Seasons (1861). These prints are acclaimed for their realistic rendering of the natural world, as well as their delicacy of color, fine embossing, and high technical quality. Polychrome woodcut. 335x224 mm, small margins. Sign left near the margin: 嵩岳堂. Below, two square seals. On the left margin censor seal Aratame 1859 Goat 6th Mo. During this time period, the aratame and zodiac date appear in a single round seal. Very good copy.

€ 400

135

158. Ryusai SHIGEHARU 1803-1853. Enjoying the Pilgrimage to Ise in Spring of 1830 (Bunsei jûsan kanoetora haru okage sandô no yosooi) 1830. Extremely rare quadriptych. The four sheets, the right part of a six-sheeter from 1830 by the Osaka artist Shigeharu, depicts pilgrims on their way to Ise Shrine (just coming into view on the far left), the holy of holies in Japan's native Shinto religion. For commercial publishing reasons many of the faces in the crowd are kabuki actors, (including superstar Utaemon III on the horse), but rather than a stage play this print records a strange social phenomeon of that year. Like Mecca is to Moslems, Ise stands as a compelling once-in-a-lifetime destination for almost every Japanese; but citizens of all ages and, well, walks of life spontaneously dropping everything to go there at the same time — effectively turning main roads into a vastly elongated jamboree — occurred only once every generation or two. Like many good ukiyo-e this Ise-mairi print harbors dozens of interesting details. Food, clothing, and geography are delineated, as well as the all-important pilgrimage paraphernalia. As for the writing on the banners and hats, that mostly lists home towns and how many folk are walking together in one party, but also seen are expressions like 'nuketa', which may be translated as "I escaped!" Indeed, given the confining nature of Edo period society, one might well suppose that pilgrimage mania was merely an excuse to sample the (relatively) classless freedom of the road, and let off steam. On the other hand, many scholars feel that genuine religious fervor did in fact periodically sweep the land. What is clear is that the last mass pilgrimage to Ise occurred at the very end of the shogunate, and nothing similar took its place for Japanese until, in our own era, their lemming-like invasions of Waikiki Beach. Ryūsai Shigeharu (柳窗重春/柳斎重春) (1803–1853) was an Osaka-based Japanese ukiyo-e woodblock print artist active during the first half of the nineteenth century. Shigeharu was a typical Osaka printmaker. His ukiyo-e designs are nearly all focused around the kabuki theater. Also his style is typical for the Osaka prints: A weird facial expression on a twisted body. The Osaka prints are really a bit different from the prints made in Edo (Toyko). The prints of the Osaka school are also called kamigata. In the Bunsei (文政) era (4/1818-12/1830), Shigeharu began working in various media including single-sheet prints, book illustration, theater billboards and programs, and paintings.[13] His artistic output is generally dated to the period c.1820-1849. The Museum of Fine Arts Boston has only the diptych, two right sheets of incomplete hexaptych: Accession Number RES.52.67-8. See, Kitagawa, "Bosuton bijutsukan shozô Kamigata-e mokuroku" (Kansai daigaku, 2007), p. 98; Ikeda bunko, Kamigata yakusha-e shûsei, vol. 2 (1998), #136; Riccar Museum, Kamigata Ukiyo-e 200-nen ten (1975), #156. Polychrome woodcut on four sheets. Vertical ôban tetraptych: 380X1006 mm. Top right, the title: 「文政十三庚寅春御影参道の粧. At the bottom, in each sheet, signature: Gyokuryûtei Shigeharu ga. Publisher: Shôhonya Seishichi (Honsei) (Japanese) Japanese Edo period 1830 (Bunsei 13/Tenpô 1), about intercalary 3rd month. Glued on cardboard. Minor defects, good specimen.

€ 1500

136

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159. Utagawa YOSHICHIKA. Actor Nakamura Shikan 1863. The actor's portrait is inside the top circle. Another portrait of the actor is included in an album of 'ukiyo-e' woodblock prints of 'kabuki' actors, at the Art Gallery of New South Wales of Sidney, dated 1863. Yoshichika Utagawa, active 1850's - 90’s, was a talented but little known pupil of Kuniyoshi. Polychrome woodcut, 360x244 mm. The round seal called Aratame over the cartouche with the signature. Good condition.

€ 200

160. Utagawa KUNISADA (Toyokuni III) 17861864. Nezumi Kozō About 1857. Nezumi Kozō, Japanese 'Robin Hood', is the nickname of Nakamura Jirokichi, 1797-1831, a Japanese thief and folk hero who lived in Edo. A similar print was made by Toyokuni III in 1857: depicts the actor Ichikawa Kodanji IV acting as Nezumi Kozō in the play 'Yedo Ichimura-za' Nezumi Komon Haruno Shingata’. Polychrome woodcut, 254x370 mm. Small white margins. The image is inside a frame with black and white triangles. Good condition.

€ 200

138

161. Utagawa KUNISADA (Toyokuni III) 1786-1864. Without title Fighting scene with the fleeing lady. Polychrome woodcut, 372x258 mm. Small white margins. The image is inside a frame with black and white triangles. Good condition.

€ 200

162. Utagawa KUNISADA (Toyokuni III) 1786-1864. MUSHA-E: Samurai Early XIX century. From fierce samurai to legendary heroes, musha-e (武者絵) celebrate the traditional Japanese warrior. Translating to “warrior pictures,” this genre of ukiyo-e (pictures of the floating world) is marked by consistent fluidity between fact and fiction, truth and fable. As they conflate history, legend, literature and theater, these prints offer fantastic renderings of familiar characters from Japanese culture. The seal ‘kiwame’ appears in the ukiyo-e prints from 1790 until 1841). Polychrome woodcut, 374x258 mm. A round seal reading kiwame ("approved"). Traces of use, fair condition.

€ 200

139

163. Toshusai SHARAKU Active around 1790-1795. Actor Osagawa Tsuneyo II as Ippei's Older Sister Osan

Late nineteenth century. Small margin partially not colored at the bottom and on the right. Good condition. The image is from 1794 but this print of ours on original Japanese paper is a 19th century edition. The role played by Tsuneyo has been identified by the scholar Suwa Haruo. In the Yakuwari banzauke (List of theatrical roles) in the Diet Library he found two roles listed for Tsuneyo: one as "Ippei's sister, Osan" in the play Koinyobo, and the other as "Shizuka Gozen" in Yoshitsune senbonzakura. Both plays were performed at the Kawarazaki Theater the fifth month of 1794 (Kansei 6). Not much is known about the woodblock print artist Toshusai Sharaku, who specialized in kabuki portraits. His career spanned only ten months from 1794 to 1795, with around 150 prints known. Unlike his contemporaries, Sharaku did not idealize his subjects, instead creating realistic portrayals that were not always flattering, and his prints were not a popular success at the time. His best works convey a rare perceptivity, with a psychological insight and a deep understanding of the dramatic nature of the roles and the actors he depicted. Sharaku left behind a body of masterworks of ukiyo-e kabuki portraiture that remained unrecognized until a century after his death. See: Museum of Fine Art Boston, Accession number 11.14673. Polychrome woodcut, 385x257 mm, (oban-tate-e). Print on thick laid paper, signed “Toshusai Sharaku ga”. Under the signature, the censor seal kiwame and the publisher's seal “Tsutaya Jûzaburô”.

€ 2000

140

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164. Toshusai SHARAKU Active around 1794. Matsumoto Koshiro IV as the Fish Peddler Gorobei

Probably late 1880s or early 1890s. The image is from 1794 but this print of ours on original Japanese paper is a 19th century edition. Gorobei is a fish peddler with a most conscientious and thoughtful disposition. His pose and his hand gesture, holding his pipe to his chin, are conventional Kabuki signs for characters immersed in thought. In this scene, Gorobei is planning his strategy for rescuing a friend in trouble. Gorobei is a fish merchant from the Sanya district, on the approach to the Yoshiwara pleasure quarter. He assists the sisters to discover the whereabouts of Shiga Daishichi, their father's murderer. A very similar print, in size, and with the only signature without censor seal kiwame and the publisher's seal “Tsutaya Jûzaburô” below, at the MET, dated “Probably late 1880s or early 1890s”. Not much is known about the woodblock print artist Toshusai Sharaku, who specialized in kabuki portraits. His career spanned only ten months from 1794 to 1795, with around 150 prints known. Unlike his contemporaries, Sharaku did not idealize his subjects, instead creating realistic portrayals that were not always flattering, and his prints were not a popular success at the time. His best works convey a rare perceptivity, with a psychological insight and a deep understanding of the dramatic nature of the roles and the actors he depicted. Sharaku left behind a body of masterworks of ukiyo-e kabuki portraiture that remained unrecognized until a century after his death. See: The Metropolitan Museum of Art, Accession Number: JP734. Polychrome woodcut, 385x256 mm, (oban-tate-e). Print on thick laid paper, signed. Signature: “Toshusai Sharaku ga”. Without censor and the publisher's seals. Good condition.

€ 2000

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165. Utagawa KUNISADA (Toyokuni III) 1786-1864. Scenes from Kabuki plays. Triptych. Early XIX century. A samurai sitting in the middle, two ladies standing on the sides. Probably, the central character is the famous actor Nakamura Shikan. Polychrome woodcut. Triptych, 375x730 mm, pasted on cardboard support. Each sheet with the artist's signature on the bottom left. Good condition

€ 400

166. Utagawa KUNISADA (Toyokuni III) 1786-1864. Scene of the Kabuki theater. Triptych 1844. Colour woodblock print, oban triptych. The kabuki actors as Yoshida no Matsuwakamaru, seated in a boat and holding up a torch on the right, the boatman Shionomura in the middle, the Buddhist nun Seigen (‘Seigen-ni’) on the left. See British Museum, number 1915,0823,0.862.1-3.

€ 600

144

167. Utagawa KUNISADA (Toyokuni III) (1786-1864). Family scene on a terrace above the river 1844-1851. Colour woodblock print, oban triptych. Publisher: Yamamoto-ya Heikichi. Polychrome woodcut. Triptych, 354x730 mm, trimmed, pasted on cardboard support. Each sheet with the signature Toyokuni ga. in toshidama cartouche. Good condition.

€ 600

168. TAKEMARO (Utamaro School) Early nineteenth century. Bijin-ga. Four very elegant girls walking in the foreground carry a roll of precious fabric Edo period. Bijin-ga (美人画, ‘beautiful person picture’) is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography. Nearly all ukiyo-e artists produced bijin-ga, it being one of the central themes of the genre. Takemaro was a pupil of Kitagawa Utamaro, one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his bijin ōkubi-e "large-headed pictures of beautiful women" of the 1790s. Woodcut with soft colors, 378x254 mm. At the bottom, in the center, a circular aratame seal and a separate oval zodiacal date seal. Traces of use, some skilled restorations, otherwise good condition.

€ 400 145

169. Japanese Watercolor. HIROSHIGE, Utagawa Ando 1797–1858. Fish and Oysters Edo period, half of the XIXth century. Famous masterpiece of Uozukushi, ‘Any kind of fish’ one of the favorite subjects of Japanese sea. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and fishes. Polychrome woodcut on double leaf mm 238x350. Good condition.

€ 400

170. Japanese Watercolor. HIROSHIGE, Utagawa Ando 1797–1858. Couple of fishes Edo period, half of the XIXth century. Famous masterpiece of Uozukushi, ‘Any kind of fish’ one of the favorite subjects of Japanese sea. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and fishes. Polychrome woodcut on double leaf mm 238x350. Good condition.

€ 400

146

171. Japanese Watercolor. HIROSHIGE, Utagawa Ando 1797–1858. Couple of fishes Edo period, half of the XIXth century. Famous masterpiece of Uozukushi, ‘Any kind of fish’ one of the favorite subjects of Japanese sea. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and fishes. Polychrome woodcut on double leaf mm 238x350. Good condition.

€ 400

172. Japanese Watercolor. HIROSHIGE, Utagawa Ando 1797–1858. Couple of fishes Edo period, half of the XIXth century. Famous masterpiece of Uozukushi, ‘Any kind of fish’ one of the favorite subjects of Japanese sea. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fiftythree Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and fishes. Polychrome woodcut on double leaf mm 238x350. Good condition.

€ 400

147

173. Japanese Watercolor. HIROSHIGE, Utagawa Ando 1797–1858. Couple of fishes Edo period, half of the XIXth century. Famous masterpiece of Uozukushi, ‘Any kind of fish’ one of the favorite subjects of Japanese sea. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fiftythree Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and fishes. Polychrome woodcut on double leaf mm 238x350. Good condition.

€ 400

174. Japanese Watercolor. HIROSHIGE, Utagawa Ando 1797–1858. Lobster and prawns Edo period, half of the XIXth century. Famous masterpiece of Uozukushi, ‘Any kind of fish’ one of the favorite subjects of Japanese sea. Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fiftythree Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and fishes. Polychrome woodcut on double leaf mm 238x350. Good condition.

€ 400

148

DRAWING and PRINTS Numbers 175 - 669

175. Carle VERNET – Louis DARCIS 1758-1836. La corsa. Serie completa di quattro incisioni ca. 1820. Lithographies “en pointillé” with contermporary coloring and frames. Each of measures about 180x290. With the frames, 470x310 mm. Under the illustrations: on the left; C. Vernet del.”; a dx. “Darcis sculp.”. In the center the titles. Good conditions. Beautiful complete series masterfully engraved in color by Darcis on the original drawings by Carle Vernet. The four prints bear the titles: Les apprêts d'une Course - Les jockeys montés - La Course – L'arrivee de la course.

€ 300

176. Pietro di Gottardo Gonzaga 17511831. Interior of a building Interior of a palace with neoclassical decorations, frame of the door with pilasters, winged figures, masks, friezes. Pietro Gonzaga, known as Pietro di Gottardo, Longarone 1751 - Saint Petersburg 1831, painter and set designer, he initially trained with his father, decorator of private houses and public buildings as well as theatrical set designer. Favored by the artistic environment of the lagoon, but also by the success of the scenographic view with angular perspective thanks to G. B. Piranesi, in 1772 he moved to Milan to serve the Galliari brothers. Thanks to his fame, in 1786 he was called to Russia by Giacomo Quarenghi, who was looking for a set designer for the theater at the Hermitage in St. Petersburg. In 1992, leaving Italy for good, he gave the Fenice the scenes of the inaugural show; then peintre en chef of the imperial theaters in Russia directed by Prince Jusupov. His theoretical considerations on the scenography are contained in the work Musique pour les yeux et optique. Muraro, Maria Teresa, Scenografie di Pietro Gonzaga, 1967. Polychrome watercolor and pen on cardboard. Sheet 178x248 mm; Image 172x240 mm. Excellent state.

€ 600

177. Pietro di Gottardo Gonzaga 1751-1831. Interior with a glimpse of the living room Splendid interior of a building with luxurious furnishings and a neoclassical coffered ceiling. Wise perspective of scenographic taste. Pietro Gonzaga, known as Pietro di Gottardo, Longarone 1751 - Saint Petersburg 1831, painter and set designer, he initially trained with his father, decorator of private houses and public buildings as well as theatrical set designer. Favored by the artistic environment of the lagoon, but also by the success of the scenographic view with angular perspective thanks to G. B. Piranesi, in 1772 he moved to Milan to serve the Galliari brothers. Thanks to his fame, in 1786 he was called to Russia by Giacomo Quarenghi, who was looking for a set designer for the theater at the Hermitage in St. Petersburg. In 1992, leaving Italy for good, he gave the Fenice the scenes of the inaugural show; then peintre en chef of the imperial theaters in Russia directed by Prince Jusupov. His theoretical considerations on the scenography are contained in the work Musique pour les yeux et optique. Muraro, Maria Teresa, Scenografie di Pietro Gonzaga, 1967. Polychrome watercolor and pen on cardboard. Sheet 178x242 mm; Image 178x242 mm. Excellent state.

â&#x201A;Ź 1500

178. Pietro di Gottardo Gonzaga 1751-1831. Internal court with colonnade Scenic view with colonnade in the foreground overlooking the inner courtyard. In the background the facade of a neoclassical palace with columns and pediment. Pietro Gonzaga, known as Pietro di Gottardo, Longarone 1751 - Saint Petersburg 1831, painter and set designer, he initially trained with his father, decorator of private houses and public buildings as well as theatrical set designer. Favored by the artistic environment of the lagoon, but also by the success of the scenographic view with angular perspective thanks to G. B. Piranesi, in 1772 he moved to Milan to serve the Galliari brothers. Thanks to his fame, in 1786 he was called to Russia by Giacomo Quarenghi, who was looking for a set designer for the theater at the Hermitage in St. Petersburg. In 1992, leaving Italy for good, he gave the Fenice the scenes of the inaugural show; then peintre en chef of the imperial theaters in Russia directed by Prince Jusupov. His theoretical considerations on the scenography are contained in the work Musique pour les yeux et optique. Muraro, Maria Teresa, Scenografie di Pietro Gonzaga, 1967. Polychrome watercolor and pen on cardboard. Sheet 198x240 mm; Image 194x234 mm. Excellent state.

â&#x201A;Ź 600

179. Pietro di Gottardo Gonzaga 1751-1831. Rustic home interior Airy local dashed with light brown and hazelnut colors. The light coming from a side window and lighting up the entire scene is impressive. Pietro Gonzaga, known as Pietro di Gottardo, Longarone 1751 - Saint Petersburg 1831, painter and set designer, he initially trained with his father, decorator of private houses and public buildings as well as theatrical set designer. Favored by the artistic environment of the lagoon, but also by the success of the scenographic view with angular perspective thanks to G. B. Piranesi, in 1772 he moved to Milan to serve the Galliari brothers. Thanks to his fame, in 1786 he was called to Russia by Giacomo Quarenghi, who was looking for a set designer for the theater at the Hermitage in St. Petersburg. In 1992, leaving Italy for good, he gave the Fenice the scenes of the inaugural show; then peintre en chef of the imperial theaters in Russia directed by Prince Jusupov. His theoretical considerations on the scenography are contained in the work Musique pour les yeux et optique. Muraro, Maria Teresa, Scenografie di Pietro Gonzaga, 1967. Bistro watercolor and ink on cardboard. Sheet 178x242 mm; Picture 170x234 mm. Excellent condition.

â&#x201A;Ź 400 4

180. Pio PANFILI 1723-1812. Palace interior Perspective view of an interior of a palace hall, with window, framed door, furniture, decorations and decorated ceiling. Pio Panfili, 1723 - Bologna 1812, painter, engraver and decorator, in 1745 he joined the fanese Domenico Bianconi, who led him to work with him at the San Severino Marche theater. He then studied architecture at the Clementina Academy in Bologna, also earning some important awards in the annual competitions; it will then be aggregated among the academic teachers of the same architecture class. In 1760 the fresco decoration of the Sala dell'Aquila in the Palazzo dei Priori in Fermo was commissioned to Panfili. The illusionistic decoration was concluded two years later. In the years 1770-96 he recorded a series of views for the "Diary Bolognese Ecclesiastical and Civil", an annual publication begun by Lelio Dalla Volpe and continued by his son Petronio. In 1787 the artist was commissioned the illusionistic decoration of the ceiling of the Cathedral of Fermo, resolved with a series of fake painted domes. For his good qualities, in 1786 he was made Academician Clementine and later member of the Academy of Fine Arts of Bologna. Bistro watercolor and shades of blue on paper. Sheet 145x170 mm. On the right margin, in the middle of the sheet, an ancient note in brown ink "N 108". On the lower right corner stamp of collection of the Venetian art dealer Ferruccio Asta, initials "A F" within square (Lugt, 116a). Small gap at the bottom left, good condition.

â&#x201A;Ź 800

181. Giovanni PEREGO 1776 – 1817. Scenic view of the interior Imposing perspective view with columns, arches, fountains, tiny human figures with respect to the height of the room. Giovanni Perego, Milan, 1776 - 1817, painter, set designer and architect, attended the Academy of Brera where he studied scenography under the aegis of Paolo Landriani. Thanks to his master in 1807 he worked a lot at the Teatro alla Scala, restoring the decorations of the boxes and the ceiling in a neoclassical style. He was particularly adept at achieving perspective effects. Some of his works are still preserved at the La Scala Theater Museum and at the Antonio Caccia Museum in Lugano. He also created the decorations of the Teatrino di Corte of the Villa Reale in Monza. As a set designer he also worked at the Teatro La Fenice in Venice. Ink pen drawing on paper. Sheet 240x362 mm. Trimmed on the margin, boxed with a pen. Excellent condition.

€ 400

182. Giuseppe BADIALI 1797 – After 1850. Set design "Tempio dei Spedalieri" Perspective view of the facade of the church, seen from a portico in the foreground. It is a preparatory drawing for the scenography of the opera "La Straniera" by Bellini, which was performed on December 26, 1831 in the Teatro Regio di Parma. Giuseppe Badiali, 1797 - After 1850, was an Italian painter and scenic designer. Best known for his scenography, Badiale also frescoed the ceiling of the Municipal Theater of Bologna, now lost but for designs. Among his scenography, it included work for that theater, including: Semiramide by Rossini, Spring 1827 and the Carnival 1829-1830; The Capulets and the Montagues, Autumn 1832, La sonnambula and I Puritani, Spring 1836, by Bellini; Nebuchadnezzar, Ernani, Autumn 1847, Macbeth and Luisa Miller, Autumn 1850, by Verdi. Among his collaborators were S. Fantoni and L. Martinelli. Polychrome watercolor and ink, on paper. Sheet 257x355mm; image, 248x348 mm. In the image, the pen writing "year 1831". Gusset of a previous owner glued on the passe-partout with machine-written "Tempio dei Spedalieri, for ‘La Straniera’ 1831". Excellent condition.

€ 400

183. Giuseppe BADIALI 1797 – After 1850. "Romeo and Juliet" set design Night scene set in a cemetery, the moon appears in the clouds. Preparatory watercolor for the final scene of "The Capulets and the Montagues" by Bellini, represented in the autumn of 1832 at the Teatro Comunale of Bologna, with the scenography by Giuseppe Badiali. Giuseppe Badiali, 1797 - After 1850, was an Italian painter and scenic designer. Best known for his scenography, Badiale also frescoed the ceiling of the Municipal Theater of Bologna, now lost but for designs. Among his scenography, it included work for that theater, including: Semiramide by Rossini, Spring 1827 and the Carnival 1829-1830; The Capulets and the Montagues, Autumn 1832, La sonnambula and I Puritani, Spring 1836, by Bellini; Nebuchadnezzar, Ernani, Autumn 1847, Macbeth and Luisa Miller, Autumn 1850, by Verdi. Among his collaborators were S. Fantoni and L. Martinelli. Polychrome watercolor and black ink, on cardboard. Sheet 276x224 mm; image, 265x220 mm. Excellent state.

€ 400

184. Davide Antonio FOSSATI Morcote 1708 – Venezia 1795. Mountain landscape with trees and bridge Beautiful mountain landscape with bridge. Davide Antonio Fossati, Morcote 1708 Venice 1795, landed in Venice in 1720, where he specialized in fresco painting and in particular in painted architecture and ornaments. He stayed mainly in Venice alternating his activity between Vienna (1723-28), where he successfully worked on the decoration of important noble palaces, at the Library of Vienna where his frescoes and city churches are famous, then in Bratislava, northern Hungary (1728-29) and Morcote. In 1743 he published a collection of etchings derived from paintings by Marco Ricci. He was appointed Academic of Honor of the Academy of Fine Arts of Venice in 1775 and of the Clementine of Bologna in 1778, the year in which he became a member of the College of painters of Venice. Polychrome watercolor and ink on heavy paper. Filigree with shield and crown. Sheet 294x445 mm. Excellent state.

€ 800 7

185. Fabrizio SEVESI 1773-1837. Scenography Monumental perspective view with Palaces, columns, statues and obelisk. Scenography for unidentified work. Fabrizio Sevesi, who was linked to the great family of scenographers Galliari, being son of Ludovica, third daughter of Fabrizio Galliari, he worked as a set designer for the Teatro Regio of Turin starting from 1800 and he also collaborated with the Teatro Carignano as a prospective inventor, creating the scenes for many representations of the works of the greatest composers of the time, including Rossini, Bellini and Donizetti. The painter Gonin, who was linked to him by ties of kinship, wrote of him in his Memoirs: "an artist of great merit in architecture and perspectives". Monochrome watercolor and brown ink on heavy paper. Sheet 260x398 mm. Excellent state.

â&#x201A;Ź 400

186. Fabrizio SEVESI 1773-1837. Scenography Monumental perspective view with palaces, columns, statues and obelisks. Scenography for unidentified work, similar to the previous one with some variations. Fabrizio Sevesi, who was linked to the great family of scenographers Galliari, being son of Ludovica, third daughter of Fabrizio Galliari, he worked as a set designer for the Teatro Regio of Turin starting from 1800 and he also collaborated with the Teatro Carignano as a prospective inventor, creating the scenes for many representations of the works of the greatest composers of the time, including Rossini, Bellini and Donizetti. The painter Gonin, who was linked to him by ties of kinship, wrote of him in his Memoirs: "an artist of great merit in architecture and perspectives". Monochrome watercolor and brown ink on heavy paper. Sheet 264x450 mm. Excellent state.

â&#x201A;Ź 400

187. Francesco FONTANESI 1751-1795. Scenography Perspective of a patrician palace seen from a glimpse of a colonnade in the foreground. Francesco Fontanesi, established set designer and perspective painter active in the last thirty years of the XVIII century, was an authoritative and original exponent of the Bologna school. Academician of Honor of the Clementine from 1776, he had as masters Gaspare Bazzani, decorator and set designer, and Prospero Zanichelli, painter of perspectives and ornaments. Decorator, apparator, set designer, architectural theorist and historian of the arts of Reggio, after the first theatrical experiences in Reggio Emilia, his hometown, and in Modena, the scenes for the major Italian theaters that involve him with growing success are immediately innovative. from Parma to Milan, from Florence to Rome and Venice. Bibliografia: Cerretti “Notizie biografiche e letterarie degli scrittori dello Stato Estense”, Reggio Emilia Torreggiani 1833 pag.177 e seguenti. (Fontanesi), Manzini “Memorie storiche dei Reggiani più Illustri”, Reggio Emilia Degani e Gasparini 1878 pag.635., Pigozzi “Francesco Fontanesi 1751-1795 Scenografia e Decorazione nella seconda metà del Settecento” Bologna 1988, Monochrome watercolor in black and gray, black pen on heavy paper. Sheet 210x290 mm. Excellent state.

€ 800

188. Lodovico POZZETTI 1782 – 1854. Scenography with cannon Military setting with a cannon in the foreground. Born in Reggio Emilia of a particularly wealthy family, Lodovico Pozzetti cultivated in his studies the passion for painting, soon directed his work towards scenography and created numerous scenes for the Theater of Reggio Emilia both personally and in collaboration with his contemporary Ercole Montavoci. Polychrome watercolor and pen on heavy paper. Sheet 230x290 mm; Picture 190x242 mm. Excellent state.

€ 400

189. Lodovico POZZETTI 1782 – 1854. Scenography with military setting Military setting. Born in Reggio Emilia in a particularly wealthy family, Lodovico Pozzetti cultivated in his studies the passion for painting, soon directed his work towards scenography and created numerous scenes for the Theater of Reggio Emilia both personally and in collaboration with his contemporary Ercole Montavoci. Monochrome watercolor and pen on heavy paper. Sheet 235x290 mm; Picture 195x250 mm. Glued on a support sheet. Excellent state.

€ 400

190. Lodovico POZZETTI 1782 – 1854. Scenography with military setting Military setting. Born in Reggio Emilia of a particularly wealthy family, Lodovico Pozzetti cultivated in his studies the passion for painting, soon directed his work towards scenography and created numerous scenes for the Theater of Reggio Emilia both personally and in collaboration with his contemporary Ercole Montavoci. Monochrome watercolor and pen on heavy paper. Sheet 228x289 mm; Image 190x240 mm. Excellent state.

€ 400

191. Lodovico POZZETTI 1782 – 1854. Roman fancy Spectacular exterior perspective view of an imposing palace with garden and tiers of stairs. Born in Reggio Emilia of a particularly wealthy family, Lodovico Pozzetti cultivated in his studies the passion for painting, soon directed his work towards scenography and created numerous scenes for the Theater of Reggio Emilia both personally and in collaboration with his contemporary Ercole Montavoci. Monochrome watercolor and pen on heavy paper. 235x289 mm sheet; Image 180x242 mm. Excellent state.

€ 400

192. Lodovico POZZETTI 1782 – 1854. Street scene in town Perspective of a city street with foreshortened buildings seen from arcades in the foreground. Born in Reggio Emilia of a particularly wealthy family, Lodovico Pozzetti cultivated in his studies the passion for painting, soon directed his work towards scenography and created numerous scenes for the Theater of Reggio Emilia both personally and in collaboration with his contemporary Ercole Montavoci. Monochrome watercolor and pen on heavy paper. 230x289 mm sheet; Image 190x241 mm. Excellent state.

€ 400

193. Antonio ACQUARONI 1801-1873. Perspective view of Roman foreshortening Perspective with arcades and arch, fantastic view of a corner of Rome. Antonio Acquaroni, born in Civitavecchia, draftsman and engraver, was at the service of the Calcografia Camerale and his prints were appreciated above all for the documentary side of the city. When the Calcografia Camerale wanted to enrich his collection of Roman views, he called him to be part of his ordinary collaborators. Thus the name of the Acquaroni was seen, alongside those of G. Balzar, of F.M. Giuntotardi, by A. Testa, by F. Troiani, in a collection of Views of ancient and modern monuments, published in 1829, and then in other anthological collections, up to the one (1864) of the so-called Scenography of the most famous Sacred and profane monuments ancient and modern Rome and its surroundings. Lipsticks 11383. Monochrome watercolor and pen on heavy paper. Sheet 162x230 mm; Picture 159x224 mm. Excellent state.

€ 400

194. Antonio ACQUARONI 1801-1873. Fantastic view of Rome Perspective view with columns, palaces, statues, of Roman inspiration. Antonio Acquaroni, born in Civitavecchia, draftsman and engraver, was at the service of the Calcografia Camerale and his prints were appreciated above all for the documentary side of the city. When the Calcografia Camerale wanted to enrich his collection of Roman views, he called him to be part of his ordinary collaborators. Thus the name of the Acquaroni was seen, alongside those of G. Balzar, of F.M. Giuntotardi, by A. Testa, by F. Troiani, in a collection of Views of ancient and modern monuments, published in 1829, and then in other anthological collections, up to the one (1864) of the so-called Scenography of the most famous Sacred and profane monuments ancient and modern Rome and its surroundings. Monochrome watercolor and pen on heavy paper. Sheet 162x234 mm; Picture 157x231 mm. Excellent state.

â&#x201A;Ź 400

195. Luigi CINI 1766 â&#x20AC;&#x201C; 1845. Gothic interior design Perspective view of a large room with pointed arches that recalls the Carceri of Piranesi. Luigi Cini, painter and set designer, at the age of twenty-three he moved from Florence, the place of his first apprenticeship, to Bologna. In 1815 he went to Rome: his first works were some sets for the Teatro del Corso. Starting from 1816 the first commissions for the decoration of private residences rooms are documented, an activity that will become prevalent for the painter and that will give him great consideration, both locally and nationally. His travels to Parma, Modena, Rome and Naples are documented. In 1821 his role in the local artistic culture was consolidated, which was confirmed in the academic title with a vote at the Academy of Fine Arts, confirmed also three years after his death, in 1842, where he was referred to as an 'ornamental painter'. In the scenography he is fascinated by the archaeological culture or the high Middle Ages, and often he outlines cathedrals and "gothic" cemeteries of English taste. Monochrome watercolor and pen on cardboard. Sheet 247x415. Slight defects, small faults in the upper margin. Good condition.

â&#x201A;Ź 400

196. Flaminio Innocenzo MINOZZI 1735-1817. Palace hall with arches. Arched hall of a palace Wonderful large scenic view of a living room with arches, columns and statues. From wide openings a perspective view of the buildings on the outside. Flaminio Innocenzo Minozzi, from Bologna, was a pupil of his father Bernardo Minozzi, a landscape painter and specialized in quadrature. Winner of the Marsili-Aldrovandi Award at the Clementina Academy, he worked with Carlo Galli Bibiena. Later he moved to work in Lisbon. Polychrome watercolor on heavy paper. Sheet 255x413. Restorations with back reinforcements, good condition.

â&#x201A;Ź 1000

197. ANONIMO. Architecture Study Early XIX cenury. An elaborate architecture of an ornate arch that opens onto a perspective of columns. Monochrome watercolor on heavy paper. Pen and sepia ink. Sheet 246x164. Sheet glued on support card, with quadrangular cutout in the empty space in the center of the arc. Some blooms on the upper part of the sheet that do not affect the design, good condition.

â&#x201A;Ź 400

198. ANONIMO. Scenography studio. Perspective sketches Early XIX century. Scenic view with palace hall with columns and arches. On the back, in black pen, some small perspective sketches. Monochrome watercolor on heavy paper. Pen and sepia ink, black pen. Sheet 260x195. Conservative intervention with japon paper applied on three angles to the verso. Lack at 2 corners of the sheet. Good copy.

â&#x201A;Ź 400

199. Giuseppe, VICENTINI. Cavaliere che tiene le briglie del cavallo. Verso: Michele Kier. FOTOGRAFIA. Il campanile di S. Marco. Venezia, 1860 ca. Michele Kier, 1837- ?, figlio dell'austriaco Giuseppe Kier, risulta abbia praticato la fotografia per un breve periodo, preferendo evidentemente dedicarsi all’attività editoriale nell’azienda paterna. Cfr. Rippa Bonati M., Acque senza onde e cieli senza nuvole. La Venezia di metà Ottocento nelle fotografie di Michele Kier, in S. Filippin (a cura di), L’acqua e la luce. La fotografia a Venezia all’alba dell’Unità d’Italia, catalogo della mostra (Venezia, 3 marzo - 12 giugno 2011), Venezia, Istituto Veneto di Scienze, Lettere ed Arti, 2011, pp. 17-21. 160x210 mm. Fotografia all’albumina. Fotografia del Kier, il cui nome è sulla lastra. La fotografia è inserita in un foglio con cornice lineare disegnate. Buono stato di conservazione. Disegno a matita e con effetto di chiaroscuro, 108x150 mm. Firma a matita in basso a destra.

€ 300

200. Jean-François RAFFAELLI 1850 – 1924. La Seine à Paris 1911. Bella veduta di Parigi. Jean-François Raffaelli, disegnatore, pittore, incisore e scultore, legatosi in amicizia con i pittori impressionisti, fu invitato da loro ad esporre alla prima mostra tenuta nello studio del fotografo Nadar nel 1874. Abile disegnatore, dalla resa rapida ed immediata, Raffaelli oppose alla pittura impressionista una visione realista, permeata da vaghi ideali umanitari. Ha introdotto innovazioni tecniche nel disegno a inchiostro, puntasecca e nella stampa di incisioni a colori. Jean-François Raffaelli, draftsman, painter, engraver and sculptor, linked in friendship with the Impressionist painters, was invited by them to exhibit at the first exhibition held in the studio of the photographer Nadar in 1874. Unlike most of the Impressionists, Jean-Francois Raffaelli devoted himself more to original print making than to painting. Delteil’s catalogue raisonne on Jean-Francois Raffaelli's graphic art lists one hundred and eighty-three prints, with all but five in the mediums of etching and engraving. His drypoint engravings (both in colours and in black and white) made him famous, particularly in his studies of Parisian life. One contemporary critic labeled him the “Millet of Paris”. Incisione all’acquaforte e puntasecca, colorata. 360x 570 mm. Ampi margini. Firma e titolo a matita sul margine in basso a destra; a sinistra, a matita “D. 94 III/III”. Lieve foxing marginale, buono stato di conservazione.

€ 100 16

201. Lotto di due disegni di costumi romani a) Contadina pensierosa con neonato. Acquarello policromo di 223x165 mm. Incollato su cartoncino. Ottimo stato di conservazione. b) Brigante. Acquarello policromo di 220x167 mm. Incollato su cartoncino. Ottimo stato di conservazione. Splendidi disegni ad acquerello dai colori vividi e sgargianti sui costumi popolari romani. In uno è raffigurata una giovane contadina seduta su un masso con una espressione assorta e pensierosa, mentre nell’altra, è tratteggiato in posa quasi eroica un brigante che impugna un archibugio.

€ 100

202. Bartolomeo PINELLI 1781-1835 a) Tira Vento. 1815. Acquaforte in coloritura coeva di 276x183 mm. Firmata in basso a sx: “Pinelli Fece 1815 Roma”. Titolo dell’opera al margine inferiore. Piccolissime imperfezioni al margine superiore, ma ottimo stato di conservazione. b) Eremita che fa bagiare una reliquia. 1809. Acquaforte in coloritura coeva di 287x186 mm. Firmata in basso a sx: “Pinelli Fece 1809 Roma”. Titolo dell’opera al margine inferiore. Ottimo stato di conservazione. Incisioni tratte dall’opera “Nuova Raccolta di cinquanta Costumi Pittoreschi incisi all' acquaforte da Bartolomeo Pinelli Romano” (precisamente la 25 e la 22). Alcuni particolari diversi sono contenuti nella stampa dell’eremita rispetto a a come essa si presenta nell’opera sopracitata. Bartolomeo Pinelli è stato un incisore e pittore italiano. Artista grafico estremamente prolifico, nelle sue stampe ha illustrato i costumi dei popoli italiani, i grandi capolavori della letteratura: Virgilio, Dante, Tasso, Ariosto, Cervantes, Manzoni, e soggetti della storia romana, greca, napoleonica ecc. Il tema in generale più ricorrente è Roma, i suoi abitanti, i suoi monumenti, la città antica e quella a lui contemporanea.

€ 100 17

203. Bartolomeo PINELLI 1781-1835 a) Carri che trasportano il fieno ai fienili di Roma. 1831. Acquaforte in coloritura coeva di 414x202 mm. Firmata in basso a sx: “Pinelli dis. ed inc. 1831”. In basso a dx: Roma presso la Calcografia Camerale. Titolo dell’opera al margine inferiore. Ottimo stato di conservazione. Raffigura il trasporto del fieno a Roma con dei grandi carri trainati da buoi. Da notare gli uomini che tengono in ordine il fieno con dei lunghi bastoni. Le incisioni del Pinelli riescono a trasportare l'osservatore attento, in un mondo ormai sparito, ma che conserva il suo fascino in queste stampe che documentano un pezzo di storia comune, popolare, tanto cara ai Romani. b) Donne popolari con fanciulli nelle strade di Roma. 1831. Acquaforte in coloritura coeva di 414x303 mm. Firmata in basso a sx: “Pinelli dis. ed inc. 1831”. In basso a dx: Roma presso la Calcografia Camerale. Titolo dell’opera al margine inferiore. Ottimo stato di conservazione. Raffigura una scena popolare Romana ancora attuale. Le donne affaccendate in lavori domestici mentre badano ai bimbi che giocano tra loro nelle strade di Roma. Interessante notare il bambino col "girello" che si utilizza tuttora per insegnare a camminare.

€ 100

204. Alberto, PROSDOCIMI 1852-1925. La Madonna col putto Tempera con immagine entro cartiglio figurato policromo e miniato in oro. 223x141mm. Ottimo stato di conservazione. Alberto Prosdocimi, 1852-1925, pittore e miniatore. Ha studiato pittura all'Accademia di Venezia, ma ha anche studiato nello studio di suo padre Germano. Dipingeva spesso vedute di Venezia in acquerelli chiari e luminosi, che vendeva soprattutto all'estero ma, ma come suo padre, era un rispettato miniatore di manoscritti. Ha copiato il breviario Grimani conservato nella Biblioteca di San Marco a Venezia Incollata al verso: Raffaello MORGHEN. 1758 – 1833 Ritratto di Leonardo da Vinci. Bulino. Esemplare nello stato definitivo. Incisione tratta da un dipinto di Leonardo, all’epoca conservato nella Real galleria di Firenze. Raffaello Morghen, 1758 – 1833, figlio di Filippo anche esso bulinista, ha studiato a Roma presso G. Volpato, in seguito ha operato a Firenze, ove nel 1793 aprì una scuola. Ha eseguito oltre 250 bulini di riproduzione, ammirati per i virtuosismi tecnici che ha saputo raggiungere. Di lui si ricorda in particolare L’ Ultima Cena tratta da Leonardo.

€ 500

205. G. V. ZUGNI. Veduta di Parigi XIX secolo. Grande veduta dal quai della Senna. Sulla cupola del palazzo a destra la bandiera francese. Acquarello e tempera a gouache. 180x257 mm. Riquadrato a penna con triplice filetto. In basso a sinistra, firma a penna “G. V. Zugni disegn:” Ottimo stato di conservazione.

€ 300

206. G. V. ZUGNI. Vaso di fiori entro composizione arabescata in oro su fondo azzurro e bianco 1844. Elaborati decorazioni floreali e arabeschi in oro su fondo blu e avorio. Miniatura a tempera e oro. 160x240 mm. Riquadrato con triplo filetto a penna e in oro. In basso a sinistra, firma a penna “G: V: Zugni disegn: 1844” Ottimo stato di conservazione.

€ 300

207. Vincenzo, POIRET. Anch’egli dice alla sua patria addio! Scena di carattere patriottico con due personaggi in primo piano che indossano tradizionali costumi dalmati. Vincenzo Poiret, Trieste 1813 - Torino 1868, Figlio di Luigi, ebbe la sua prima formazione a Trieste, nella bottega del padre, e con lui entrò a far parte del cenacolo artistico di Casa Artelli. Talento precoce, come allievo dell’Accademia di Belle Arti di Venezia espose alla triestina Società di Minerva dal 1829 al 1833 (1831, La Samaritana al pozzo; 1832, Rinaldo e Armida). Autore di ritratti, paesaggi e soggetti storici, Negli anni '60 espose anche a Milano e a Torino, dove si era nel frattempo trasferito. Eseguì anche disegni per stampe litografiche. Curò l’illustrazione, con molti costumi locali dell’opera Album pittoresco della Dalmazia (Zara, 1840). Acquarello. 167x226 mm. Titolo in due lingue al piede. Firma e data a sinistra nell’immagine “V. Poiret …. 843” Ottimo stato di conservazione.

€ 300

208. Fausto ANTONIOLI. Paesaggio con castello diroccato Landscape with romantic taste ruins. Fausto Antonioli, Bergamo 1814 - Udine 1882, was first a pupil of Giuseppe Diotti at the Accademia Carrara, later completing his education at the Academy of Fine Arts in Venice, under the guidance of the neoclassical painter Odorico Politi and the landscape architect Francesco Bagnara. From his beginnings in 1839 he distinguished himself as a portraitist and for his landscape paintings, with which he presented himself in 1844 at the Fine Arts Exhibition of the Carrara Academy of Bergamo. His presence is also attested in Florence and Rome, where he performs perspective views of the city's main monuments animated by scenes of popular life. Around 1850 he moved permanently to Udine, where he held a teaching position at the local school of Arts and Crafts. In the landscapes Antonioli expresses a personal vein of romantic inspiration, ascribable to the academic training path that took place under the guidance of Francesco Bagnara, previously set designer at the Venetian theater La Fenice. See Lorena Zanusso, in the Biographical Dictionary of the Friulians. Watercolor on paper. 211x280 mm. Signature and date on the white margin. Excellent state. Signed and dated.

â&#x201A;Ź 400

209. Veduta con canale e ponte 1845. Bella veduta pittoresca, probabilmente nei dintorni di Padova, con un curioso personaggio in cammino. Tempera su carta. 216x184 mm. Riquadrato a penna con quattro filetti. Nel margine inferiore, a matita: a sinistra, “l’anno 1845. Padova”; a destra “I. Eigartzweiler”. Ottimo stato di conservazione.

€ 300

210. Jean Dieu de SAINT-JEAN a) Habit d'Espée. 1685. Acquaforte in coloritura coeva di 304x195 mm. Firmato in basso a dx:”J. D. de St. Jean delin.”. Titolo e legenda al centro. Buono stato di conservazione. b). Nicolas ARNOULT 1650-1722. Femme de qualitè en habit d’hyver. 1683. Acquaforte in coloritura coeva di 304x195 mm. Firmato in basso a dx:”N. Arnoult fec. 1683.”. Titolo e legenda al centro. Buono stato di conservazione. Grazioso lotto di incisioni di moda francese della fine del XVII secolo. Nicolas Arnoult è un incisore ed editore di stampe specializzato in incisioni di moda, allegorie e ritratti. Si stabilì a Parigi dal 1680 al 1696 in rue de la Fromagerie, che scomparve nel 1857 durante la costruzione delle sale centrali.

€ 100 22

211. FONTANA, Giovanni. Paesaggio con villaggio e fiume Giovanni Fontana, 1795-1845, from Genoa, was a pupil of da Carlo Baratta at the Ligustica Academy of Fine Arts in Genoa, where he later became a professor himself: he completed his studies in Rome. Following the neoclassical style, he decorated several churches in his native city, Genoa, with religious compositions. He was also known for his theatrical decorations, such as the decorations for the Carlo Felice theater, and for the Modena theater. He painted a Roman charity and the patriarch Giuseppe for King Carlo Alberto of Sardinia, a fresco in the church of San Martino in Sampierdarena and two works for the church of Lavagna. We know a sketchbook and drawings of the artist, signed and dated 1837. The album included architectural drawings, studies from ancient sculptures, views of the landscape, anatomical studies and drawings from frescoes. He died prematurely at the height of his career in 1845. The album was dissolved and some papers occasionally appear on the art market. Watercolor in bistro on paper. 154x225 mm. Placed in pen and glued on a support sheet. With black pen, signature "G. Fontana 'and date 45 in the drawing, bottom right.

€ 300

212. Bartolomeo BORGHI 1750-1821 a) Le Coste di Barbaria. 1798-1800. Incisione in rame di 310x223 mm. In alto a sinistra entro cartiglio "Le Coste di Barbaria comprendenti i tre Stati di Marocco di Algeri e di Tunisi. Siena Presso Pazzini Carli". Leggerissime macchioline, ottimo stato di conservazione b) Agostino COSTA 1754 – 1820 ca., La Turchia Europea. 1788. Incisione in rame di 308x226 mm. In basso a sinistra entro cartiglio: “La Turchia europea divisa nelle sue provincie relativamente allo stato e tempo anteriore alla presente guerra. Disegnata dall’ab. Borghi nel Giugnio 1788. Siena presso Pazzini Carli”. Firmato in basso a sinistra: “Ago. Costa S.”. Piccola gora al margine destro, ma ottimo stato di conservazione. I fogli provengono dal raro l'Atlante geografico che si pubblicò a Siena da Pazzini Carli tra il 1798 ed il 1800. Molte delle carte, sono incise da Agostino Costa e poi successivamente inserite nell’opera “Atlante generale dell'ab. Bartolommeo Borghi”, pubblicato a Firenze nel 1819. L'abate Bartolomeo Borghi fu cartografo, incisore ed editore che Vermiglioli (Biografia degli scrittori perugini, 1829) definisce "uno dei migliori geografi dell'Europa".

€ 100 23

213. Antonio, GREPPI. Ritratto di giovane donna Ritratto con perfette ombreggiature che rendono particolarmente espressivo il volto reclinato della giovane che guarda alla sua destra. Antonio Greppi, 1823-1867, fu apprezzato pittore di paesaggio e caricaturista, considerato nel suo periodo aureo uno dei più grandi caricaturisti italiani, la cui produzione rivaleggiò con quella degli artisti d’oltralpe. Nel 1848 iniziò a disegnare caricature per lo Spirito Folletto, giornale satirico di Milano. Cresciuto artisticamente a Milano, divenne un pioniere della litografia: fu litografo attivo tra il 1840 e il 1860 ed eseguì molti ritratti, specie di artisti del teatro italiano.” Luigi Servolini, “Dizionario illustrato degli incisori italiani moderni e contemporanei”, 1955; Caimi, Antonio: “Delle arti, del disegno e degli artisti nelle province lombarde, Milano, 1862; Duplessis, Georges: Catalogue de la Collectione des portraits français et etrangers conserve au Departement des estampes de la Biblioteque Nazionale, Paris, 1896-1907, 1896 I, ff. 3476; III f. 1565, IV ff. 18144, VII 29242; Thieme-Becker, v. 14, 1921, p. 559. Algernon, Graves, The Royal Academy Arts, III, 1905; Algernon, Graves, The British Institution, 1806-1867, 1908, The Royal Academy Arts, III, 1905. Disegno a matita su carta. 210x260 mm. Sotto l’immagine, a destra, la firma; a sinistra, poco leggibile, ‘Padova 1865’. Ottimo stato di conservazione.

€ 300

214. Pompeo Marino, MOLMENTI. Bambino. Disegno a matita firmato Remarkable study, linked to the theme of the "Madonna with child". Pompeo Marino Molmenti, 1819-1894, after studying at the Academy of Venice, around 1843-44 followed, as "travel painter", Duke Saverio von Blacas in the East through Greece, Syria and Libya, as well as Ippolito Caffi also did. From the experience he drew inspiration for numerous watercolors and pencil drawings purchased by Eugenia Bonaparte, currently missing. He completed his training in Florence, Rome, Paris and Munich, absorbing the influences of the various European purist currents. In 1850 he exhibited three paintings that refer to Raffaello Sanzio: Cimabue discovers in Giotto the genius of painting (lost), a Holy Family from the Madonna of the chair, a Virgin with the Child and a Saint Ursula for the homonymous church of Conegliano, now preserved at the cathedral depot. From 1851 to 1867 he was professor of figure elements at the Academy and had as his pupils Giacomo Favretto, Luigi Nono, Ettore Tito and Guglielmo Ciardi who, thanks to his teachings, were protagonists of the realist season. As for sacred art, he left numerous works scattered in various churches in the Veneto region. Pencil drawing on paper, glued to the corners on a support sheet. 210x118 mm. Placed in pencil. Sign in the lower right corner, under the image of the child.

€ 400 24

215. Pietro, PAOLETTI. Fata su una rupe Pietro Paoletti, 1801-1847, painter of Belluno, specializing above all in the frescoes and engraving engraver. His ability as a fresco artist put him into practice throughout the peninsula. His works include frescoes for the Basilica of the Abbey of Montecassino, the Church of Santa Maria Formosa in Venice, and for many of the Torlonia properties in Rome, including Palazzo Torlonia in Piazza Venezia and Villa Torlonia in Rome. He also frescoed the apse and the dome of the Cathedral of Rieti with stories from the Bible. Pencil drawing on paper. 210x280 mm. Sign ‘Paoletti’ below the image. Excellent condition.

€ 600

216. Paesaggio Dolomitico dell’Agordino. Donna al lavatoio. Firmato e datato 1845. Paesaggio dolomitico dell’Agordino. Sullo sfondo una veduta panoramica del gruppo di San Sebastiano, si intravedono il monte e il gruppo Moschesin. Acquarello bistrò, riquadrato a penna. 167x230 mm. Incollato su foglio di supporto. In basso, a sinistra firma e data 20 luglio 45; a destra, dedica “A mon ami… Padova”.

€ 400

217. Augusta GULLÈ. Vecchia, fanciulla e cane Venezia 1842. Scena di genere con una rappresentazione di vita popolare, che si richiama al genere pittoresco romantico e pauperista dell’epoca. Disegno a matita Firmato e Datato. 200x200 mm. Incollato su foglio di supporto. Firma e data a matita sotto l’immagine a destra. Lievi tracce d’uso.

€ 200 25

218. Pompeo Marino, MOLMENTI. Bambino che porta un secchio di legno XIX secolo. Studio di bambino del popolo. Il disegno non è firmato, tuttavia presenta nel tratto notevoli analogie con il disegno a matita di Pompeo Marino Molmenti, contenuto sempre in quest'album al precedente numero 10. Disegno a matita e carboncino, su carta marrone chiaro sabbia. 130x92mm. Incollato su foglio si supporto color indaco. Ottimo stato di conservazione.

€ 200

219. Pietro Antonio, NOVELLI. Volto di donna in ovale Face study of a young woman looking upwards. Pietro Antonio Novelli, 1729-1805, painter, engraver and poet, had as a tutor Don Pietro Antonio Toni who introduced him to the pictorial arts, but also to literature and the study of the harpsichord. From the artistic point of view it was based on the great Venetian masters of tradition, such as Giovanni Antonio Pellegrini, Giovanni Battista Piazzetta and Gaspare Diziani. In 1773 he stayed in Bologna and in 1779 in Rome, where contacts with neoclassicism made his style more composed but probably less imaginative. In the numerous frescoes and altarpieces there are also elements of the Venetian Rococo, which was influenced by the frequentation of Jacopo Amigoni. He created the canvas depicting Saints Peter and Paul and the Holy Trinity for the Archpriest Church of Levada di Piombino Dese. He also illustrated the Goldonian comedies published by Zatta. Rodolfo Pallucchini: «he was one of the most interesting and lively artists of Venice in the second half of the century: certainly his curriculum is not without substantial contradictions. But his was the destiny of those who work in the moment of transition between two civilizations: that of late Baroque Venice and the other of the advent of an international culture like the neoclassical one». ., P. A. Novelli illustratore di libri e incisore, «Padova», marzo 1933, 28-38; R. PALLUCCHINI, La pittura nel Veneto. Il Settecento, II, Milano, Electa, 1995, 473-483; A. DORIGATO, Pier Antonio Novelli, in Disegni antichi del Museo Correr di Venezia, a cura di T. PIGNATTI, V, Venezia, Neri Pozza, 1998, 62-111; Arte in Friuli. Dal Quattrocento al Settecento, a cura di P. PASTRES, Udine, SFF, 2008. Drawing with black ink on signed paper. 188x131 mm, Glued on Oval squared support sheet with double pen fillet. Under the oval on the left signature with brown "P. Novelli dis ”. Excellent condition.

€ 800 26

220. Francesco, BATTAGLIOLI. A Capriccio View of a Riverside Town Beautiful view with spectacular effects that chiaroscuro, which recalls the famous engravings by Francesco Bellotto, known as il Canaletto. Francesco Battaglioli, Modena, 1725 - Venice, 1796, was an artist appreciated by contemporaries: he was present in Venice, which became his adopted homeland, from 1747 to 1751, a period in which his name appears in the Fraglia of the painters. In 1754 he was called to Madrid at the court of Ferdinand IV, for which he painted the views of the Royal Palaces of Aranjuez and Madrid. At the Spanish court he weaves a collaborative relationship with Farinelli and Metastasio, creating the sets for numerous melodramatic performances. He returned to Venice in 1759 and, having joined the Academy of Fine Arts, in 1778 he succeeded Visentini in the chair of perspective. Monochrome, black, brown and gray watercolor. 170x230 mm. Glued and boxed with pen and watercolor on a support sheet. At the bottom left, on the support sheet, the writing in sepia ink "Battagioli maestro Canaletto". Excellent condition.

â&#x201A;Ź 1000

221. Francesco, NOVELLI. Diana con arco, faretra, cane e due putti End of XVIII century. Elegant and suggestive preparatory study. The dog is almost identical to the one present in the print 'The arrow of Cupid' of 1792. This remarkable engraving was proposed in 2011, with the title 'La flechas de Cupido', from the Ansorena Auction House in Madrid (10/11 / 2011, Pinturas, lot number 249). Francesco Novelli, 17641836, was a poet, painter, engraver and designer of no small skill. Son of the Venetian painter and engraver Pier Antonio Novelli, he practiced a lot in covering the art of the ancient masters such as Mantegna or Guercino. His father said of him that he designed fakes made so well that they would be taken for authentic. He was very successful as an engraver and engraved works by Rembrandt, for Remondini and other illustrious authors and publishers. Novelli engaged in the reproduction of Rembrandt's etchings, which were already part of the old Anton Maria Zanetti collection, thus enhancing the work of the brilliant artist, free from any predetermined form or subject. Drawing in pen, signed black and brown ink; 133x200 mm. Signature in sepia ink at the bottom right. Glued and boxed with pen and watercolor on a support sheet: "F Novelli". Excellent condition.

â&#x201A;Ź 800

222. Gaetano, BOZZA. Silvio Pellico esce di prigione 1776-1840. Gaetano Bozza, 1776-1840, fu un calcografo autodidatta veronese. Tra le sue stampe migliori si annovera: La Madonna della Seggiola e San Pietro Martire di Tiziano, S. Giovanni Battista dalla Tavola del Reni, Vergine col Bambino del Carracci. Dovette abbandonare l’attività di incisore poiché divenne cieco. Suoi furono i disegni e i rami per l’Anatomia del Caldani, il ritratto di Francesco Bianchini nella sua Storia Universale e le incisioni sul Rollin del Battaggia. Comanducci, A. M. – Dizionario illustrato pittori e incisori italiani moderni e contemporanei – III ediz. Milano 1962; Servolini, L. – Dizionario illustrato incisori italiani moderni e contemporanei – Milano, 1955. Giannantonio Moschini - Dell’incisione in Venezia – Venezia 1924; G. Ferrario – Le classiche stampe ecc. – Milano 1836; Thieme Becker – Kunstlerlex, 1910. Disegno a matita firmato. 144x178 mm. Incollato e riquadrato a penna e acquarello nel foglio di supporto. Sul margine inferiore a destra, a matita: “G. Bozza”. Ottimo stato di conservazione.

€ 300

223. Pietro, PAOLETTI. Attribuito. Due allegorie della lettura The two allegories take up the typical mythological depictions of fresco painting of the neoclassical Venetian school. They represent respectively: a character seated on a cloud reading a book in a roll; a group taken up in perspective from below, with two women, one of whom is sitting and reading a large sheet. Pietro Paoletti, 18011847, painter of Belluno, specializing above all in the frescoes and engraving engraver. His ability as a fresco artist put him into practice throughout the peninsula. His works include frescoes for the Basilica of the Abbey of Montecassino, the Church of Santa Maria Formosa in Venice, and for many of the Torlonia properties in Rome, including Palazzo Torlonia in Piazza Venezia and Villa Torlonia in Rome. He also frescoed the apse and the dome of the Cathedral of Rieti with stories from the Bible. Two Polychrome watercolors on small round cards. Diameter 70 mm. Excellent condition.

€ 600

224. PAOLETTI. Attribuito. Demetra in trono con Persefone Refined representation of neoclassical style, in different cerulean shades, which contribute to the perception of lightness that inspires the watercolor. The two Goddesses are seated on a throne resting on a cloud. Below them a winged putto holding a torch. Curiously, the ear is kept by Persephone. Pietro Paoletti, 1801-1847, painter of Belluno, specializing above all in the frescoes and engraving engraver. His ability as a fresco artist put him into practice throughout the peninsula. His works include frescoes for the Basilica of the Abbey of Montecassino, the Church of Santa Maria Formosa in Venice, and for many of the Torlonia properties in Rome, including Palazzo Torlonia in Piazza Venezia and Villa Torlonia in Rome. He also frescoed the apse and the dome of the Cathedral of Rieti with stories from the Bible. Monochrome watercolor in the round. Diameter 160x160. Glued and boxed in pen and watercolor on a light brown sand backing sheet. Excellent state.

â&#x201A;Ź 600

225. Francesco, NOVELLI. Due lottatori nudi Fine XVIII â&#x20AC;&#x201C; Inizio XIX secolo Red pastel drawing on octagonal cardboard. 192x130 mm. Placed in pen and glued on a support sheet. Under the drawing, in black pen, the signature "F Novelli". Excellent condition. Plastic and effective representation, perhaps the preparatory study for a fresco or an engraving, which seems to refer to the ancient masters. Francesco Novelli, 1764-1836, was a poet, painter, engraver and designer of no small skill. Son of the Venetian painter and engraver Pier Antonio Novelli, he practiced a lot in covering the art of the ancient masters such as Mantegna or Guercino. His father said of him that he designed fakes made so well that they would be taken for authentic. He was very successful as an engraver and engraved works by Rembrandt, for Remondini and other illustrious authors and publishers. Novelli engaged in the reproduction of Rembrandt's etchings, which were already part of the old Anton Maria Zanetti collection, thus enhancing the work of the brilliant artist, free from any predetermined form or subject.

â&#x201A;Ź 800 30

226. Giuseppe, SEGUSINI. Veduta con rovine romane Suggestive and dreamlike view of Roman antiquities, which indicates the author's interest in the study of architecture. Giuseppe Segusini, Feltre 1801 - Belluno 1876, architect and urban planner, at the age of nineteen he won the first prize in the architecture class of the Academy of Fine Arts in Venice and the following year he was accepted in the famous institution. In 1826 he left the academy and began his activity planning a temple for the canon Bartolomeo Villabruna and other buildings for Feltre, Malamocco and Venice. From 1838, when he obtained the title of free-lance as an architect and engineer, the projects followed one another at a rapid pace. He also worked on the rebuilding of the apse of the cathedral of Belluno, which collapsed following the earthquake of 1873. He was also an urban planner and planned the reconstruction of Padola and Lorenzago, destroyed by fires in 1846 and 1865 respectively. Giuditta Guiotto, Giuseppe Segusini. La storia dell'architetto e urbanista a cui si devono tantissime opere realizzate nella cittĂ natale in L'Amico del Popolo, nÂş 3, 21 gennaio 2012, p. 39; Antonio Pellin, Storia di Feltre, Tipografia Castaldi, 1944; Iacopo Bernardi, Vita di Giuseppe Segusini, Feltre: Premiata Tipografia Editrice Panfilo Castaldi, 1879; Giuseppe Biasuz, Dalle memorie dell'architetto Giuseppe Segusini (Spigolature), Feltre: Premiata Tipografia Editrice Panfilo Castaldi, 1967. Polychrome watercolor on signed paper. 185x115 mm. Glued on a support sheet. On the lower edge of the support sheet, signature and date "G Segusini 1846". Excellent state.

â&#x201A;Ź 400

227. Giuseppe, BROILI. Venezia. Veduta di San Giorgio Striking night view of San Giorgio as seen from the Riva degli Schiavoni, with lunar reflections on water and clouds. Giuseppe Broili, draftsman and engraver, was active in Trieste between 1825 and 1860. Mostly known for his Views of Trieste, lithographed by Joseph Kaiser in 1830 published around 1830, and for the drawings of a series of 16 views of Trieste, made between the years 30 'and 40' by several lithographers operating in the city. AA.VV. Libri e immagini di casa Svevo dalle Collezioni di Antonio Fonda Savio, Catalogo della Mostra 7 ottobre - 7 novembre 2011, Trieste, p. 67, n. 12. Watercolor and pen with white interventions, on cardboard. 135x195 mm. glued on a support sheet. Signature in the lower margin of the “G. Broili ". Excellent condition.

€ 400

228. Anonimo. Paesaggio montano con fiume e personaggi Metà XIX secolo Piccolo acquarello di pregevolissima fattura, con un cavaliere che si ferma presso un accampamento di nomadi. L’elaborata e preziosa cornice miniata è con ogni probabilità opera di Germano Prosdocimi, o di suo figlio Alberto. Acquarello su cartoncino, entro cornice arabescata e miniata in oro, azzurro e rosso. 145x205 mm. Incollato su foglio di supporto. Ottimo stato di conservazione.

€ 200

229. Joseph VERNET – Jacques ALIAMET (1714-1789) - (1726-1788) a) First View of the Levant. ca. 1760 Jacques Alimet, incise su ispirazione di Claude Joseph Vernet, Nicolaes Berchem, Philips Wouwerman, ma si dedicò anche a molti altri generi, tra i quali ritratti, soggetti galanti, pitture di paesaggi. Le sue incisioni si dimostrarono significative per la sicurezza del disegno e l'armonia dei toni, Secondo il Bénézit il suo cesello ha una notevole sicurezza. Le sue stampe si caratterizzarono per una piacevole chiarezza e delicatezza degli effetti di stampa. Acquaforte e puntasecca di 432x295 mm. Margini. In basso a sx: "J. Vernet Pinxit"; in basso a dx: "Aliamet Sculpsit"; in basso al centro: "Iere. VUE DU LEVANT / Domino Francisco Felici Simoni de Villette / Artis Pictoriae Cultori Aliamet dicat anno 1760. / à Paris ches l'Auteur rue des Mathurins vis a vis celles des Macons.". Buono stato di conservazione. b) Second View of the Levant. ca 1760 Jacques Alimet, incise su ispirazione di Claude Joseph Vernet, Nicolaes Berchem, Philips Wouwerman, ma si dedicò anche a molti altri generi, tra i quali ritratti, soggetti galanti, pitture di paesaggi. Le sue incisioni si dimostrarono significative per la sicurezza del disegno e l'armonia dei toni, Secondo il Bénézit il suo cesello ha una notevole sicurezza. Le sue stampe si caratterizzarono per una piacevole chiarezza e delicatezza degli effetti di stampa. Acquaforte e puntasecca di 432x295 mm. Margini. In basso a sx: J. Vernet Pinxit"; in basso a dx: "Aliamet Sculpst."; in basso al centro: "2de. VÜE DU LEVANT / Domino Francisco Felici Simoni de Villette / Artis Pictoriae Cultori Aliamet dicat anno 1760. / a Paris ches l'Auteur rüe des Mathurins vis a vis celles de Maçons." Strappetto al margine superiore sinistro che non coinvolge l’illustrazione. Buono stato di conservazione.

€ 200

230. Giovanni Battista, CECCHINI. Arti e mestieri. Quattro disegni. Firmato e datato Four small views depicting in particular: the apothecary's workshop, the blacksmith at work, a sedan chair that enters a building, gleaners on a cornfield. Giovanni Battista Cecchini, 1804-1879, Venetian painter, engraver and architect, taught at the University of Padua and was secretary of the Venice Academy. He devoted himself above all to the landscape and to the urban view, according to a purely academic interpretation that gave his production an almost documentary character of reportage. In 1842 he provided twenty views to illustrate the Guide to Padua by P. Selvatico. A. M. Comanducci – Dizionario illustrato di pittori e incisori italiani moderni e contemporanei – III ediz., Milano 1962; A. Meneghelli – Due pitture di Giovanni Battista Cecchini – Padova, 1831; Thieme-Becker – Kunsterlex – 1912; Atti dell’Accademia delle Belle Arti di Venezia – 1879/80. 4 pencil drawings on paper, each 143x73 mm. Square out in pencil. Glued on an ocher colored backing sheet. Signature and date 1847 in the support sheet. Excellent condition.

€ 400

231. Herman VAN SWANEVELT 1603-1655 1) La porta della città. Paris, Mondhare, XVII secolo Herman van Swanevelt produsse un gran numero di incisioni di alta qualità, che (come nel caso di Rembrandt), accrebbero la sua fama sia tra i contemporanei che tra i posteri. Secondo Waagen, le sue incisioni sono addirittura molto superiori ai dipinti poiché aveva un modo particolare di incidere: si esprimeva con tratti orizzontali un po' curvi. Evidenziava poco i contorni, se non per distinguere le masse. Utilizzava la punta secca e maggiormente il bulino, per dare maggiore armonia. I suoi soggetti preferiti erano paesaggi ideali, lussureggianti panorami e vedute di rovine romane. A questo fine era solito lavorare instancabilmente eseguendo studi nelle campagne romane dalle vedute più interessanti e delle rovine più notevoli. Acquaforte e puntasecca di 228x171 mm. Margini. Firma al margine inferiore sx. Ottimo stato di conservazione. 2) Jan VAN DE VELDE II 1593-1641 November. 1616 Incisione proveniente dalla serie de I Dodici Mesi di Jan Van De Velde II. In questa illustrazione è rappresentato il mese di Novembre, con ai margini superiori le rappresentazioni dei simboli dei segni zodiacali del mese: Sagittario e Scorpione. Cfr. Harvard Art Museums, Object Number M26599. Acquaforte di 298x153 mm. Ampi margini. Ottimo stato di conservazione.

€ 100

232. Policarpo, BEDINI. Ritratto Il volto di un uomo maturo che guarda verso l’alto. La tempera è ritoccata ad olio. Policarpo Bedini, 1817-1883, pittore, acquarellista, restauratore d’arte e mosaicista attivo nel corso del XIX secolo. Completò i suoi studi all’Accademia delle Belle Arti di Venezia. Nella sua vita artistica dipinse numerose composizioni semplici ma originali, soprattutto scene di genere. Coltivò anche l’arte del mosaico e fu un abile copista e restauratore di opere di vecchi maestri. Lodati furono soprattutto i suoi restauri effettuati in San Marco in Venezia. A. M. Comanducci –Pittori italiani dell’Ottocento, 1934; A. M. Comanducci – Dizionario illustrato di pittori e incisori italiani moderni e contemporanei – II ediz., Milano 1945; A. M. Comanducci – Dizionario illustrato di pittori e incisori italiani moderni e contemporanei – III ediz., Milano 1962; Thieme-Becker – Kunsterlex – 1909; Ateneo Veneto 1883. Tempera su cartoncino con ritocchi ad olio, firmata. 185x138 mm. Incollato su foglio di supporto. Firma con pennello sotto l’immagine a sinistra “P. Bedini Pin” Ottimo stato di conservazione.

€ 400

233. Germano, PROSDOCIMI. Giovane contadina con falcetto. Costume XIX secolo. Luminoso ritratto di un giovane mietitrice, nel suo tipico costume. Germano Prosdocimi, fu pittore e abilissimo miniatore, socio d’arte dell'Accademia di Belle Arti in Venezia. Avviò alla miniatura il figlio Alberto, noto per i suoi acquarelli con vedute veneziane. Acquarello su cartoncino. 275x180 mm. Incollato su foglio di supporto. Firma in basso a destra “G. Prosdocimi F.” Ottimo stato di conservazione.

€ 300

234. Ippolito, CAFFI. La prigionia di Romans, 17 aprile 1848 Vivid and rapid sketch that documents in an overall view the prison, the prisoners on the ground and the Croatian soldiers at the door. With the title and date written by the painter. Ippolito Caffi participated in the war against the Austrians in 1848, fighting in Friuli. He was captured and taken to Romans d’Isonzo on 17 April 1848, Monday of Holy Week after Palm Sunday. He tells his adventure in a long letter sent to the Marquis Antinori, where the scene represented in the drawing is described with precision. “Finally, at three o'clock in the night we arrived at Romans, where a crowd of people was waiting for us, as if we were a menagerie of wild beasts, to insult us; and with great difficulty we were able to escape from the fury of those madmen, protecting the Kinscky grenadiers, ferocious stalwarts also, who chased us into a filthy barn where forty other unfortunates lay reduced to the extremes of life. ... It was a spectacle full of compassion and terror to see in that hovel barely illuminated by dim light, sick people languishing for bloody wounds, persecuted by bloody assassins, without bread and without water, lying on the bare earth, and almost stripped naked, waiting like a benefit of heaven. " Ippolito Caffi, Belluno 1809-Lissa 1866, in 1841 decorated the Roman room of the Caffè Pedrocchi of Padua. In 1843 he left for Naples and, from here, for the East, visiting Athens, Turkey, Palestine and Egypt; he returned to Italy in 1844, loaded with sketches and works. In 1848 he left Rome, leaving for Friuli, where he joined the war against Austria; taken prisoner, he escaped, stopping in Venice for a year. In 1849 he settled in Genoa, Switzerland and in 1850 in Turin. In 1860 he was a political prisoner in the prisons of San Severo for three months, due to his frequent visits to Turin and Milan, which aroused the suspicions of the Austrian authorities. From there he returned to Milan, then he went to Naples, joining the Garibaldi army. After 1860, with the unification of Italy, Caffi returned to Venice, resuming painting. He died at the age of 57, in the sinking of the King of Italy ship during the battle of Lissa in 1866, in the full course of the Third Italian War of Independence. Caffi's work, although inspired by 18th-century Venetian models, was able to modernize the pictorial vocabulary of the views, both by exploring new points of view, such as in night scenes, and with unusual themes, such as the flight of a balloon. Despite having been very much appreciated in life, Caffi had to wait until the mid-1960s to be seriously considered by art historians. With the great exhibition held in Venice on the occasion of the centenary of his death, the revaluation of his painting took place. His pictorial production was very numerous and part of it was lost. La lettera fu pubblicata con il titolo: “La mia prigionia al marchese Antinori segretario della Società Artistica in Roma, G. Marchigiani Co’ Tipi Tondelli, 1848. Avon Caffi 1967G. Avon Caffi, Ippolito Caffi (1809-1866), Padova 1967.Capitelli 2011 G. Capitelli, Mecenatismo pontificio e borbonico alla vigilia dell’Unità, con un contributo di I. Sgarbozza, Roma 2011. De Grassi 2005 M. De Grassi, "Scrivettimi qualchuna cosa della nostra Patria". Ippolito Caffi e Belluno nelle lettere ad Antonio Tessari, in Caffi. Luci del Mediterraneo, catalogo della mostra (Roma, Palazzo Braschi) a cura di A. Scarpa, Ginevra-Milano 2005, 43-53. Roma 2006 Caffi. Luci del Mediterraneo, catalogo della mostra (Roma, Palazzo Braschi) a cura di Annalisa Scarpa, Ginevra-Milano 2005. Pittaluga 1971 M. Pittaluga, Il pittore Ippolito Caffi, Vicenza 1971. Carteggio Tessari Caffi Biblioteca di Belluno. Pen drawing on paper, black ink. 210x264 mm. Glued on a support sheet. Title and date on the foot: "The imprisonment of Romanz - 17/4 48". Some stains produced by the glue on the sheet below. 36

Posted on the verso: Carlo, PODIANI. Medieval knight with sword. Nineteenth century A mighty knight with a beard in a very volitional posture. Carlo Podiani of Loreo, province of Rovigo, in 1838 he was awarded at the Venice Academy for his skill in engraving. Drawing in black ink, on paper. 202x140 mm. Glued on paper. Signature in sepia ink at the bottom left. Excellent state of preservation.

â&#x201A;Ź 2000

235. Carlo, TOSCAN. Veduta panoramica di Venezia XIX century. Bright panoramic view with a view from the lagoon that goes from Riva degli Schiavoni to the right to the tip of the Dogana on the left. In the foreground a colorful group in costume on a gondola and two fishermen on a small sàndolo. Watercolor with white highlights, on cardboard. 82x135 mm. Glued on blue sheet. Pen signature on the support sheet. Excellent condition.

€ 300

236. PROSDOCIMI, Germano o Alberto.Ritratto di Gesù XIX secolo. Tempera e decorazione miniata in oro su pergamena. 242x163 mm. Riquadrata con cornice lineare in oro. Incollata su foglio di supporto. Sul margine inferiore del foglio la scritta “Prosdocimi su carta pecora all’antico”. Ottimo stato di conservazione. Il ritratto è inserito in una ricchissima cornice arabescata con motivi fitomorfi, fogliami e uccelli simbolici, in oro e in lacca bianca su fondo rosa e bianco. Germano Prosdocimi, fu pittore e abilissimo miniatore, socio d’arte dell'Accademia di Belle Arti in Venezia. Avviò alla miniatura il figlio Alberto, noto per i suoi acquarelli con vedute veneziane.

€ 200

237. F. MARINO.Popolana con cesto di uova Prima metà XIX secolo. Tempera su cartoncino ocra. 220x180 mm. Incollato su foglio di supporto. Firma in basso nel foglio di supporto. Ottimo stato di conservazione. Ritratto di ottima fattura, drappeggi delle vesti ed espressione del volto eseguiti da mano esperta.

€ 200 38

238. Alessandro, SCHIAVONI. Veduta con scorcio di villaggio montano Veduta prospettica di un villaggio, probabilmente del Trentino: sullo sfondo si intravvede la linea di un’imponente montagna. Alessandro Schiavoni, Venezia, 1834 – 1862, verosimilmente della famiglia Schiavoni, eminenti pittori veneziani, fu soprattutto dedito alla pittura di paesaggio. Compare con due quadri alla mostra del 1861 presso l’Accademia Albertina di Torino. Una sua opera “Veduta di Trento da Piedicastello” del 1857 è oggi presso il Museo Nazionale di Trento, n° di inventario 146. Questo quadro fu commissionato al pittore veneziano dal Conte Matteo Thun, patriota, membro della ‘Giovane Italia’ e amico di Giovanni Prati, che poi lo donò alla città di Trento. Nel 2006 il quadro, conservato nel Castello del Buonconsiglio, fu restaurato da Paola Orsolon. Cfr. Catalogo degli oggetti d'arte ammessi alla pubblica Esposizione aperta il 1. maggio 1861 nel palazzo dell'Accademia Albertina per cura della Societa promotrice delle Belle Arti", n. 134, 181; Cardone, Andrea (2012) Depositi della storia: i Musei Civici nell'Italia dell'Ottocento. PhD thesis, University of Trento, p. 64. Disegno a matita su carta azzurra. 117x155 mm. Incollato su foglio di supporto. Firma sul foglio di supporto. Ottimo stato di conservazione.

€ 200

239. NOVO. Canale di Venezia con barca XIX secolo. Acquarello su carta pesante. 220x165 mm. Incollato su foglio di supporto. Firma e data a pennello rosso, in basso a destra “Novo 57”. Ottimo stato di conservazione.

€ 200

240. Ugo BOTTI. Due vedute XIX secolo. Due acquarelli monocromi. 116x171 mm; 120x173 mm. Incollati su foglio di supporto. Firma del pittore al piede dell’acquarello inferiore, penna nera. Ottimo stato di conservazione. Due belle vedute in monocromia in diverse tonalità di grigio, che raffigurano paesaggi con rovine.

€ 300 39

241. NOVO. Giovane popolana con tamburello XIX secolo. Acquarello su carta pesante. 225x180 mm. Incollato su foglio di supporto. Firma e data a pennello rosso, in basso a sinistra “Novo 1858”. Ottimo stato di conservazione. Giovane popolana con tamburello. Acquarello policromo. Firma in basso a sinistra.

€ 300

242. G. BARONI. Paesaggio montano al tramonto con castello e personaggi XIX secolo. Olio su cartoncino. 133x188 mm. Incollato su cartoncino. Firma in basso al centro. Minuscola mancanza su tre angoli, per il resto ottimo stato di conservazione.

€ 300

243. Ippolito CAFFI. Macchietta Veneziana Tasty and caricatural sketch of a grim person in profile. Ippolito Caffi was a painter and watercolorist, a character from the adventurous life, made numerous trips to the East, reporting sketches and paintings, he participated in the movements for Italian Independence, depicting real episodes of war. In maturity he also devoted himself to the study of ‘macchiette’, as evidenced by various works such as the watercolor painting he himself called “Venetian popular Macchiette” of 1849, or of two very small views of the Marciana audience recently passed through the antique market. These last ones show La Piazzetta di notte and Francesco Giuseppe and Elisabetta's arrival in Venice and are animated by the presence of small specks, very similar in the morphology of the crowd of characters that stop in front of the basilica in the picture “The Basilica of San Marco and the Piazzetta” of 1858. In 2009, the Correr Museum presented in an exhibition dedicated to 19th century Venetian drawings, several 'macchiette' taken from the sketchbooks of the famous painter: "Here is the great Ippolito Caffi (1809-1866), a landscape artist now freed from the eighteenth century suggestions , Risorgimento and heroic, in love with the 'people' (common people at rest, Austrian police, sailors waiting to be hired, some Oriental men, masks): the Venice of a beggaring and submissive nineteenth century who seeks redemption in mockery or in the gesture of rebellion, fixed in watercolors notebooks or in sketched views on agendine 'moleskine' ante-litteram. " Bibliografia Caffi n. 234. Polychrome watercolor on paper. 86x45 mm. Glued on a support sheet. Excellent state.

€ 2000

244. Anonimo. Il Leone di S. Marco abbatte l’aquila bicipite asburgica. “Li 22 Marzo 1848” Litografia di ispirazione patriottica con sapiente uso del chiaroscuro. Il 22 marzo 1848 fu costituita la Repubblica di San Marco, a seguito dell'insurrezione della città, che aveva avuto inizio il 17 marzo dello stesso anno, contro il governo austriaco. Litografia. 165x250 mm. Data a penna sotto la stampa. Alcune tracce d’uso, taglio e lacerazione nella parte superiore che non investe l’immagine.

€ 200

245. GISSL. Zur Erinnerung an den 2. 1 September 1864 1864. Grande veduta panoramica di un imponente castello con le mura delle fortificazioni, eseguito con eccellente tecnica chiaroscurale. Intestazione: “In memoria del 2. 1Settembre 1864.” Disegno a matita su foglio carta pesante marrone sabbia incollato su fogli di supporto. 205x261 mm. Immagine riquadrata con curiosa cornice bianca ottogonale. Intestazione in basso al centro, firma in basso a destra, a matita. Buono stato di conservazione.

€ 200

246. Ippolito CAFFI. Paesaggio con abside di chiesa, arco e popolani Scenographic representation of remarkable quality, which seems to refer to a location in the vicinity of Rome. The signature looks very similar to that of Caffi, who was a pupil of Francesco Bagnara at the Venice Academy, for landscape courses. The watercolor could have been made by Caffi during one of his Roman stays Probably years 30-40 of the nineteenth century. He went to Rome on several occasions, from 1832 to 1856-57. Bibliografia Caffi n. 234. Monochrome watercolor in bistro, with white highlights, on heavy paper. Sheet in octagonal shape, of 225x155 mm. Glued on a support sheet. Signed in pencil with little legibility in the lower right corner. Placed in pen on the support sheet. Excellent condition.

â&#x201A;Ź 500

247. Francesco BAGNARA Maniera di. Paesaggio con torre e personaggi in cammino Vicenza 1784-Venezia 1866 Refined representation of a mountain landscape with ruins, immersed in a rarefied light, reminiscent of the manner of Francesco Bagnara. Tempera on cardboard. 100x135 mm. Square and glued on a support sheet. Bottom left on the support sheet, in pen, date "1 May 1857"; on the right it is not legible. Good condition.

€400

248. Ippolito CAFFI. Veduta palustre con barca e casa Belluno, 16 ottobre 1809 – Lissa, 20 luglio 1866 Night view with a full moon partially covered by clouds. Although the signature is not perfectly legible, for some traits especially vertical it reminds that of Caffi. Moreover, some peculiarities of the composition are typical of the Belluno painter's style: the reflections on the water, the clouds, the fire behind the characters on the boat that highlights the style. Bibliografia Caffi n. 234. Oil on canvas cardboard and painted. Monochrome painting. 117x160 mm. Signature hardly legible in the lower right corner. Numbered 620. Very good condition.

€ 500

249. Ippolito CAFFI. Scena d’interno con due ragazze che suonano la chitarra Ippolito Caffi, Belluno 1809-Lissa 1866, in 1841 decorated the Roman room of the Caffè Pedrocchi of Padua. In 1843 he left for Naples and, from here, for the East, visiting Athens, Turkey, Palestine and Egypt; he returned to Italy in 1844, loaded with sketches and works. In 1848 he left Rome, leaving for Friuli, where he joined the war against Austria; taken prisoner, he escaped, stopping in Venice for a year. In 1849 he settled in Genoa, Switzerland and in 1850 in Turin. In 1860 he was a political prisoner in the prisons of San Severo for three months, due to his frequent visits to Turin and Milan, which aroused the suspicions of the Austrian authorities. From there he returned to Milan, then he went to Naples, joining the Garibaldi army. After 1860, with the unification of Italy, Caffi returned to Venice, resuming painting. He died at the age of 57, in the sinking of the King of Italy ship during the battle of Lissa in 1866, in the full course of the Third Italian War of Independence. Caffi's work, although inspired by 18th-century Venetian models, was able to modernize the pictorial vocabulary of the views, both by exploring new points of view, such as in night scenes, and with unusual themes, such as the flight of a balloon. Despite having been very much appreciated in life, Caffi had to wait until the mid-1960s to be seriously considered by art historians. With the great exhibition held in Venice on the occasion of the centenary of his death, the revaluation of his painting took place. His pictorial production was very numerous and part of it was lost. Bibliografia Caffi n. 234. Drawing Watercolor, Brown ink with white highlights, on signed paper. 166x207 mm sheet, on a support sheet with four corner cuts. Signature in the lower left "Caffi dip". Good condition.

€ 1300

250. Gabriel GIRARDI. Titubanza 1973. Evocative painting by the painter from Almese, graduated from the Art School and then from the Albertina Academy of Fine Arts in Turin. Several of his works have appeared in Public Collections in Italy and abroad. Since 1966, the artist has exhibited his works in numerous art galleries, in International Contemporary Art Fairs and in many Galleries, including this one in Saint Vincent whose stamp is stamped on the back of the painting. Bibliografia Caffi n. 234. Oil on canvas with frame and glass, 145x145 mm. On verso with blue marking pen, title, date and signature of artist. Red stamp of Civic Gallery of Saint Vincent. Nice condition.

€ 100

251. Giovanni Francesco COSTA. Veduta del Palazzo del N. H. Foscarini 1750-56. Graziosa incisione proveniente dal tomo I dell’opera di Giovanni Francesco Costa “Delle delicie del fiume Brenta espresse ne' palazzi e casini situati sopra le sue sponde dalla sboccatura nella laguna di Venezia fino alla città di Padova.” In particolare, si tratta dell’incisione n. 48 del volume, che raffigura la villa sul fiume Brenta del nobile veneziano Marco Foscarini, Doge della Serenissima dal 1762 al 1763. Acquaforte di 225x332 mm. Ampi margini. Titolo in basso al centro sia in italiano che in francese. Numerato XLVIII. Ottimo stato di conservazione.

€ 100

252. Giuseppe, CAPRIATI. Il Leone di S. Marco. Firmato e datato Venezia, 1850. Disegno a matita su carta. Fogli di 120x205 mm., incollato su cartoncino di supporto. In basso al centro, a penna, con inchiostro seppia “L’anno 1850 in Venezia – Gius. Capriati dis.”. Ottimo stato di conservazione

€ 300

253. Mario BUCCI 1903-1970. Oil on canvas. 380x218 mm. Signature in the left lower. Good condition. Curious representation of a conversation on the street of characters in nineteenth-century costumes, a mature man in the center and two women portrayed from the shoulder.

€ 100

254. Mario BUCCI 1903-1970. Surrealist taste scene with different characters in a room, an elegantly dressed mature man in the background and two young naked women standing in the foreground. Oil on canvas. 340x235 mm. Signature in the left lower. Good condition.

€ 100

255. Max, RUPNICK. Paesaggio invernale notturno innevato, con personaggi. Firmato e datato 1882 Tenebrosa veduta, che evoca magistralmente l’atmosfera gelida di una notte invernale. In primo piano un cavallo che trascina una slitta. Tempera su cartoncino marrone. 267x208 mm. In basso a sinistra, in nero “Max Rupnik | 82”. Ottimo stato di conservazione.

€ 200

256. Paesaggio Carsico innevato con figura umana. Firmato e datato Trieste 1852 Veduta invernale con un piccolo personaggio al centro, che richiama le macchiette presenti in molte opere di Caffi. La firma in basso a destra è pressoché identica alle firme di Caffi nelle lettere inviate all’amico Tessari di Belluno nello stesso periodo. Cfr. “MS. 740 Caffi Ippolito. Lettere di Ippolito Caffi pittore bellunese ad Antonio Tessari dal 1825 al 1866.”, pagina 802. In: “collezioni.comune.belluno.it”. Tempera su carta, con lumeggiature di biacca. 102x147 mm. Inquadrato da cornice dorata e inquadrato su foglio di supporto. Sul supporto in basso a penna nera le scritte: “Trieste nel Maggio 852”, a sinistra; firma a destra. Ottimo stato di conservazione.

€ 300

257. David Alfaro SIQUEIROS 1896–1974. Untitled 1973. Magnificent powerful and gestural lithography by the famous Mexican master. It was included in the Suite Fantasia de la Carcel, Prison Fantasies Suite I, printed in 250 numbered copies, and published in New York in 1973 by Penn Atelier Graphics. Lithograph in colors. 500x380 mm. Signed with brush at the bottom right. Bottom left, in pencil: “100/250”. Excellent condition.

€ 400

258. Fed. RUPNICK. Scena con cavallo e cavaliere disarcionato. Firmato e datato 1852. Disegno a matita con interventi di biacca, su cartoncino bistrò. 265x207 mm. Data 1852 e firma in basso a destra. Qualche lieve macchia, buono stato di conservazione.

€ 200

259. ANONIMO. Giovane donna a cavallo. Firmato XIX secolo. È raffigurata una nobildonna che cavalca all’amazzone un magnifico destriero arabo. Disegno a matita su carta pesante color ocra. 175x233 mm. Appoggiato su foglio di supporto con quattro tagli angolari. Firma in basso a sinistra, poco leggibile. Ottimo stato di conservazione.

€ 200 49

260. Anonimo. Giochi di bimbi XIX secolo Disegno a matita su carta, con lumeggiature di biacca. 140x217 mm. Appoggiato su foglio di supporto con quattro tagli angolari. Ottimo stato di conservazione.

â&#x201A;Ź 200

261. Ippolito, CAFFI. Mare in burrasca con barca e pescatori Vivid representation of a boat struggling with the waves. The strong colors of the overcast sky and of the large foaming waves effectively render tension and danger. Just the colors and the particular drafting of the work can be traced back to Ippolito Caffi. Bibliografia Caff n. 234. Oil on cardboard. 85x110 mm. Sheet framed and applied in a cardboard frame decorated with phytomorphic motifs, resting on a support sheet with four angular cuts. Under the pen frame "Del 25 marzo 52"; on the right unreadable signature.

â&#x201A;Ź 800

262. Ernst HASSE. Vecchio frate con due bambini Olio su cartoncino. 173x144 mm. Parzialmente incollato su foglio di supporto. Sul verso, a matita, il nome “Hase”. Buono stato di conservazione.

€ 300

263. Gilt foil of Phyrgi, written in Etruscan Second half of the 20th century. Magnificent testimony of one of the most important archaeological discoveries, of fundamental importance for the knowledge of the history and language of the Etruscan people. In 1964, three gold foils were found in the archaeological site of Pyrgi, today Santa Severa, in the province of Rome. About 20 centimeters high, they date back to the end of the 6th or the beginning of the 5th century BC. and contain a text in the Phoenician language and two in the Etruscan language. It is a sacred inscription: the documents testify to the consecration of the temple to the Etruscan goddess Uni, assimilated to the Phoenician Astarte. Our sheet perfectly reproduces, in a slightly reduced size, the first sheet written in Etruscan, consisting of 16 lines, 36 or 37 words. Considered one of the first epigraphic attestations in an Italic language, the artefact is currently exhibited at the National Etruscan Museum of Villa Giulia, in Rome. Measurements: about 100x48 mm. Perfect condition

€ 100

264. Anonimo. Paesaggio con torre e porta XIX secolo. Acquarello monocromo con lumeggiature di biacca, su carta marrone. 157x217 mm. Incollato su foglio di supporto, riquadrato a penna. Ottimo stato di conservazione.

€ 200

265. Anonimo. Veduta di città con chiesa e campanile. Firmato XIX secolo. Acquarello monocromo in diverse tonalità di marrone, su carta. 134x208 mm. Incollato su foglio di supporto, riquadrato a penna. Firma in basso a destra: Benar. Ottimo stato di conservazione.

€ 300 266. F. Colombo. Due frati con due bambini. Firmato

XIX secolo. Acquarello su carta. 150x213 mm. Incollato su foglio di supporto, riquadrato a penna. Firma in basso a destra. Ottimo stato di conservazione.

€ 300

267. Parthenon. Firmato e datato 1852. Disegno a matita su carta, riquadrato. 100x155 mm. Data in basso a sinistra e firma non leggibile a destra. Titolo sotto la cornice. Tracce d’uso e macchie sui margini, immagine in ottimo stato di conservazione.

€ 300 268. Anonimo. Veduta dell’isola di S. Lazzaro degli Armeni, Venezia

XIX secolo. La veduta d’insieme, dalla laguna con una gondola e una barca, riprende di scorcio l’isola con in primo piano il campanile e l’abside della chiesa. Disegno a matita su carta. 176x253 mm. Appoggiato su foglio di supporto con quattro tagli angolari.Buono stato di conservazione.

€ 200

269. Anonimo. Paesaggio marino con due personaggi e un cane. Monogrammato e datato 1848. Curiosa veduta con colori tenui: due popolani, ripresi da tergo, osservano il mare. Di grande qualità il tocco del pennello. Acquarello su carta. 201x158 mm. Incollato su foglio di supporto. In basso a destra, a matita, monogramma e data “TB. 48.” Ottimo stato di conservazione.

€ 200 53

270. Alain ROUSSEAU. Déjeuner dans un parc 1926 Animated representation of impressionist taste, which illustrates a scene of Parisian life, with a café-restaurant in a park populated by elegant customers. Oil on canvas. 820x640 mm. Signature on the right lower. On frame. Nice condition.

€ 300

271. Aldo ANDREOLO. Il silenzio 1974. Aldo Andreolo was born in Venice. His painting, always conducted on the edge of a recognizable figurative matrix, is identified with a very personal and now well-known iconography, in which his enigmatic female figures stand out in perpetual waiting, absorbed in long meditations or intent on scanning the horizon. A pupil of Giuseppe Cesetti at the Academy of Fine Arts in Venice, he graduated in painting in 1949. In the same year he won the Angiola Prize in the Youth Competition and was invited to the Review of contemporary Italian painting at the Correr Museum in Venice, where his works appear alongside those of Boccioni, Carrà, De Chirico, Modigliani, Morandi, Sironi and other masters of Italian painting of the '900. At the end of the fifties Andreolo arrives at an expressionistic-gestural painting, strongly material, Nature morte, Tetti di Venezia. Towards the end of the sixties his painting, having abandoned the dense and noisy colors of the previous period, settles on positions that lean towards a sort of “magical realism”, imbued with metaphysical suggestions. This is how the cycles of abandoned cars and newsstands were born, followed by Beaches and Waits. The Venetian artist has participated in hundreds of exhibitions around the world. In addition to Italy, he has exhibited in London, New York, Los Angeles, Tokyo, Paris, Geneva, Basel, Munich, Mannheim, Lübeck, The Hague, Brussels, Vienna. His works appear in important private and public collections, including the Ca 'Pesaro museum in Venice. Bibliografia: Marcello Venuroli. Fra cielo e terra Aldo Andreolo.N. 6. Oil on plywood with frame, 800 x600 mm. Signature on the right lower. Handwritten title, date and dedication on verso. Nice condition.

€ 500

272. Aldo ANDREOLO. L’edicola sulla spiaggia 1926. Oil on canvas with frame, 350x500 mm. Signature on the right lower. Nice condition. Aldo Andreolo was born in Venice. His painting, always conducted on the edge of a recognizable figurative matrix, is identified with a very personal and now well-known iconography, in which his enigmatic female figures stand out in perpetual waiting, absorbed in long meditations or intent on scanning the horizon. A pupil of Giuseppe Cesetti at the Academy of Fine Arts in Venice, he graduated in painting in 1949. In the same year he won the Angiola Prize in the Youth Competition and was invited to the Review of contemporary Italian painting at the Correr Museum in Venice, where his works appear alongside those of Boccioni, Carrà, De Chirico, Modigliani, Morandi, Sironi and other masters of Italian painting of the '900. At the end of the fifties Andreolo arrives at an expressionistic-gestural painting, strongly material, Nature morte, Tetti di Venezia. Towards the end of the sixties his painting, having abandoned the dense and noisy colors of the previous period, settles on positions that lean towards a sort of “magical realism”, imbued with metaphysical suggestions. This is how the cycles of abandoned cars and newsstands were born, followed by Beaches and Waits. The Venetian artist has participated in hundreds of exhibitions around the world. In addition to Italy, he has exhibited in London, New York, Los Angeles, Tokyo, Paris, Geneva, Basel, Munich, Mannheim, Lübeck, The Hague, Brussels, Vienna. His works appear in important private and public collections, including the Ca 'Pesaro museum in Venice.

€ 300

273. Scuola Italiana. Ragazza in piedi con sedia Italia, XIX secolo. Nice interior scene with girl in 19th century costume. Oil on canvas. Measures: 460x320 mm. Good condition.

€ 300

274. Angelica KAUFFMAN Lady with open book. Beautiful drawing by Angelica Kauffman, preparatory for an engraving. It was his father, Johann Joseph Kauffmann, who was also his painter, who initiated her into an artistic career. In 1754 he took her to Milan, where he studied painting, focusing mainly on portraits. He visited Rome, Parma, Bologna, Modena and Venice, where he was celebrated for his undeniable talent. English artist who, since its creation, has been taking care of hosting exhibitions and art exhibitions of famous works from all over the world. He married the Venetian artist Antonio Zucchi, later moving to Rome, where he met, among others, the German philosopher and writer Johann Volfgang von Goethe, and where he died, 5 November 1807. Known for the choice of subjects of a purely historical nature, he created many famous paintings such as “Penelope al telaio, Il colore, Il disegno, La composizione, Il genio, Virgilio che legge l’Eneide ad Augusto e Ottavia, Amore e Psiche, Cornelia madre dei Gracchi “, as well as several portraits of celebrities such as Queen Carlotta of England, and several self-portraits and engravings. BIBLIOGRAPHY: Andresen 31, Nagler 16b, Bettina Baumgärtel, Angelika Kauffmann (1741-1807). Bedingungen weiblicher Kreativität in der Malerei des 18. Jahrhunderts., Weinheim-Basel, 1990. Wendy Wassyng Roworth e David Alexander, Angelica Kauffmann: a continental artist in Georgian England, Londra, 1992. Drawing on paper in black and sanguine pencil. 140x125mm. Margins. Good condition.

€ 800 57

275. Anonimo. Castello Borgo san Pietro presso il Tagliamento 1871. Bella veduta dal basso del maniero fortificato di Borgo San Pietro, nei pressi di Ragogna in provincia di Udine. Il castello è situato sul promontorio roccioso che sovrasta il Tagliamento, nel tratto tra Ragogna e Pinzano; tale baluardo naturale è stato sfruttato già nell’antichità per costruirvi postazioni di vedetta ed in età tardoantica altomedioevale era sede di un castrum. Le prime notizie storiche risalgono al VII sec.: ne parla Paolo Diacono nella Historia Langobardorum menzionando le rocche longobarde coinvolte nella lotta tra Avari e Longobardi dell’anno 610. La struttura dell’insediamento è risalente al periodo feudale. Con l’avvento del dominio veneziano viene affidato in capitanato ad esponenti di varie famiglie nobili e nel 1787 risulta ancora abitato dal conte Federico di Porcia. Disegno a matita su cartoncino. 180x210 mm. Immagine entro ovale écru, margini bianchi. Titolo e data a matita in basso, entro l’ovale. Ottimo stato di conservazione.

€ 200

276. Albrecht Dürer. Saint George slaying the dragon 1501/1504. Splendid engraving one of the most representative of the brilliant graphic work of Dürer. The engraving represents S. George riding a horse and killing the dragon embodiment of evil. The monogram is present in the lower right corner inside a stone. Hollstein VII 181.225; Schoch, Mende, and Scherbaum 138. Woodcut, mm. 210x140. trimmed to margins, stamp of possession on the verso of the leaf, reinforced. Slight sign of restoration on the upper left margin. Good condition.

€ 1200

277. Veduta con rovine e due personaggi. Firmato e datato 1868. Acquarello monocromatico con interventi in biacca e marrone scuro, su cartoncino. 200x245 mm. In basso a sinistra, a penna, firma non leggibile e data “27.7.868”. Ottimo stato di conservazione.

€ 200

278. Lago di Como. Veduta con imbarcazioni. Firmato e datato 1865. Picturesque view with a small village and the characteristic ‘Batel’ in the foreground, another stands out in the distance. The bell tower looks very similar to that of the church of Santa Tecla di Torno, a charming village located on the southern coast of the first basin of Lake Como. The Batel, used for fishing, was surmounted by three circles on which a blanket was stretched, to shelter the fishermen from the rain and the scorching sun. Today this boat is known as Lucia because in an episode of the famous novel by Manzoni the protagonist uses it to escape. Watercolor on heavy paper. 176x230 mm. Signature not readable and given at the bottom on the right. Excellent condition.

€ 400

279. PAVONA, Francesco. Ritratto di Maria Teresa d’Austria e di Francesco Stefano di Lorena Two refined paintings with the crayon technique, executed in a style similar to that of Rosalba Carriera. The two rulers are portrayed on the threshold of maturity by Pavona, at the time particularly known for his crayon's portraits. Francesco Pavona, Udine 1695 - Venice 1777, was the first student of Giacomo Càrneo in Friuli, then in Bologna at Marcantonio Franceschini and Giovanni Gioseffo dal Sole. He worked throughout Italy, in most of the European courts and for noble commissions around the Europe, becoming famous to the point that, back in Venice, he was elected to the Academy of Painting and Drawing to the detriment of Canaletto. Two paintings with crayon on paper pasted on canvas. Each of mm. 590x440. Within contemporary gilt frames, overall mm. 680x530. Slight tears and oxidation of paint.

€ 3800

280. Anonimo. Lot of three chinese paintings Cina, dinastia Qing 1644-1911 Dama su trono con abito viola. Dipinto cinese. XIX secolo. cm. 219x109. Su carta di riso, incollata su supporto in carta più pesante. Cornice in carta dorata goffrata. Ottimo stato di conservazione. Unito con: Anonimo. Dama su trono con abito turchese Cina, dinastia Qing 1644-1911 cm. 219x109. Su carta di riso, incollata su supporto in carta più pesante. Cornice in carta dorata goffrata. Ottimo stato di conservazione. Unito con: Anonimo. Due dignitari in abiti da cerimonia e copricapi. Quattro ritratti Cina, Dinastia Qing, XIX secolo cm. 219x108,5. Su carta di riso, incollata su supporto in carta più pesante. Cornice in carta dorata goffrata. Qualche difetto e macchie d’umidità che non investono le immagini, per il resto buono stato di conservazione. Allegoria della vita umana. Due uomini in abito blu e due donne in abito rosso raffigurati in due età diverse. In alto al centro in quattro riquadri, la spiegazione del soggetto del dipinto: due riquadri in cornice blu e due in cornice rossa. Sotto ogni scritta la firma con il carattere “主”.

€ 800

281. M. STEFANUTTI. Cane da caccia con la preda. Firmato Disegno a matita su cartoncino. 260x162 mm. Firma a matita in basso a destra “MStefanuti”. Ottimo stato di conservazione.

€ 200

282. Francesco BEDA. Musicista con violoncello. Monogrammato Nato a Trieste nel 1840, Francesco Beda studiò a Vienna con Karl von Blaas, predilige le scene di genere, eseguite con attenzione al disegno e non senza gusto nella distribuzione del colore. Nella sua pittura di genere Beda prediligeva argomenti e costumi del Settecento. Viaggiò e lavorò in Austria, Ungheria, Croazia. L'amore per il colore vivido e brillante è dovuto alla conoscenza di Mariano Fortuny ed ebbe come esiti quei "miniati e agghindati" quadretti che rappresentano la sua produzione più conosciuta. Alla fine dell'Ottocento Beda ebbe larga fama non solo a Trieste ma in tutto l'impero. Garollo, Gottardo. Dizionario Biografico Universale. Editore Libraio della Real Casa, Milan. p. 223. 1907. Encyclopedia Treccani, entry by Remigio Marini in Dizionario Biografico degli Italiani - Volume 7, 1970. Acquarello su cartoncino. 156x100 mm. Firmato in basso a destra con monogramma. Tracce d’uso, buona conservazione.

€ 300

283. ANONIMO. Costumi Romani. Il Saltarello XIX secolo. Dinamica e festosa scena con un gruppo di giovani popolani in campagna romana che ballano il saltarello: al centro una coppia danza. Acquarello su cartoncino. 77x100 mm. Buono stato di conservazione.

€ 200

284. Andrea Appiani. Tre opliti Giovanni Andrea Melchiorre Appiani was an Italian painter, standard bearer of neoclassicism in Italy, he was one of the greatest exponents of that period between the Enlightenment and the Napoleonic vicissitudes, thanks to the expressive specificity of his style, a true trait d'union between the softness of the Leonardo trait and the grace of classicism. In 1807 he was appointed director of the Pinacoteca di Brera. This powerful and expressive drawing denotes his very skillful hand in representing the dynamics of the characters. The drawing is on vellum paper by the famous English firm Whatman. James Whatman (1702–1759), the Major, was a paper manufacturer who made revolutionary advances in art in England. He is known as the inventor of tissue paper (wove paper), an innovation used for high quality art and printing. The techniques continued to be developed by his son, James Whatman the Younger (1741–1798). At a time when paper mills were small, its innovations led to the large scale and widespread industrialization of paper production. Gaetano Bergamaschi, Le Opere di Andrea Appiani, Milano, 1849. Antonio Caimi, Delle arti del disegno e degli artisti nelle provincie di Lombardia dal 1777-1862, Milano, Presso Luigi di Giacomo Pirola, 1862. Angela Ottino Della Chiesa, Andrea Appiani, in Dizionario biografico degli italiani, vol. 3, Roma, Istituto dell'Enciclopedia Italiana, 1961. Ugo Ojetti, APPIANI, Andrea, in Enciclopedia Italiana, Roma, Treccani, 1929. Barilli Renato, Canova e Appiani. Mazzotta, 1999. Pencil sketch on tissue paper with watermark. 203x255 mm. Filigree JWhatman [J. Whatman]. Good conservation.

€ 800

285. CARRACCI, Annibale. Mercante dei libri a Piazza Navona 1740. Very rare work containing the complete and homogeneous series of 80 drawings by Annibale Carracci from the collection of Cardinal Ludovisi and etched by Simon Guillain. Beautiful etchings printed on laid paper with watermark "Lily within a single circle", at large margins. Folio, mm. 414x260; quarter leather and marbled paper; 12 including illustrated frontispiece with portrait of Carracci, title page, dedication to the Marquise Giambattista Piccaluga, life of Carracci and plates index. 80 etchings engraved by Simon Guillain from the drawings of Annibale Carracci of the collection of Cardinal Ludovisi. Fine specimen with wide margins.

â&#x201A;Ź 1800

286. Jean-François RAFFAELLI. Lotto di 8 acquaforti 1) Tentativo di seduzione Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Perfetto stato di conservazione. Rarissima prova di stampa, prima della firma. La scena è solo delineata con alcune ombreggiature rese con linee di puntasecca. In basso lo schizzo di un paesaggio campestre con carro. Jean-François Raffaelli, disegnatore, pittore, incisore e scultore, legatosi in amicizia con i pittori impressionisti, fu invitato da loro ad esporre alla prima mostra tenuta nello studio del fotografo Nadar nel 1874. Abile disegnatore, dalla resa rapida ed immediata, Raffaelli oppose alla pittura impressionista una visione realista, permeata da vaghi ideali umanitari. Ha introdotto innovazioni tecniche nel disegno a inchiostro, puntasecca e nella stampa di incisioni a colori. Inconfondibili sono certe sue puntesecche che raffigurano un mondo popolato da povere genti. Jean-François Raffaelli, draftsman, painter, engraver and sculptor, linked in friendship with the Impressionist painters, was invited by them to exhibit at the first exhibition held in the studio of the photographer Nadar in 1874. Skilled draftsman, with a rapid and immediate rendering, Raffaelli interpreted Impressionist painting by proposing a realistic vision, permeated by vague humanitarian ideals. He introduced technical innovations in ink drawing, drypoint and in the printing of color engravings. Unmistakable are some of his dots that depict a world populated by poor people. 2) Tentativo di seduzione Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Firma a sinistra sotto la sedia “JF Raffaelli”. Perfetto stato di conservazione. Lo stile di Raffaelli si esprime attraverso l’uso del nero per esaltare i volumi. In basso lo schizzo di un paesaggio campestre con carro, inciso con la puntasecca. 3) Tentativo di seduzione Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Firma a sinistra sotto la sedia “JF Raffaelli”. Lieve uniforme ingiallitura del foglio, ottimo stato di conservazione. Lo stile di Raffaelli si esprime attraverso l’uso del nero per esaltare i volumi. In basso lo schizzo di un paesaggio campestre con carro, inciso con la puntasecca. 4) Scena domestica Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Firma a sinistra sotto il tavolo “JF Raffaelli”. Ottimo stato di conservazione.

In basso al centro lo schizzo di un cane inciso con la puntasecca. 5) Scena domestica. Un uomo in piedi con due giovani donne sedute a tavola Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Firma a destra, a fianco della donna seduta “JF Raffaelli”. Ottimo stato di conservazione. In basso al centro lo schizzo di un un signore con bombetta e occhiali che legge il giornale, inciso con la puntasecca. 6) Scena di vita parigina Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Firma a sinistra dell’immagine “JF Raffaelli”. Ottimo stato di conservazione. In basso al centro lo schizzo di un paesaggio con fumo, inciso con la puntasecca. 7) Paesaggio con coppia Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Non firmata. Ottimo stato di conservazione. Paesaggio di campagna con in fondo il fumo di un camino, elemento costante nelle opere incisorie di Raffaelli. In basso a destra lo schizzo della medesima coppia, solo delineata nella stessa postura ma con diverso abbigliamento 8) Il pagamento della giovane prostituta Incisione all’acquaforte e puntasecca. 200x 140 mm. Margini. Non firmata. Ottimo stato di conservazione. Scena realista che coglie il sentimento di mestizia di entrambi i personaggi. In basso a destra lo schizzo di due giovani donne con eleganti cappelli alla moda.

€ 400

287. Luigi Bianchi. Rimini. Veduta del ponte di Tiberio. Firmato e datato Rimini 1854. Beautiful view with wise use of chiaroscuro that recalls the etching technique. Luigi Bianchi, Milan 1827 - 1914, having interrupted his legal studies to take part in the 1848 Independence motions, he later enrolled at the Brera Academy. A pupil of Hayez, he completed his training with a Roman stay around 1853. In 1854, after an artistic journey through Italy, he settled in Milan. It deals with the genre picture, but also the portrait and the historical and costume subjects, in a style that clearly indicates his sympathies for the romantics. He also dedicated himself to etching. Pencil drawing on cardboard. 130x210 mm. Framed in pencil. Below left, in pencil, "December 1854"; on the right "Luigi Bianchi did". Good condition.

â&#x201A;Ź 400

288. PIAZZETTA, Giovanni Battista. Etudes de Peinture Dessinées Par Jean Baptiste Piazzetta, Gravees Par Marc Pitteri, Publiées Aux Depens De Jean Baptiste Albrizzi 1764. Very rare Venetian illustrated edition. Published at the expense of the Abruzzi, the volume was the last homage to the friend Piazzetta, who died a few years earlier. The work contains the double suite of the Piazzetta painting studios, engraved with the burin by Francesco Bartolozzi and Marco Pitteri respectively. Knox: "For educational purposes, Albrizzi had the shaded drawings cut by Bartolozzi and with perfect shading done by Pitteri: all the subjects are repeated twice." The bright self-portrait of the Venetian painter is of considerable interest. unique etching engraving performed by him. Succi: "With a clear and decisive sign Piazzetta brings out the splendid selfportrait from the pure white of the background. The face, with a defiant and almost provocative attitude, is revealed between the flaps of the hat and the shine of the precious fur, treated with a point that immediately adjusts the reactions of the different materials. "The essay" Avis pour the avangement of a jeune homme dans la peinture "by the Bolognese Gian-Pietro Cavazzoni Zannotti. Morazzoni: "The clear bright squares of the" Painting studios "have an unattainable freshness and a truly communicative gaiety, and it is easy to understand how this" album "in the Veneta Publish Academy, just printed, was imposed on schoolchildren as a compulsory text of study. "Exemplary in the Viero edition, with the continuous numbering of the tables I-XLVIII which also bear the names of the engravers, and with the typographic indication in the anti-vault". Oblong Folio, mm. 289x400; Contemporary half leather binding and marbled paper, gilt title on label at the spine; leaves 5 nn., including title page in red and black ink, pp. 15 with text in French. Frontispiece illustrated by Pitteri, 41 copper plates I-XXXI, XXXIII-IV, XXXVII-XLII, XLVII-XLVIII. This specimen miss 7 plates. A total of, one Vignette on title page, head piece of Earl conte Woronzow, 3 illustrated initials, 1 Final, Portrait of Author, 42 copper plates.

€ 850

289. BELLAVIA, Marcantonio – CARRACCI, Annibale. Pensieri diversi lineati et intagliati d'Anibale Caracci Bella e rara raccolta di tavole, nate come fogli singoli. Si tratta seconda edizione delle incisioni del Bellavia, proposte dall’editore Monaldini come incisioni di Annibale Carracci. Monaldini ha aggiunto le iniziali "A.C. IN." a tutti i fogli. La raccolta si apre con un preteso autoritratto del Carracci, che reca il titolo “Anibale Caracci dis. ed inc. il suo Ritratto”: ma secondo stato di lastra anonima secentesca con la raffigurazione del profeta Daniele dipinto da Raffaello nella Cappella Chigi in Santa Maria della Pace a Roma. Il Bellavia deve essere considerato autore sia dell'incisione che del disegno di ogni stampa. Manca a questo esemplare il Frontespizio inciso con il titolo. La data si ricava dagli anni di attività del Monaldini. 4to, 287x220 mm. Legatura coeva in cartonato muto. Ritratto e 38 Tavole numerate I-XXXVIII, firmate “A.C.IN.” In totale 39 tavole incise all’acquaforte. Lievi tracce d’uso e qualche macchia sui margini, buon esemplare.

€ 600

290. Elisa, DOZZA. Silhouette di danza campestre. Firmato

XIX secolo. Curioso collage con la tecnica della silhouette, che rappresenta la danza di una coppia, il ragazzo con un falcetto, la donna con un gallo nella mano destra. Sul giornale di San Francisco L’Italia, “il più’ vecchio quotidiano italiano dell’ovest”, compare l’8 marzo 1910 il necrologio della pittrice: “E’ morta la signora Elisa Dozza, vedova del colonnello Paolo Bovi Campeggi, uno dei più prodi e fedeli volontari di Giuseppe Garibaldi, del quale fu compagno d'arme in tutte le battaglie dal 1848 al 1867 e compagno d’esilio — l’unico compagno d'esilio in questa America del Nord — ospiti ambedue di Antonio Meucci a Staten Island. Nata da cospicua famiglia (il castello di Dozza fra Imola e Bologna era loro feudo al tempo di Malatesta Baglioni) si diede giovinetta allo studio della pittura sotto la guida degli illustri Guardassoni e Faustino Muzzi, riuscendo esimia artista, tanto che i quadri di Lei ottennero, parecchie volte, premi e onorificenze a Esposizioni di Belle Arti. Donna di nobili affetti e di sentimenti dolcissimi, col culto della patria per inspirazione e guida, gioì dell'amicizia di Garibaldi, di Nino Bixio, di Sirtori, di Medici e altri valorosi commilitoni del marito; anche Adelaide Cairoli la conobbe e ne pregiò l'intelletto, il cuore e l'educazione finita di gran dama e d’artista”. Collage con cartoncino nero, su foglio bianco. 153x220 mm. Firma a matita in basso a destra. Tracce d’uso, mancanza del piede sinistro del danzatore.

€ 200

291. Acquarello. PATANIA, Giuseppe. Sacra Famiglia 1780-1852 Student of Giuseppe Velasquez. Artist famous for portraits of illustrious Sicilian characters. As an etcher he illustrated the poems of Meli and the Telemachus of Fenelon. Sgadari Di Lo Monaco, 1940. Brown watercolor and ink; mm. 210x249, glued on cardboard. Signed lower right.

€ 350 70

292. Acquarello. PATANIA, Giuseppe. I Bravi e Don Abbondio Student of Giuseppe Velasquez. Artist famous for portraits of illustrious Sicilian characters. As an etcher he illustrated the poems of Meli and the Telemachus of Fenelon. Watercolor in sepia, mm. 270x220, glued on cardboard. Signed lower right.

€ 350

293. Acquarello. PATANIA, Giuseppe. Cavallo e Cavaliere 1780-1852 Student of Giuseppe Velasquez. Artist famous for portraits of illustrious Sicilian characters. As an etcher he illustrated the poems of Meli and the Telemachus of Fenelon. Watercolor in sepia and gray, mm. 267x196, glued on cardboard. Signed lower right

€ 350

294. Scuola napoletana del XIX secolo. Veduta di Napoli dal mare Pretty view, enclosed in a black frame, which illustrates the Gulf of Naples animated by numerous boats, especially those of fishermen, like the one visible in the foreground. Recognizable in the representation Castel dell'Ovo and Castel dellElmo. Polychrome Gouache on paper. 237x566 mm. Fine specimen.

€ 1000 71

295. Scuola napoletana del XIX secolo. Il golfo di Napoli dallo scoglio di Frisio Beautiful view of the city of Naples with its Gulf and the Vesuvius taken from Posillipo, enclosed in a black frame. Donn'Anna palace, Castel Sant'Elmo and Castel dell'Ovo are visible. This view is taken from the gouache of Saverio della Gatta from 1785. The view seems to be taken from Villa Pavoncelli, a historic villa in Naples located in a panoramic area in the Posillipo district. The building today incorporates the House of the Count of Frisio, the place that, in the nineteenth century, hosted the famous "Lo Scoglio di Frisio" tavern. Polychrome Gouache on paper. 237x566 mm. Fine specimen.

â&#x201A;Ź 1000

296. Scuola napoletana del XIX secolo. Veduta di Napoli e del Vesuvio dal Golfo.

Vivid representation of the Neapolitan Gulf, enclosed in a black frame. The stretch of water is masterfully made with various chromatic shades, including blue, dark blue and pink near the coast which is the product of the pinkish reflection of the sky. In the image emerges all the vastness of the city and the smoking Vesuvius, in addition to the splendid representation of the 3 small boats in the foreground, not the only boats in the gulf among which stand out 2 sailing ships bearing the French flag and a sailing ship with US flag. Polychrome Gouaches on paper. 265x718 mm. Fine specimen.

€ 1000

297. Scuola napoletana del XIX secolo. Veduta di città con albero e figure femminili

Picturesque view of a city with a tree in the foreground, a body of water and some female figures. Great variety of colors in soft tones. The gouache is enclosed in passpartout in black cardboard. Polychrome Gouaches on paper. 263x364 mm. Fine specimen.

€ 1000 73

298. Scuola napoletana del XIX secolo. Veduta di Napoli da Mergellina Spacious view of the city from the Mergellina district enclosed in a black frame. The representation ranges from an airy city street with carriages and common people in nineteenth-century clothes, to the inlet of the Gulf of Naples with Vesuvius in the background on the far right, from which a puff of steam comes out, which almost reaches the bays clouds in the sky. Polychrome Gouaches on paper. 368x540 mm. Fine specimen.

â&#x201A;Ź 1000

299. Bartolomeo PINELLI 1) Costumi di Lugano, Svizzera Italiana Acquaforte in coloritura coeva di 104x72 mm. Macchie e bruniture ai margini dell’immagine. Buono stato di conservazione. 2) Marinari sul molo di Napoli Acquaforte in coloritura coeva di 101x68 mm. Macchioline ai margini della riquadratura lineare. Buono stato di conservazione. 3) Ballo dell’Orso in Roma Acquaforte in coloritura coeva di 102x70 mm. Macchioline ai margini della riquadratura lineare. Buono stato di conservazione. Tre belle incisioni in coloritura coeva della metà del XIX secolo tratte dall’opera di Bartolomeo Pinelli: “Nuova Raccolta di cinquanta Costumi Pittoreschi incisi all' acquaforte da Bartolomeo Pinelli Romano”.

€ 150

300. Bartolomeo PINELLI 1) Un Sbirro ed’ una Ciociara (Abruzzo) Acquaforte in coloritura coeva di 102x70 mm. Leggerissime macchioline ai margini della riquadratura lineare. Buono stato di conservazione. 2) Micheliti – Costumi del Regno di Napoli Acquaforte in coloritura coeva di 103x70 mm. Leggerissime macchioline e traccia di scotch ai margini della riquadratura lineare. Buono stato di conservazione. 3) Il Casotto dei Burattini in Roma Acquaforte in coloritura coeva di 102x70 mm. Traccia di scotch ai margini della riquadratura lineare. Buono stato di conservazione. Tre belle incisioni in coloritura coeva della metà del XIX secolo tratte dall’opera di Bartolomeo Pinelli:“Nuova Raccolta di cinquanta Costumi Pittoreschi incisi all' acquaforte da Bartolomeo Pinelli Romano”.

€ 150 75

301. RICCI, Marco – FOSSATI, Davide Antonio. XXIV Tabulas Olim a Marco Ricci Bellunensi Colorib. Expressas. Raccolta di 24 incisioni da Marco Ricci Venezia 1743. Magnificent and very rare collection of twenty-four prints derived from works by Marco Ricci, with landscapes and ruins. The works were part of the collections of Joseph Smith and Anton Maria Zanetti. In the title page, outlined with a light and cursive phrasing, the work is dedicated to Count Francesco Algarotti. Succi: “le acqueforti di derivazione riccesca sorprendono piacevolmente per la raffinata orchestrazione dei grigi variamente graduati e, nei fogli migliori di tema rovinistico, per il tremolio delle vibrazioni luminose vagamente alludenti ai modi del Canaletto. Altrove le vellutate erpicature nerolucenti si oppongono al bianco assoluto degli spazi, liberi da segni, in un’alternanza complessa e meditata in cui l’artista rivela la sua fervida partecipazione al tema trattato.” Davide Antonio Fossati, Morcote 1708 - Venice 1795, landed in Venice in 1720, where he specialized in fresco painting and in particular in architecture and ornaments paintings. He stayed mainly in Venice, alternating his activity between Vienna (1723-28), where he successfully worked on the decoration of important noble palaces and city churches, Bratislava, the northern Hungary (1728-29) and Morcote. In 1743 he published a collection of etchings derived from paintings by Marco Ricci. He was appointed Academic of Honor of the Academy of Fine Arts of Venice in 1775 and of the Clementine of Bologna in 1778, the year in which he became a member of the College of painters of Venice. Cicognara 2094; Sonino, Marco Ricci (1991), pp. 243-255. Succi, pp. 170-177. Oblong Folio, 322 x 480 mm. Contemporary binding in boards, latin title on red morocco label on cover. Ttilepage with dedication within decorated frame with floral motifs, 24 etchings numbered I-XXIV. All etchings are on thick laid paper, watermark with crossbow. The plates presents on the left “Marc. Ricci pinx.”, on the right the number of plate. Within the illustration, the monogram of Fossati. Very slight trace of wear on binding, inside very nice condition, a specimen with wide margin.

€ 6000

302. CANOVA, Antonio. Opere diverse scolpite in marmo o modellate soltanto da Antonio Canova Roma, Calcografia Camerale, 1800-1820 Beautiful and very rare work on inventions by Antonio Canova with Bas-reliefs and statues designed by the most talented artists of the time: Tommaso Piroli, Antonio Banzo, Pietro Fontana and others. Among the various series it contains the prints of the Bas-reliefs by Antonio Canova, of the Contours of bas-reliefs and other works executed partly in marble or modeled. Oblong Folio; mm. 452x625; Binding in old boards. engraved title on light blue old boards azzurro, 31 etchings. In this specimen are added 1 portrait and 1 etching of Polymnia. Good specimen.

â&#x201A;Ź 2500

303. Lodovico. Nuova pianta elevata della nobile e cospicua cittĂ di Venezia Venezia, 1760 ca. A rare prospective plan of Venice in contemporary colour. This fascinating plant is executed on the prototype of Stefano Scolari's1677, with some variants such as the omission of the maple and the addition ofnew typographical elements. Cassini notes that in a picture of Francesco Guardithere is a great view of Venice "which is nothing more than a veryfaithful copy of the plant described here." Etching in exquisite impression, this map is especially rare to find in original colouring. Two sheets joined together. Copper engraving with contemporary watercolor. Title and address of the Furlanetto in the lower margin, image of 544x 972 mm. Very good state of preservation, copy with margins.

â&#x201A;Ź 5000

304. Albrecht Dürer. Gli amanti e la morte. (The lovers and the death) ca. 1498. Beautiful copy of the 19th century of the original etching of Albrecht Dürer, engraved at the end of the XVth century. The engraving shows Lord and lady walking with figure of death hiding behind a tree, holding an hourglass. The figure of death does not necessarily indicate a warning to lovers, as this was not customary in the fifteehth century. Death was, however, frequently pictured as a reminder that life on earth should not be solely devoted to pleasure and luxury. Bartsch VII.104.94; Meder 83; Schoch/Mende/Scherbaum 19; Delaborde 1887, no. 303; Strauss (1977) n. 20, p. 66; Hausmann (1861). Bulino; 212x130 mm; margine.

€ 600

305. Albrecht Dürer. Il Cavallino. (The little horse) 1505. Nineteenth-century copy of Dürer's original printed in 1505.The young horse stands on a strip of land in front of a perspective arch architecture. The front quarters, the dilated nostrils, the erect neck and the upper lip that exposes the incisors are the clear signs of a fiery attitude. He is accompanied by a man wearing modern three-quarter armor, holding a halberd and wearing an imaginary butterfly helmet and winged shoes. The magnificent animal largely hides the soldier, "placing him significantly in the second row" (Mende 2001, p. 69). The perspective view of the circular arch falls on a centrally positioned smoking basin. The year 1505 above finds its equivalent in the cube-shaped stone at the bottom of the photo, on which Dürer has set his monogram. Jens Sroka interprets the motif of the smoking bowl in Dürer's engraving as "encrypted reference to the instinctive drive and the voluptuousness of the stallion" (Sroka 2004, p. 254). For him, the theme of the pony is the moderation of human sensuality by reason. However, Matthias Mende is not convinced by this interpretation, which goes back to Erwin Panofsky: "The monumental tranquility of the animal belies such thoughts. and how does the warrior tame in reality - without halters or reins! - such an animal? Obviously a will, at this point, not held by gangs. In anticipation of representations of wild horses in Hans Baldung Grien or Sebald Beham animal sensuality cannot be the subject of the recording by Dürer B. 96 "(Mende 2001, p. 71). Bulino; 185x118 mm; margine. Bell’esemplare.

€ 600 80

306. Albrecht Dürer. S. Girolamo in preghiera. (S. Jerome praying) 1512. Nineteenth-century copy of Dürer's original printed in 1512.This drypoint is dated 1512, the year in which the other two engravings date back (see Fara 2007 n. 6 and 26) made by the artist in this technique that produces soft and velvety marks. Bulino; 222x182 mm; margine. Filigrana.

€ 600

307. Albrecht Dürer. The Kidnapping of Proserpina 1516. Nineteenth-century copy of the original engraved by the Dürer of 1516.Splendid engraving one of the most representative of the brilliant graphic work of Dürer. The engraving represents a naked man while he is riding a unicorn holding a naked young woman. The monogram dated in the upper right corner is inside a cloud. The engraving refers to the Greek and Latin myths. Koehler 84; Hollstein VII.61.67; Schoch, Mende, and Scherbaum 83i. Bulin, mm. 303x09, little margins. Possession note on verso. Good condition.

€ 600

308. Albrecht Dürer. La donna, il Tempo e lo scudo della Morte (The woman, the Time and the shield of the Death) 1503. Beautiful nineteenth-century copy of Dürer's original dated 1503. Bulin of rare compositional beauty, depicts a young woman in sumptuous patrician clothes, her eyes lowered and her head slightly reclined, in the act of paying attention to the flattery of a shaggy and wild man, symbol of primitive human fertility. Next to the couple, placed at the center of the composition, stands a heraldic coat of arms that bears a skull on the shield, the man's only pledge of engagement for the woman, a warning for those who forget that beauty and youth quickly fade and symbolize the precariousness of human life. The foiled young woman who hands the ear to the seducer, does not notice that the motto of her shield is a symbol of death, and starts unaware towards a last dance.

€ 600

309. Albrecht Dürer. La scelta di Ercole (Hercules at the Crossroads) ca. 1498. Nineteenth-century copy of the original of the late fifteenth century. The scene depicted is inspired by an ancient Greek parable attributed to Prodico and known by Xenophon. It concerns the young Hercules who is offered a choice between Vice and Virtue: a life full of pleasure or one of difficulty and honor. Bartsch 73; Meder 63 II. a; Schoch-Mende-Scherbaum 22. Bulino; 342x234 mm; margine.

€ 600 82

310. Albrecht Dürer. Le quattro streghe. (The four Witches) 1497. Beautiful nineteenth-century copy of Dürer's original dated 1497.This work, dated 1497, is the first burin engraving signed in plate by Dürer.Sandrart in 1675 identified the four women as "witches" thus giving meaning to the presence, at the foot of the figures, of the human skull and tibia and that of the demon at the bottom, beyond the door. This interpretation remained long over time, but was not shared by Bartsch, in the early nineteenth century, who entitled the work simply "Four naked women". Panofsky reinvigorated the ancient identification of the four witches referring to a Nordic legend in which it was said that a young witch, made pregnant by the devil, had been helped by three other witches who, touching them in turn her belly and pronouncing evil sentences, caused the death in the womb of the 'son of the devil'. It appears evident in this engraving the desire of Dürer to want to portray the female body by studying its forms and attitudes from different points of view according to in-depth research that will lead him to his treatises on the proportions of the human body. Bartsch 75; Meder 69. Bulino; 198x142 mm; margine.

€ 600

311. Albrecht DĂźrer. Adamo ed Eva. (Adam and Eve) 1504. Beautiful nineteenth-century copy of DĂźrer's original dated 1504. The work, engraved in 1504, represents Adam and Eve in the instant that precedes original sin. In this print the author expresses all his study of the human figure which takes into account the proportional Vitruvian canons, the classical statuary and the works of Italian artists previous and contemporary to him. The two characters are depicted naked in the trees in a natural environment rich in symbols. In fact, animals are linked to the medieval theory of the four humours which, flowing in the human body, would determine their temperament based on the prevalence of one over the others. They are the sensuality of the rabbit, the phlegmatic apathy of the ox, the cat's cruelty to the mouse and the melancholy tetrageness of the moose. Bartsch 1; Meder-Hollenstein 1 d (von d); Schoch/Mende/Scherbaum 39 III.

â&#x201A;Ź 600

312. Andrea MANTEGNA. La battaglia degli DĂ¨i marini. Parte sinistra e destra ca. 1800 - ante 1824. Beautiful nineteenth-century copy of Mantegna original dated 1470 ca. The print reproduces in two sheets the famous fight of the marine gods, engraved by Mantegna around 1470: in the original the two scenes were imprinted on the same copper, with slightly different measurements with respect to this edition. Malaspina: "This subject is engraved in two pieces here joined together forming a kind of low relief. Here on the left a gaunt and filthy figure on the back of a sea monster holding the raised hand holds a sign on which INVID is written, and it is in the act of spreading discord among the gods of the sea, what makes war arise even in the kingdom of Neptune, and therefore they fought among them, but with weapons all taken from the fluid element, that is who is made shield with skull of marine animal, who with bunch of fish of it form great lash, and who fights with bones of great monsters. Allegory of envy, truly poetic thought, and of masterly composition. Capital print of this famous artist." Burin. Two sheets of 299x398 and 299x440 mm, small margins. Good condition.

â&#x201A;Ź 1400

313. Lucas van LEYDEN (Lucas HUGENSZOON). Ecce homo 1510. Beautiful engraving by Lucas Van Leyden, precocious engraver and creator of prints, etchings and woodcuts. Technically it is one of his greatest graphic successes. Van Leyden sets the scene in the midst of a large architectural complex of palaces and towe rs that flank an elevated square that serves as a stage. A turbulent crowd gathers while Pontius Pilate invites them to determine the destiny of Christ. As Pontius Pilate proclaims, "Ecce homo" (Here is the man), people gathered at the windows and parapets of the surrounding buildings look impassive. Details of courtesan and military costume, Dutch Renaissance architecture and mountainous landscape invite our eyes to wander through this microcosm. Stepanek 1983; Bartsch 71, New Hollstein 71; Volbehr 66. Etching and engraving; mm. 288x456. Small margins. Inscr. bottom right: "Martini Petri excude insigni aurei fontis prope novam borsam" and monogram L in on the rock. Filigree sheet with crowned crest and inside letter B. Very good specimen in excellent condition.

â&#x201A;Ź 1500

314. Ambrosius HOLBEIN da Jean GERSON. Crocifissione di Cristo 1518. Splendid woodcut depicting Christ on the cross with the Virgin and Saint John the Evangelist. The theme of Christ on the cross was used for the first time in a missal printed by J. Wolff in Basel the previous year (1517). The press therefore refers to an illustration contained in a book of XVIth century. Wood engraving; mm. 217x142. Large margins. Fine specimen.

€ 800

315. Agostino VENEZIANO - Baccio BANDINELLI. L’Accademia di Baccio Bandinelli a Roma 1500-1550. Nel suo Memoriale lo stesso Bandinelli ricorda di aver affidato ad Agostino Veneziano il disegno raffigurante la sua Accademia, fondata nel 1530 a Roma. Nell’incisione, il Maestro viene ritratto nell’atto dell’insegnamento, che avviene anche di notte, al lume di candela. La stampa è in una tiratura dell’inizio del XIX secolo. Bartsch XIV.314.418; Thomas, Print Quarterly, XXII, 2005, pp. 3-14. Bulino, mm. 265x289. Filomargine. Nell’immagine la scritta “ACADEMIA DI BACCHIO BRANDIN IN ROMA IN LVOGO DETTO BELVEDERE MDXXXI. A.V.'” Tiratura dell’800. Buona prova, eccellente stato di conservazione. € 700

316. Gian Jacopo CARAGLIO. Contesa tra le Muse e le Pieridi ca 1550. Stampa raffigurante la gara di canto tra le Muse e le Pieridi accanto a un ruscello con alberi. Giorgio Vasari menziona questa stampa come il terzo lavoro inciso da Jacopo Caraglio a Roma su disegno, oggi perduto, di Rosso Fiorentino. Carroll ritiene, invece, che l’opera possa essere basata sui disegni preparatori di Raffaello per il Parnaso, che Rosso probabilmente conosceva tramite le incisioni di Marcantonio Raimondi. L’iscrizione latina nel margine si riferisce all’episodio narrato da Ovidio nelle Metamorfosi, Libro V, 294 – 678. Bartsch XV.89. The illustrated Bartsch v. 28, n. 53 p. 192. Bulino, mm. 222x285. Marginino. Al piede la scritta ‘Ausae cum Musis committere proelia voce victae nunc volitant immitantes omnia picae’. Timbro di collezione sull’angolo inferiore sinistro. Firma di antico possessore sul verso, non leggibile. Ottimo stato di conservazione, bella prova impressa su carta vergata.

€ 500

317. Cornelis CORT. La cattura di Gesù Cristo 1568. Splendida tavola realizzata dall’eminente pittore e incisore olandese, tratta da un disegno di Girolamo Muziano. La movimentata scena raffigura la cattura di Gesù Cristo nell'Orto degli Ulivi, intorno soldati romani e a destra una porta di legno aperta, in primo piano S. Pietro con il coltello. Tiratura successiva alla data indicata nel rame. Antonio Lafreri ne fece una ristampa presso Giovanni Orlandi a Roma nel 1602. The illustrated Bartsch, 1986, v. 52 n. 80-II p. 97. Bulino, mm 253x195. In basso a sinistra la data [1]568. Tavola rifilata entro il rame, impressione brillante in ottimo stato di conservazione.

€ 250

318. Bottega di Hendrik GOLTZIUS. Fetonte chiede a suo padre se può cavalcare nel suo carro 1590. Splendida traduzione calcografica dell’animata scena descritta da Ovidio nel II libro de Le Metamorfosi che permette all’incisore olandese di raffigurare in diverse pose plastiche il corpo umano, tecnica in cui eccelleva. Da un disegno di Hendrick Goltzius e Franco Estius. H. Goltzius, appartenente ad un lignaggio di artisti, fu allievo di Volckertsz, Coornhert e Philippe Galle e divenne uno dei più importanti esponenti della scuola olandese, eseguendo più di 300 tavole; è un incisore superbo e le sue opere sono giustamente ricercate (Benezit). See Ovidius II:31-48 “Phaethon and his Father”. Bulino; mm. 175x252. Margini. In basso a dx: HG excud. A. 1590. Ottimo stato di conservazione.

€ 300

319. Bottega di Hendrik GOLTZIUS. L’età del Ferro ca 1590. Splendida tavola, inserita nella serie che illustra le Metamorfosi di Ovidio. I versi al piede sono di Franco Estius. Bartsch III.104.6. Hollstein 10-61; 508-559 (after Goltzius). New Hollstein (Dutch & Flemish) 532-551. Bulino; mm 176x256. Margini. Tavola n. 6. Al piede la scritta “Ferreus hinc fremuit ... / ... Pudore Fides.”, sui due angoli inferiori il numero. Bella prova in perfetto stato di conservazione, impressa su carta con filigrana ‘giglio di Firenze in stemma con corona’.

€ 300

320. Bottega di Hendrik Goltzius. Nettuno progetta la distruzione del genere umano ca 1590. Splendida tavola, inserita nella serie che illustra le Metamorfosi di Ovidio. I versi al piede sono di Franco Estius. Bartsch III.105.10. Hollstein 10-61; 508-559 (after Goltzius). New Hollstein (Dutch & Flemish) 532-551. Bulino; mm 176x256. Margini. Tavola n. 10. Al piede la scritta “Undiuomo collecta Noto ... / ... eiaculare suos”, sui due angoli inferiori il numero. Bella prova in perfetto stato di conservazione, impressa su carta con filigrana ‘giglio di Firenze in stemma con corona’.

€ 300

321. Bottega di Hendrik Goltzius Il fiume Peneus con altri Dèi dell’acqua ca 1590. Splendida tavola, inserita nella serie che illustra le Metamorfosi di Ovidio. I versi al piede sono di Franco Estius. Bartsch III.105.15. Hollstein 10-61; 508-559 (after Goltzius). New Hollstein (Dutch & Flemish) 532-551. Bulino; mm 176x256. Margini. Tavola n. 15. Al piede la scritta “Æmonio manans Pindo Peneus ... / ... Apidanumque senem”, sui due angoli inferiori il numero. Bella prova in perfetto stato di conservazione, impressa su carta con filigrana ‘giglio di Firenze in stemma con corona’.

€ 300 90

322. Bottega di Hendrik Goltzius. Apollo e Coronide ca 1590. Splendida tavola, inserita nella serie che illustra le Metamorfosi di Ovidio. I versi al piede sono di Franco Estius. Bartsch III.107.11. Hollstein 10-61; 508-559 (after Goltzius). New Hollstein (Dutch & Flemish) 532-551 Bulino; mm 176x256. Margini. Tavola n. 31. Al piede la scritta “Æmonium Juuenem furtim ... / ... nunciat idque tibi”, sui due angoli inferiori i numeri ‘11’ e ‘31’. Bella prova in perfetto stato di conservazione, impressa su carta con filigrana ‘giglio di Firenze in stemma con corona’.

€ 300

323. Jan van der STRAET – Jan COLLAERT Caccia alle anatre Post 1596. Bella tavola in ottimo stato di conservazione eseguita presso la bottega di Galle da Jan Collaert, eminente incisore della gilda di Anversa, su disegno di Jan van der Straet, detto Stradanus. Da Bruegel a Goltzius”. Milano, 1994, p. 176. Bulino; mm. 196x272. Margini. Stato unico. Tavola n. 66. Bell’esemplare. Nell’inciso “'Ioan. Stradanus invent. / Ioan. Collaert sculp. / Phls Galle excud.'; in basso a sinistra il numero. Al piede, in due colonne “'Arte nova instructos Anates … / Anatum comitate caterua.” Traccia di filigrana. Bell’esemplare.

€ 300

324. Raphael SADELER – Peter STEVENS. Paesaggio con cavaliere Scena di gusto fiammingo con antiche rovine e un cavaliere che si staglia nel viottolo. P. Stevens, detto Stephani, fu pittore di battaglie e di paesaggi, membro dapprima della gilda di Malines, poi della gilda di Anversa dal 1589. Pittore della corte di Rodolfo II a Praga dal 1590 al 1612, compì anche un viaggio in Italia verso il 1600, soggiornando a Venezia e a Roma. R. Sadeler, membro dal 1582 della gilda di Anversa, accompagnò suo padre Jan in Germania e in Italia e nel 1604 fu chiamato da Venezia a Monaco dal principe Maximilian. Notevole e di grande qualità la sua attività incisoria: Le Blanc cataloga 126 stampe da lui eseguite. Bulino, mm. 208x273. Iscr.: al piede a sin.: P. Stephani inventor; a dx.: Ralph. Sadeler excud. Ampi margini. Ottimo stato di conservazione.

€ 300

325. Aegidius II, SADELER. Paesaggio con scena di genere

Grandiosa scena di gusto fiammingo animata da diversi personaggi: viandanti, uomini di fatica e avventori di una locanda che siedono a tavolo sotto un portico. Figlio di Aegidius Sadeler I e allievo di Jan e Raphael Sadeler, Aegidius II, detto anche Gillis, fu uno dei più importanti pittori e incisori della gilda di Anversa. Lavorò in Germania, alla corte di Praga e viaggiò anche in Italia, fermandosi a Venezia, Firenze, Bologna e Roma. Amico di Bart Spranger, fu soprannominato Fenice degli incisori. Bulino; mm. 203x260. Margini. Iscr. In basso a dx: R.S. In. AEg. S. ex. Filigrana. Ottimo stato di conservazione.

€ 300

326. Hans BOL –Jan SADELER. Re Giuda e Tamara L’episodio biblico è rappresentato entro un paesaggio grandioso. Il soggetto, di Hans Bol, 1534 – 1593, pittore fiammingo di scuola manierista, è magistralmente inciso da Johannes Sadeler I ,1550-ca. 1600. Acquaforte; mm. 200x263. Ampi margini. Foglio con filigrana: Castello con 2 torri. Iscr.al piede: sin. “I.B. ive Sadel ex.”; DX. “Genes 38”. Filigrana ‘P M entro cerchio’ Buono stato di conservazione.

€ 300

327. Raphael Sadeler I. Estate – Inverno Venezia, Giacomo Franco, fine del XVI secolo Two very rare engravings. The Bertarelli Collection has only one sheet of this series of seasons, Spring. Rigoli: “The print is taken from the engraving by Raphael Sadeler I derived from the painting La Primavera by Gerolamo da Ponte. According to Giacomo Franco's way of working, the vertical format of the print means that the original composition is cut on both sides. 2 Etchings. Sheets mm. 345x225. Margins. Title within the image, at the foot four verses in Italian. Restoration at the upper right corner of the Winter engraving, otherwise good condition.

€ 450

328. Jean Van Der STRAET. Sundescit sonitu ad Petras, e gurgite Piscis The engraving depicts fishing scenes, divided by two nude deities, in the foreground: Selene with a crescent on her head and Poseidon, who holds a cornucopia and a source. Stradanus was a teacher in Antwerp in 1545 he worked in Venice and Florence at the court of the Grand Duke. Etching; mm. 290x210. Trimmed to the footprint of copper. Good condition.

€ 300

329. Giovanni Battista FRANCO. La Disputa coi dottori XVI secolo. Secondo il Sopher, in questa incisione non c’è l’acquaforte già ricordata dal Bartsch. Probabilmente è una delle prime incisione del Semoleo, datandosi verso l’inizio del 1530, all’epoca del soggiorno romano. Nonostante il suo stile a volte “opaco o ripetitivo e la pesantezza con cui molti dettagli sono stati disegnati, questa stampa ha una sofficità e una tonalità grigia dominante che rivelano parzialmente le sue origini venete”. Molte sono le somiglianze con certe figure monumentali di stampo raffaellesco. Lo stesso Sopher nota la strana discordanza tra l’architettura simmetrica e l’asimmetria delle figure, con il Cristo “piccolo e non visualmente centrato”. La composizione è tenuta bilanciata dalla statua raffigurata nell’abside centrale. Bartsch, 1870, XV/, p. 122, n. 9 I/II; M. Sopher – C. Lazzaro Bruno, op. cit., 1978, scheda n. 71.; D’Amico, p. 47, n. 179. Acquaforte e bulino, mm. 372x468. Filomargine, foglio con filigrana. Bell’esemplare.

€ 800

330. Anonimo. Giovane devota ricevuta dal Papa XVI secolo. Il Pontefice è ritratto nelle vesti di Vescovo di Roma, con la mitra. Bulino; mm 262x 195. Rifilata sul rame. Tavola incollata su cartoncino, bella impressione in buono stato di conservazione.

€ 200

331. Anonimo. Ritratto di Giovanni Federico il Magnanimo, Duca di Sassonia Germania, XVI secolo. Rarissima xilografia tedesca della prima metà del ‘500. Il principe, amico e protettore di Martin Lutero, è ritratto in piedi con l’aspetto imponente, entro una cornice architettonica ad arco. Lungo i due lati della cornice quattordici stemmi delle città della Sassonia. Il Duca fu ritratto a mezza figura da Georg Pencz: nella xilografia, impressa nel 1543, il Duca è entro una cornice quadrata con quattordici stemmi. Xilografia, 316x182 mm. Rifilata sull’impronta della matrice. Buono stato di conservazione.

€ 300

332. Anonimo. Tolomeo e varie divinità XVI secolo. Splendida acquaforte della scuola italiana molto vicina a Marcantonio Raimondi. Sono raffigurate alcune divinità con i loro attributi quali Mercurio, Artemide, Vesta e l’Abbondanza nei pressi di un boschetto e in compagnia di Tolomeo, riconoscibile per gli oggetti astronomici ai suoi piedi e per il mappamondo che stringe nella mano sinistra. No in Bartsch. Acquaforte; mm. 300x260. Filomargine. Foglio incollato. Bellissimo esemplare.

€ 400

333. RASCICOTTI, Donato-SCOLARI, Stefano. La meravigliosa piazza de San Marco di Venetia Half of XVIth century. Rare and fanciful perspective view of the Piazza di San Marco towards the facade of the Basilica with the bell tower and the arcades of the Procuratie. At the bottom of the center is a rich allegorical scene with Venice on a throne crowned, surrounded by Diana and Mercury. Under the signatures of the printers, Donato Rasciotti and Stefano Scolari. Stefano Scolari, 1652 active - 1691 or after, printer and publisher in Venice working 'a San Zulian, all insegna delle tre Virtu'. Often signs as Steffano. Bought some of the plates from the estate of Justus Sadeler in Venice. Drew up his will in 1691 (see Senechal in PQ VII 1990, p.34, n.77). Etching, 382 x 508 mm, narrow margins. Sheet glued on support card. Above, the title. Bottom, from the left: "Con privilegio della Ser.ma Signia di Venetia, Questa linea è la metà del piede Venetiano"; "Me l'o valor me la virtu circonda, E giusta e forte in terra e in mar io regno, D'armi d'arti d'eroi Madre feconda"; "Donato Rasciotti forma al ponte di Berreteri'. A little further down, in the middle:" Steffano Scolari form in Venetia ". Fine specimen.

€ 1500 96

334. Pieter STEVENS. Paesaggio boemo ca. 1600. Bella veduta con un mulino immerso in un paesaggio romantico. La circolazione delle stampe tratte dalla serie di paesaggi della Boemia di p: Stevens ebbe una notevole influenza sullo sviluppo della pittura di paesaggio olandese e fiamminga del XVII secolo. Hollstein 259 I/II. Acquaforte e bulino; mm 214x267; Ampi margini. Foglio con filigrana: Castello con 2 torri. Iscr. al piede al centro: “Petrus Stephani Invet.” Buono stato di conservazione.

€ 300

335. Pieter STEVENS. Paesaggio boemo ca. 1600. Bella veduta con tre personaggi che conversano. La circolazione delle stampe tratte dalla serie di paesaggi della Boemia di p: Stevens ebbe una notevole influenza sullo sviluppo della pittura di paesaggio olandese e fiamminga del XVII secolo. Hollstein 261 I/II. Acquaforte e bulino; mm 256x284; Ampi margini. Foglio con filigrana: Castello con 2 torri. Iscr.al piede al centro: “Petrus Stephani Iinvent.” Buono stato di conservazione.

€ 300

336. MONOGRAMMA W. Cerere Inizio del‘600. L’incisione raffigura Cerere, dea delle messi, con, tra le mani, i suoi attributi e ai suoi piedi una cornucopia di frutti. Acquaforte; mm. 335x215, monogramma W al margine destro, ampi margini. Bell’esemplare.

€ 300

337. Pieter STEVENS. Paesaggio boemo ca. 1600. Sullo sfondo una città fortificata con castello. La circolazione delle stampe tratte dalla serie di paesaggi della Boemia di p: Stevens ebbe una notevole influenza sullo sviluppo della pittura di paesaggio olandese e fiamminga del XVII secolo. Hollstein 260 I/II. Acquaforte e bulino; mm. 256x284; Ampi margini. Foglio con filigrana: Castello con 2 torri. Iscr.al piede al centro: “Petrus Stephani Inven.” Buono stato di conservazione.

€ 300

338. Albrecht Dürer. Illustrations to the Comedies of Terence. Set of 4 woodcuts The woodcuts depicts: The Eunuch Act. Very good collection. The editio princeps of the Terentius Commedies was printed in Strassburg, A. Rusch in 1470 Another edition followed at Ulm in 1486. “The plays have sometime been criticized because of a similarity of plot, character and scenes-they are all street-scenes with some of the actors speaking from within the house, unseen, yet heard through the open doors-but this is more than compensated for by the subtleties of the dialogue”. Sargeaunt 1912, pp. VII-IX. Strauss 11. 4 Woodcuts, mm. 85x140 each, stamp of possession on the verso, without monogram.

€ 1000

339. Albrecht Dürer. Illustrations to the Comedies of Terence. Set of 4 woodcuts The Maid of Andros Act, The self-Tormentor Act (Heautontimorumenos) The editio princeps of the Terentius Commedies was printed in Strassburg, A. Rusch in 1470 Another edition followed at Ulm in 1486. “The plays have sometime been criticized because of a similarity of plot, character and scenes-they are all street-scenes with some of the actors speaking from within the house, unseen, yet heard through the open doors-but this is more than compensated for by the subtleties of the dialogue”. Sargeaunt 1912, pp. VII-IX. Strauss 11. 4 Woodcuts, mm. 85x140 each, stamp of possession on the verso, without monogram.

€ 1000

100

340. Jan van der STRAET – Jan COLLAERT. Caccia agli uccelli con i gufi 1615. Bella tavola raffigurante un’animata scena di caccia, eseguita presso la bottega di Galle da Jan Collaert, eminente incisore della gilda di Anversa, su disegno di Jan van der Straet, detto Stradanus. New Hollstein (Dutch & Flemish) 1522.II (The Collaert Dynasty). New Hollstein (Dutch & Flemish) 520.II (Johannes Stradanus). Baroni Vannucci 1997 693. Bulino. mm 201x258. Margini. Stato unico. Tavola n. 68. Bell’esemplare. Nell’inciso “'Ioan. Stradanus invent. / Ioan. Collaert sculp. / Phls Galle excud.'; in basso a sinistra il numero. Al piede, in due colonne “'In pretio est lautis...premit[que] volucrem”. Ottimo stato di conservazione.

€ 300

341. Albrecht Dürer. Illustrations to the Comedies of Terence. Set of 4 woodcuts The woodcuts depicts: The Brothers Act. Very good collection. The editio princeps of the Terentius Commedies was printed in Strassburg, A. Rusch in 1470 Another edition followed at Ulm in 1486. “The plays have sometime been criticized because of a similarity of plot, character and scenes-they are all street-scenes with some of the actors speaking from within the house, unseen, yet heard through the open doors-but this is more than compensated for by the subtleties of the dialogue”. Sargeaunt 1912, pp. VII-IX. Strauss 11. 4 Woodcuts, mm. 85x140 each, stamp of possession on the verso, without monogram.

€ 1000

101

342. Pieter Paul RUBENS. Santa Caterina d’Alessandria 1620-1621. This is the only work attributed with certainty to Pieter Paul Rubens. The table, executed between 1620 and 1621 refers to a composition made for the ceiling of the Jesuit church in Antwerp destroyed following a fire in July 1718. The extreme rarity of the engravings attributable to Rubens, almost always with opinions discordant, they suggest that the Saint Catherine of Alexandria represents a moment of curiosity for the master of the etching technique in the period in which he was about to have his paintings reproduced by the engravers of his workshop. The work is the result of a successful experimentation by the painter who transfers his monumental style also to etching. Hollstein, Dutch, XX, pp 117-120; D. Bodart, Rubens e l’incisione, n. 1, 1977. Etching; sheet sizes 218x142 mm. III state. Bottom left: P. Paul. Rubens fecit. Fine specimen.

€ 800

343. Antoon VAN DYCK – Wenceslaus HOLLAR. Joannes Malderus Episcopus Antuerpiensis 1645. Beautiful print reproducing the bishop of Antwerp Jan van Malderen, work of the Flemish painter and portraitist Antoon van Dyck. Etching; mm. 234x186. Small top margin otherwise trimmed to the copper footprint. Watermarked paper coat of arms surmounted by a crown. Proof of printing before registration. Very good condition.

€ 500 102

344. DE WAEL, Jan Baptist. Italian Peasants and animals. Thirteen plates Rome, 1647-1669. Very rare collection of genre prints by the eminent Flemish engraver who worked extensively in Italy. The first plate contains the dedication to the rich Flemish banker Gaspar Roomer, patron and collector, active in Naples in the seventeenth century. On a pedestal decorated with garlands at left, a peasant woman holding a jar and standing next to a fountain at right, a huntsman drinking from the fountain and holding two dogs on a leash in the centre. Dedicated and signed on a pedestal in the impression: “Illmo. ac Ornmo. Dno. / Gasparo de Roomer / bonarum Artium / Maecenati dignmo. / DDD / Joannes Babta. de / wael”. Al piede, sotto l’immagine:” Con Licenze de superiori. In Roma da Vincenzo Billij vicino l'Orologio della Chiesa Nova “ Numbered in the lower right corner: "1". Set of fourteen plates, Thirteen eleven available. Plate 14, which closes the series, is missing. Oblong 8vo. 128x200 mm. Nineteenth-century three-quarter made to order, half leather and marbled cardboard, corners, polychrome marbled end-papers, 13 plates, platemark 85x128 mm approx. Numbered 1-13 in the lower right corner of the etching. State II / IV, with the address of Billy ". Sligt Mild uniform foxing, good condition. See Regnault-Delalande, Catalogue raisonné des estampes du cabinet de M. le Comte Rigal, 1817, n. 853; Cornelis de Vos to Aert van Waes, Dieuwke de Hoop Scheffer, Christiaan Schuckman, p. 267, cat.nr. 3; Hollstein Dutch, 3-15.

€ 800

345. Karel DU JARDIN. Paysanne ca 1650. Pittore olandese, acquafortista e disegnatore. Dipinse paesaggi italiani, scene popolari con sfondi di rovine romane, ricercando effetti di atmosfera limpida e chiara derivati da Asselijn e Potter. Le sue opere sono esposte nei maggiori musei europei. Si hanno di lui numerosi disegni e circa cinquanta acqueforti. Acquaforte, mm. 167x197. Firmata in alto a sx.: Kdv Jardin f. Filomargine. Buonissimo stato di conservazione.

€ 200 103

346. Karel DU JARDIN. Animali in riposo 1653. Pittore olandese, acquafortista e disegnatore. Dipinse paesaggi italiani, scene popolari con sfondi di rovine romane, ricercando effetti di atmosfera limpida e chiara derivati da Asselijn e Potter. Le sue opere sono esposte nei maggiori musei europei. Si hanno di lui numerosi disegni e circa cinquanta acqueforti. Acquaforte, mm. 165 x198. Angoli incollati su supporto in cartoncino. Firmata in basso: Kdv Jardin 1653. Filomargine, in buono stato di conservazione.

€ 200

347. Giuseppe Maria MITELLI – Annibale CARRACCI. Italiam, Primus conclamat Achates XI 1663. Bella incisione ripresa dalla serie “ENEA VAGANTE” del Carracci del 1663. Acquaforte e bulino; mm. 247x510., ampi margini, ottima impressione. Bell’esemplare.

€ 300

104

348. MITELLI, Giovanni Maria. Carità – Umiltà Novembre 1706. Splendida incisione del Mitelli di gusto popolare con la raffigurazione della Carità e dell’Umiltà personificate da figure femminili. La Carità sorregge un bambino con il braccio sinistro e un cuore infuocato con la mano destra, mentre con il volto si rivolge al sole con l’Occhio onnisciente. L’Umiltà invece sorregge una pecorella, calpestando con i piedi uno scettro e una corona. Giuseppe Maria Mitelli, Bologna 1978, cat. 503. Acquaforte. 261x161 mm. Marginino. Incollato su cartoncino. In basso: CARITA'. UMILTA'/ ULTIMO NOV. 1706. / DI SI BELLE VIRTU' FREGIATO UN CORE/ DEL SOVRANO SUO DIO TRAGGE L'AMORE. Bell’esemplare.

€ 350

349. Heinrich ALDEGREVER. Woman abducted by Satyr on horseback, with man lamenting

1530. Beautiful engraving depicting a kidnapping of a young woman by a satyr on horseback and a man who begs to free her. B. 66-69; Hollstein 66-69; Mielke (New Hollstein) 66; 67 I (von II); 68; 69. Engraving, mm. 149x102 with monogram and dated 1530. Pencil annotation of provenience on verso, stamp of private collection on the recto. Reinforced. Good specimen.

€ 800

105

350. FALDA, Giovan Battista - BERNINI, Lorenzo-DE ROSSI, Domenico. La Basilica Vaticana ca 1680. Very well printed on strong paper, watermark with double circle filigree and lily, slight repaired marginal tears, marinal loss, good copy. Beautiful and rare engraving about 1680. It depicts Piazza San Pietro in the Vatican, without pavement, that is to say without Bernini's sampietrini, positioned on the Piazza only in 1725. Engraved by Giovanni Battista Falda engraver very well known in Rome for very many drawings and engravings of his churches, gardens, of fountains and public buildings, executed with a great knowledge of perspective and rich in many characters. Large sheet, etching, mm. 480x623, wide margins. At the bottom the title, device, with date and caption and dedication. At the bottom right the signature of the publisher "Gio. Battista Falda dis. et fece” on the lest “Architettura del Cavalier Gio. Lorenzo Bernino”.

€ 1000

106

351. Giulio CAMPAGNOLA. Virgin with child The supposition that Campagnola's first tests in the field of copper engraving date back to approximately the period 1497-1500, is based on the fact that the landscape motifs of DĂźrer's engravings, executed between 1496 and 1501, inspired some sheets of Campagnola himself. (Hind, 1948, nos. 1-5, 7), as well as on that drawing by Mantegna, dated by Tietze (1955) around 1490-1500, which served as a model for an engraving. (Hind, n. 4). Engraving mm. 175x119. Private collection stamp on the recto and pencil notes on the verso. Good specimen.

â&#x201A;Ź 3000

107

352. AQUILA, Pietro Chronologia Summorum Romanorum Pontificum Roma, Giovanni Giacomo De Rossi, 1681. The complete series, extremely rare, with the popes of Rome in 251 numbered portraits, from Jesus Christ, to Clement X, shown in circular medallions over 16 sheets. In the first four sheets, at the top, part of the title. With the joined sheets the complete title appears: "Chronologia Summorum Romanorum Pontificum in qua habentur verae eorum effigies ex antiquis numismatibus et picturis delineatae, ac nomina cognomina ... ab. Anastasio, Luitprando, Panvinio, Baronio.” The series can then be combined to form a large plate consisting of four by four sheets. Engraving series on 17 sheets. 16 Elephant Folio, 635x510 mm; one, 202x510 mm. Lettered with title along the top, and on the separate plate on the smaller sheet the caption of the print, “Io. Iacobus de Rubeis formis Romae, ad Templum S. Mariae de Pace. Anno Iubil. 1675 cum Privil. S. Pontific.” Very nice specimen, with wide margins, uncut. At the British Museum there are only a few single portraits, cut from the large original sheets.

€ 2000

108

353. SADELER, Justus – SCOLARI, Stefano. Urbs Venetum ut Nulli (Veduta di piazzetta San Marco) Venezia, Sadeler, 1670-80. Very rare engraving, with a lively perspective view of the Piazzetta towards the Basilica. Stefano Scolari, 1652 active - 1691 or after, printer and publisher in Venice working 'a San Zulian, all insegna delle tre Virtu'. Often signs as Steffano. Bought some of the plates from the estate of Justus Sadeler in Venice. Drew up his will in 1691. (see Senechal in PQ VII 1990, p.34, n.77). Engraving, 315x430 mm. Narrow margins. State II/II. At the bottom of the center is a dogal coat of arms with the Lion of San Marco surrounded by two marine gods from Greek mythology. Below, on the base of the monument, the title: “Urbs Venetum Ut Nulli Cedit … Pozoseratus pinxit et del. 1585”. Beneath, in the middle “Steffano Scolari forma in Venetia”; to the right: “Venetiis Justus Sadeler formis”. Fine specimen.

€ 800

354. Albrecht Dürer. The Martyrdom of John the Baptist 1510. Splendid engraving one of the most representative of the brilliant graphic work of Dürer. The engraving represents seconds after the decapitation, Salome accepts the head of John the Baptist from the hand of the executioners. The action takes place in the courtyard of Herod’s palace in Jerusalem. The monogram is present in the lower left inside a stone, date in the upper right part. B. 125; M. 231; Holl. 231b; K. 212; S.W.153; Barlow (1926) 185; T. 454; P. 345. Woodcut, mm. 195x130. trimmed to margins, reinforced. Good condition.

€ 1200

109

355. Albrecht Dürer. Salomé presenting the head of St. John the Baptist to Herodias 1511. Nineteenth-century copy of the original engraved by the Dürer of 1511. Splendid engraving one of the most representative of the brilliant graphic work of Dürer. The engraving represents seconds after the decapitation, Salomè shows the head of John the Baptist to king Herod. The action takes place at the banquet of Herod’s palace in Jerusalem. The monogram dated is present in the lower left side. Strauss, 154; B. 126; K. 260; M. 232; P. 346. Woodcut, mm. 194x131. trimmed to margins, reinforced.

€ 1200

110

356. Albrecht Dürer. S. Francis receiving the stigmata 1503. Ancient copy of the original engraved by the Dürer of 1510. Splendid engraving one of the most representative of the brilliant graphic work of Dürer. The engraving represents Saint Francis receiving the stigmata which pierces through his hands and feet. The monogram is present in the lower right side. Caption on the lower side. Hollstein VII 180.224; Bartsch VII.138.110; Dodgson I.287.33; Schoch, Mende, and Scherbaum 134. Woodcut, mm. 221x148. trimmed to margins, pen signature of possession on verso. Reinforced. Good specimen.

€ 600

357. SCOLARI, Stefano. Il famoso ponte di Rialto in Venetia

Venezia, Stefano Scolari, seconda metà XVII secolo Extremely rare and spectacular view of the Rialto Bridge, with the Grand Canal animated by gondolas and several typical Venetian boats. We were able to find just one copy of this map, located in the British Library. Stefano Scolari, 1652 active - 1691 or after, printer and publisher in Venice working 'a San Zulian, all insegna delle tre Virtu'. Often signs as Steffano. Bought some of the plates from the estate of Justus Sadeler in Venice. Drew up his will in 1691 (see Senechal in PQ VII 1990, p.34, n.77). Engraving, mm. 365x490. Margins. Above, in the middle, the title within an ornate cartouche, below the signature "Steffano Scolari forma in Venetia". Fine specimen.

€ 1800 111

358. SADELER, Justus– SCOLARI, Stefano. Il meraviglioso Bucintoro Venezia, second half XVII century. Extremely rare and splendid representation of the Bucintoro in navigation in front of San Giorgio, in the festivity of the "Sensa" of 1619. In the foreground the magnificent galley of the Doges, the basin of San Marco is furrowed by gondolas, sailing ships and boats of the Venetian patricians. In the top center is the title “Il Meraviglioso Bucintoro, nel quale il Ser.mo Principe di Venetia va solennemente il dì dell‟Ascensa à sposar il mare et con esso parimente fù fatto il gloriosissimo incontro al Ser.mo Antonio Priuli il giorno della serissima sua venuta al possesso del Principato”. On the right, in an oval cartouche, the dedication with the date in Roman letters of the printer Iustus Sadeler “Al generoso e … Conte Marco Trissino in segno d’animo divoto Giusto Sadeler ciò dedica e consacra 1619”. Stefano Scolari, 1652 active - 1691 or after, printer and publisher in Venice working 'a San Zulian, all insegna delle tre Virtu'. Often signs as Steffano. Bought some of the plates from the estate of Justus Sadeler in Venice. Drew up his will in 1691 (see Senechal in PQ VII 1990, p.34, n.77). Engraving, 402x566 mm. Narrow margins. At the top in the center the title, on the left a scroll with the dedication. At the bottom left the signature of the publisher "Steffano Scolari forma in Venetia". Magnificent proof, printed on contemporary laid paper, with margins.

€ 2500

112

359. Felix MEYER. Paesaggio con lavandaie XVII secolo. Felix Meyer, pittore e incisore svizzero, incise un certo numero di paesaggi e panorami della Svizzera. Benezit, p. 373; vol. 7. Acquaforte; mm 118x172. Monogramma LM in alto a destra. Bell’esemplare.

€ 300

360. Felix MEYER. Paesaggio campestre con giocatori di bocce

XVII secolo. Felix Meyer, pittore e incisore svizzero, incise un certo numero di paesaggi e panorami della Svizzera. Benezit, p. 373; vol. 7. Acquaforte; mm 118x174. Monogramma LM in alto a destra. Bell’esemplare.

€ 300

361. Marcus SADELER. Paesaggio con casa XVII secolo. Bella scena di paesaggio con persone e animali, incisa dal Sadeler durante la sua permanenza in Italia; sulla destra casa fra gli alberi, sulla sinistra una veduta marina. M. Sadeler, figlio di Jan il vecchio, lavorò a Praga e anche a Venezia, ove la sua famiglia si era stabilita intraprendendo una fiorente attività incisoria. Bulino; mm. 235x180. Margini. Iscr. In basso a sinistra: Marco Sadeler excudit. Filigrana con stella a sei punte entro cerchio e con cerchio piccolo al centro. € 300

113

362. Harmenszoon van Rijn REMBRANDT. Abraham France, speziale The model was an apothecary and a collector of prints, a close friend of Rembrandt. To make the Rembrandt print, he first prepared an etched base and then worked on the burin, finally perfecting some details with drypoint. He made several changes in the following states, modifying the effect of light and elaborating a glimpse of landscape that can be glimpsed from the window. De Bussiere: "In his work studio where the calm atmosphere is conducive to recollection, Francen, with the expression alive but serene, is presented as one of the happiest models that have posed for Rembrandt; lover of art, he dedicates himself with joy to his favorite occupation, with the spirit exempt from the intense and melancholy introspection that haunts many portraits of the artist ". Pierre FranĂ§ois Basan, 1723-97, bought a number of original plates by Rembrandt that had belonged to the great collector Claude Henri Vatelet, and published in Paris a "Recueil" of prints in the second half of the 18th century. Etching, drypoint and burin; mm 157 x 208. Small margin. State: X. Very good condition.

â&#x201A;Ź 1000

114

363. Harmenszoon van Rijn REMBRANDT. Clement de Jonghe, mercante di stampe The model was a well-known print merchant, active in Amsterdam from 1640 until the year of his death, 1679. In his shop he owned a large number of Rembrandt prints. The artist has worked in the various states, modifying the printing a lot: in the third state he adds with the drypoint an arc that increases the stability of the composition; in the IV it reinforces the arch, elaborating it in the form of a niche to give more space to the figure, and also works on the folds and contours of the dress, thus giving greater weight and greater presence to the body. De Bussiere: "Rembrandt, with this subtle and penetrating analysis of a personality of which he knew, above all, to respect the character of impenetrability, has thus created one of the most beautiful portraits of all his work". Pierre FranĂ§ois Basan, 1723-97, bought a number of original plates by Rembrandt that had belonged to the great collector Claude Henri Vatelet, and published in Paris a "Recueil" of prints in the second half of the 18th century. Etching, drypoint and burin. mm 207 x 161. Small margin. Status: VI. Signed and dated: Rembrandt f. 1651. Signature and date at the bottom right. Excellent condition.

â&#x201A;Ź 1000

115

364. Adriaen HAELWEGH. Ritratto di Margherita d’Etruria figlia di Cosimo II granduca di Toscana

Splendida incisione del ritratto a mezzobusto di Margherita d’Etruria entro ovale. Il ritratto fa parte della più estesa serie di genealogia incisa della famiglia Medici, commissionata all’artista dal cardinal Leopoldo. Acquaforte; mm 342x258; margini. In basso a dx: Adriano Halluech sculp. Sul piedistallo: Margarita Ab Etruria Cosmi II. Magni Ducis Etruriae Fil: Odoardi I. Parmae et P. D. uxor. Firma sulla ghirlanda: Precio felix. Ottimo stato di conservazione.

€ 200

365. Salvador ROSA. 2 incisioni in un unico foglio Importante rara edizione di queste incisioni stampate su unico foglio secondo stato (di tre). Wallace n. 444/III-n. 80/II. Acquaforti di mm. 140x93. cad., filigrana a grappolo d’uva, monogramma SR sul margine inferiore dx e RS sul margine inferiore sx. Ampi margini. Foxing diffuso, bell’esemplare. € 400

366. Gilles ROUSSELET – Abraham BOSSE, da. Sibille Lybique XVII secolo. Bella stampa della Sibilla Libica attribuita alla serie delle Dodici Sibille di Gilles Rousselet e Abraham Bosse. La leggendaria profetessa è rappresentata con una catena spezzata nella mano destra e con un ramoscello di arbusto in quella sinistra. Alle sue spalle, Gesù, in un fascio di luce, accoglie i dannati che escono dall’antro infernale. Rispetto all’originale, realizzata attorno al 1635, questa copia è in controparte. Acquaforte; mm. 285x349. Iscrizione centrale in basso: Sibille Lybique. Impressione ottima. Bell’esemplare.

€ 300 116

367. Gilles ROUSSELET – Abraham BOSSE. Sibille Europeane XVII secolo. Bella stampa della Sibilla Europea attribuita alla serie delle Dodici Sibille di Gilles Rousselet e Abraham Bosse. La Sibilla è rappresentata con un elaborato panneggio e con le vesti svolazzanti. Alle sue spalle, Gesù in un fascio di luce e sorretto da una nuvola, ascende al cielo. Rispetto all’originale, realizzata attorno al 1635, questa copia è in controparte. Acquaforte; mm. 380x279. Iscrizione centrale in basso: Sibille Europeane. Impressione ottima. Bell’esemplare.

€ 300

368. Arnold GOTTFRIED. Macedonius 1701. Unito con: Jacobus Zonzalus et Donatus 1701 Acquaforte; mm. 265x155, applicata a cartoncino. Bell’esemplare. Due belle incisioni provenienti da: 'Historie der Kerken en Ketteren van den beginne des Nieuwen Testaments tot aan het Jaar onses Heeren 1688’. Edizione olandese edita da Sebastiaan Petzold, Amsterdam 1701. Questa edizione contiene ritratti di figure eretiche, incisi dal noto Romeyn de Hooghe. Acquaforte; mm. 265x160, piccoli margini, leggero restauro al margine esterno, applicata a cartoncino. Bell’esemplare.

€ 300 117

369. Albrecht Dürer. Title border for Willibald Pirckheimer with Death of Dance Bellissima xilografia raffigurante la danza macabra. Nel lotto è presente anche una graziosa cornice colorata e decorata. Beautiful woodcut depicting the macabre dance. In the lot there is also a nice colored and decorated frame. Colored woodcut 196x124 mm. and colored woodcut mm. 90x62. Manuscript note: Nuremberg, 1592. Stamp of collection on the verso. Good copy. Xilografia a colori di 196x124 mm. e xilografia a colori di mm. 90x62. Nota manoscritta: Norimberga, 1592. Timbro di collezione al verso. Bell’esemplare.

€ 600

370. Hans Sebald BEHAM. Set of 15 playing cards, mixed signs Sebald Beham was a German painter and printmaker, best known for his very small engravings. He was one of the most important of the "Little Masters", the group of German artists who produced prints in the generation following Dürer. He also made prints for use as playing cards and wallpaper. His engravings cover a wide range of subjects, but he is particularly known for scenes from peasant life and scenes from myth or classical history, both often with an erotic element. Geisberg XXXV, 2. Pauli app. 12901337. Rosenberg 278. 15 engravings mm. 95x63. Beautiful playing cards printed on laid paper. Excellent condition.

€ 1500

118

371. BERTELLI, Francesco. Iudicium Sanguinarium Iudaeorum Contra Iesum Christum Salvatorem Mundi Attivo fine del XVI sec. e inizio del XVII sec. Very rare sheet. In this composition of obvious popular taste, are depicted a large number of characters participating in the trial against Jesus: besides Jesus himself with the crown of thorns, tied and seated on the right, Pontius Pilate enthroned surrounded by counselors, two scribes busy at a table and twenty members of the SInedrio, each with a numbered scroll bearing the name and some identifying notes; after all, in addition to a large window, one can see a crowd, the twenty-first actor in the process. In the bottom in the ornate box the sentence of Pontius Pilate in Latin, the legend with the list of all the participants. The Bertelli family represents the largest group of publishers, engravers, cartographers and merchants of 16th century prints. Francesco, son of Pietro Bertelli, is from the repertoires working in Padua in the first half of the seventeenth century: however we find his address in the Apparatus for the coming of Henry III of 1574 and in the Triompho di Bacco of 1594, which he attributed to Raphael. Engraving on copper on three sheets; mm. 450 x 1020, lower margins; Insciption on high in the middle. Title on the left bottom: Fran.co Bertelli forma in Padoa; on the bottom in the middle: Ego Pontius Pilatus [...] terra lapidi invisum. The legend on the bottom is difficult to read probably for the wear. Some little holes, little stains and little losses on corners.

â&#x201A;Ź 800

119

372. Milan. AGNELLI, Federico. La gran città di Milano

Milan, early 18th century Very rare. In this map, Federico Agnelli chose planimetric representation with some perspective realization dedicated to the buildings of most interest, which stand out showing their physiognomy: Duomo, Archbishopric, Royal Palace, some churches and the Lazzaretto. It is a delightful plan of the city of Milan and one of the most powerful of fortresses, the area around the Castello Sforzesco has been extensively reworked and the surrounding streets partially obliterated. The name Agnelli is very important in the history of the Milanese graphic arts. Particularly interesting is this rare map, which begins in Milan the mixed type: it is planimetric in general, but brings up many buildings, mainly churches and monasteries. Although the author has updated it (see the diligent planimetric drawing of the lunettes of the castle added in 1656 and the modifications introduced in the legend of 249 titles), this plant derives directly from that of Marco Antonio Barateri of 1629. Agnelli was also the engraver for Giovanni Battista Sesti's Pianta delle città, piazze e castelli fortificati in questo stato di Milano, Milan: 1707. See: www.lombardiabeniculturali.it/stampe/schede-complete/C0060-02327/. Engraved bird's-eye view of Milan. Sheet 549 x 640mm, Engraving 416 x 556mm. Title set in a scrolled ribbon at the upper margin, principal buildings numbered from 1 to 249 and recorded in two columns at left and right margins. At the bottom right, the caption “In Milano nelle Stampe del Agnelli”. Some stains on the wide margins, good specimen.

€ 800

120

373. COSATTI, Lelio. Facciata del Duomo di Siena Roma, Maximilianus Limpach, 1719. Extremely rare and splendid representation of the Duomo in Siena. Are depicted at the center elevation of cathedral façade, on the left the plan of the church and on the right the interior perspective and the dedication “Lelius Cosatti Patritius senensis in sui erga Patriam amoris argumentum magnificum Templum a sé delineatum incidii curavit MDCCIX". Maximilian Limpach was an engraver from Bohemia and worked in Rome for several years. Large sheet, etching, mm. 475x690, margins. Printed on strong paper. At the top in the center the title, on the right a scroll with the dedication. At the bottom right the signature of the publisher "Maximilianus Limpach Sculp. Romae sup. perm.” restored marginal tear, good specimen.

€ 1000

121

374. Cornelis BEGA. The Inn ca. 1650. Illustration of an inn interior where in a dense twilight, two peasants and an innkeeper are conversing. Cornelis Pietersz Bega, son of the sculptor and goldsmith Pieter Jansz Begijn, took this name when he started his profession. He was a pupil of Adriaen van Ostade, whose themes and characters he repeated with a heavier style, producing in particular scenes with a similar subject, typically groups of a few peasants, often indoors or in familiar scenes or imaginative figures. Etching of 220x171 mm. pasted on cardboard. Good condition.

â&#x201A;Ź 600

375. Cornelis BEGA. The young mother ca. 1650. Cornelis Pietersz Bega, son of the sculptor and goldsmith Pieter Jansz Begijn, took this name when he started his profession. He was a pupil of Adriaen van Ostade, whose themes and characters he repeated with a heavier style, producing in particular scenes with a similar subject, typically groups of a few peasants, often indoors or in familiar scenes or imaginative figures. Acquaforte di 135x111 mm. Ottimo stato di conservazione.

â&#x201A;Ź 300

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376. AQUILA, Francesco. Arco trionfale fatto erigere dal ser.mo Sig.r. Duca di Parma alle Glorie della Santità di N.S. Papa Innocenzo XIII..Il di XVI Novembre 1721 Roma, alle Muratte de Scup, 1721. Very well printed on strong paper, nice copy. Very rare etching depicting the the triumphal arch made in the inauguration of Pope Innocenzo XIII in San Giovanni Laterano on November 16, 1721. Sicilian engraver Francesco Faraone Aquila from Palermo worked in Rome from 1690 to 1740, collaborating with Arnoldo Van Westerhout. He created prints of ceremonies in the papal court. The engraving shows. The ephemeral arch was designed by Pompeo Aldrovandini Bolognese. Its sides are adorned with sculptures, the embodiment of law, justice, medicine and maternity. Large sheet, etching, mm. 520x380, wide margins. At the bottom in the center the title with caption on the left and right sides. Name of the drawer and engraver in the central part.

€ 350

377. Albrecht Dürer. Crucifixion 1505. Christ on the Cross with the Virgin with St John, hugged to the crux, and the Maries at left; at right soldier and a man on horseback with a landscape background. New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (373). Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (373). Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (II.17.20). Bartsch / Le Peintre graveur (VII.253.34) Woodcut. mm. 247x173, trimmed to margins. Reinforced. Rubbed paper and some restoration.

€ 1200

123

378. Albrecht Dürer. The Flagellation 1495-1497. Woodcut. mm. 241x168, trimmed to margins. Reinforced. Very little stains. Good condition. K. 95; M. 109, Strauss 22.

€ 1200

379. Albrecht Dürer. The bearing of the cross ca 1500. Christ bearing the cross, surrounded by soldiers, Apostles and Marie in a landscape background. Strauss 24. Woodcut. mm. 242x164, trimmed to margins. Reinforced. Good condition.

€ 1200

124

380. Albrecht Dürer - Jorg GLOCKENDON. David penitent 1553. Copy of the original engraved by the Dürer of 1510 by Jorg Glockendon in 1553. Splendid engraving with different interpretations: or Self-Portrait, John the Baptist or King David. Strauss, 152; B. 119; K. 453; M. 108; P. 339. The monograms is present in the upper left side and in the lower right side. Woodcut, mm. 194x134. trimmed to margins, pencil notes on verso. Good specimen.

€ 600

381. Albrecht Dürer. Cain kills Abel

1511. Copy of the original by Dürer depicting Cain violently lifting his ax on his helpless brother. Woodcut of 116x82 mm. Dürer monogram and date at the top center. Small spots, good condition.

€ 1200

125

382. Albrecht Dürer. The big cannon 1518. Nineteenth-century copy of the original engraved by Dürer of 1518. This engraving represents a masterpiece of perspective and clarity and attests Dürer's interest in artillery and fortifications. The engraved cannon was the same used in the war against the Turks by Maximilian I. The landscape in the background represents the area between Bamberg and Nuremberg. Burin, 211x318 mm; trimmed at the edge. Dürer monogram and year of printing top left. Good conditions.

€ 400

383. Albrecht Dürer. The Coat of arms of Florian Waldauf XVI century. Nice woodcut depicting the heraldic coat of arms of Florian Waldauf von Waldenstein. He was a Tyrolean knight of Emperor Maximilian, belonging to the Kannen clan. Woodcut, 233x146 mm. On the verso sign of collection stamp. Widespread but light spots, good condition.

€ 600

126

384. Albrecht Dürer. Grifone con acciarino 1515-1517. Beautiful woodcut depicting a detail of The Triumphal Arch, a series of 192 woodcuts, whose execution took place under the direction of Albrecht Dürer, datable to 1515-1517. In the spring of 1512, Holy Roman Emperor Maximilian I of Habsburg stayed for more than two months in Nuremberg, where he met Dürer. To celebrate the emperor and his family, the artist then conceived a feat never seen before, that of a gigantic woodcut consisting of 192 blocks printed separately and joined together to form a large triumphal arch, on which stories from the life of Maximilian were illustrated and his ancestors as well as complex allegorical figures. In addition to Dürer's contribution, it required that of scholars, architects and carvers. Woodcut of 214x150 mm. On the reverse trace of a stamp. Some very small spots, but good condition.

€ 600

127

385. Padova. CANAL Antonio, detto il CANALETTO S. Giustina in Prà della Vale – Prà della Valle Etching engravings. State: II / II. Wonderful proofs in the definitive state. S. Giustina. mm. 297 x 428; I. mm. 293 x 422. Iscr.: (on bottom in the middle:) S. Giustina in prà della Vale; (sx.:) A. Canal f.; (dx.:) E2 Prà della Valle. mm. 299 x 428; I. mm. 295 x 424. Iscr.: (on bottom in the middle:) Prà della della Valle; (sx.:) A. Canal f.; (dx.:) E3. Excellent condition, little margins specimens. These two etchings form a panoramic view of the Prato della Valle of the Valley of Padua, in which bright lilies are immersed in the atmosphere sensed with clear brightness. Although conceived separately, the two prints, according to the intention of the artist, had to be assembled, as shown by the incised figure right over the line of the margin in the view of S. Giustina, whose mantle is exactly taken up, on the left, in the other view. The two tables, rarely found together, were engraved by the Canaletto between 1741 and 1745 and were first published in 1746.

€ 5500

128

129

386. CANAL, Antonio detto Canaletto. Veduta fantastica di Padova. Tiratura Remondini This view of full fantasy is considered one of the highest proofs of Canaletto's engraving art. Succi: “Il motivo, di evidente derivazione riccesca, è impostato sullo splendido contrasto tra il muro assolato della casa e i neri vellutati delle arcate in primo piano”. Succi “Da Carlevarijs a Tiepolo”, 1983 p. 101; Bromberg, 11.; Salamon, 10. Etchings with contemporary tempera coloring, engraving mm. 445x300. State: III/3. Signed on the bottom: “A. Canal f.” and numberd E6.

€ 1500

130

387. Giambattista PIRANESI. Veduta del Porto di Ripa Grande Roma, 1753. Extremely rare print proof, unknown to Hind. The rare first state of this beautiful view bears the address of the publishers at the bottom right: "They are sold in Rome by the Saints Bouchard and Gravier merchant booksellers at Corso near S. Marcello". In the second state, Piranesi becomes his own publisher, deleting the address of Bouchard and Gravier and adding his own. The substantial difference between the first two states and the next four, lies in the fact that the boat loaded with wood in the center of the Tiber is completely erased from the third state onwards. Hind, for the First Estate: â&#x20AC;&#x153;I. Address: Bouchard and Gravier. With barge in center of canal loaded high with timber, and with its mast crossing the building numered I." The plate was then included in the prestigious collection of 'Views of Rome'. The work consists of 135 plates produced individually by Piranesi for at least 30 years, from around 1745 to the date of his death. They were first published by the publisher Giovanni Bouchard (34 plates), then by the same Piranesi publisher at Palazzo Tomati in Rome (written that appears on many plates). On the author's death, the plates were inherited by his son Francesco, who edited their publication first in Rome, then in Paris. The plates were later acquired by the Chamber Chalcography, today National Chalcography, where they are still preserved. The different states of the plates, on which Piranesi himself intervened in the course of his life, have been identified by Hind. Hind 27. Wilton Ely, 179. Focillon 742. Etching, bulin and drypoint; mm. 406x618. Wide margins. Print proof, before the 'Bouchard and Gravier' address. rinted on strong laid paper with trace of an unidentified watermark. At the foot, legend of the places represented, in the center the Title; bottom right: 'Piranesi Architect made' Excellent condition.

â&#x201A;Ź 1000

131

388. CANAL Antonio, detto il CANALETTO. Al Dolo Stato: III / III. Nel margine inf. a sin.: A. Canal f.; a dx.: FF3. Buon esemplare. Succi: “Il primo stato di questa incisione è conosciuto in un solo esemplare … Secondo Bromberg l’acquaforte, per la sua estrema spontaneità, sarebbe da annoverarsi tra le ultime eseguite dall’artista. La stampa va posta in relazione con il disegno Veduta di Dolo del Victoria and Albert Museum e con il dipinto della collezione Italico Brass di Venezia.” Succi, n. 70; Bromberg 4. Cfr. Constable, 1962, n, 372 e n. 669. Acquaforte. Misure lastra, mm. 300x430. Marginino.

€ 2000

389. ZILOTTI, Domenico Bernardo. Veduta del ponte delle Navi di Verona. A. D. 1719 La bella veduta panoramica, con personaggi popolani in primo piano sulle due sponde del fiume, mostra l’esondazione dell’Adige avvenuta a Verona nel 1719. Si tratta probabilmente di uno studio preparatorio per un’incisione che non risulta essere mai stata eseguita. Domenico Bernardo Zilotti, educatosi all'arte in Venezia, dipinse paesaggi nella maniera dello Zuccarelli. Praticò anche l'incisione in rame, seguendo il Wagner e il Bartolozzi. Disegno di mm. 475 x 660, in cornice. Penna con inchiostro seppia. Titolo sul margine inferiore. Ottimo stato di conservazione.

€ 2200 132

390. PIRANESI Giovan Battista. Campo Vaccino Roma, 1772. Successivamente alla morte dell’autore le lastre furono ereditate dal figlio Francesco, che ne curò la pubblicazione prima nella capitale, e successivamente a Parigi. Le lastre furono poi acquisite dalla Calcografia Camerale, oggi Calcografia Nazionale, dove sono tuttora conservate. Acquaforte e bulino II/IV; mm.480x720, 1772, firmata sulla lastra. Esemplare della prima edizione di Parigi. Impressa su carta vergata, con margini, strappi riparati con vecchio restauro e piccola macchietta, serie delle Vedute di Roma. L’opera consiste in 135 lastre prodotte dal Piranesi per almeno 30 anni, dal 1745, fino alla sua morte avvenuta nel 1778.

€ 1500

391. PIRANESI Giovan Battista. Veduta di Piazza di Spagna Roma, 1750. Impressa su carta vergata. Buon esemplare, Macchiette. Serie delle Vedute di Roma. L’opera consiste in 135 lastre prodotte dal Piranesi per almeno 30 anni, dal 1745, fino alla sua morte avvenuta nel 1778 Successivamente alla morte dell’autore le lastre furono ereditate dal figlio Francesco, che ne curò la pubblicazione prima nella capitale, e successivamente a Parigi. Le lastre furono poi acquisite dalla Calcografia Camerale, oggi Calcografia Nazionale, dove sono tuttora conservate. Acquaforte e bulino VI/VIII; mm.400x 602, firmata sulla lastra. Esemplare della prima edizione di Parigi.

€ 1500

133

392. Lorenzo TIEPOLO. S. Tecla

This wonderful etching is a masterpiece in the history of engraving. Succi: “L’eccezionale morbidezza dell’intaglio, i meditati passaggi chiaroscurali dal nero vellutato del primo piano al bianco argenteo del gruppo con il benedicente, esaltano lo smagliante cromatismo della grande pala del duomo di Este, fulgido esempio della grande arte di Giambattista. La tela venne collocata sull’altare maggiore alla vigilia di Natale dell’anno 1759. La stampa fu fatturata a Mariette in un esemplare ante-litteram tra il 1761 e il 1762 ed è pertanto databile con sicurezza al 1760-61”. It appears in all four editions of the Catalog of Giandomenico with the title Miracle of St. Tecla. Excellent impression with wide margins in good condition. Skilled restoration in the center of the incision visible mainly on the verso. Watermark "shield with arm and sword". Bibl.: De Vesme, 1906, 3; Sack, 1910, 3; Rizzi, 223; Succi, 1988, N. 6. Etching and burin. State: II/ II. Inscription on lower margin. Measures: Lastra: mm. 705 x 400; engraving: mm. 637 x 375. Wide margins. Iscr.: in the engraving on right bottom: Gio. Batta Tiepolo f.; lower: Lorenzo Tiepolo inc.; on bottom in the middle: Joannes Batta Tiepolo inv. et pin.; sotto: Laurentius Tiepolo filius del. et inc.

€ 3800

134

135

393. Giovanni Domenico TIEPOLO Cleopatra onorata con doni. Primo stato di due. L’acquaforte deriva da un dipinto di Giambattista eseguito per il palazzo Barbaro di Venezia tra il 1745 e 1750, ora a Pavia nella collezione Necchi. Sack, 99; De Vesme, 89; Succi, 1983 p. 387. Acquaforte, mm. 235x185, in basso scritto “Jp: Batta Tiepolo inv: et Pin: Do: Filius del: et in:”, ampi margini, presenza di qualche restauro.

€ 1000

394. Giovanni Domenico TIEPOLO. Tarquinio e Lucrezia Stato unico. L’acquaforte deriva da un dipinto nelle stadtische Kunstsammlungen di Augusta, eseguito per il palazzo Barbaro di Venezia negli anni immediatamente precedenti il soggiorno di Wurzburg. Rizzi, 103; Sack, 98; de Vesme, 88; Succi, 1983 p. 386-387. Acquaforte, mm. 233x182, in basso scritto “Jp: Batta Tiepolo inv: et Pin: Do: Filius del: et in:”, ampi margini. Bell’esemplare.

€ 1500

136

395. Specchi e soffitti barocchi Second half of XVII century. Interesting collection of 6 etchings depicting mirrors and Roman-baroque scenography. Six Large sheet, etching, mm. about 370x490 each, margins. Very well printed on strong paper, pasted at the corner on cardboard. Slight restored tear on the white space of one mirror. Good specimen.

â&#x201A;Ź 800

137

396. Francesco BARTOLOZZI. I Dodici Mesi Very rare series of Francesco Bartolozzi's months of the year. Derived from the paintings by Giuseppe Zocchi, the series is part of the most vivid Venetian production of Bartolozzi: by combining the bulin with the watercolor, according to the method introduced in Venice by Wagner, the artist has effects of soft and refined chiaroscuro graduation manages to maintain a genuine freshness in the popular and agresti episodes that illustrate the twelve branches. In the festive costume scenes depicted, human figures have predominant importance and are framed by leafy trees and picturesque architectures. Giuseppe Zocchi carried out a long business in Venice: in these subjects he feels the influence he exerts on him by Marco Ricci, Giuseppe Zais, Francesco Zuccarelli and also Pietro Longhi. Succi, 1983, n. 11-22; Barbara Jatta, Francesco Bartolozzi Incisore delle Grazie, 1996, pp. 91-93. 12 Etchings and bulin engravings; 330 x 460 mm. Down, in the middle, the name of the month, to left and to right the names of G. Zocchi, F. Bartolozzi e J. Wagner, and down to the right the numbers 1-12. Good condition.

â&#x201A;Ź 3800

138

397. Andrea SCACCIATI. Gesù consegna le chiavi a San Pietro Splendida tavola che riproduce, con raffinatissima tecnica all'acquaforte con doppio passaggio di colore (verde e seppia), un disegno originale in possesso all'epoca del Granduca di Firenze. Questa tavola fu inserita nell'opera Disegni originali d'eccellenti pittori esistenti nella R. Galleria di Firenze, Firenze 1766 -1774. Andrea Scacciati, incisore e disegnatore, fu allievo di J. A. Schwickart, artista austriaco che introdusse a Firenze l'acquatinta, tecnica non conosciuta all'epoca in Italia. Nominato ufficialmente incisore di corte, si rivolse alle raccolte granducali di disegni, ostentando così il proprio mirabile virtuosismo. Fra i pittori da lui tradotti in stampa annoveriamo Jacopo da Empoli, Pietro da Cortona, Pomarancio, Salvator Rosa, Tintoretto, A. Van Diepenbeeke. Bibl.: Caterina Bon Valsassina (a cura di), Il segno che dipinge, Bologna 2002, p. 85; G. Giglioli, Incisori toscani del Settecento, catalogo della mostra, Firenze 1943. Incisione all'acquaforte. Misure: Mm 50x38. Ampi margini. In basso a sx. Iacopo da Empoli inven. E del. In basso a dx. l'iscrizione: A. Scacciati inc. Perfetto stato di conservazione.

€ 300

398. Andrea SCACCIATI. Scena mitologica 1766-71. Splendida tavola che riproduce con raffinatissima tecnica in monocromia il disegno originale in possesso all’epoca del Granduca di Firenze. Questa tavola fu inserita nell’opera Disegni originali d’eccellenti pittori esistenti nella R: Galleria di Firenze, Firenze 1766-1774. Andrea Scacciati, incisore e disegnatore, fu allievo di J. A. Schweickart, artista austriaco che introdusse a Firenze l’acquatinta, tecnica non conosciuta all’epoca in Italia. Nominato ufficialmente incisore di corte, si rivolse alle raccolte granducali di disegni, ostentando così il proprio mirabile virtuosismo. Fra i pittori da lui tradotti in stampa annoveriamo Jacopo da Empoli, Pietro da Cortona, Pomarancio, Salvator Rosa, Tintoretto, A. Van Diepenbeeke. Bibl.: Caterina Bon Valsassina (a cura di), Il segno che dipinge, Bologna 2002, p. 85; G. Giglioli, Incisori toscani del Settecento, catalogo della mostra, Firenze 1943. Incisione all’acquatinta. Mis. Inc.: 555 x 380 mm. Ampi margini. In basso a dx. l’iscrizione: Scacciati inv. Perfetto stato di conservazione.

€ 300 139

399. Daniel Nicolas CHODOWIECKI. Lotto di 4 acqueforti della serie History of the Life of Jesus Christ Maria und Elisabeth, XVIII secolo. Geh hin zum Quelle-Siloah wird dir helfen, XVIII secolo. Iesus von Engeln bedient, XVIII secolo. Ihr wisset niht was Ihr bittet, XVIII secolo. Four very rare etchings that are part of the Polish engraver's series History of the Life of Jesus Christ. The series have many wonderfully printed miniatures, which made it so popular that it put aside all the painting and engraving occupations. 4 etchings of mm. 81x133; mm. 82x133; mm. 80x131; mm. 82x134. Little margins. Four inscriptions in German below every etching. Very good condition.

â&#x201A;Ź 300

140

400. Jean Claude Richard de SAINTNON. Paesaggio italiano XVIII secolo. Quattro bellissime incisioni del raffinato incisore e disegnatore francese che tradusse su tavola un gran numero di celebri quadri di tutta Italia dai disegni del suo amico Fragonard, che conobbe a Roma nel 1759. 4 incisioni su rame; mm. 132x170; mm. 131x174; mm. 136x200; mm. 135x181. Nella prima incisione iscrizione al piede sinistro: Frago del.; al piede destr: Saint Non Sc. 1764. Ottimo stato di conservazione.

€ 800

401. Dirk STOOP. Contadino con due cavalli all’abbeveratoio XVIII secolo. La stampa fa parte della serie di cavalli dell’autore e rappresenta un contadino che fa bere ad una vasca il cavallo sul quale è montato tenendone un altro per la briglia e in distanza, sulla destra, un cavaliere che galoppa seguito da un cane. Pittore e incisore ad acquaforte nato in Olanda verso il 1610, di Stoop si sa che fu buon pittor di battaglie e che incise una dozzina di pezzi di proprie composizioni di vera e spiritosa espressione rappresentanti uomini e cavalli sopra fondi di paesaggi. Acquaforte; inciso di mm. 152x202. Firmata in basso a sx: Chatelin fecit; in basso a dx: D. Stoop delin. Ampi margini. Bell’esemplare.

€ 200

141

402. AA.VV. Album di Incisioni XVIII-XIX secolo. Bella raccolta in album di 46 incisioni del Settecento e dell’Ottocento di vari autori tra i quali: Raffaello, Guercino, Procaccino ed altri incise all’acquaforte e in litografia da: Bartolozzi, Granara, Morgen, Lecomte, Van den Berghe, Conte, con due litografie a colori di Palermo e gli splendidi 5 attributi della caccia di Huet. Folio, 420x300 mm, legatura in percallina marrone. 46 Incisioni in litografia ed acquaforte incollate su cartoncino. Fioriture diffuse, ma buono stato di conservazione.

€ 800

142

403. Gabriel DE SAINT-AUBIN Gesù predica attorniato dagli apostoli XVIII secolo. Incisione dal risvolto religioso realizzato su un modello iconografico dell’incisore Gabriel de Saint-Aubin. Gesù viene rappresentato mentre, in un paesaggio dai contrafforti rocciosi e col dito indice alzato, parla verso i suoi apostoli e verso la folla che sono rapiti e concentrati dalle parole e dagli insegnamenti del Maestro. L’inchiostratura è in alcuni punti a tratti scuri e tenebrosi, tanto che ad alcuni personaggi della scena non si intravede il volto o alcuni particolari anatomici. Dacier, 1929-1931. Acquaforte; Misure dai margini dell’inciso: mm. 262x205. Ampi margini. Strappo al margine sinistro senza coinvolgere il disegno. Bellissimo esemplare in prova di stampa.

€ 1000

143

404. DANZA MACABRA - Memorare novissima tua Bassano, Remondini, XVIII secolo. Rarissimo foglio volante, non rinvenuto nelle bibliografie consultate. Complessa tavola sinottica che illustra la sentenza dell’Ecclesiaste “Memorare novissima tua et in Aeternum non peccabis”. Sono rappresentati i dannati nell’inferno in basso, in alto i beati in Paradiso e la Trinità. Gli scheletri di Adamo ed Eva ammoniscono un personaggio al centro della scena, al quale un arcangelo indica la via della salvezza. Cfr. Ecclesiasticus 7:10. Incisione a bulino, coloritura coeva a pennello. Foglio mm. 370x240. Margini. Diverse iscrizioni nell’immagine, sotto il in latino. Ottimo stato di conservazione.

€ 350

405. Quattro Caccie Bassano, Remondini, XVIII secolo Rarissima serie non rinvenuta nelle bibliografie consultate. Le quattro scene, molto animate e rese con vividi colori, sono: La chasse du Lion; La chasse de l'Ours; La chasse du Sanglier; La chasse du Cerf. 4 Tavole incise a bulino, coloritura coeva a pennello. Fogli mm. 365x400. Margini. Al piede titolo in latino e in francese. Ottimo stato di conservazione.

€ 1500

144

406. VOLPATO, Giovanni. Sette opere di Misericordia Spirituale Bassano, Remondini, XVIII secolo/ 1767. Splendida serie completa incisa dal Volpato, per l’esportazione in Spagna e nelle colonie spagnole. Nel Catalogo Remondini fa parte della Serie Reali, assortimento vastissimo di Stampe in foglio Reale. Zotti 260. 7 Tavole incise all’acquaforte e bulino. Fogli mm. 260x382. Margini. Al piede titolo in latino e in spagnolo. Ottimo stato di conservazione.

€ 1000

407. Parabola del figliol prodigo – Sei Tavole Bassano, Remondini, XVIII secolo. Rara serie completa della storia del figliol prodigo, in suggestiva coloritura coeva. Nel Catalogo Remondini fa parte della Serie Mode. Zotti 550-555. 6 Tavole incise a bulino, coloritura coeva a pennello. Fogli mm. 240x375. Margini. Al piede titoli in latino. Ottimo stato di conservazione.

€ 1300

145

408. Storia di una recluta – Quattro Tavole Bassano, Remondini, XVIII secolo. Splendida serie, per l’esportazione in Germania e Francia. Sono rappresentati quattro episodi tipici del reclutamento: fra questi, particolarmente curiosi il tentativo di diserzione e il successivo perdono della recluta. Zotti 1618-1621. 4 Tavole incise all’acquaforte. Fogli mm. 385x250. Margini. Al piede titoli in tedesco e francese. Ottimo stato di conservazione.

€ 800

409. Età della vita dell’uomo e della donna – Tal es la Vida tal es la Muerte Bassano, Remondini, XVIII secolo. Rara tavola, per l’esportazione in Spagna e colonie spagnole. Rigoli: “Le figure dell’uomo e della donna sono disposte in coppia sui gradini della scala, dieci anni d’età per ciascun gradino, dalla culla sino ai 100 anni… La Raccolta conserva due esemplari di questa incisione, uno colorato e l’altro non colorato, sempre in lingua spagnola, destinati all’esportazione.” Zotti 862; A. Rigoli e A. Amitrano Savarese, a cura di, Fuoco Acqua Cielo Terra, Stampe popolari profane della “Civica Raccolta Achille Bertarelli”, 1995, n. 513. Incisione a bulino. Foglio mm. 255x408. Margini. Titolo entro l’immagine, al piede legenda in spagnolo. Ottimo stato di conservazione.

€ 900

146

410. Il marito deriso Bassano, Remondini, XVIII secolo. Rara tavola acquerellata, per l’esportazione in Germania e Austria. Nel Catalogo Remondini questa curiosa scena buffonesca fa parte della Serie Francesine. Zotti 863. A. Rigoli e A. Amitrano Savarese, a cura di, Fuoco Acqua Cielo Terra, Stampe popolari profane della “Civica Raccolta Achille Bertarelli”, 1995, n. 780. Incisione a bulino, coloritura coeva a pennello. Foglio mm. 240x384. Margini. Titolo in tedesco sotto l’immagine. Ottimo stato di conservazione.

€ 350

411. DANZA MACABRA - Mors pedibus plaudit choreas et carmina dicit Bassano, Remondini, XVIII secolo. Rara tavola. Cinque scene suggestive con didascalie ammonitrici e dialoghi buffoneschi: le tre scene in basso illustrano la morte che fa visita al Pontefice, ad un Cardinale e a una Badessa, ma viene redarguita e respinta con disprezzo. Zotti 899. A. Rigoli e A. Amitrano Savarese, a cura di, Fuoco Acqua Cielo Terra, Stampe popolari profane della “Civica Raccolta Achille Bertarelli”, 1995, n. 499. Incisione a bulino. Foglio mm. 245x408. Margini. Titolo e iscrizioni in latino nell’immagine. Ottimo stato di conservazione.

€ 400

412. RIDOLFI, Pietro. Diploma scherzoso Bassano, Remondini, XVIII secolo. Rara tavola, foglio per ventola. Rigoli: “Nel lato sinistro è rappresentata la mola per diminuire la grossezza dei nasi secondo una iconografia nota dalla fine del XVII secolo.” Il diploma dell’’Università dei Nasi Grossi, sul lato destro, è aperto da una testatina con i ritratti di tre professori; sulla sinistra l’illustrazione a piena pagina presenta vivaci scene buffonesche. Pietro Ridolfi fu attivo a Venezia negli anni 1710-1723. Zotti 1247; A. Rigoli e A. Amitrano Savarese, a cura di, Fuoco Acqua Cielo Terra, Stampe popolari profane della “Civica Raccolta Achille Bertarelli”, 1995, n. 986. Incisione a bulino. Foglio mm. 230x336. Ampi margini. Titolo e testo in italiano. Alla fine del testo la data “1668”. Sotto l’immagine a piena pagina, a sinistra “In Bassano per Gioseppe Remondini”, a destra “P. Redolfi Sculp.” Ottimo stato di conservazione. € 600

147

413. Povertà Gradita – Richezza Non Conosciuta Bassano, Remondini, XVIII secolo. Rarissima tavola, foglio per ventola con due scene a piena pagina contrapposte. Rigoli: “Nell’immagine di sinistra è raffigurato un interno di casa modesta: il padre lavora, la madre con il piccolo nella culla fa pregare il figlio più grandicello. … Nell’immagine di destra un ricco usa malamente la sua fortuna e invece di fare l’elemosina dà la borsa la borsa dei soldi a una meretrice”. Zotti 1255-56; A. Rigoli e A. Amitrano Savarese, a cura di, Fuoco Acqua Cielo Terra, Stampe popolari profane della “Civica Raccolta Achille Bertarelli”, 1995, n. 844. Incisione a bulino. Foglio mm. 218x320. Margini. Titolo e testo in italiano. Buono stato di conservazione.

€ 600

414. Da Pietro Longhi. Scene di vita veneziana Bassano, Remondini, XVIII secolo. Rarissima serie con quattro scene tratte dai quadri di Longhi. Fra queste la celebre “Lezione di ballo”; ogni tavola è illustrata da quattro versi in rima. Il Museo di Bassano possiede solo uno di questi fogli, ma non è censito quello con la lezione di ballo, scena che fu incisa anche da Charles Joseph Flipart, la cui tavola è accompagnata dai medesimi versi qui presenti “Mentre la vaga e leggiadretta Clori” Zotti 1257. 2 tavole con 4 scene incise all’acquaforte. Fogli mm. 230x345. Margini. Versi in italiano sotto le immagini. Buono stato di conservazione.

€ 450

148

415. CARNEVALE DI VENEZIA. Le Meravigliose Forze Bassano, Remondini, XVIII secolo. Rarissima tavola con due incisioni. Sono rappresentate scene delle feste che si svolgevano il giovedì grasso a Piazza San Marco: rispettivamente i giochi dei Nicolotti e quelli dei Castellani. Compaiono due diverse prospettive della piazza, una con un angolo del Palazzo ducale, l’altra compresa fra il campanile e le Procuratie, ove s’intravede nel fondo parte della facciata di San Geminiano, chiesa che fu fatta abbattere da Napoleone nel 1807. Zotti 1258. 1 tavola con 2 scene incise al bulino. Foglio mm. 298x415. Margini. Titoli in italiano sotto le immagini. Gora al margine sinistro. Buono stato di conservazione.

€ 600

416. Vanitas Vanitatum et Omnia Vanitas Bassano, Remondini, XVIII secolo. Rarissima tavola con una fantasiosa allegoria della vanità della vita umana. Rigoli: “Un bimbo seduto gioca con le bolle di sapone, ai suoi piedi libri, strumenti musicali, spade, corone, scettri, monili. L’incisione è ripresa da un modello della fine delXVI secolo, inizi XVII secolo, della scuola di Goltzius”. Zotti 1637; A. Rigoli e A. Amitrano Savarese, a cura di, Fuoco Acqua Cielo Terra, Stampe popolari profane della “Civica Raccolta Achille Bertarelli”, 1995, n. 501. Incisione al bulino. Foglio mm. 330x230. Margini. Sotto l’immagine versi in italiano e titolo in latino. Buono stato di conservazione.

€ 300

149

417. Rarissima Serie Completa Delle Quattro Stagioni Del Remondini. Allegory of human life: the four ages of life Bassano, Remondini, 18th century. 4 etching and burin sheets. Folio, mm. 564 x 800; two dies of mm. 534 x 760 and 402 x 520. Good conditions. Margins. Very rare complete set of four ages of life. The prints have the titles in Latin and Spanish below: Pueritia, La Ninez; Juventus, La Juventud; Aetas Virilis, La Virilitad; Senectus, La Vejez. There are two different matrices: one for the great baroque arabescata frame, with triumph of putti, flowers, leafy branches, volutes; the other for the part represented, with the lively allegorical scenes inserted within a more agile ornamental frame. Zotti cites only two of these prints, Puerizia and Vecchiaia, which are at the Bassano del Grappa Museum; however, they are devoid of the great general frame and thus of much smaller dimensions. Carlo Alberto Zotti Minici, The popular prints of Remondini.

â&#x201A;Ź 6000

150

418. ROVERETO - La colossal Republica Francese quasi vetro sottile trasparente. - Qui giace l'ora quondamâ&#x20AC;Ś Repubblica Cisalpina Rovereto, Luglio 1799. Rare anti-revolutionary allegorical caricatures printed in Rovereto in July 1799. In the first engraving the Sun reflects on the banners of European nobility and dissolves the statues of the Sister Republics, based on the model of Revolutionary France. The second is a funeral indictment for the death of the Cisalpine Republic, whose name stands as a tomb inscription. The work conveys in an allegorical and sarcastic way the antirevolutionary climate that was to be breathed in that moment in the Venetian Republic, built on the ashes of the Serenissima. The engraving is printed a month before the fall of the Cisalpine Republic, dissolved in August 1799. Two watercolor etchings; Measures of sheet: mm. 332x489, 384x543; Measures of engraving: mm. 251x401, 251x401. On the bottom right: In Roveredo, Luglio 1799.

â&#x201A;Ź 400

151

419. Francisco JosĂŠ de GOYA Y LUCIENTES. Hilan Delgado Beautiful plate, engraving number 44 of the series Los Caprichos. The Capricci represent the most famous series of engravings of the Spanish master: 80 plates between etchings and large-format aquatints, made in 1799. These are plates that give rise to imaginative, pungent and grotesque depictions, which are stylistically affected of an Italian influence due to the long stay of 1770 in Rome. The main theme is the description of the evils of the world, from deceptions to prejudices, to the lies of the Spanish society of the years in which Goya himself lived, in a controversy turned towards the clergy and the nobility. At the time of their publication, the drawings caused great stir, precisely because many notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed too excessive and blasphemous. Probably this was to determine the scarce success of I Capricci, so much so that the painter was forced to resell the entire first circulation to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, to become one of the most important and celebrated graphic works in the history of art. Harris 79. Aquatint and drypoint, mm. 215x150, margins, numbered 44 on the top. V/12. By I Capricci. Edition of 18811886. Very nice specimen.

â&#x201A;Ź 400

152

420. Francisco José de GOYA Y LUCIENTES. Los Chinchillas Beautiful plate, engraving number 50 of the series Los Caprichos. The Capricci represent the most famous series of engravings of the Spanish master: 80 plates between etchings and large-format aquatints, made in 1799. These are plates that give rise to imaginative, pungent and grotesque depictions, which are stylistically affected of an Italian influence due to the long stay of 1770 in Rome. The main theme is the description of the evils of the world, from deceptions to prejudices, to the lies of the Spanish society of the years in which Goya himself lived, in a controversy turned towards the clergy and the nobility. At the time of their publication, the drawings caused great stir, precisely because many notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed too excessive and blasphemous. Probably this was to determine the scarce success of I Capricci, so much so that the painter was forced to resell the entire first circulation to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, to become one of the most important and celebrated graphic works in the history of art. Harris 85. Aquatint and drypoint, mm. 210x155, margins, numbered 50 on the top. V/12. By I Capricci. Edition of 18811886. Very nice specimen.

€ 400

421. Francisco José de GOYA Y LUCIENTES. Si Amanece nos vamos Beautiful plate, engraving number 71 of the series Los Caprichos. The Capricci represent the most famous series of engravings of the Spanish master: 80 plates between etchings and large-format aquatints, made in 1799. These are plates that give rise to imaginative, pungent and grotesque depictions, which are stylistically affected of an Italian influence due to the long stay of 1770 in Rome. The main theme is the description of the evils of the world, from deceptions to prejudices, to the lies of the Spanish society of the years in which Goya himself lived, in a controversy turned towards the clergy and the nobility. At the time of their publication, the drawings caused great stir, precisely because many notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed too excessive and blasphemous. Probably this was to determine the scarce success of I Capricci, so much so that the painter was forced to resell the entire first circulation to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, to become one of the most important and celebrated graphic works in the history of art. Harris 106. Aquatint and drypoint, mm. 200x145, margins, numbered 71 on the top. V/12. By I Capricci. Edition of 18811886. Very nice specimen.

€ 400 153

422. Francisco José de GOYA Y LUCIENTES. Unos a’ Otros Beautiful plate, engraving number 77 of the series Los Caprichos. The Capricci represent the most famous series of engravings of the Spanish master: 80 plates between etchings and large-format aquatints, made in 1799. These are plates that give rise to imaginative, pungent and grotesque depictions, which are stylistically affected of an Italian influence due to the long stay of 1770 in Rome. The main theme is the description of the evils of the world, from deceptions to prejudices, to the lies of the Spanish society of the years in which Goya himself lived, in a controversy turned towards the clergy and the nobility. At the time of their publication, the drawings caused great stir, precisely because many notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed too excessive and blasphemous. Probably this was to determine the scarce success of I Capricci, so much so that the painter was forced to resell the entire first circulation to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, to become one of the most important and celebrated graphic works in the history of art. Harris 112. Aquatint and drypoint, mm. 212x148, margins, numbered 77 on the top. V/12. By I Capricci. Edition of 18811886. Very nice specimen.

€ 400

423. Francisco José de GOYA Y LUCIENTES. Bobalicòn Wonderful plate, from the series Los Proverbios or Disparati, between 1815-24 composed of 18 engravings concerning the last graphic series created by Goya. The themes and subjects remain enigmatic and the iconography scholars are still trying to decipher them. Etching, aquatint, bulin and drypoint, mm. 245x350; margins. Foxing. Good condition.

€ 400 154

424. Mariano FORTUNY Y DE MADRAZO. Peonias Beautiful etching and aquatint with drypoint on sheet with wide and uncut margins, with signature in the bottom right. Rare engraving by Mariano Fortuny Y Madrazo, a versatile Spanish artist known throughout the world for his textile production inspired by Art Nouveau and oriental-style silk brocades. Fortuny is a central figure in the history of European engraving art, like his father Mariano Fortuny Y Marsal and his countrymen Ribera and Goya. M. L. Cuenca y R. Vives. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: dibujos, grabados. Madrid, Electa, Biblioteca Nacional, 1994. Etching and aquatint with drypoint. Measures: sheet mm 624x456; engraving mm. 110x65; Seal in bottom right with author’s signature. Specimen with wide and uncut margins and in excellent condition.

€ 350

425. Mariano FORTUNY Y DE MADRAZO. El oro del Rhino Beautiful etching and aquatint with drypoint on sheet with wide and uncut margins, with signature in the bottom right. Rare engraving by Mariano Fortuny Y Madrazo, a versatile Spanish artist known throughout the world for his textile production inspired by Art Nouveau and oriental-style silk brocades. Fortuny is a central figure in the history of European engraving art, like his father Mariano Fortuny Y Marsal and his countrymen Ribera and Goya. M. L. Cuenca y R. Vives. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: dibujos, grabados. Madrid, Electa, Biblioteca Nacional, 1994. Etching and aquatint with drypoint. Measures: sheet mm 585x412; engraving mm. 192x100; Seal in bottom right with author’s signature. Specimen with wide and uncut margins and in excellent condition.

€ 350

155

426. Mariano FORTUNY Y DE MADRAZO. Muletier Beautiful etching and aquatint with drypoint on sheet with wide and uncut margins, with signature in the bottom right. Rare engraving by Mariano Fortuny Y Madrazo, a versatile Spanish artist known throughout the world for his textile production inspired by Art Nouveau and oriental-style silk brocades. Fortuny is a central figure in the history of European engraving art, like his father Mariano Fortuny Y Marsal and his countrymen Ribera and Goya. M. L. Cuenca y R. Vives. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: dibujos, grabados. Madrid, Electa, Biblioteca Nacional, 1994. Etching and aquatint with drypoint. Measures: sheet mm. 620x445; engraving mm. 103x68; Seal in bottom right with author’s signature. Specimen with wide and uncut margins and in excellent condition.

€ 350

427. Mariano FORTUNY Y DE MADRAZO. Tireuse De Cartei Beautiful etching and aquatint with drypoint on sheet with wide and uncut margins, with signature in the bottom right. Rare engraving by Mariano Fortuny Y Madrazo, a versatile Spanish artist known throughout the world for his textile production inspired by Art Nouveau and oriental-style silk brocades. Fortuny is a central figure in the history of European engraving art, like his father Mariano Fortuny Y Marsal and his countrymen Ribera and Goya. M. L. Cuenca y R. Vives. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: dibujos, grabados. Madrid, Electa, Biblioteca Nacional, 1994. Etching and aquatint with drypoint. Measures: sheet mm. 454x613; engraving mm. 110x170; Seal in bottom right with author’s signature. Specimen with wide and uncut margins and in excellent condition.

€ 350

156

428. Mariano FORTUNY Y DE MADRAZO. Sigfrido Mime busca los hongos venenosos

Beautiful etching and aquatint with drypoint on sheet with wide and uncut margins, with signature in the bottom right. Rare engraving by Mariano Fortuny Y Madrazo, a versatile Spanish artist known throughout the world for his textile production inspired by Art Nouveau and oriental-style silk brocades. Fortuny is a central figure in the history of European engraving art, like his father Mariano Fortuny Y Marsal and his countrymen Ribera and Goya. M. L. Cuenca y R. Vives. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: dibujos, grabados. Madrid, Electa, Biblioteca Nacional, 1994. Etching and aquatint with drypoint. Measures: sheet mm.580x420; engraving mm. 204x195; Seal in bottom right with author’s signature. Specimen with wide and uncut margins and in excellent condition.

€ 350

429. Mariano FORTUNY Y DE MADRAZO. Flowers

Beautiful etching and aquatint with drypoint on sheet with wide and uncut margins, with signature in the bottom right. Rare engraving by Mariano Fortuny Y Madrazo, a versatile Spanish artist known throughout the world for his textile production inspired by Art Nouveau and oriental-style silk brocades. Fortuny is a central figure in the history of European engraving art, like his father Mariano Fortuny Y Marsal and his countrymen Ribera and Goya. M. L. Cuenca y R. Vives. Mariano Fortuny Marsal, Mariano Fortuny Madrazo: dibujos, grabados. Madrid, Electa, Biblioteca Nacional, 1994. Etching and aquatint with drypoint. Measures: sheet mm. 406x570; engraving mm. 100x140; Seal in bottom right with author’s signature. Specimen with wide and uncut margins and in excellent condition.

€ 350

157

430. Francisco JosĂŠ de GOYA Y LUCIENTES. La filiacion ca 1875. Beautiful plate, engraving number 57 of the series Los Caprichos. The Capricci represent the most famous series of engravings of the Spanish master: 80 plates between etchings and large-format aquatints, made in 1799. These are plates that give rise to imaginative, pungent and grotesque depictions, which are stylistically affected of an Italian influence due to the long stay of 1770 in Rome. The main theme is the description of the evils of the world, from deceptions to prejudices, to the lies of the Spanish society of the years in which Goya himself lived, in a controversy turned towards the clergy and the nobility. At the time of their publication, the drawings caused great stir, precisely because many notables of the time were recognized in them. So much was the clamor that even the Holy Inquisition had to intervene, to avoid the publication of those prints deemed too excessive and blasphemous. Probably this was to determine the scarce success of I Capricci, so much so that the painter was forced to resell the entire first circulation to King Charles IV, in exchange for a scholarship for his son Javier. The success of the series increased with the second edition of 1855, to become one of the most important and celebrated graphic works in the history of art. Harris 79. Etching, aquatint and drypoint, mm. 215x155. Unique state. Inscription on top: 57; on the bottom: La filiacion. Very nice specimen, slight foxing, wide margins.

â&#x201A;Ź 400

158

431. JAILLOT, Alexis-Hubert. L’Asie, divisée selon l’étendue de ses principales parties…

Paris, Jaillot et Desnos, 1782. Striking large wall map in 6 sheets joined, corrected and enhanced by the author, with inset of Tartary and China. Alexis-Hubert Jaillot (ca. 1632-1712) was one of the most important French cartographers of the seventeenth century. Jaillot traveled to Paris with his brother, Simon, in 1657. Originally a sculptor, in 1665 he married the daughter of the publisher and print dealer Nicholas Berey, of whom he acquired the geographic fund, and went into partnership with Nicholas Sanson's sons. Beginning in 1669, he re-engraved and often enlarged many of Sanson's maps, filling in the gap left by the destruction of the Blaeu's printing establishment in 1672. Pastoureau, p. 233. 6 sheets joined, overall 1,230x1,145 mm, mounted on linen and framed with wooden white rollers. Etching, contemporary colored in outline. Good specimen.

€ 1500

432. Two works of Ferrara 1) Thomas SALMON. La Città di Ferrara Capitale del Ferrarese nello Stato Ecclesiastico Metà XVIII secolo. Veduta a volo d’uccello della città di Ferrara. L’incisione deriva dall’opera degli scritti di Thomas Salmon, edita a Venezia da Giambattista Albrizzi con il titolo “Lo Stato presente di tutti i paesi e Popoli del Mondo Naturale, Politico e Morale con nuove osservazioni e correzioni degli antichi e moderni viaggiatori”. La monumentale opera è composta di ventisei volumi, stampati tra il 1737 ed il 1766, copiosamente arricchiti da carte geografiche e vedute di città, con particolare attenzione per la parte che riguarda l’Italia. Questa incisione è presente nel XXI volume, come si evince anche dalla scritta in alto a dx. Acquaforte di 150x95 mm. Qualche increspatura della carta. Piccolo strappetto al margine sinistro dell’illustrazione. Buono stato di conservazione. 2) Samuel PROUT - Thomas HIGHAM. Il castello di Ferrara Bella veduta di Ferrara. British Museum: “View of the Estense Castle, women washing laundry in the river in the foreground. 1832”. British Museum, N. 1923,0120.80. Incisione su acciaio. Immagine: 86x128 mm. Margini. Iscrizioni, sotto l’immagine: sin. “Drawn by S. Prout”; centro Titolo; dx. “Engraved by T. Higham”. In basso al centro “London, Published 1832, by J. Murray, & Sold by C. Tilt, 86, Fleet Street”. Ottimo stato di conservazione.

€ 100 159

433. Four works of Padua 1) William BROCKEDON Padua. 1850 ca. L‘incisione raffigura piazza delle Erbe della città patavina con la mole di Palazzo della Ragione sullo sfondo. La piazza è animata da un vivace via vai e da alcune bancarelle che formano un piccolo mercato. Brockedon fu attivo a Londra nel XIX secolo ma operò a lungo anche in Italia, paese del quale dipinse numerose località. Incisione in acciaio di 228x157 mm. In basso a sx: Drawn. by S. Prout, from a sketch by W. Brockedon. In basso a dx: Engraved by J. Carter. In basso al centro il titolo dell’opera. Ottimo stato di conservazione. 2) Anonimo Padoa 1650 ca. Veduta generale in proiezione assonometrica. Di autore anonimo, fu inserita nelle edizioni romane dell’Itinerario overo nuova descrittione de’ viaggi principali d’Italia di Francesco Scoto, a partire dal 1650. Riprende il modello della stampa inserita nel 159 nel ‘Theatrum’ di Pietro Bertelli, ma con diversa tecnica grafica adottata per descrivere il territorio fuori le mura di Padova e con variazione degli elementi decorativi. Cfr. Ghironi 33. Incisione in rame. Immagine 125 x 180 mm. Ampi margini. In alto al centro “Padoa”; a sinistra stemma della città. Ottimo stato di conservazione. 3) Emile ROUARGUE Padova Piazza S. Antonio1835 ca. Vivace e animata veduta della Piazza dei Signori, con la scritta errata Piazza S. Antonio. Emile Rouargue, disegnatore e incisore a bulino, fu allievo di Delaunay e Mariage. Incisione su rame. 145x98 mm. Margini. Iscrizioni, sotto l’immagine: sin. “S. Prout del.” ; centro “Audot edit”; dx. “E. Rouargue sc.”. In basso, titolo in italiano e francese. Ottimo stato di conservazione. 4) Anonimo Piazza Salone - Tempio di S. Antonio Prima metà XIX secolo Due belle vedute di Padova su unico foglio. I titoli si ripetono in francese. Due incisioni su unico foglio. Ciascuna di 90 x65 mm. Margini. Ottimo stato di conservazione.

€ 250

160

434. LOTTO DI CINQUE STAMPE 1) John MEHEUX - Thomas MEDLAND Esher Place, Surrey 1792 Bella veduta di un celebre giardino inglese incisa da Medland sul disegno di Meheux. La bella casa di campagna, allora di proprietà di Frances Pelham, è ora in gran parte ricostruita ed utilizzata come college del sindacato "Unite". British Museum: “View in the ground, three figures strolling in the centre foreground, a path to the right leading towards the country house in the right background, a pavilion on hilltop on the left” La stampa fu inserita nella raccolta “The Copper Plate Magazine consisting of sublime and interesting views in Great Britain and Ireland, beautifully engraved by the most eminent Artists from the Paintings and Drawings of the first Masters”, pubblicata a Londra nel 1792 da Harrison & Co. British Museum, number 1862,0712.916. Incisione su rame. Immagine: 104x155 mm. Margini. Iscrizioni: sotto l’immagine, a sin. “Plate 2 Engr. by Melmand from an originale drawing by Meheux; a dx. “Published Feb. 1, 1792, by Harrison & Co. No. 18, Paternoster Row, London”. Sotto il titolo. Ottimo stato di conservazione. 2) Edward DAYES – James WALKER Oxford 1792 British Museum: “The city in the distance amongst trees, Magdalen Tower looming and bridge at right, seen from fields with cattle and figures resting beside a river in the foreground; after Edward Dayes. 1792”. La stampa fu inserita nella raccolta “The Copper Plate Magazine consisting of sublime and interesting views in Great Britain and Ireland, beautifully engraved by the most eminent Artists from the Paintings and Drawings of the first Masters”, pubblicata a Londra nel 1792 da Harrison & Co. British Museum, number 1862,0712.895. Incisione su rame. Immagine: 104x164 mm. Margini. Iscrizioni: sotto l’immagine, a sin. “Engrav'd by Wm. & Jno. Walker, from an Original Drawing by Dayes”; a dx. “Publish'd Feb.1. 1792 by Harrison & Co, No. 18, Paternoster Row, London”. Ottimo stato di conservazione. 3) David TENIERS - Francesco AMBROSI Gravé d’apres le Tableau Original du Teniers Fine XVIII - Inizio XIX secolo Bella scena di genere del celebre pittore fiammingo riprodotta magistralmente dall’incisore bassanese che fu allievo di G. Longhi. Incisione su rame in coloritura coeva. 125x160 mm. Sotto l’immagine: a sinistra “Teniers pin.”; a dx. “Ambrosi Sculp.”. AL centro in basso il titolo. Ottimo stato di conservazione. 4) Édouard TRAVIÈS - Nicolas-AMABLE FOURNIER Le Faisan. Le Faisan a collier 5) Édouard TRAVIÈS - Nicolas-AMABLE FOURNIER La Poule huppée. Le Coq huppé. Due belle tavole, ognuna con le immagini di due uccelli. Disegnate da pittore naturalista Edouard Traviès e inserite in: Oeuvres complètes de Buffon, Histoire naturelle, Les Oiseaux, Paris 1856. Incisioni su acciaio in coloritura coeva. Ognuna di 145x218 mm. Incisioni di Fournier su disegno di Edouard Traviès.

€ 100 161

435. Pierre-Louis SURUGUE. Le Père de Rembrandt 1759. Engraving depicting the father of the artist Rembrandt, seated on a wooden chair and with a stick in his right hand. The subject was painted by his son on a drawing of the Cabinet of the Count of Vence and engraved by Pierre-Louis Surugue. Etching of 180x220 mm. On the lower left: Peint par Rembrandt; on the lower right: Gravé par Surugue fils Grevaeur du Roi 1759. Glued to the corners on cardboard. Little rip in the middle of engravings and on the upper left corner. Good specimen.

€ 200

436. Pieter DE BAILLIU. S. Anastasius XVII century. Engraving by Pieter De Bailliu on a drawing by Rembrandt. Saint Anastasius is depicted sitting at a table in a vaulted room while reading a book near a window, with his feet resting on a portable heater. Etching of 180x220 mm. On the lower left: Rembrandt Van Rhijn invent; on the lower right: Petrus de Bailliu sculpsit. Glued to the corners on cardboard. Nice specimen.

€ 200

162

437. Samuel WOODBURN. Old man with a precious mug in the shape of a ship's bow Illustration of an elderly man dressed in Flemish-style clothes while holding a bow-shaped mug of ship with a figurehead. To the left of the face, the monogram S.W. It could refer to the engraver Samuel Woodburn. Engraving of 83x65 in oval. Monogram S.W. Glued on the cardboard. Nice specimen.

€ 200

438. Harmenszoon van Rijn REMBRANDT. Old man with beard, fur hat and cloak 1632. Acquaforte di 130x150 mm. Firmata. Incollata su cartoncino agli angoli. Bell’esemplare. Tiratura ottocentesca. Bartsch n. 262. 4.

€ 600

163

439. Harmenszoon van Rijn REMBRANDT. La piccola sposa ebrea (o Saskia nei panni di Santa Caterina) 1638. Saskia, the wife of the Rembrandt, poses as a model in this delicate engraving that Rembrandt uses as if it were a preparatory drawingsketch for the large oil painting. The great skill is noted in the hair that falls down the shoulders and in the expression of the eyes, small quick strokes of a great artist. Issue of XIX century. Etching of 100x79 mm. Signature on the etching in the upper right: Rembrandt 1638. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 600

440. Harmenszoon van Rijn REMBRANDT. Jan Antonides van der Linden Issue of XIX century. The engraved portrait of Rembrandt by Van der Linden was to accompany a publication of Hippocrates' writings on medicine, with a comment by the Dutch doctor. Among the conditions stipulated for the commission of the work, there was the portrait engraving. However, Rembrandt chose to make an engravings, which is probably the reason why his portrait of Van der Linden was not included in the publication. This portrait of Jan Antonides van der Liden is Rembrandt's last known etching. He based this portrait of a man who probably had never seen a painted portrait of Abraham van den Temple. Etching of 123x104 mm. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 600

164

441. Harmenszoon van Rijn REMBRANDT. Agony in the garden ca 1657. Issue of XIX century. Beautiful biblical engraving depicting Christ praying in the garden of Gethsemane shortly before his arrest. Here he was visited by an angel, who strengthened his indication immediately to death by crucifixion. In this small but powerful engraving, Rembrandt humanized the event by emphasizing the physicality of the angel's embrace. The spiritual agony of Jesus, his inner struggle in accepting his destiny, is highlighted in contrast with the diagonal rays of the celestial light that fall on Christ and on the angel with the more ephemeral shadows cast by the moon, which emerge from behind the clouds. Below, illuminated and relaxed, the sleeping faces of the apostles. Bartsch 75; Biörklund and Barnard 57; Hind 293; Hollstein 40; Münz 225; New Hollstein 213.269. Etching and drypoint of 115x84 mm. Signature on the lower right: Rembrandt f. Glued to the corners on cardboard. Nice specimen.

€ 600

442. Harmenszoon van Rijn REMBRANDT. Crucifixion between the two thieves ca. 1641. Issue of XIX century .Powerful evocative scene of the martyrdom of Christ. The characters at the foot of the cross and the two thieves are shaded in a more or less heavy way, while clear and limpid is the section in which the cross in the center of Jesus stands out. Etching of 135x100 mm in oval. Glued to the corners on cardboard. Nice specimen.

€ 600

165

443. Harmenszoon van Rijn REMBRANDT. Self-portrait with Saskia 1636. Issue of XIX century. Valuable self-portrait of Rembrandt with his wife Saskia. The Dutch painter and engraver turns his face from the front to the observer, holding a brush between the fingers of his left hand. The wife is depicted behind him with the face placed three-quarters of the way to the observer and with a greater skill in detail than the face of her husband, inked more deeply. Etching of 99x90 mm. Signature in the lower left: Rembrandt f. 1636. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 600

444. Harmenszoon van Rijn REMBRANDT. View of Amsterdam from the North-West ca. 1640. Issue of XIX century. View of Amsterdam taken from the north-west. A marshy area stands out in the foreground, while some towers / bell towers, ships and windmills are visible in the distance. Etching of 100x152 mm. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 600

166

445. Harmenszoon van Rijn REMBRANDT. Joseph's Coat Brought to Jacob ca. 1633. Issue of XIX century. Beautiful engraving in which an episode of the story of the Genesis of Joseph and his brothers is depicted. They sold Joseph to some merchants as a slave. Here is the scene in which two of them bring the blood-soaked cloak of Joseph to their father Jacob, thus convincing himself that his son died torn to pieces by the ferocious beasts, falling into an inconsolable depression. Etching of 108x81 mm. Signature on the lower right: Rembrandt Van Rijn. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 600

446. Da REMBRANDT. Self-portrait with plumed hood 1634. Issue of XIX century. Nice Rembrandt's self-portrait in which he shows himself with a good-natured expression in his favorite oriental disguise, with a feathered hat and fur cape. The drypoint that makes the scene soft in the face and hair is beautiful. Etching and drypoint of 130x102 mm. in oval. In the lower right: Rembrandt f. 1634. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 250

167

447. Claude LORRAIN. The kidnapping of Europa 1634. Wonderful engraving of the mythological scene of the kidnapping of Europe by Zeus. Zeus fell in love with her by observing her on a beach together with handmaids, with whom he collected flowers, and for having her, he ordered to Hermes to guide the oxen of the father of Europe to that beach. Then he took on the appearance of a white bull and approached her to lie down at his feet. Europa got on the bull's back, impressed by her meekness, and he kidnapped her and carried her across the sea to the island of Crete. Etching of 255x198 mm. On the lower right (signature on a rock): Claudio Gille inv. F. Roma 1634. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500

448. Claude LORRAIN. Sea port with round tower 1635-36. Big view of a seaport where some sailors are busy unloading several moored sailing ships. To attract the attention, on the left, there is an imposing ruined circular tower with battlements. Robert-Dumesnil 13, Mannocci 39 III (von VI). Etching of 128x190 mm. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500

168

449. Claude LORRAIN. Rebecca e Eliezer 1638-1641. Lorrain tells with his quick sign the moment when Rebecca and Eliezer leave her father to go to the land of Canaan. The scene takes up the biblical story of Genesis in which Abraham sends his faithful servant Eliezer to look for a wife to Isaac. RobertDumesnil 14, B. 33, Manocci 38. Etching of 128x190 mm. State V/VII. Glued to the corners on cardboard. Nice specimen.

€ 500

450. Claude LORRAIN – Dominique BARRIERE. Harbor scene with the departure of Ulysses from the land of the Phaeacians. 1660. Beautiful engraving of great depth in which, in addition to the architectural beauties and the expertise of making boats and figures, it affects the impact of the light of an intense sun which, obscured by a circular tower, pierces the clouds. The title is attributed on the basis of the homonymous painting by Claude Lorrain reproduced in the engraving. Etching of 225x197 mm. On the lower left: sx: Claudio Gillee Inv. Con Licenza de sup. An. 1660; in basso a dx: Dom. Barriere Sculp. Glued to the corners on cardboard. Nice specimen.

€ 500

169

451. Claude LORRAIN. The rising sun 1634. Superb engraving in which the dark and shady features of the subjects in the foreground contrast harmoniously with the light, expressed through subtle shades, which is spreading in the distance at sunrise. Etching and drypoint of 130x195 mm. Signature on the lower right of the little margin: Claudius inv. et F. Roma sub licentia. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500

452. Claude LORRAIN. Marina with port, sailing ships an453.d lighthouse This print reproduces in counterpart and with some differences (for example the lighthouse has been added) a drawing by Claude Lorrain belonging to the "Liber Veritatis" datable to 1633-1634 and which bears the inscription "faict pour Paris. Claudio fecit in VR ". This drawing was to be preparatory to a missing painting. Robert-Dumesnil A.P.F. (1967, v. XI pp. 170-171 n. 11) testifies to the existence of four states: 1) I state: before the number "7" in the lower left margin and with acute corners; 2) state II) with the addition of the number "7" in the lower left margin and again with acute corners; 3) with rounded corners; 4) in the lower margin there is the following inscription: "N. 44, p. 8.". Etching and drypoint, 140x198 mm. On the margin in the middle: CL i. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500 170

453. Claude LORRAIN – Dominique BARRIERE. Ulysses makes Chriseis a Priest of Apollo. First Book of Homer 1664. Beautiful engraving in which the mythological scene of the restitution of Ulysses of Criseis, slave of Agamemnon, is depicted to the father Crise, priest of Apollo. Agamemnon, who had seized her as a prey to war, refused to return it to Father Crise. Apollo thus unleashed a plague between the Greek army and Agamemnon to stop her was forced to give up on her. Etching of 192x257 mm. On the lower left: Claudio Gillee inven. In Roma 1664 con licenza de superiori; on the lower right: D.B. Sculp. Glued to the corners on cardboard. Nice specimen.

€ 500

454. Claude LORRAIN. The cowherd 1636. Bucolic etching in which, in a luxuriant and shady vegetation, a cowherd is intent on playing the flute, while the herd is drinking at the river. Etching of 130x195 mm. In the lower right: Claudius in. et f. Roma 1636. Glued to the corners on the cardboard. Nice specimen. Robert-Dumesnil 8, B. 18, Mannocci 18 IV A (von B, von VI).

€ 500

171

455. William DAY. Padua – The Observatory 1829-1845. Bella e scenografica veduta della Specola di Padova. Stampa impressa da uno dei maggiori litografi inglesi della prima metà del XIX secolo. Litografia. Immagine 310x245 mm. Margini. In basso a sinistra l’indirizzo dello stampatore “… to the King, 17 Gate Street”. Ottimo stato di conservazione.

€ 100

456. Claude LORRAIN. The dance under the trees 1637. The etching depicts a scene of pastoral life with a cheerful country festival with dances under the trees. Etching of 135x193 mm. Glued to the corners on the cardboard. Nice specimen.

€ 500

457. Claude LORRAIN – Dominique BARRIERE. Landscape with Mercury 1666. Acquaforte di 250x200 mm. In basso a sx: Claudio Gillee Inv con licenza de sup. An. 1666; in basso a dx: Dom. Barriere sculp. Incollata su cartoncino agli angoli. Bell’esemplare. Etching of 250x200 mm. In the lower left: Claudio Gillee Inv con licenza de sup. An. 1666; in the lower right: Dom. Barriere sculp. Glued to the corners on the cardboard. Nice specimen. € 500

172

458. Claude LORRAIN. Shipwreck 1638-1641. Wonderful engraving of Lorrain. Four boats are in difficulty in a stormy sea. In the background a ruined circular tower while in the foreground three men whipped by the wind try to pull a small boat ashore in order to save its load. Difficult to find in the Lorrain repertoire, which prefers calmer and more placid compositions. Robert-Dumesnil 7; Manocci 35, V; Whiteley 1998; Rand, 2006. Etching of 125x180 mm. On the margin in the middle: CL inv. Glued to the corners on the cardboard. Nice specimen.

â&#x201A;Ź 500

459. Claude LORRAIN. The draftman 1638-1641. Lorrain represents a port of a fortified city with boats, several characters including, on the left, a painter intent on drawing the landscape observed by two other people. Robert-Dumesnil, 9. Blum, 14. Mannocci 1988, 36. Etching of 125x175 mm. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500 173

460. Claude LORRAIN. Campo Vaccino 1636. Animated illustration of the Roman Forum, better known since medieval times as Campo Vaccino. The Campo Vaccino was one of the favorite subjects of the painters of Roman views from the sixteenth century until the nineteenth century and Lorrain, whose artistic activity took place in Rome, could not be exempted from this representation. Mannocci 17, 9. Etching of 225x195 mm. In the lower left: CL I. Sul margine in basso: Via Sacra detto Campo Vacino di Roma Superior licentia 1636. Claude Gelleè invent. et sculp. Glued to the corners on cardboard. Nice specimen.

€ 500

461. Claude LORRAIN The storm In a stormy sea, three ships are in trouble, while in the foreground a boat with rowers, full of barrels, leaves the scene. RobertDumesnil 5; Mannocci 6 IV B (von VII). Etching and drypoint; mm. 125x174. In the central lower: CL inv. Glued to the corners on cardboard. Nice specimen.

€ 500

174

462. Claude LORRAIN. Brigands scene 1633. At the edge of a wood, two brigands attack a man near a palm tree, while two others take his wife away, to the left. Russell in his catalog for the 1983 exhibition of Lorrain's work at the National Gallery of Art (Washington), states how this subject of traveler robbery was popular between the late 16th and 17th centuries. Interesting, however, to discover that this topic was not explored often by Lorrain. Mannocci 1988, 11.V.A; Blum 1923 7.V; Robert-Dumesnil 1835-71 I.12.III. Etching and drypoint; mm. 125x199. State V/IX. The signature in the lower right is barely visible. Glued to the corners on cardboard. Nice specimen. € 500

463. Claude LORRAIN. Time, Apollo and the seasons 1662. In a typical Lorraine landscape with trees, ancient ruins and herds, there is in the foreground Cronus, the winged god of time, playing the harp. His music inspires Apollo and the Seasons, which follow him, to dance. The engraving represents transience, represented in the form of perpetual cyclicity of Nature. Even Apollo, the mighty god who drives the chariot of the Sun in the heavens, must submit to the passage of time. Even the circle dance of the Seasons, with the Winter tightening the band that the Summer wears on its shoulders, refers to cyclicity and a new beginning. Mannocci 43; Preaud 1989. Etching of 250x200 mm. On the lower margin: Apollo in atto di obedire al tempo. La Primavera a cominciare il ballo. Lestate non manca del suo calore. Lautunno col suo licuore seguita Linverno tiene la sua stagione”. In the lower right: Caludio Gillee inven. Fec. Roma 1662 con licenza de super. Glued to the corners on cardboard. Nice specimen.

€ 500 175

464. Claude LORRAIN. The herd in the watering place 1635. A placid and relaxing scene in which the shepherd, in a moment of pause leaning on his stick, watches his cattle quenching their thirst and cooling off in a stream. Mannocci 16. Etching and drypoint of 103x168 mm. State II/III. In the lower left: “S. P. (Superiori Permissu) CLAV”. Glued to the corners on cardboard. Nice specimen.

€ 500

465. Claude LORRAIN The ford 1634. Pastoral scene. Two cows and a goat are entering into the water to wade the river, followed by the shepherd and a shepherdess, while another, a little distance, is taking off her shoes. Mannocci 1988 12; Blum 1923 8; RobertDumesnil 1835-71 XI.3 Etching of 106x170 mm. In the lower right: Claudius Gille 1634. Glued to the corners on cardboard. Nice specimen.

€ 500

176

466. Claude LORRAIN. The shepherd and the shepherdess talk 1651. Classic pastoral scene of Lorrain where two shepherds are conversing in the foreground while their herds graze. The landscape is filled with other figures in the distance such as those on the bridge, the other shepherd with his herd on the other side of the river and the small rowing boat. Robert-Dumesnil 21; Blum 37; Russell 48; Mannocci 41VII Etching of 200x256 mm. In the lower left: Cl. G. Inv. et F. con licenza de sup. Ca. 1651. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500

467. Claude LORRAIN. The apparition 1630. The appearance of an angel on the edge of a forest, near a river, and a cleric who turns his face towards the angel in flight, with a city in the background. Robert-Dumesnil 2; Blum 3; Knab 121; Duplessis 2; Russell 7; Mannocci 5. Etching of 103x166 mm. State V/V. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500

177

468. Claude LORRAIN. The flight in Egypt 1630-1633 ca. Beautiful engraving by Lorrain depicting the Holy Family who, led by two angels, escapes from Palestine to Egypt, following the persecution ordered by Herod the Great. Robert-Dumesnil 1, B. 2, Mannocci 9 I (von IV). Etching of 100x170 mm. Glued to the corners on cardboard. Nice specimen.

€ 500

469. Claude LORRAIN. Mercury and Argo 1662. Superb engraving whose scene is taken from Ovid's Metamorphosis, more precisely from the Story of Io and Argo. The story goes that Jupiter, who fell in love with the nymph Io, kidnapped her and transformed her into a sparkling heifer capable of covering her tracks. But the jealous wife of Jupiter, Juno, took possession of the heifer and entrusted it to Argo "The One Hundred Eyes". Thanks to his hundred eyes, he could never sleep, closing them, to rest, only two at a time. Zeus, feeling sorry for Io, commissioned the god Mercury to free her. The latter, disguised as a shepherd, approached Argos playing a melody. The giant, fascinated by the sound, invited Mercury to sit down with him. The melody of the god managed to close all of Argo's hundred eyes, so Mercury killed Argo asleep by cutting off his head with the sword and freeing Io. In the engraving, the two characters acquire relief thanks to the imposing colonnaded temple that stands out behind them, while in the distance a vast landscape opens up with houses, travelers, a lake and distant mountains. Mannocci 42; Mannocci 1991, pp. 90-91; Rand 2006-7, pp. 161-64. Etching and drypoint; 213x152 mm. In the lower left: Claudio Gillee inven. In Roma 1662 con licenza de superiori.” State II/III. Glued to the corners on cardboard. Nice specimen.

€ 500 178

470. Claude LORRAIN. Three etchings 1-2) Two landscapes. Ca. 1630. Two little illustrations of hilly landscapes with in the foreground leafy trees. Robert-Dumesnil 40; Mannocci 4. Etchings of 50x38 mm and 55x48 mm. Glued to the corners on cardboard. Nice specimen. 3) The shepherd and the shepherdess. Ca. 1630 Pastoral landscape so dear to Lorrain, in which a shepherd, sitting on a rock, plays the flute turned to the shepherdess standing beside her. The herd near them is depicted with very decisive features. In the distance, a hilly and mountainous landscape. Etching of 155x108 mm. In the lower margin: Claude Gilee Inv. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 500

471. Claude LORRAIN. Four goats 1630-33 ca. Engraving of 198x130 mm. Glued to the corners on cardboard. Nice specimen. The image shows four goats in the foreground on the hindquarters, while a shepherd is resting on a tree on the left. Blum 1923 6; Mannocci 1988 8.VI; Robert-Dumesnil 1835-71 XI.27. On the top: Claude LORRAIN Study of a scene of brigands. Engraving of 25x62 mm. Glued to the corners on cardboard. Nice specimen. Mannocci, 10.

â&#x201A;Ź 500 179

472. Cornelis BEGA. Lotto di 16 acqueforti di Bega 1) Uomo che accarezza la giovane cameriera (o Le carezze all’osteria). Acquaforte di 200x165 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 2) La giovane madre. Acquaforte di 135x115 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 3) Contadino seduto con piede sinistro appoggiato. Acquaforte di 63x57 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 4) Uomo con la mano nel mantello. Acquaforte di 55x45 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 5) Madre seduta in osteria. Acquaforte di 150x118 mm. Incollata su cartoncino agli angoli. Bell’esemplare. Acquaforte di prova incompiuta. Hollstein 31 6) Donna seduta con pipa. Acquaforte di 55x48mm. Incollata su cartoncino agli angoli. Bell’esemplare. 7) La conversazione. Acquaforte di 77x58mm. Incollata su cartoncino agli angoli. Bell’esemplare. 8) Il bevitore. Acquaforte di 83x60 mm. In basso a sx firmato: c bega. Incollata su cartoncino agli angoli. Bell’esemplare. 9) Contadino seduto con cappello in mano. Acquaforte di 82x60 mm. In basso a sx firmato: c bega. Incollata su cartoncino agli angoli. Bell’esemplare. 10) Donna che porta un cesto. Acquaforte di 82x60 mm. In basso a sx firmato: c bega. Incollata su cartoncino agli angoli. Bell’esemplare. Hollstein 18 11) La coppia amorosa.

180

Acquaforte di 80x71 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 12) Uomo che guarda attraverso una finestra. Acquaforte di 84x76 mm. In basso a sx firmato: c bega. Incollata su cartoncino agli angoli. Bell’esemplare. 13) L’allattamento. Acquaforte di 90x82 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 14) Il fumatore di pipa. Acquaforte di 90x79 mm. Incollata su cartoncino agli angoli. Bell’esemplare. 15) L’incontro. Acquaforte di 85x75 mm. Incollata su cartoncino agli angoli. Bell’esemplare. Pearce, 48. 16) I tre bevitori. Acquaforte di 103x102 mm. Incollata su cartoncino agli angoli. Bell’esemplare. Cornelis Pietersz Bega, figlio dello scultore e orafo Pieter Jansz Begijn, assunse questo nome quando iniziò la professione. Fu un allievo di Adriaen van Ostade, di cui ripeté con stile più pesante i temi e i caratteri, producendo in particolar modo scene dal soggetto simile, tipicamente gruppi di pochi contadini, spesso in ambienti interni o in scene familiari o figure fantasiose. Non disdegnò opere dal carattere umoristico-satirico, indirizzate soprattutto alla classe borghese del suo tempo. Lo stile delle sue incisioni fu in seguito riprodotto da molti scultori olandesi.

€ 1500

181

182

473. RUNCIMAN. Ten etchings 1) Cormar attacca lo spirito delle acque. Acquaforte di 76x129 mm. In basso al centro firmato: ARunciman inv & fecit; in basso a dx: Old Fiengal. Incollata su cartoncino agli angoli. Bell’esemplare. 2) Fingal incontra Carbon Carglass. Acquaforte di 250x150 mm. In basso a sx: AR fecit. Incollata su cartoncino agli angoli. Bell’esemplare. 3) Agrippina con le ceneri di Germanico. Acquaforte di 130x100 mm. In basso a sx: AR inv. Incollata su cartoncino agli angoli. Bell’esemplare. 4) Donna reclinata in antiche vesti. Acquaforte di 148x102 mm. In basso a sx: ARunciman fecit. Incollata su cartoncino agli angoli. Bell’esemplare. 5) Lo sbarco di Santa Margherita in Scozia. Acquaforte di 221x184 mm. In basso a sx: ARunciman inv & fecit; In basso a dx: Runciman inv AR. Incollata su cartoncino agli angoli. Bell’esemplare. 6) Atena aiuta Perseo ad uccidere Medusa. Acquaforte di 258x165 mm. In basso a dx: ARunciman inv e fecit 1774. Incollata su cartoncino agli angoli. Bell’esemplare. 7) Sigismunda piange sul cuore di Tancredi. Acquaforte di 133x83 mm. In basso a dx: ARunciman inv e fecit. Incollata su cartoncino agli angoli. Bell’esemplare. 8) Fingal incontra Carbon Carglass. Acquaforte di 140x80 mm. In basso a sx: A Runciman inv. Incollata su cartoncino agli angoli. Bell’esemplare. 9) Ninfa si spoglia per fare il bagno. Acquaforte di 132x90 mm. In basso a sx: ARunciman inv e fecit. Incollata su cartoncino agli angoli. Bell’esemplare. 10) Le nozze di Santa Margherita e re Malcolm.

183

Acquaforte di 224x182 mm. In basso a sx: AR pinxit e fecit. Incollata su cartoncino agli angoli. Bell’esemplare.

Alexander Runciman fu un pittore e incisore scozzese. Dopo una fase in cui realizzò panorami, si concentrò poi su soggetti storici e mitologici. Molte delle sue incisioni presentano una cura delle vesti e del panneggio oltre che personaggi sferzati da un forte vento o in posizioni di tensione che ne evidenziano l’anatomia. Godette di una solida reputazione come pittore di paesaggi durante la sua vita. Alcune sue opere, in virtù della loro spontaneità, vigore di stile, colore e composizione, lo collocano come uno dei primi esponenti di arte moderna.

€ 1500

184

474. Wenceslaus HOLLAR. Theatrum Mulierum sive varietas atq. differentia habituum foeminei sexus, diversorum Europae nationum hodierno tempore vulgo in visu The valuable collection is a collection of the famous work of Hollar, "Theatrum Mulierum", published in the first edition in 1643 our copies in circulation of the end of the eighteenth century. Refined female costumes of European women are depicted, title or inscriptions in Latin and German inside the plate or in the extra-margin. Wenceslao Hollar was a great Bohemian engraver, a pupil of Matthias Merian. He published 2733 prints (Partney, Berlin, 1853), with a variety of subjects: biblical scenes, historical portraits, maps, city views, natural history and various book illustrations. His engravings were made with great care and refinement. New Hollstein 487 X/X; Parthey 1804; Pennington 1804 IX. 47 engravings included the titlepage. Different measurements. Glued on cardboard. Nice specimen.

â&#x201A;Ź 1500

185

475. Jacques CALLOT. Les grandes misĂ¨res de la guerre Complete series published in 1633 of 18 original etchings in rare second state out of three, progressive numbering of the sheets in the lower right corner, margins of ca. 15-20 mm. It imagines the sad events that afflicted Lorraine in 1633 when the French besieged Nancy. The tragic compositions reflect the state of mind of a sick Callot, who in his last years of life witnessing the tragic end of his country. Magnificent specimen of this rare and animated manual suite, one of the artist's masterpieces. Lieure, J. Callot nn.1339-1356. Lieure, Filigranes, nn. 44,45,46. Meume nn. 564-581. 18 etchings (including the titlepage) of 90x190 mm. Captions in the lower margins. Little margins. The etchings are glued to the corners on cardboard. On some engravings some spotting, but nice specimen.

â&#x201A;Ź 3500

186

476. Jacques CALLOT. Lot of 4 engravings 1) Cristo nel Giardino degli Ulivi. Acquaforte di 65x58 mm. Incollata agli angoli su cartoncino. Macchiette, bell’esemplare. 2) Il tradimento di Gesù. Acquaforte di 72x58 mm. Incollata agli angoli su cartoncino. Macchiette, bell’esemplare. 3) La flagellazione di Cristo. Acquaforte di 70x59 mm. Incollata agli angoli su cartoncino. Macchiette, bell’esemplare. 4) Gesù o Barabba. Acquaforte di 70x56 mm. Incollata agli angoli su cartoncino. Macchiette, bell’esemplare. Queste stampe fanno parte di una serie di 12 incisioni riproducente la serie de "La Piccola Passione" di Jacques Callot, datata al 1624-1625 circa. Il Callot aveva inciso tale serie basandosi su 12 disegni attualmente conservati al Louvre.

€ 600

187

477. Jan VAN DE HECKE – Theodor VAN KESSEL. Alcune animali Sei acqueforti compreso il frontespizio. Tutte incollate agli angoli su cartoncini. Bell’esemplare. 1) Frontespizio scritto su una costruzione in pietra a sinistra, un asino e tre pecore a destra. Acquaforte di 72x105 mm. 2) Due asini. Acquaforte di 70x105 mm. 3) Due asini senza finimenti. Acquaforte di 70x104 mm. 4) Tre capre. Acquaforte di 70x104 mm. 5) Un cavallo. Acquaforte di 70x102 mm. 6) Quattro cani con un teschio in primo piano e un impiccato sullo sfondo. Acquaforte di 72x104 mm. Bellissima serie di sei acqueforti edite nel 1654 disegnate da Jan van den Hecke e incise da Theodor van Kessel. Le incisioni rappresentano vari animali immersi in diversi paesaggi. Hollstein, Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (58-67).

€ 600

188

478. Jan Frans VAN BLOEMEN. Paesaggio romano Van Bloemen was fascinated by the beauty of Rome and its surroundings and inspired by the classic landscapes of Gaspard Dughet. Having as a basis the Flemish landscape tradition, he had no difficulty in assimilating the analytical realism of Dughet and in shortly becoming one of the best classical landscape painters in Rome in the first half of the XVIII century, proceeding according to the Arcadian-Rococo style of the period. Etching of 240x180 mm. Signature in the lower left: J F Van Bloemen. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 250

479. Jan Frans VAN BLOEMEN. Paesaggio romano con palazzo e statue

Van Bloemen was fascinated by the beauty of Rome and its surroundings and inspired by the classic landscapes of Gaspard Dughet. Having as a basis the Flemish landscape tradition, he had no difficulty in assimilating the analytical realism of Dughet and in shortly becoming one of the best classical landscape painters in Rome in the first half of the XVIII century, proceeding according to the Arcadian-Rococo style of the period. Etching of 234x172 mm. In the lower left: Fran. Van Bloemen det. Horizonti. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 250

189

480. Jan Frans VAN BLOEMEN. Trinità dei Monti Obelisk Work published in Rome in 1710. View of an obelisk in the center of a slope, two figures conversing in the lower left corner, other figures walking up or down the slope, a city in the background. It is one of the six etching landscapes signed by Van Bloemen, described by Le Blanc and Nagler, of very rare availability. G. K. Nagler, Die Monogrammisten, München-Leipzig s.a., pp. 919 s.; Ch. Le Blanc, Manuel de l'amateur d'estampes, I, Paris 1854, pp. 380 s 177 243. Etching of 230x173 mm. In the lower left: Fran. Van Bloemen det. Horizonti. Glued to the corners on cardboard. Nice specimen.

€ 250

481. Jan Frans VAN BLOEMEN. Villa Borghese Engraving made in 1730 ca. View of a garden with two female statues on the left, several figures walking in the center, a palm tree and buildings in the background. Etching of 230x173 mm. In the lower left: Fran. Van Bloemen det. Horizonti. Glued to the corners on cardboard. Nice specimen.

€ 250

190

482. Jan Frans VAN BLOEMEN. Italian landscape Van Bloemen was fascinated by the beauty of Rome and its surroundings and inspired by the classic landscapes of Gaspard Dughet. Having as a basis the Flemish landscape tradition, he had no difficulty in assimilating the analytical realism of Dughet and in shortly becoming one of the best classical landscape painters in Rome in the first half of the XVIII century, proceeding according to the Arcadian-Rococo style of the period. Engraving of 172x260 mm. In the lower left: Van Bloemen det. Horizonti. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 250

483. Giovanni Benedetto CASTIGLIONE. Satyr rests under the statue of Priapus 1645-48. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini, 1982, 11.III; Bartsch XXI.19.17. Etching of 112x215 mm. Signature on the etching: Castiglione in. fe. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 250

191

484. Giovanni Benedetto CASTIGLIONE. Pan lying on the ground in front of a large vase 1645 ca. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini (Castiglione),12. TIB 46/21, 18. Percy, E10. Etching of 114x215 mm. Signature in the lower left: Castiglione. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 250

485. Giovanni Benedetto CASTIGLIONE. Old man with big beard 1645-1650 ca. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Etching of 114x215 mm. In the lower left: Castiglione genovese. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 400 192

486. Giovanni Benedetto CASTIGLIONE. Portrait of an old man with a turban on his head 1645-1650 ca. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini 133, 41. Etching of 189x135 mm. In the lower right: Castiglione. Glued to the corners on cardboard. Nice specimen.

â&#x201A;Ź 400

193

487. Giovanni Benedetto CASTIGLIONE. Four etchings taken from: Piccoli studi di teste all’orientale 1) Old man with beard facing right. 1645-50 Acquaforte di 110x80 mm. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 27. 2) Head of a man hidden by a cartouche. 1645-50 Acquaforte di 112x82 mm. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 37. 3) Head of old woman facing to the left. 1645-50 Acquaforte di 105x81 mm. Firmata sulla lastra in alto a sx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 29. 4) Head of a young man facing right. 1645-50. Acquaforte di 105x81 mm. Firmata i sulla lastra n alto a sx: Castiglione. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 26. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini 133, 41.

€ 700

194

488. Giovanni Benedetto CASTIGLIONE. Bearded man with feather hat. (Portrait of Gian Lorenzo Bernini?) The beautiful engraving is one of the most intense portraits among those in the series made in engraving by Grechetto. The frontal shot and the determined gaze turned towards the viewer infuse the portrait with strength and suggest a work of skilled psychological introspection. The alleged character portrayed is Gian Lorenzo Bernini. Bellini, 8. Etching of 190x137 mm. Signature on the left top: Monogram CB Castiglione Genovese fe. Glued on the corners to the cardboard. Good condition.

â&#x201A;Ź 600

195

489. Giovanni Benedetto CASTIGLIONE. Four etchings taken from: Piccoli studi di teste all’orientale 1) Head of a man with a plumed hat facing right. 1645-50 Acquaforte di 105x81 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 24. 2) Young man playing a trumpet. 1645-50 Acquaforte di 110x84 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 35. 3) Head of an old with a fur turban. 1645-50 Acquaforte di 112x80 mm. Firmata sulla lastra in alto a sx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 31. 4) Head of an old man with a beard and fur turban. 1645-50 Acquaforte di 112x80 mm. Firmata sulla lastra in alto a sx: Gio. bE M.F.D Castilionus Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bartsch, 45. Bellini (Castiglione), 36. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini 133, 41.

€ 700

196

490. Giovanni Benedetto CASTIGLIONE. Man with big mustache in profile to the left Splendid engraving from the series known as the Grandi ritratti. A man with a large mustache and a furry turban and oriental dress is depicted. The fixed gaze and the wrinkles under the eye make the portrait very intense. Bellini (Castiglione), 42. Etching of 190x137 mm. Signed on the left top: Castilionus Genovese fe. Glued to the corners on cardboard. Good condition.

â&#x201A;Ź 400

197

491. Giovanni Benedetto CASTIGLIONE. Four etchings taken from: Piccoli studi di teste all’orientale 1) Young woman with tower turban. 1645-50 Acquaforte di 110x82 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. 2) Young man with turban and down look. 1645-50 Acquaforte di 110x82 mm. Firmata sulla lastra in alto a sx: Monogramma CB Castiglione. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bartsch, 42. 3) Head of a young three-quarter post. 1645-50 Acquaforte di 110x82 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castilionus Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini, 30. 4) Old bearded man with a feathered turban. 1645-50 Acquaforte di 110x82 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castilione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini, 31. TIB n 040. Bartsch “Le Peintre-Graveur” Vienna 1803-1821 vol. 21 pag.30 nº 40. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini 133, 41.

€ 700

198

492. Giovanni Benedetto CASTIGLIONE. Portrait of man in shadow seen from the front 1645. Splendid engraving from the series known as the Grandi ritratti. Mustachioed man with curly hair with a plumed turban and elegant scarf immersed in the shade. Bellini, 45. Etching of 180x147 mm. State II/II. Signed on the plate on the left top: Castilione Genovese fe. Glued at the corners on cardboard. Good condition.

â&#x201A;Ź 400

199

493. Giovanni Benedetto CASTIGLIONE. Four etchings taken from: Piccoli studi di teste all’orientale 1) Young man seen in three quarters with a feathered turban. 1645-50 Acquaforte di 110x80 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bartsch 43 2) Bearded old man with a plumed turban. 1645-50 Acquaforte di 112x82 mm. Firmata sulla lastra in alto a dx: Monogramma CB Castiglione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. 3) Head of a bearded man facing right. 1645-50 Acquaforte di 108x80 mm. Firmata sulla lastra in alto a sx: Monogramma CB Castilionus Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 23. 4) Young man screaming facing left. 1645-50 Acquaforte di 109x83 mm. Firmata sulla lastra in alto a sx: Monogramma CB Castilione Genovese. Incisione incollata agli angoli su cartoncino. Bell’esemplare. Bellini (Castiglione), 32. Italian painter and engraver among the greatest exponents of the Baroque school of Genoa. The Ligurian origin and training brought Castiglione to know Flemish painting, in particular thanks to the study of artists such as Jaan Roos and Van Dyck, he will develop a warm chromatism and vibrate. He also had a decisive role in the development of the engraving technique, in fact he is considered the inventor of the monotype. The most expensive themes that he will develop both in painting and in engravings are biblical or mythological themes and often the scenes are crowded with animals. Bellini 133, 41.

€ 700

200

494. Giovanni Benedetto CASTIGLIONE. Portrait of man facing left with bow on forehead Splendid engraving from the series known as the Grandi ritratti. It depicts a man with a thick beard wearing a fur coat and a turban with a feather, a large central bow and a chain. Bartsch, 51; Bellini (Castiglione), 44. Engrving, 180x152 mm. State II/II. Signed on the plate on the left top: Gastilione Genovese. Glued at the corners on cardboard. Good condition.

â&#x201A;Ź 400

201

495. Israel SILVESTRE. Three views of Rome 1) Arco di Constantino. c. 1650 Silvestre cattura una vista dell'arco di Costantino, mostrando il monumento dell'imperatore romano come una rovina di un'epoca passata. Alcune figure abitano il paesaggio, enfatizzando la scala dell'arco massiccio, e in lontananza sono ville molto più giovani, che enfatizzano il passare del tempo. Acquaforte di 68x150 mm con titolo al centro del margine inferiore. Incisione applicata agli angoli su cartoncino. Bell’esemplare. 2) Tempio di Minerva Medica. c. 1650 Stampa raffigura le rovine del Tempio di Minerva Medica nel foro romano. Il tempio è sulla destra, in rovina e invaso da erbe e arbusti. Sulla sinistra c'è una casa che sembra essere abitata, a giudicare dal fumo proveniente dal camino e dalle piante in vaso sul balcone. In primo piano, figure intente ad affrontare i compiti delle loro vite quotidiane. Acquaforte di 65x154 mm con titolo al centro del margine inferiore. Incisione applicata agli angoli su cartoncino. Bell’esemplare. 3) Veduta presso di San Stefano Rotondo. c. 1650 Questa stampa in miniatura mostra una vista insolita della chiesa di San Stefano Rotondo a Roma, che è più comunemente raffigurata con l'architettura circolare in vista. In questa incisione vediamo la facciata piatta delle mura esterne e le rovine romane. L'incisore dell'era barocca francese, chiamato il giovane per distinguerlo da suo padre, era un prolifico disegnatore, incisore e commerciante di stampe francese specializzato in viste topografiche e prospettive di edifici famosi. Tra il 1630 e il 1650 Silvestre viaggiò molto in Francia e in Italia, che visitò tre volte, e successivamente elaborò i suoi schizzi come incisioni, che furono venduti singolarmente e in serie. La sua opera, in particolare di soggetti veneti pubblicati nel 1660, influenzò i pittori di vedute del XVIII secolo come Luca Carlevaris e Canaletto, che adattarono le sue composizioni. Acquaforte di 66x151 mm con titolo al centro del margine inferiore. Incisione applicata agli angoli su cartoncino. Bell’esemplare.

€ 200

202

496. Israel SILVESTRE. Three views of Rome and Tivoli 1) Tempio della Sibilla in Tivoli. c. 1650 La stampa raffigura in alto a sinistra. il Tempio della Sibilla arroccato sulla collina di Tivoli, alle porte di Roma. In fondo alla collina scorre un fiume, con le sue rive popolate da pescatori. Acquaforte di 67x157 mm con titolo al centro del margine inferiore. Incisione applicata agli angoli su cartoncino. Bell’esemplare. 2) Tempio della Pace. c. 1650 L’incisione mostra una vista frontale dei resti della Basilica di Massenzio, erroneamente riconosciuto come il tempio della Pace di Vespasiano. La rovina è composta da tre enormi volte a botte con soffitti a cassettoni. In primo piano, i pastori curano un gregge di pecore e dialogano tra loro nell'ampio spazio aperto dei fori imperiale. Acquaforte di 67x156 mm con titolo al centro del margine inferiore. Incisione applicata agli angoli su cartoncino. Bell’esemplare. 3) Veduta del Palazzo Maggiore. c. 1650 Acquaforte di 67x156 mm con titolo al centro del margine inferiore. Incisione applicata agli angoli su cartoncino. Bell’esemplare. L’acquaforte raffigura un paesaggio idilliaco incorniciato da alberi e cespugli che si stagliano in primo piano. Le rovine del Palazzo sono esaltate da archi accuratamente dettagliati e antichi mattoni. Gli alberi incorniciano anche il lato sinistro dell'immagine e la torre di una chiesa è visibile in lontananza. Numerose figure camminano in primo piano nell'opera. L'incisore dell'era barocca francese, chiamato il giovane per distinguerlo da suo padre, era un prolifico disegnatore, incisore e commerciante di stampe francese specializzato in viste topografiche e prospettive di edifici famosi. Tra il 1630 e il 1650 Silvestre viaggiò molto in Francia e in Italia, che visitò tre volte, e successivamente elaborò i suoi schizzi come incisioni, che furono venduti singolarmente e in serie. La sua opera, in particolare di soggetti veneti pubblicati nel 1660, influenzò i pittori di vedute del XVIII secolo come Luca Carlevaris e Canaletto, che adattarono le sue composizioni.

€ 200

203

497. Israel SILVESTRE. Porto Vecchio Splendid engraving depicting Porto Vecchio in Corsica. In the foreground an imposing circular tower, while in the background a fortified citadel with large towers, a small port and in the distance the great bulk of a castle. Etching, 66x152 mm with the title on the center of the lower margin. Glued at the coners on the cardboard. Nice condition.

€ 100

498. John Thomas SMITH. Near Egham Surry 1793. Rural view with a farm in the middle, the fenced garden on the left, trees behind the house, bushes on the bottom right. Etching, 130x165 mm. Signed on the plate on the right top: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. Title on the lower margin and place of publication and publisher: Near Egham Surry, Pub.d Nov. R 28 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Glued at the corners on the cardboard. Good condition.

€ 100

499. John Thomas SMITH. The entrance of Stroud a village near Egham Surry 1793. Rural view in a forest, with a small house on the left along a central path and a figure walking along the path carrying logs on his back, while all around everything is invaded by large trees. Etching, 130x165 mm. Signed on the plate on the right top: J. T. Smith Engraver of the Antiquities of London & Environs. Title on the lower margin and place of publication and publisher: The entrance of Stroud a village near Egham Surry, Pub.d Nov. R 28 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Glued at the corners on the cardboard. Good condition. € 100

204

500. John Thomas SMITH. Lot of two etchings 1) Trees at the Edge of a Pond Acquaforte di 92x88 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Woman collects wood Acquaforte di 130x110 mm. Firmata in alto sulla lastra: J T S fec.t. Applicata agli angoli su cartoncino. Bell’esemplare. John Thomas Smith (1766-1833) was a painter, engraver and antiquarian, born in London, and the son of a sculptor. His father worked under sculptor Daniel Nollekens, where Smith first received his artistic training, but left to study drawing with John Keyse Sherwin and at the Royal Academy. Smith published books of engravings and worked as a drawing master in Edmonton. In 1807 he published Antiquities of Westminster which has been described as his major work. Between 1810 and 1815, Smith created drawings and engravings of notable beggars in London and published The Streets of London: Anecdotes of Their More Celebrated Residents. Smith was offered the position of Keeper of the Prints department of the British Museum in September 1816 which, still allowed Smith to sketch and draw until his death.

€ 200

205

501. John Thomas SMITH. Lot of three etchings 1) Path in a forest Acquaforte di 80x136 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Conversation Outside the English Country Cottage Acquaforte di 85x133 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Fisherman near a Cottage Acquaforte di 80x136 mm. Applicata agli angoli su cartoncino. Bell’esemplare. John Thomas Smith (1766-1833) was a painter, engraver and antiquarian, born in London, and the son of a sculptor. His father worked under sculptor Daniel Nollekens, where Smith first received his artistic training, but left to study drawing with John Keyse Sherwin and at the Royal Academy. Smith published books of engravings and worked as a drawing master in Edmonton. In 1807 he published Antiquities of Westminster which has been described as his major work. Between 1810 and 1815, Smith created drawings and engravings of notable beggars in London and published The Streets of London: Anecdotes of Their More Celebrated Residents. Smith was offered the position of Keeper of the Prints department of the British Museum in September 1816 which, still allowed Smith to sketch and draw until his death.

€ 300

206

502. John Thomas SMITH. Lot of three etchings 1) Florest glen. Acquaforte di 92x89 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Islet in the middle of the pond with man and boat. Acquaforte di 86x61 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Man with cane and cottage. Acquaforte di 80x102 mm. Firmata in alto a sx sulla lastra: “J T S fe.t.” Applicata agli angoli su cartoncino. Bell’esemplare. John Thomas Smith (1766-1833) was a painter, engraver and antiquarian, born in London, and the son of a sculptor. His father worked under sculptor Daniel Nollekens, where Smith first received his artistic training, but left to study drawing with John Keyse Sherwin and at the Royal Academy. Smith published books of engravings and worked as a drawing master in Edmonton. In 1807 he published Antiquities of Westminster which has been described as his major work. Between 1810 and 1815, Smith created drawings and engravings of notable beggars in London and published The Streets of London: Anecdotes of Their More Celebrated Residents. Smith was offered the position of Keeper of the Prints department of the British Museum in September 1816 which, still allowed Smith to sketch and draw until his death.

€ 300

207

503. John Thomas SMITH. Near Mrs. Teshmaker’s Edmonton 1793. Beautiful engraving depicting a farmhouse in the center with smoke rising from the fireplace. A man sits on a log in the foreground to the right with a saw in his lap as trees and greenery fill the rest of the plate. Etching 130x162 mm. Signed on the plate on the left top: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. On the top of the plate: J T S 1793. Title and place of publication on the lower margin: Near Mrs. Teshmaker’s Edmonton, Pub.d Aug. 1 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Glued at the corners on cardboard. Good condition.

€ 100

504. John Thomas SMITH. Near Mill Hill Gravesend 1793. Beautiful engraving with a cottage and a woman leaning against a gate. In the distance, on a hill, a windmill appears. Etching, 132x170 mm. Signed on the plate on the left top: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. On the top of the plate; J T S 1793. Title and place of publication and publisher on the lower margin: Near Mill Hill Gravesend, Pub.d Aug. 1 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Glued at the corners on cardboard. Good condition.

€ 100

208

505. John Thomas SMITH. Lot of three etchings 1793. 1) Figure by the Cottage in Forest Acquaforte di 80x131 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Cottage in a clearing Acquaforte di 84x134 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Country Inn by the Pond Acquaforte di 80x136 mm. Applicata agli angoli su cartoncino. Bell’esemplare. John Thomas Smith (1766-1833) was a painter, engraver and antiquarian, born in London, and the son of a sculptor. His father worked under sculptor Daniel Nollekens, where Smith first received his artistic training, but left to study drawing with John Keyse Sherwin and at the Royal Academy. Smith published books of engravings and worked as a drawing master in Edmonton. In 1807 he published Antiquities of Westminster which has been described as his major work. Between 1810 and 1815, Smith created drawings and engravings of notable beggars in London and published The Streets of London: Anecdotes of Their More Celebrated Residents. Smith was offered the position of Keeper of the Prints department of the British Museum in September 1816 which, still allowed Smith to sketch and draw until his death.

€ 300

209

506. John Thomas SMITH. Lot of four etchings 1) Cottage with a steaming fireplace. Acquaforte di 56x81 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Picnic in the countryside Acquaforte di 59x91 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Near Tottenham Midd. Acquaforte di 58x89 mm. In alto sulla lastra: "Drawn & Etch'd by J. T. Smith, Engraver of the Antiquities of London & Environs." Applicata agli angoli su cartoncino. Bell’esemplare. 4) Near Edmonton Midd. Acquaforte di 59x90 mm. In alto a sx sulla lastra: "Drawn & Etch'd by J. T. Smith, Engraver of the Antiquities of London & Environs." Applicata agli angoli su cartoncino. Bell’esemplare. John Thomas Smith (1766-1833) was a painter, engraver and antiquarian, born in London, and the son of a sculptor. His father worked under sculptor Daniel Nollekens, where Smith first received his artistic training, but left to study drawing with John Keyse Sherwin and at the Royal Academy. Smith published books of engravings and worked as a drawing master in Edmonton. In 1807 he published Antiquities of Westminster which has been described as his major work. Between 1810 and 1815, Smith created drawings and engravings of notable beggars in London and published The Streets of London: Anecdotes of Their More Celebrated Residents. Smith was offered the position of Keeper of the Prints department of of the British Museum in September 1816 which, still allowed Smith to sketch and draw until his death.

€ 400

210

507. Karel DU JARDIN. Two etchings from “Studio di teste di arieti” 1) Two rams facing each other Acquaforte di 98x174 mm; Firmato in basso a sx sulla lastra: K Du Jardin inv. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Two rams facing each other Acquaforte di 99x174 mm; Firmato in basso a dx sulla lastra: K Du Jardin inv. Applicata agli angoli su cartoncino. Bell’esemplare. Karel Du Jardin, dutch Romanist painter and etcher, best known for his spirited representations of Italian peasants and shepherds with their animals. He was also an appreciated as a portraitist of single people or groups and performed as an engraver.

€ 250

508. Karel DU JARDIN. Two etchings from “Studio di teste di arieti” 1) Ram eating bark. Acquaforte di 98x175 mm; Firmato in basso a sx sulla lastra: K Du Jardin inventor. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Two rams looking down & to their left. Acquaforte di 99x173 mm; Firmato in basso a sx sulla lastra: Karel Du Jardin inventor. Applicata agli angoli su cartoncino. Bell’esemplare. Karel Du Jardin, dutch Romanist painter and etcher, best known for his spirited representations of Italian peasants and shepherds with their animals. He was also an appreciated as a portraitist of single people or groups and performed as an engraver.

€ 250 211

509. Karel DU JARDIN. Two etchings from “Studio di teste di arieti” 1) Two three-quarter rams looking down. Acquaforte di 98x174 mm; Firmato in basso a dx sulla lastra: K Du Jardin inv. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Two ram heads: one of three quarters and one front. Acquaforte di 96x172 mm; Firmato in basso a sx sulla lastra: K Du Jardin inv. Applicata agli angoli su cartoncino. Leggere macchiette, bell’esemplare. Karel Du Jardin, dutch Romanist painter and etcher, best known for his spirited representations of Italian peasants and shepherds with their animals. He was also an appreciated as a portraitist of single people or groups and performed as an engraver.

€ 250

510. Anonimo. German woodcut depicting Hell Beautiful 16th century German woodcut depicting hell and the damned. Woodcut, mm. 78x148. Pasted on cardboard, good specimen.

€ 300

212

511. Hendrick GOLTZIUS. Rock by the sea

Beautiful woodcut of the famous Rock by the sea of Goltzius in its III state on III. III state/III between 1597/1600 (probably 1617/20 print), chiaroscuro woodcut of three blocks (green, light green and black), image: 11.5 x 14.2 cm, signed with the monogram: HG. Good condition.

â&#x201A;Ź 300

512. Hans BURGKMAIR I. Betsabea in her bath 1519. Burgkmair's woodcut is almost identical in its features, as well as in size it differs from the canvas only in small details (the shape of the flask carried by the maid for example) and in the presence of the author's monogram and the date "1519". At the time of the Burgkmair, prints and engravings were widespread, transported throughout Europe by the authors themselves or by other travelers who, not infrequently, used them to pay for room and board or exchanged them with those of other artists. From scientific analyzes on the canvas carried out by the owner, it appeared that the work had been made before the eighteenth century. Excluding the possibility that it was the engraving that was taken from the canvas and not vice versa (the series to which it belongs is credited as original) the group of painters who, in the span of more than a century, could have come into possession of the engraving to copy it was certainly not restricted. Woodcut, mm. 116x93 pasted on cardboard of mm. 288x206. Monogram HB. Good condition.

â&#x201A;Ź 300

213

513. Anthony VAN DYCK. Franciscus Snyders Snyders was born and died in his hometown, Antwerp. In 1593 he was a pupil of the painter Pieter Brueghel the Younger and later entered the workshop of Hendrick van Balen, the first master also of van Dyck. Snyders was very attached to van Dyck, who portrayed him more than once. He was the favorite painter of Archduke Albert of Austria, governor of the Spanish Netherlands, for whom he executed many of his masterpieces. One of these was presented to Philip III of Spain who, together with his successor Philip IV, commissioned several paintings from Snyders, now preserved in Madrid. He also worked for Archduke Leopold William of Austria. New Hollstein (Dutch & Flemish), The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (10.II). Mauquoy-Hendrickx 1991, L'Iconographie d'Antoine Van Dyck, Catalogue raisonné (11.II). Etching, mm. 246x162, applied on cardboard measuring 264x183 mm, printed on laid paper. Signed lower right “Ant. van Dyck pinxit et fecit aqua forti ". Collection stamp on the verso "VR". Good specimen.

€ 600

214

514. Nordic school. Adam, Eve and Christus XIXth century copy depicting the original sin. Engraving mm. 198x152. Good condition.

€ 300

515. Nordic school. Two swiss war scenes Two woodcuts of mm. 124x160. Good condition.

€ 400

516. After Francesco ROSSELLI. The Triumph of Love, from "The Triumphs of Petrarch" Engraving. mm. 250x168, trimmed to margins. Little wormholes and rubbed paper. “This representation of Love's conquest is based on Petrarch's 'Triumphs', a poem that had already been illustrated in manuscript illuminations, paintings, and in at least four other series of engravings. In his description of Cupid's procession, Petrarch compares the winged nude boy to a Roman victor who, bow in hand, is mounted on a chariot of fire pulled by four snow-white steeds. The poet's enumeration of Love's prisoners includes the hero Hercules— shown here carrying his column—and the philandering Jupiter, who is chained to the front of the chariot”. Met Museum. Bartsch XIII.39.277 i/ii; Hind I.133.BII.1

€ 400 215

517. Hans WEIDITZ. Ecce Homo 1522. Copy. Christ with the instruments of his Passion; whole-length figure, frontal view, presenting the palms with the stigmata; Christ crowned with thorns; behind the figure a lance and stick with the vinegar sponge, a birch and a scourge; on the ground the dice, nails, coins, the seamless robe and a hammer. Lettered in the block at left 'ECCE HOMO' and dated at upper right. See Heinrich Röttinger, 'Neues zum Werke Hans Weiditz', 'Mitteilungen der Gesellschaft für vervielfältigende Kunst', 1911, no.3, pp.46-52, p.49, no.2. Woodcut, mm. 209x219. Trimmed to margins, pencil notes on verso. Restoration on left margin. Good specimen.

€ 600

518. Master of the Housebook. Three living and three dead kings Germany, 1470-1500. Copy. To the left are three kings on horseback, starting back from the three crowned skeletons to the right; in the foreground are three dogs, bones are alloted on the ground. Drypoint etching, mm. 117x184. Good condition.

€ 1000

216

519. German school. Final Judgement Vivid illustration of the final judgement with the representation of good and evil represented by an angel and a devil, the pious and damned into the the flames and in the mouth of a beast. Woodcut, mm. 234x150. Trimmed to margins, sign of restoration. Reinforced. Good specimen.

€ 600

520. Benedetto MONTAGNA. Saint Jerome penitent in the desert Issue of the XVIII century. Benedetto Montagna, son and perhaps pupil of Bartolomeo, was active as an engraver and painter. His pictorial work has always been considered modest, while his engraving production, defined by about fifty burins, is important. He mainly depicted sacred and mythological scenes, often inspired by previous masters or reworking compositions by Dürer. The criticism identifies three periods in his engravings, to be recognized for the progressive differences in the size of the characters depicted, for the care for the backgrounds and of course for some differences in the technique. The print cataloged here is placed in the intermediate period: under the influence of Dürer. Woodcut, mm. 276x225. Trimmed to margins, good specimen.

€ 600

217

521. Lucas VAN LEYDEN. Emperor Maximilian I 1520. Engraving, mm. 263x193 Trimmed inside the plate. Lettered with the letter "L" and the date 1520 on a tablet at upper left held up by a small figure. Sign of watermarks. Good condition. Issue of the XVIII century. Half-length portrait of Maximilian I facing slightly to the left, face in three-quarter view; he wears a broad trimmed hat and the necklace of the Order of the Golden Fleece; in his right hand he holds a rolled note; his left fingers rest on the balustrade behind which he stands; a cloth with the imperial eagle is draped over the balustrade 'Dürer and his Legacy' BM exh.cat.2002, no. 189: 'This posthumous portrait of the Holy Roman Emperor, who died in 1519, is a direct interpretation of Dürer’s woodcut, 'Emperor Maximilian I' of c.1518 (cat.no 267). D.V.91.172; B.VII.432.172

€ 600

218

522. Jean DUVET. The Angel Gives Saint John the Book to Eat 1546-1555. Engraving mm. 288x211, trimmed inside the plate with very little loss of engraving. Signed on plate; lettered with inscription in Latin. Good condition. Plate 10 from a set of twenty-three works illustrating the Apocalypse (here, chapter 10); see 1845, 0804.108 for comment. Also see 'The French Prints in Renaissance', Los Angeles 1994, cat. No.25. Eisler 266.48.

â&#x201A;Ź 1500

219

523. Master L. Cz. The temptation of Christ Copy of the XIX century. Christ being tempted by Devil, the city in background. Master L. Cz. was an anonymous late 15th-century German Renaissance printmaker. Only twelve engravings by his hand are extant, but their virtuosity establishes him as a talented artist whose work marks a stylistic transition between that of Martin Schongauer and Albrecht Dürer. Engraving, mm. 220x165. Monogram L. Cz. on the bottom. Good condition.

€ 600

524. German school. St. George killing dragon Nice woodcut depicting Saint George and the dragon. Issue of XVIII century. Woodcut mm. 211x165, sign of watermark. Monogram P W. Little restoration on right margin and somewhat rubbed on verso. Good specimen.

€ 400

220

525. Wolfgang HUBER. Saint George Killing the Dragon 1520. Wolf Huber (Feldkirch, around 1485 - Passau, 1553) was an Austrian painter, draftsman and architect. He was one of the protagonists of the Danubian school. From 1515 at least he had to settle in Passau, where shortly afterwards he took office as administrator of Duke Ernesto of Bavaria (from 1517 to 1540), who helped his appointment in the service of the episcopal court. In 1542 the prince-bishop of Salm appointed him official court painter. In 1541 he is remembered as master architect in Passau and in 1546 supervised the building of the Neuburg palace overlooking the Inn, owned by the counts of Salm. Through the numerous drawings it is possible to reconstruct his movements to the Wolfgangsee, Linz and Vienna. He died in Passau and was buried in the church of the Holy Spirit. Winzinger 271. Woodcut, mm. 201x148, pasted on boards. Stain. Good condition.

€ 400

526. Nicoletto da Modena. The triumph of Glory Issue of XVII century. Nicoletto da Modena (born in Modena at the end of the 15th century) was an Italian artist of the Renaissance, whose work is located in the first decades of the 16th century.1 He is also named Nicoletto Rosex or Rossi da Modena.2 With the Named after Nicholas or Nicolas de Modene, from Modena, of Modena, Modesne or le Modesne, and also with the surname Belin or Bellin, an Italian artist worked in the courts of Francis I of France and Henry VIII of England.3 Sources Historiographical studies do not establish with certainty whether this plurality of names should be identified as those of a single character or as those of two different ones, and in some cases they even mix their identification with that of another better established data painter: Niccolò dell'Abbate.4 In no case should it be confused with Jacques-Nicolas Bellin, French illustrated geographer (17031772). Engraving on laid paper. mm. 250x169, glued on cardboard. Good condition.

€ 600 221

527. Harmenszoon van Rijn REMBRANDT. St. Francis praying beneath a tree (San Francesco che prega sotto un albero) 1657. Rembrandt worked on two versions of this print in the same year. The drypoint printing began, outlining only the tree, the saint, the crucifix and the monk in the background on the right. He even signed the print: his signature is still visible under the larger and darker final signature. The second state, more refined, has more details such as the construction in the background, the foliage in the lower left and the area between San Francis and the tree trunk, added in the engraving. Rembrandt varied with the degrees of finishing of the characters as the saint's features are finely detailed, while the figure of the second monk on the right is simply suggested with a series of sketchy outlines. Hind. 292; Bartsch-Hollstein 107-ii; NH (Rembrandt).II.271.299 ii. Etching and drypont on laid paper, 243x180 mm. State II/II. Signature on the right lower margin: â&#x20AC;&#x153;Rembrandt f. 1657â&#x20AC;?. Good condition.

â&#x201A;Ź 1500

222

528. Harmenszoon van Rijn REMBRANDT. The Good Samaritan 1633. Nineteenth-century copy. This engraving depicts the final scene of the parable of the Good Samaritan (Luke 10: 25–37) in which the Samaritan stopped to help a traveler who had been attacked by thieves. The scene specifically represents the Samaritan who on horseback takes the wounded man to an inn and pays the man's care and accommodation. The Good Samaritan repeats the composition of his painting in the Wallace Collection in London with a series of variations. Among Rembrandt's additions is the foreground dog defecating which adds a note of everyday reality to the biblical scene. Bartsch-Hollstein 90, Hind 101. Etching and drypoint on laid paper; 232x195 mm. Missing the caption in the lower center. Good condition.

€ 500

529. Harmenszoon van Rijn REMBRANDT. Cornelis Claesz Anslo, preacher 1641. Stunning engraving of the Mennonite preacher Cornelis Claesz Anslo, depicted with an elegant Flemish fur dress and a wide-brimmed hat. The man, with his eyes turned to the left, holds a book upright in his right hand and holds a stylus, while on the table an inkwell and an open book complete the scene. Rembrandt's signature is hardly visible on the back of the chair behind the subject. Bartsch 271, Hind 187. Etching and drypoint, 190x156 mm. Signed on the right: Rembrandt 1664. Small margins. Good condition.

€ 500

223

530. Lucas VAN LEYDEN. The raising of Lazarus Beginning XVI century. Beautiful engraving by Van Leyden depicting the biblical scene of the resurrection of Lazarus by Christ in the presence of the two sisters of the deceased, Martha and Mary. Above the tomb, a few onlookers climb the surrounding trees to observe the prodigious event. Van Leyden's works were influenced by his meeting with Albrecht Dürer, in which his style varied by virtue of a strengthening of tones and shadows. Hollstein 42. Burin, 283x199 mm. L monogram in the center. pasted on cardboard. Small spots on the verso. Good condition.

€ 600

531. Jacques CALLOT. The Slave Market 1629. Jacques Callot, great French engraver, between 1628 and 1631 Callot stayed several times in Paris, where starting from 1629 he entrusted the edition of his plates to Israël Henriet, a childhood friend. The work presented belongs to this period. Moreover, it seems that Callot had designed this work in 1619/1620 with the background of an Italian port, which on the death of the artist was replaced by Henriet with a view of the city of Paris. Lieure 369 II/VI; Mostra Nancy, p. 320, 441; Meaume 1860 712.II. Etching, 219x111 mm. Bottom left in the plate the inscription "Callot f. À Paris 1629, Israel excudit". Glued on light cardboard. Restoration in the center of the engraving. Good condition.

€ 200 224

532. Albrecht DÜRER. The wise owl attacked by birds Nuremberg, second half XVI century. Superb engraving of vivid inking. The woodcut represents an owl on a branch waving its wings with some birds that try to attack it with their legs and beak. High above the owl, a long fluttering scroll appears. Strauss 178. Woodcut 208x210 mm. Pasted on cardboard. Good condition.

€ 500

533. Lucas CRANACH. The Rest on the flight into Egypt 1509. The beautiful woodcut shows a moment of rest of the Holy Family as it is fleeing to Egypt after the persecutions of infants ordered by Herod. The scene is calm and sweet, with Mary nursing baby Jesus and with Joseph bending over to look at them lovingly. Around them, numerous little angels occupied in various tasks and in the background the profile of different houses. Hollstein 7. Chiaroscuro woodcut, 282x183 mm. Two tears in the upper margin. Monogram LC and date 1509 with a basilisk in the center. Good condition.

€ 600

225

534. Hans BURGKMAIR – Heinrich VOGTHERR. Stemma della famiglia d’Asburgo. (Coats of arms of Augsburg’s family) 1545. Nice representation of the coat of arms of the Habsburg family. The two eagles are facing each other and with their legs resting on a pine cone. Below, on two scrolls, the names of the two authors appear, He. Voghterr and H Burgkmair. Bartsch, Le Peintre graveu (III.285.3). Hollstein, German engravings, etchings and woodcuts c.14001700.Passavant 1860-64. Woodcut of 212x138 mm. Dated and signed. Glued to a cardboard at the edges. On the reverse a trace of shielded stamp. Pasted on cardboard. Good condition.

€ 300

535. MEISTER E.S. La Sibilla Tiburtina e l’imperatore Augusto Second half of XV century. Etching of 221x150 mm. Good condition. Issue of the XVIII century. The engraving by the anonymous German engraver known as Meister E.S. (Maestro E.S.) depicts the moment when, on the day of Christ's birth, the Sibyl was in a room, alone with the emperor Augustus. Suddenly a golden circle appeared around the sun and in this circle a beautiful virgin with a child in her womb. The Sibyl showed this portent to the emperor: while he kept his eyes fixed on the vision he heard a voice saying: "This is the altar of heaven!". Then the Sibyl exclaimed: “This child is greater than you; adore it. " The episode is narrated in the Golden Legend by Jacopo da Varazze.

€ 400

226

536. Albrecht DĂ&#x153;RER. The Crowning with Thorns ca. 1500. In a vaulted room, Christ is seated with a suffering face while three soldiers with sticks insert a tangle of brambles on Christ's head. A fourth soldier, on his knees, taunts Christ by giving him a staff to use as a scepter. Strauss 23. Woodcut of 240x171 mm. Pasted on cardboard. Slight peeling of the paper. Good condition.

â&#x201A;Ź 1200

227

537. Albrecht DÜRER. Death on Donkey XVI century. Nice woodcut depicting a skeleton riding a donkey in reverse and a blacksmith who, dressed as a fool with donkey ears, is shoeing the animal. Woodcut of 115x85 mm. Good condition.

€ 600

538. Albrecht DÜRER. Marrying for money XVI century. The woodcut is the one taken up in chapter 52 of the work The Ship of Fools by Sebastian Brant. The image represents commodification, or marriage for convenience in which marriage is criticized in which old or old are married for their wealth. The scene fits exactly in the tradition of the medieval example and indicates a culture of pre-capitalist gift and of a barter economy. Woodcut of 117x85 mm. Good condition.

€ 600

228

539. Hans WECHTLIN. Orpheus Vates ca. 1515. Orpheus is depicted as a naked male figure sitting on a low wall while playing a viola. Some animals frame the scene: a deer seen from behind lying on the ground on the left, another that comes out from behind a tree and several birds to the right and left. The nudity of the figure and the rendering of the hair show the influence of Marcantonio Raimondi's engravings. Bartsch 8. Woodcut with blue and grey color. 267x180 mm. Signed IO V on a board in the left lower. Glued on cardboard. Very slight lack in the upper left corner.

â&#x201A;Ź 300

229

540. Jean DUVET. L'artista Jean Duvet nelle vesti di San Giovanni Evangelista, seduto a una scrivania (The artist Jean Duvet in the guise of St. John the Evangelist, sitting at a desk) ca. 1546–55. This beautiful engraving is taking part from the famous series of the 'Apocalypse' series The abstract and visionary qualities of Duvet's style are evident here in the rhythmic repetition of forms such as the verticals of the buildings and tree trunks; in the fine, short lines that cover the surfaces of every object to create a shimmering effect; and in the discrepancies of scale, evident in the juxtaposition between the massive Saint John, the tiny fishermen, the floating Fates, and the disproportionately large swimmer who emerges from beneath the bridge. The weary Evangelist closes his eyes and rests his head on his hand. He points to his completed labors, the Book of the Apocalypse. On the table beside the book rests an engraver's burin and a tablet inscribed with the words: 'Jean Duvet Goldsmith of Langres aged 70 made these histories 1555.' It is clear that the aged man—Saint John is usually depicted much younger—doubles as a representation of the artist himself, and that the harbingers of death that appear in the image allude to the artist and the Evangelist. One of the most poignant of these symbols is the swan who, having broken the golden chain of life, approaches with an arrow in his beak. The swan, an allusion to Duvet's name (which means 'down'), was said to sing most sweetly before death. Clearly Duvet regarded this series as his swansong. The inscription above the swan reads: 'The Fates are pressing, already sight fails, the mind remains victorious, and the great work is completed'. Etching of 298x213 mm. Trimmd on the illustration. Inscriptions in latin on the plate. Good condition, traces o f wear on verso.

€ 1500

230

541. Agostino CARRACCI. Portrait of Tiziano Vecellio 1587. This print is perhaps the most famous by Agostino Carracci in the 18th century issue and shows the high degree of technical perfection achieved after the trip to Venice. Contrary to what Gori Gandellini believed, or that it derives from a drawing of the artist himself, it reproduces a self-portrait of Titian preserved in the Staatliche Museen in Berlin The engraving and the painting portray Titian at the same age, but in the two works he he is dressed differently. The date of the engraving, 1587, is temporally placed in a moment of great turning point in the engraving art of Augustine, both from the point of view of the invention and from the technical one. In these years the artist reaches full maturity in the use of the burin, characterized by a spacious and wide hatch that widens more in the center of each sign, in such a way to graphically translate the luminism and colorism of Venetian painting and reproduce any type of material: from fur to brocades to different skin tones. Bartsch, XVIII.121.154; Bohn, 1995, n. 3901.151. A. Bartsch, XIII, pp 35-173; D. De Grazia, Le stampe dei Carracci, n. 145, 1984. Burin, 310x228 mm. In the inscription of the lower margin: "Ill.mo and R.mo D. Dno Henrico Caetano S.R.E. Card. Ampl.mo Bon.ae Legato / Exiguum hoc munus imaginis Titiani pict. cuius nomen orbis continere non valet submisse dicat sacratque / humill.s dedit. s.q. servuus August. Carratius. 1587 ". Good conditions.

â&#x201A;Ź 400

231

542. Harmenszoon van Rijn REMBRANDT. The three crosses 1657. Copy of the 19th century. It is one of the greatest masterpieces of Rembrandt's entire artistic production, representing the pinnacle of his skill as an engraver. He made the drawing on the copper plate entirely in drypoint. In this print, the ink deliberately left on the plate creates a light veil on the figures at the foot of the cross on the right, while a denser layer blurs the hedges along the right edge. Drypoint and burin, 380x329 mm. Bottom center on the plate: Rembrandt f. 1653. Trimmed at the margins. Good conditions.

€ 600

543. Andrea MANTEGNA. Fight of the sea gods. Right side ca. 1470. 18th century copy of this engraving reproducing the right side of the famous battle of the sea gods. The work is one of the best among a dozen engravings assigned or attributed to Mantegna. The Zuffa shows a series of divinities who, in a sort of swamp and astride extraordinary creatures such as horses and sea monsters, are engaged in a strenuous fight, hitting each other with various weapons (spears, arrows, clubs, but also animal or fish skulls tied to whip). Malaspina, Catalogo del 1824, pp. 33-34. Per l’originale Bartsch XIII 17-18; Hind V 5-6; Martineau 79; Levenson-Oberhuber-Sheehan 75. Burin and drypoint engraving of 290x400 mm. Sanguine engraving. Good conditions.

€ 400 232

544. Hans BALUNG. Sabbath of Witches ca. 1510. Nice copy from the 19th century. Nice woodcut by Baldung, German painter, draftsman, engraver and woodcutter, contemporary and pupil of Albrecht Dürer. He worked together with Dürer's other pupils: Hans Schäufelein, Hans Süss von Kulmbach and Hans Dürer. Together with Lucas Cranach the Elder and Hans Burgkmair he was one of the forerunners of the chiaroscuro engraving technique. His works later moved from predominantly religious to more secular topics. The artist devoted himself to the depiction of mythological episodes and allegories. In the last twenty years of his career he was influenced by Italian mannerism. Woodcut in gray and dark green colors. 370x253 mm. Trimmed at the edge. Good conditions.

€ 400

545. Agostino CARRACCI. Saint Jerome in meditation The panel, which is often found in its first unfinished state, was not finished due to Augustine's death. The completion of the work was carried out by Francesco Brizio, a pupil of his brother Annibale Carracci, after the death of the master. In Brizio the leg and left finger of San Gerolamo are unanimously recognized, the still life in the lower part of the print and part of the background, all parts characterized by a more regular and flatter line of the burin than that typical of Augustine. In this engraving, the last made by Augustine before dying at the age of 45, we witness the achievement of a very refined burin technique, mindful of the manner of Goltzius. The San Girolamo was certainly one of the most important and popular prints by Agostino Carracci. Burin, 411x277 mm. Status IV / IV. trimmed. Signed engraving above the lower margin line. Small tear in the right margin that marginally involves the incision. Printed on laid paper with sign of wear on the verso. Good condition.

€ 400

233

546. Giorgio GHISI, da. Allegoria della vita 1561. Beautiful copy by Giorgio Ghisi was an Italian engraver who was inspired by the works of Marcantonio Raimondi, coming to develop a style characterized by an intense chiaroscuro. In 1550 he visited Antwerp to work in the workshop of Hieronymus Cock, and then returned to Mantua, where he worked all his life. This compelling and enigmatic illustration has elicited many explanations of its content, none of which have completely resolved its meaning. It depicts an elderly man on the left, possibly a philosopher, leaning against a rock along the river, with his hand extended towards a crowned woman walking towards him on the right. In more general terms, this scene is intended as an allegory with a message of hope: the man who has misled the boat of his existence is saved by the woman who represents reason. The large print size, the many details and intertwined elements contribute to a visual puzzle that requires great concentration to understand. Etching of 280x396 mm. Margins. Pasted to rigid cardboard at the top corners. Latin inscriptions. Good conditions.

€ 300

547. Marcantonio RAIMONDI. Christ in Limbo with Adam and Eve XVIII century Etching and burin. 217x 171 mm. Trimmed on the platemark. Impressed on laid paper, good condition. Nice proof in a late issue. Engraving by Marcantonio Raimond between 1550 and 1534; after Francesco Francia, a painter active in Bologna between 1447–1517. A specimen at The Met, Accession Number: 49.97.14.

€ 300

234

548. Hans WECHTLIN Saint John the Evangelist ca. 1516. British Museum: “St John on Patmos; sitting in right foreground, writing the Book of Revelations; looking up at an apparition of the Virgin, crowned and standing on the crescent moon, holding the Christ Child; landscape background with a large tree in right foreground and a river at left; the printer's mark of Knoblouch in lower left corner. c.1516.” Geisberg 1974 / The German single-leaf woodcut: 1500-1550 (1490). Bartsch / Le Peintre graveur (VII.484.1). British Museum, n. 1911,0708.58. Geisberg 1974 / The German single-leaf woodcut: 15001550 (1490). Bartsch / Le Peintre graveur (VII.484.1). British Museum, n. 1911,0708.58. Woodcut. 326x233 mm. Trimmed on the platemark. Printer's mark of Johann Knoblouch in lower left corner. Traces of glue on the verso. Good condition.

€ 300

235

549. BRUSTOLON, Giambattista. Le Feste Ducali Venezia, Furlanetto, 1773-75. Beautiful complete series of the twelve Ducal Feasts of the Brustolon from drawings by Canaletto. Twentiethcentury edition of the Furlanetto edition with progressive numbering and the printer's address in the lower center, second state out of IV. Each plate bears the title in Latin and as a whole this series represents the most brilliant and sumptuous iconographic document of the famous festivals that were held in Venice in the 18th century. The series of the Ducal Festivals was a great success and, in fact, it is ascribed to the highest production of the Brustolon. IV States were printed. Of the first state without the number, only eight engravings were published, the other four were instead printed later, adding the numbering. This edition reproduces the original prints present in the Correr Museum in Venice. It is printed on paper specially made for this print by the Magnani paper mill in Pescia. The printing was performed by the Fantonigrafica of Venice in mono-color offset, from a photolithic reproduction on film performed by I.G.S. of Verona. Edition by the Cassa di Risparmio di Venezia in the 150th year of the Foundation, 1972.This series is accompanied by a folio publication by Terisio Pignatti describing all the engravings, with technical, historical-artistic notations and photographic images. 12 plates in imperial Folio. Photoengraving. Engraving: mm. 450 x 575 ca. Wide margins. Including the explanatory text of Terisio Pignatti. Very good specimen, very nice printing.

â&#x201A;Ź 1000

236

550. Dominicus CUSTOS. Portrait of Nikolaus Cisnerus Nikolaus Cisnerus, Mosbach 1529 - Heidelberg 1583, was an eminent Palatinate scholar, humanist, lawyer and poet. He was rector of the University of Heidelberg and judge at the court of the Reich Chamber in Speyer. Dominicus Custos, a Flemish artist born in Antwerp, printer and copper engraver, settled in Augsburg as the second husband of the widow of Bartholomew Kilian (1548-1588). He had a flourishing business, specializing above all in the portrayal of famous people. Bibl. Peter Mortzfeld, Herzog August Bibliothek, Supplement 5: Biographische und bibliographische Beschreibungen mit Künstlerregister, Walter de Gruyter GmbH & Co KG, 20 lug 2011, p. 158-159, A 25700, Portr. I 2545.1 Engraving. 172x130 mm. Little margin. Portrait within oval with name and titles on frame. Under the illustration news in latin on Cisnerus’ life. Engraving glued on cardboard. Traces of wear, good condition.

€ 100

551. Jaspar ISAAC. L'amant radoteur Extremely rare engraving with a gallant and satirical theme. Jaspar Isaac, French engraver and merchant of Flemish origin, signs some of his works "Jaspar Isac". Active in Paris since the beginning of the seventeenth century, his business was continued by his son Claude. A copy of this print in the Statens Museum for Kunst, National Gallery of Denmark. Cfr. Hollstein 62. Engraving, 232x165 mm. Trimmed on the plate and glud on paper. Under the illustration the title and two quatrains in French. The trimming on the lower margin eliminated the written: “Gaspar Isac excudit Avec Privilege”. Good condition.

€ 500

237

552. Jaspar ISAAC - Jean MARIETTE. Lespousee de vilage French popular print of the late 17th century depicting a wedding in a peasant village. At the top the title, at the bottom two quatrains: "Cet Espous et cette Espousée / Parmy leurs amoureux deuis / Sont plus dignes à mon aduis / De louange que de ..." This is the counterpart print of the very rare engraving "L'Espousee de village” by Jasper de Isaac, aspecimenpresent at the Museum Boijmans Van Beuningen, the main museum of Rotterdam. Jean Mariette, bookseller, engraver and trader of prints and plates, son of Pierre II Mariette, publisher and trader of prints in Paris, was active as a print dealer since before 1686. In May 1693 he married the daughter of the printer-bookseller Jean- Baptiste I Coignard. In 1716, he inherited the estate and house of Pierre II Mariette. He later sold part of his collection of engravings in 1733 and 1734. He was the father of Pierre-Jean Mariette. Etching, 242x168 mm. Trimmed on plate. On the lower: “Mariette excud”. Very little loss on the left top. Good condition.

€ 500

553. Jacques CALLOT. Vue du Pont Neuf ca. 1630. Brilliant proof. Very large and beautiful view of Paris, engraved in Nancy beetween 1620 and 1630. Lieure 668. Meaume, 714. Etching, 166x332 mm. Trimmed on plate. On the right lower: “Callot fec.”. Printed on laid paper with watermark. Good condition.

€ 400 238

554. Stefano DELLA BELLA. Cartouche with Apollo and Pan 1647. Imaginative ornamental cartouche with mythological theme. Present at the British Museum which describes it as follows: “Plate 5; empty cartouche in the center, flanked by Apollo on the left, turned left to embrace a laurel tree, and from Pan to the right, turned right to embrace a tuft of reeds. 1647 ". This engraving was inserted in the work" Nouvelles inventions de Cartouches ", Paris, Veuve Langlois, 1647. Cfr. British Museum, Registration number 1871,0513.341. Etching, 124x94 mm. In the lower: S. Della Bella fecit cum Privil Regis. Sign of wear, good condition.

€ 150

555. Jan VAN DER STRAET, (called Stradanus) - Marcus SADELER. Equile, in quo omnis generis generosissimorum equorum Venezia, prima del 1648. Titlepage of Stradanus's work engraved in counterpart by Marcus Sadeler. The Stradanus series portrays the horses of Don Juan of Austria, Governor of the Netherlands from 1576 to 1578. Marcus Sadeler, son of Jan the Elder, worked in Prague and also in Venice, where his family had settled and started a thriving business engraving in the first half of the 17th century. Dejager 106; Mennessier II, 537; Nissen ZBI 4011. Bulin, 195x275 mm, glued on paper. Good condition.

€ 150

239

556. Corsi. Bell tower of Pisa Duomo Prima metà XIX secolo. Very rare view of the famous Tower, in contemporary coloring. Engraving in contemporary coloring. 230x155 mm. Wide margins. Sign of wear and dusty, good condition.

€ 200

557. Liegi. Hôtel du roi de Bavière, tenu par Ferd.d Gossen, Place St.-Lambert à Liège Liège, Lith.. Kirsch, 1860 ca. Animated view of Liegi. Dejardin: “Prise de la Place Saint-Lambert … Au verso se trouve la liste des Monuments et Etablissements à visiter ». Cfr. A. Dejardin, Quatrième supplément aux Recherches sur les cartes de la Principauté de Liège et sur les plans de la Ville, p. 345, in: Bulletin de l'Institut archéologique liégeois; Tome XX, 1887, p. 199-452. Lithography. 98x255 mm. Title and typographical annotations on the margins of text, recto, ornaments and round stamp on verso. Good condition.

€ 100

240

558. Matthias Rudolf TOMA. Billiard room 1846. Lithography. 220x170 mm. Little margins. On the right lower. “Steindruck M. R. Toma 1846”. Good condition. Rare and curious view of an elegant Vienna billiard room. Matthias Rudolf Toma, born in Vienna, an important Austrian painter and lithographer of the Biedermeier period, was one of the first to deal with the new lithographic technique.

€ 150

559. Anonimo. Allegorical scene Venezia, XVIII secolo. Refined engraving with a matron or female deity holding a three-pointed anchor in her hand, accompanied by a putto with a twig. The style is reminiscent of the idyllic Arcadian painting style of the 18th century Venetian school. Engraving, 84x128 mm. Wide margins. Printed on laid paper with watermark. In the illustration the initial A.T. Good condition.

€ 150

241

560. Anonimo. Allegorical scene Venezia, XVIII century. Refined engraving with a matron or female deity holding a three-pointed anchor in her hand, accompanied by a putto with a twig. The style is reminiscent of the idyllic Arcadian painting style of the 18th century Venetian school. Engraving, 84x128 mm. Wide margins. Printed on laid paper with watermark. In the illustration the initial A.T. Good condition.

€ 150

561. Pieter DE BAILLIU. S. Christina 1630-60. Extremely rare and magnificent work by the eminent Flemish artist. Illuminated engraving imprinted on vellum and with gilt and bright colors. The cruel martyrdom of S. Cristina is depicted, wearing a gilt robe. Gilt is also the rayed halo and the angel's wings. Pieter de Bailliu, Antwerp about 1613 - 1660, began his studies in Antwerp and then completed them in Rome. Returning to Antwerp in 1637, he practiced his art, also engraving some of the works of the most famous Flemish masters, in particular Rubens and Van Dyck. The Biblioteca Nacional de Espana owns a copy of this print dating from 'between 1630 and 1660'. Hollstein. Dutch and flemish v. 1, p. 73, 60. Biblioteca Nacional de Espana, [Colección de Imágenes de Santos]. ER/1537 (número 85). Illuminated etching in contemporary coloring printed on vellum. 252x140 mm. On the left lower the written: “Pet de Baillue excudit”. Good condition.

€ 600 242

562. Anonimo. Auf Ehre ganz entzückt. 'Pon Honor! Quite enraptured Berlin F. SALA & Co. Unter d. Linden 51, metà XIX secolo. Extremely rare plaster lithography showing a curious subject with a bon-vivant sipping a glass of white wine. The title is a toast in German and English. F. Sala was a lithograph publisher active in Berlin around the middle of the 19th century. Colored lithography. Illustration 350x260 mm. Margins. On the lower margins the printer’s address under the title. Slight sign of wear. Good condition.

€ 200

563. Juan DE LA CRUZ CANO Y OLMEDILLA. Pedro Romero – Le Fameux Pierre Romero; Joaquin Costillares – Le Fameux Joaquin Costillares Fine XVIII secolo. Probable printing proof. Juan de la Cruz Cano y Olmedilla, Madrid, 1734 - 1790, eminent geographer, cartographer, engraver and academician of the 18th century, spent several years in France. These prints, signed under the image, appear in his work Colección de trajes de España, tanto antiguos como modernos, Madrid 1777. Pedro Romero Martínez, 1754 - 1839, was a legendary bullfighter from the Romero family in Ronda, Spain. Joaquín Rodríguez called Costillares, 1743 - 1800, famous bullfighter is considered the father of modern bullfighting, as an innovator and organizer of combat. España, Ediciones AKAL, 2007, p. 310. Two engravings. Folio 260x170 mm. Image withing linear frame. Little margin. Title in Spanish and Frech on the lower margin. Not signed. Little rip on the lower section of sheet. Sign of wear, good condition.

€ 300

243

564. Antonio CANOVA - Giovanni BUSATO – Antonio VIVIANI. Dar da mangiare agli affamati First half of XIX century. Rare engraving that reproduces the magnificent bas-relief in plaster made in 1795 by Canova for the school established at Villa Rezzonico by Abbondio Rezzonico. The medieval iconography of the corporal and spiritual Works of Mercy is bent in this relief to the propaganda of the Enlightenment promotion of the material and spiritual well-being of their Bassanese employees wanted by the Rezzonico. The scene is reduced to the essential: on the right a bent old man with a stick introduces two young men to receive bread from the Beneficentia: a young half-naked woman holding a sleeping child in her arms and having a good supply of bread on a nearby table. The print is engraved by Antonio Viviani from Bassano, 1797-1854, who worked in Venice on the design of Giovanni Busato from Vicenza, 1806-1886. Engraving, 130x195 mm. Wide margins. Under the image the written: “A Canova inv. G. Busato dis. A. Viviani inc.” Good condition.

€ 150

565. Felice ZULIANI. Portrait of Marie Louise d'Autriche Impératrice des Français Reine d'Italie post 1810 - ca. 1815. Magnificent portrait masterfully engraved on the burin. Maria Luisa of Austria or Maria Luigia of Parma (Vienna, 12 December 1791 - Parma, 17 December 1847), was empress consort of the French from 1810 to 1814 as wife of Napoleon I, and reigning duchess of Parma, Piacenza and Guastalla from 1814 to 1847 by decision of the Congress of Vienna. Felice Zuliani, famous and much appreciated by his contemporaries, was active in Venice as an engraver and editor. Engraving with contemporary coloring. 260x185 mm. Wide margins. Under the illustration: “Gravé par Felice Zuliani”, under the title: “Chez Ioseph Picotti à Venise”. Good condition.

€ 250 244

566. Festa Biedermeier. Carl HOER. IIte Abbildung der von dem Decorateur Carl Hoer am 6 Februar 1831 in den K.K. Redouten Salen in Wien arrangirten Flora Devisen Redoute Wien, 1831. Extremely rare flyer depicting the apparatus of a Biedermeier party. The flower-themed masquerade party was held on February 6, 1831 in the prestigious concert and dance hall of the Hofburg Palace in Vienna, known as the Redoutensaal. The name derives from the French word Redoute, which means masked ball. Carl Hoer, Vienna 1801 - 1850, architect and decorator, famous exponent of the Biedermeier style in Vienna, from 1830 began a flourishing business as a designer, owner and manager of entertainment venues. Cfr. Alice M. Hanson, Musical Life in Biedermeier Vienna, Cambridge University Press, 1985, p. 158. Lithography. Image: 185x244 mm. Margins. Title in the lower margins. Slight foxing, good condition.

€ 100

567. Anonimo. French Gallant scene of the 18th century Tasty scene with a gentlemen handing a bouquet of flowers to two ladies. Nineteenth-century print that takes up a subject of French painting of the eighteenth century. The Sarazin printer was active in Paris in the second half of the 19th century. Cfr. Le compilateur artistique : les maitres anciens : figures. 2e série, Dessins d'après Lancret, Watteau, Boucher, Eisen, Oudry, 1722-1778, Paris, A. Guérinet, [1900?]. Engraving printed in sepia. 210x298. Wide margins. Good condition.

€ 100

245

568. François BOUCHER – Sarazin. Gallant scenes Parigi XIX century. Two beautiful engravings of works by the famous 18th century French painter François Boucher. The Sarazin printer was active in Paris in the second half of the 19th century. Two engravings printed in sepia. 202x295. Wide margins. Several inscription. On a sheet sign of folding paper. Good condition.

€ 200

569. Nicolas LANCRET - Jean-Honoré FRAGONARD – Aubert. Gallant scenes XIX century. Two beautiful engravings of works by the famous 18th century French painter François Boucher. The Sarazin printer was active in Paris in the second half of the 19th century. Two engravings printed in sepia. 300x208. Wide margins. Several inscription. Good condition.

€ 200

246

570. François BOUCHER – Charles Emile WATTIER. Le duo Champetre Paris, Imp. Lemercier, half XIX century. Beautiful print of a country-style work by the famous French painter of the 18th century, masterfully designed by Wattier and printed in lithography by Lemercier, the most important French lithographer of the time, who managed to transform the lithographic engraving from an artisanal operation to an enterprise industrial. Lithography. Sheet 450x315. Inscriptions. Slight spread foxing on the margins and little rip on the lower margin. Good condition.

€ 150

571. Anonimo. Ven. Clarae Isabellae Fornari Effigies. Portrait of the venerable Isabella Fornari XVIII century. Very rare and curious engraving depicting the mystical abduction of the Roman abbess, 1697-1744, venerated since the mid-1700s. The print depicts the abbess being nailed to the cross by three angels. Engraving, 248x195 mm. Margins. Illustration within oval. Outside the oval a long description in latin with the title in the lower part. Slight patina on margins, two little wormholes in the engraving without investing the images.

€ 100

247

572. TIZIANO Vecellio – Giuseppe MITELLI. Caino kills Abel Extremely rare flying sheet. The Bolognese engraver masterfully reproduces in etching the masterpiece of Titian, made between 1543 and 1545 and preserved in the Basilica of Santa Maria della Salute in Venice. Etching. 336x302 mm. Margins. Inscriptions. Good condition.

€ 300

573. Giovanni Battista PIAZZETTA - Johann Lorenz HAID. Four Apostles: S. Petrus, S. Thomas, S. Andreas, S. Philippus Augsburg, ante 1750. The German painter, draftsman and engraver takes up the model of Pitteri and proposes the famous portraits of Piazzetta in the sophisticated technique of mezzotint. Mezzotint engraving. 384x270. Little margin. Iscritpions. Little loss on the left top corner and restoration on the right top corner of S. Andreas, restoration on the top corners of S. Philippus. Good condition.

€ 800

248

574. Chrétien-Louis-Joseph DE GUIGNES - Jacques Eustache DE SEVE. Chinese Feasts. Fete Chinoise qui à lieu en Automne – Comedie Chinoise Paris, 1808. Two rare and magnificent views of China of the end of XVIII century. After 17 years lived in China as an official of the Embassy of France, Chrétien-Louis-Joseph de Guignes returned to Paris in 1801 and began organizing his notes and sketches. He collaborated with the young artist Jacques de Sève to engrave his drawings of 18thcentury China, including architecture, street life, local events and costumes. Two engravings in contemporary coloring. Each 240x375 mm. Margins. Inscriptions. Slight sign of wear on margins, little rip on the sky of the Fete. Good condition.

€ 400

575. Chrétien-Louis-Joseph DE GUIGNES - Jacques Eustache DE SEVE. Chinese Feasts. Fete donnée devant l’Empereur à Yuen-ming-yuen – L’Empereur prenant un Divertissement sur un Lac Glacé Paris, 1808. Two rare and magnificent views of China of the end of XVIII century. After 17 years lived in China as an official of the Embassy of France, Chrétien-Louis-Joseph de Guignes returned to Paris in 1801 and began organizing his notes and sketches. He collaborated with the young artist Jacques de Sève to engrave his drawings of 18thcentury China, including architecture, street life, local events and costumes. Two engravings in contemporary coloring. Each 240x405 mm. Margins. Inscriptions. Slight sign of wear on margins. Good condition.

€ 400 249

576. Chrétien-Louis-Joseph DE GUIGNES Jacques Eustache DE SEVE. Beijing, Monuments. Arc de triomphe a una lieue et demie avant Peking – Porte de la Ville Tartare à Peking Paris, 1808. Two rare and magnificent views of China of the end of XVIII century. After 17 years lived in China as an official of the Embassy of France, Chrétien-Louis-Joseph de Guignes returned to Paris in 1801 and began organizing his notes and sketches. He collaborated with the young artist Jacques de Sève to engrave his drawings of 18thcentury China, including architecture, street life, local events and costumes. Two engravings in contemporary coloring. Each 240x405 mm. Margins. Inscriptions. Slight sign of wear on margins. Good condition.

€ 400

577. Chrétien-Louis-Joseph DE GUIGNES Jacques Eustache DE SEVE. Beijing, Monuments. Vue des Jardins de l’Empereur à Peking – Interieur de Peking Paris, 1808. Two rare and magnificent views of China of the end of XVIII century. After 17 years lived in China as an official of the Embassy of France, Chrétien-Louis-Joseph de Guignes returned to Paris in 1801 and began organizing his notes and sketches. He collaborated with the young artist Jacques de Sève to engrave his drawings of 18thcentury China, including architecture, street life, local events and costumes. Two engravings in contemporary coloring. Each 240x405 mm. Margins. Inscriptions. Slight sign of wear on margins. Good condition.

€ 400 250

578. Chrétien-Louis-Joseph DE GUIGNES Jacques Eustache DE SEVE. Beijing, Imperial Palace. Enceinte exterieure du Palais - Enceinte interieure du Palais a Peking Paris, 1808. Two rare and magnificent views of China of the end of XVIII century. After 17 years lived in China as an official of the Embassy of France, Chrétien-Louis-Joseph de Guignes returned to Paris in 1801 and began organizing his notes and sketches. He collaborated with the young artist Jacques de Sève to engrave his drawings of 18thcentury China, including architecture, street life, local events and costumes. Two engravings in contemporary coloring. Each 240x405 mm. Margins. Inscriptions. Slight sign of wear on margins. Good condition.

€ 400

579. Chrétien-Louis-Joseph DE GUIGNES Jacques Eustache DE SEVE. China in the 18th century. Vue du Lac Syhou – Procession en l’honneur des Morts Paris, 1808. Two rare and magnificent views of China of the end of XVIII century. After 17 years lived in China as an official of the Embassy of France, Chrétien-Louis-Joseph de Guignes returned to Paris in 1801 and began organizing his notes and sketches. He collaborated with the young artist Jacques de Sève to engrave his drawings of 18thcentury China, including architecture, street life, local events and costumes. Two engravings in contemporary coloring. Each 240x405 mm. Margins. Inscriptions. Slight sign of wear on margins. Good condition.

€ 400 251

580. Louis Jean François LAGRENEE – Antonio REGONA. Calliope. Muse qui preside a la Poesie Heroique Bassano, Remondini, end of XVIII century. Portrait within oval. Beautiful proof by Antonio Regona, painter and engraver from Bassano del Grappa, who collaborated with the Remondini family. The painting is probably by the famous French painter Louis Jean François Lagrenée. This print appears in the Remondini Catalog of 1797, on page 15: engraver 'A Regona', painter 'Draun La Grénée'. Etching, 310x255 mm. Margins. Signs of wear and humidity. Good condition.

€ 300

581. William HAMILTON – Antonio REGONA. Hamlet and his Mother Remondini, Bassano del Grappa, end of XVIII century. The famous scene is plastically described by the English painter. Under the title the corresponding verses of Shakespeare. British: “Hamlet sitting at left beside his mother on the edge of a bed, gesturing passionately towards a miniature held out in his hand, his mother looking back towards him as she turns away; oval design. " Antonio Regona, painter and engraver from Bassano del Grappa, collaborated with the Remondini family. This print appears in the Remondini Catalog of 1797, on page 18.81. The British Museum, number 1877,0609.1781. Etching 305x205 mm. Wide margins. Inscriptions. Good condition.

€ 200 252

582. Peltro William TOMKINS - Pietro BONATO. Mr. Vindex, meeting with Master Harry Clinton Bassano, Remondini, end of XVIII centurtìy. Valuable engraving with contemporary coloring by Pietro Bonato, painter and engraver who collaborated with Remondini, taken from the painting by P. W. Tomkins. The famous English painter presents a touching scene from the work "Fool of Quality" written between 1765 and 1770 by the Irish writer Henry Brooke. This print appears in the Remondini Catalog of 1797, on page 18, with the title “Clinton and the Donzelle”. Engraving on contemporary coloring. 300x218 mm. Wide margins. Inscriptions. Slight marginal foxing.

€ 300

583. Elisabeth CHALLIOU. "Abélard Writing to Eloisa / Abelard écrivant a Eloise”

ca. 1780. Rare and curious print engraved with the 'Stipple' technique. The British Museum has a print with the same address as the publisher in Paris, dated 1780. British Museum, Number 1873,0809.310. Engraving on contemporary coloring. 300x218 mm. Illustration in a oval. Wide margins. Inscriptions. Sign of wear.

€ 300

253

584. Antonio Ermolao PAOLETTI - Bartolomeo MARCOVICH. The scribe Ante 1882. Magnificent translation of one of the favorite subjects of the eminent Venetian painter, with an effective chiaroscuro design by Bartomeo Marcovich, printed by the Award-winning Kirchmayr Lithography, active in Venice from 1851 to 1888 ca. Lithography. Sheet 474x330 mm, with little margins. Inscriptions. Good condition.

€ 200

585. Giuseppe Maria MITELLI. Dinner in the house of Simone Fariseo Rare print by Mitelli, which masterfully translates the work of Paolo Veronese into etching. It is proposed as a counterpart to the right side of the painting. The 'Supper in Simone's house' was painted by Paolo Veronese for the Venetian convent of San Sebastiano; completed in 1570, today it is located in the Pinacoteca di Brera, in Milan. A copy of this print, complete with both parts, at the A. Bertarelli Civic Collection of Prints, in the state before number. Cfr. In Lombardiabeniculturali ‘SIRBeC scheda SRL - H0080-01755’. Etching. 33x425 mm. Wide margins. State II/II. Printed on laid paper. Inscriptions. Slight sign of wear. Good condition.

€ 300

254

586. Scuola Fiamminga del XVIII secolo. The country musicians. Violin and bagpipe End of XVIII century. Remarkable genre scene with two musicians playing violin and bagpipes. On the barrel at the bottom left the enigmatic figure "6XIII". The manner is that of 18th century Flemish painting, the engraving is probably French. Engraving. 486x352 mm. Margins. Slight sign of wear.

€ 150

587. Claes BERCHEM - René LE CHARPENTIER. Les travaux de la bergère Rare. Magnificent landscape enriched by human and animal figures. The celebrated Dutch painter greatly influenced subsequent generations of Dutch and French painters. The engraver and publisher RenéJacques Charpentier, born in Caen, was mainly active in Paris. The British Museum has a copy of this print, with an inscription on the lower margin that provides information on the reference framework. Cfr. B.M., Museum number 1862,0712.14. Etching and engraving. 410x500 mm. Wide margis. Inscriptions. Good condition.

€ 200

255

588. Johann Jacob HAID. Portrait of lady with mask Augsburg, ante 1767. Curious allegorical representation of the Carnival. The lady, very elegant with a plumed headdress, holds a mask in her hand but her gaze and posture express an evident melancholy. Johann Jakob Haid and Johann Elias Haid were members of a German family of artists and engravers active in the 18th and 19th centuries. Johann Jakob was a portraitist and engraver who studied with Johann Elias Ridinger. He taught engraving to his son, Johann Elias, who later worked in lithography as well, and executed works after Old Master artists such as Rembrandt and Cranach. The Haids worked together as J.J. Haid and Son. They produced numerous portrait prints and also made the engravings after botanical artist Georg Dionysius Ehret for a number of important collections of botanical prints edited by Trew and Weinmann. Mezzotint. 218x162 mm. Small margins. Top margin partially glued on paper. Slight sign of wear.

€ 300

589. Johann Jacob HAID and Johann ELIAS. Satirical print. Badminton game, Fashion, Hairstyles ca. 1770. Curious depiction of the game of Badminton, with three characters wearing elegant fashion clothes and sporting elaborate hairstyles. The print is unsigned, but other engravings are known with these subjects by the prestigious Augsburg atelier, J.J. Haid & Son. Cfr. Lipperheide, Katalog der… Kostümbibliothek, c. 1996 (reprint of 1896-1905 ed.). 32 Mezzotint. 245x191. Trimmed on the plate. Good condition.

€ 300 256

590. Giovanni Battista CIPRIANI. Edouard IV et Ieanne Shore 1790 ca Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 245x300 mm. Wide margins. Inscriptions. Good condition.

€ 150

591. Giovanni Battista CIPRIANI. Henri II et Rosamonde ca 1790. Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 245x300 mm. Wide margins. Inscriptions. Good condition.

€ 150

257

592. Giovanni Battista CIPRIANI. Vortigem et Rowena ca 1790. Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 250x305 mm. Wide margins. Inscriptions. Good condition.

€ 150

593. Giovanni Battista CIPRIANI. Henry V et Charle VI ca 1790. Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 250x298 mm. Wide margins. Inscriptions. Good condition.

€ 150

258

594. Giovanni Battista CIPRIANI. Edouard III et Jean de France ca 1790. Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 250x298 mm. Wide margins. Inscriptions. Good condition.

€ 150

595. Giovanni Battista CIPRIANI. Prince Edmont surnommé Bras de Fer et Algithe ca 1790. Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 240x298 mm. Wide margins. Inscriptions. Good condition.

€ 150

259

596. Giovanni Battista CIPRIANI. Olivier Cromwell, sa Fille et son Chapelain

ca 1790. Rare. Scene masterfully engraved by the famous Florentine painter and draftsman who lived in London from 1755, where he had great success and was one of the founders of the Royal Academy. It was included in the 'Histoire d’Angleterre' series published in Bassano around 1790 by Antonio Suntach, Bassano 1744-1828. Engraving printed on laid paper. 242x302 mm. Wide margins. Inscriptions. Good condition.

€ 150

597. Saverio MANETTI. Starna scherzosa di color biondo 1767-1776. Rare. This print was included in the monumental "Natural history of birds" (1767-1776) edited by the physician and botanist of Florence, beautifully illustrated with watercolor engravings by the abbot Lorenzo Lorenzi and by Violante Vanni who took the images from the collection of the Marquis Giovanni Gerini. Engraving in contemporary coloring. Printed on laid paper. 348x275 mm. Wide margins. Inscriptions. Slight foxing.

€ 200

260

598. Saverio MANETTI. 1. Regolo cenerino, o comune maggiore / 2. Sterpagnolo, o Magnanina 1767-1776. Rare. This print was included in the monumental "Natural history of birds" (1767-1776) edited by the physician and botanist of Florence, beautifully illustrated with watercolor engravings by the abbot Lorenzo Lorenzi and by Violante Vanni who took the images from the collection of the Marquis Giovanni Gerini. Engraving in contemporary coloring. Printed on laid paper. 350x275. Wide margins. Inscriptions. Slight foxing.

â&#x201A;Ź 200

599. Giuseppe GALLI BIBIENA. Royal Courtyard with view post 1750 - ante 1774. Splendid theatrical scene with the courtyard of a fortress, designed by Giuseppe Galli Bibiena engraved by Ambrogio Orio. Engraving, 360x484 mm. Wide margins. Inscriptions. Good condition.

â&#x201A;Ź 250

261

600. Giuseppe GALLI BIBIENA. Different Royal Gardens post 1750 - ante 1774. Splendid theatrical scene with the courtyard of a fortress, designed by Giuseppe Galli Bibiena engraved by Ambrogio Orio. Engraving, 355x495 mm. Wide margins. Inscriptions. Skillfull restoration.

€ 250

601. Giuseppe GALLI BIBIENA. Royal Harbor Bassano, Remondini, post 1760. Magnificent scenic view. Rare flying sheet published by the Remondini from Bassano. A specimen at the H Beard Print Collection, which describes it as follows: Scene representing a Royal Harbor, 'Porto Reale', accompanied by inscription in Italian: 'More than the airy fleece, a sí beautiful margo perhaps will entice the ship' Argon'. Giuseppe Galli da Bibiena, second son of Ferdinando Galli da Bibiena, came to equal the fame of his father and became the best known of the Bibbiena of his generation. Giuseppe leaves a copious collection of drawings and engravings of his works. One of the most important collections of his studio drawings is published by him in Rome, under the direction of Andrea Pfeffel in 1740-44, with the title 'Architectures and perspectives dedicated to the majesty of Charles the sixth imperador de' Romani by Giuseppe Galli Bibiena, his first theatrical engineer and architect, inventor of the same. H Beard Print Collection, Museum number: S.334-2009; Catalogo Remondini, Bassano 1797, p. 31 “Sei rami quadrati per traverso di foglio imperiale”. Engraving, 310x475. Margins. Inscriptions. Good condition.

€ 250 262

602. Giuseppe GALLI BIBIENA. Campus Martius Magnificent scenic view. Rare flying sheet published by the Remondini from Bassano. Original interpretation by Ambrogio Orio from the Architectures and Perspectives series of 1740-44. Catalogo Remondini, Bassano 1797, p. 31 “Sei rami quadrati per traverso di foglio imperiale”. Catalogo Remondini, Bassano 1797, p. 31 “Sei rami quadrati per traverso di foglio imperiale”. Engraving. 325x480 mm. Margins. Inscriptions. Slight marginal foxing.

€ 250

603. Giuseppe GALLI BIBIENA. Royal Square Bassano, Remondini, post 1760. Magnificent scenic view. Rare flying sheet published by the Remondini from Bassano. Original interpretation by Ambrogio Orio from the Architectures and Perspectives series of 1740-44. Catalogo Remondini, Bassano 1797, p. 31 “Sei rami quadrati per traverso di foglio imperiale”. Engraving. 315x480 mm. Margins. Inscriptions. Good condition.

€ 250

263

604. Giuseppe GALLI BIBIENA. Ancient Arch Bassano, Remondini, post 1760. Magnificent scenic view. Rare leaflet published by the Remondini from Bassano. A specimen in the Harry Beard Collection showing “Set design for 'Arco Antico' by J. G. Bibiena, after 1760”. The title is accompanied by the words "This triumphal arch that empties the arena Shows the immortal Bibiena to Italy". Remondini Catalog, Bassano 1797, p. 31 “Sei rami quadrati per traverso di foglio imperiale”. Engraving. 310x480 mm. Margins. Inscriptions. Good condition.

€ 250

605. Giuseppe GALLI BIBIENA. Temples and Regia Bassano, Remondini, post 1760. Magnificent scenic view. Rare leaflet published by the Remondini from Bassano. A specimen in the Harry Beard Collection showing “Set design for 'Arco Antico' by J. G. Bibiena, after 1760”. The title is accompanied by the words "This triumphal arch that empties the arena Shows the immortal Bibiena to Italy". H Beard Print Collection, Museum number: S.3902-2009. Remondini Catalog, Bassano 1797, p. 31 “Sei rami quadrati per traverso di foglio imperiale”. Engraving. 310x480 mm. Margins. Inscriptions. Good condition.

€ 250

264

606. Ambrogio ORIO - Francesco AVIANI. Allegory with architectural caprice Bassano, Remondini, post 1760. Magnificent allegorical scenographic view, with statues and fantastic characters, from a design by Francesco Aviani. Rare leaflet published by the Remondini of Bassano. Below the image, the verses describing the allegory “Vantati pur di queste Opre famose, / Umano ingegno; ma l'orgoglio abbassa…” Engraving, 420x540 mm. Wide margins. Inscriptions. Good condition.

€ 300

607. Ambrogio ORIO - Francesco GIOLI. Allegory with architectural caprice Bassano, Remondini, post 1760. Magnificent allegorical scenographic view, with and fantastic characters, from a design by Francesco Aviani. Rare leaflet published by the Remondini of Bassano. Below the image, the verses describing the allegory: “S'empio tu se', no non avrai giocondo / In queste Sale un giorno solo...” Engraving, 420x535 mm. Wide margins. Inscriptions. Good condition.

€ 300

265

608. Christian Hilfgott BRAND – Giovanni VOLPATO. Landscape with wayfarers Venezia, ante 1786. Beautiful engraving translation from a painting by the German landscape painter. Performed while Volpato, an eminent Bassano artist, was practicing for Giovanni Wagner, active in Venice with his own chalcography from 1749 to 1786. Volpato moved permanently to Rome in 1772. Engraving, 390x555 mm. Trimmed on the plate. Inscriptions. Trace of glue on verso, trimmed.

€ 200

609. Giovanni Battista PIRANESI. Architectural capriccio with boats and characters Beautiful print by Giovan Battista Piranesi with a very elaborate fantastic representation with imposing architectures, with stairways, columns, statues, masks, vases, boats in the foreground and many characters. Etching, 404 x545 mm. Trimmed on plate. Illustration with linear frame. Little margins. Print on laid paper. Good condition.

€ 400

266

610. Giuseppe GALLI BIBIENA. Christ and Caiphas XVIII century. Great representation of Baroque scenography of the Passion of Christ. The scene is inserted in an elaborate and monumental architecture. In the foreground, a large arch that theatrically presents the episode described. Above an elaborate cartouche the verse of the Evangelist Mark "Et adduxerunt Iesum ad summum sacerdotem". Etching, 500x322 mm. Little margins. Illustration in linear frame. Little margin. In the right top margin: “P. IV.”. Some restorations on margins and traces of glue on verso.

€ 300

611. Giuseppe GALLI BIBIENA. Ecce Homo XVIII century. Great representation of Baroque scenography of the Passion of Christ. The scene is inserted in an elaborate and monumental architecture, animated by many characters. Jesus is at the top of an imposing flight of steps. Etching, 490x320 mm. Little margin. Illustration in linear frame. Little margin. In the right top margin: “P. III.”. Traces of glue on verso, trimmed. Good condition.

€ 300 267

612. Calcografia Wagner. Le Arti per via XVIII century. Beautiful prints depicting the trades of street vendors in Venice in the 18th century. Each sheet, numbered after '66', respectively '1, 2, 3' contains two images. In order: Jardiniere - Marchande d’oeufs; Marchand de soufflets Marchande de noisettes d’oeufs; Le Decrosteur - Balets. Sheet no. 2 contains the watermark 'Three half moons'. Three engravings. 190x285 mm. Wide margins. Printed on laid paper with a 'Tre half moons' watermark or countermark with unidentified letters. Each print with two separate images each with its own title in French. Inscriptions: Below the image, left: "N ° 66"; in the center, Title; on the right. “Appo Wagner Ven.a”. Good conservation.

€ 500

613. Calcografia Wagner. Le Arti per via XVIII century. Three engravings. 190x285 mm. Wide margins. Printed on laid paper with a 'Tre half moons' watermark or countermark with unidentified letters. Each print with two separate images each with its own title in French. Inscriptions: Below the image, left: "N ° 66"; in the center, Title; on the right. “Appo Wagner Ven.a”. Good conservation. Beautiful prints depicting the trades of street vendors in Venice in the 18th century. Each sheet, numbered after '66', respectively '1, 2, 3' contains two images. In order: Jardiniere - Marchande d’oeufs; Marchand de soufflets Marchande de noisettes d’oeufs; Le Decrosteur - Balets. Sheet no. 2 contains the watermark 'Three half moons'.

€ 500 268

614. Giovan Francesco BARBIERI detto Guercino - Ludovico MATTIOLI. Landscape with architectures ca. 1740 - ante 1747 Rare and important proof of the Bolognese engraver taken from a drawing by Guercino. Etching, image 255x412 mm. Wide margins. Printed on laid paper. Inscriptions. Good condition.

€ 200

615. Annibale CARRACCI – Gaetano ZANCON. Jason et Mèdée End of XVIII century. Rare. This episode with the two characters on a chariot pulled by two horses does not appear in the Stories of Jason and Medea, the frieze frescoed by Annibale, Agostino and Ludovico Carracci in a room of Palazzo Fava in Bologna, completed in 1584. The Milanese Gaetano Zancon, a pupil of the Remondini in Bassano, was active in Verona and then in Milan. Engraving. 195x270 mm. Wide margins. Printed on laid paper with watermarks “GIR”. Image within oval. Inscriptions. Trace of folding, good condition.

€ 200

269

616. Annibale CARRACCI – Gaetano ZANCON. Le Triomphe de Galatée End of XVIII century. Rare. Splendid interpretation of a detail from the famous fresco cycle of Palazzo Farnese in Rome, completed by Annibale Carracci, on several occasions between 1597 and 1606-1607. The Milanese Gaetano Zancon, a pupil of the Remondini in Bassano, was active in Verona and then in Milan. Engraving. 195x270 mm. Wide margins. Printed on laid paper with watermarks “GIR”. Image within oval. Inscriptions. Good condition.

€ 200

617. RAFFAELLO Sanzio – Stefano TOFANELLI – Antonio REGONA. Mars Beginning XIX century. Rare. Suggestive engraving translation of Raphael's work found in the vault of the Sala dei Pontifici in the Vatican, beautifully designed by the painter from Lucca. Stefano Tofanelli, after an apprenticeship with the Lucca painter Giuseppe Antonio Luchi, lived in Rome from 1769 to 1781, where he assiduously studied ancient sculpture and seventeenth-century classicist painting. The drawing of 'Mars' was therefore made during his stay in Rome. Antonio Regona, painter and engraver from Bassano del Grappa, collaborated with the Remondini family. Etching. 348x425 mm. Wide margins. Inscriptions: under the image, left "Raffaelle Sanzio d’Urb. Inv "; in the center "'Stefano Tofanelli delin."; on the right. "Antonio Regona inc.". Bottom center, Title. Slight traces of use, good condition. € 300

270

618. Antonio BOSA - Antonietta PAROLINI - Angelo ZAFFONATO. Bust of Gerolamo Ascanio Molin Bassano, Remondini, before 1835. Burin. 370x280 mm. Wide margins. Printed on strong laid paper. Image in oval. Inscriptions: under the image, left “Antonio Bosa sculpted”; in the center "Antonietta Parolini delin."; on the right. "Angelo Zaffonato inc.". Traces of use, good condition. Rare. An important source of Bassano's art and local history. Antonio Bosa, born in Pove del Grappa, near Bassano, became one of the most important sculptors of his time. Antonietta Parolini belonged to one of the most important noble families of Bassano. Angelo Zaffonato, born in Schio, painter and engraver, collaborated with the Remondini Chalcography. Girolamo Molin, 1778 - 1851, was an eminent doctor and veterinarian, professor at the University of Padua; in 1838 he left the teaching of veterinary medicine to take over the direction of the medical-surgical-pharmaceutical faculty, a position he held until his retirement, in 1842, when he was appointed professor emeritus. Agostino Brotto Pastega dates this print around 1810. Cfr. Agostino Brotto Pastega, Gli Zambelli, Storia di una mirabolante ascesa sociale, in ‘L’illustre bassanese’, n. 174, Bassano, Luglio 2018, p. 28

€ 150

619. Lorenzo de’ Medici. Alessandro ALLORI – Giovanni Elia MORGHEN – Carlo GREGORI. The dinner of Siface king of Numides made for Scipio Burin engraving. 540x622 mm. Small margins. Title under the image. Inscriptions, under the title: left “Alesand. Allori painted "; in the center “Gio. Elia Morghen drew; on the right. “Carlo Gregorj engraved”. Repairs and restorations. Magnificent engraving translation of the imposing fresco made by Alessandro Allori in the Medici Villa of Poggio a Caiano between 1578 and 1582, which alludes to the journey of Lorenzo the Magnificent to Naples where he was welcomed by the King. G. E. Morghen, painter, draftsman and burin engraver, still active around 1789, brother of Filippo Morghen, was a pupil of A. Feroci and D. Feretti. Most likely he was part of the workshop of Carlo Bartolomeo Gregori: in fact he executed, with him and other artists of his school, 26 of the engravings present in the second Florentine edition (1766) of the Paintings of the Imperial Hall of the palace in Florence, which also included the reproductions of the pictorial decorations present in the villas of Petraia and Poggio a Caiano.

€ 300 271

620. Paolo POSI – Giuseppe VASI. Apse and altar of the Naples Cathedral Rome 1744. Rare flying sheet. Important source of art. The Sienese architect Paolo Posi began the restoration of the apse of the Naples Cathedral in 1741. The task, entrusted to him in 1739 by Cardinal Giuseppe Spinelli during the latter's stay in Rome, was carried out under the direction of Filippo Buonocore from Campania. The apse project became an interesting meeting point between two architects so different in training: the Roman school, of a classicist imprint, and the Neapolitan school give the work a particular connotation and great impact, whereas the austerity of the Angevin structure contrasts the great "fluidity of masses" and the articulation of the decorative parties. This masterful engraving by Giuseppe Vasi documents the impressive perspective effect achieved by the restoration. Cfr. Franco Strazzullo, Restauri del Duomo di Napoli tra '400 e '800, 1991. Copper engraving. 742x480 mm. Margins. Below the image, the dedication to Cardinal Spinelli Bishop of Naples and the date. In the incision, at the base of the two central pilasters the inscriptions: left “Paolo Posi Architect inv. and delin. "; on the right. "Giuseppe Vasi inc." Some skilled restorations and traces of use.

€ 600

621. Augustin DE SAINT-AUBIN - AntoineJean DUCLOS. Le concert a Madame La Comtesse de Saint Brisson ca 1774. Refined depiction of a concert in the aristocratic Paris of the 18th century, etched by Antoine-Jean Duclos based on a design by Augustin de Saint-Aubin. A specimen at the Rijksmuseum in Amsterdam, dated 1774. Etching in contemporary coloring. Engraved: 352x475 mm. Margins. Below, title and coat of arms. Under the title: “Par son très Humble et très Obéissant Serviteur Duclos”. Below the image, left "Aug. De St. Aubin del. " Some restoration.

€ 400 272

622. Frans SNYDERS - Richard EARLOM. A Game Market 1783. Spectacular depiction of a market stall with game including a boar's head, a swan, a deer, ducks, chickens etc. On the left the merchant with a peacock on his arm. Under the title the inscription “'In the Collection of His Grace the Duke of Newcastle, at Clumber Park in Nottinghamshire”. Più sotto “The Empiress of Russia having purchased the Houghton Collection, the Proprietor had not time to make a Drawing from this Picture before their departure; The Duke of Newcastle having four Original Pictures by Snyders of the Markets, with very little variations, gave leave to make a Drawing from this Picture in order to make the set complete”. Mezzotint. 420x575 mm. Trimmed on the engraving and glued to the backing sheet. Inscriptions: under the image on the left "Snyders & Long John Pinxerunt"; in the center "John Boydell excudit 1783"; on the right. "Richd. Earlom, Sculpsit”. Skillful restorations.

€ 500

623. Felice BOSCARATI - Francesco ROSASPINA. Allegory of Italy invaded by the French 1814. Rare flying sheet. Complex allegorical representation that represents Italy during the first invasion of 1796. At the center of the image stand two female figures: Liberty / France intent on attacking Italy. The first, completely naked, tramples the code of laws and seizes Italy symbolized by the woman wearing the turreted crown, who in an attempt to escape drops the cornucopia on which the Gauls pounce. On the right a soldier, having laid down his arms, opens the door to the Gauls who enter hungry and eager for riches. On the left, the military engineers remain helpless and asleep. Finally, a Dog, symbolizing England, barks at the globe placed on the pedestal. Cfr. Erminia Irace, La costruzione del’identità nazionale in Italia tra i Lumi e Napoleone, in AA.VV., L'Italia immaginata: Iconografia di una nazione, Marsilio, 2020, Fig. n. 13. Copper engraving, pointillé technique. 448x532 mm. Some small defects, good condition. € 350

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624. Pietro GASPARI. Architectural fantasy with statue of Perseus ca 1771. Elaborate imaginary architectural scenery, skillfully blending ancient ruins and Baroque buildings with Egyptian and Gothic elements, which the Venetian painter and engraver had seen on his travels to France, Italy and Germany. It was included in a series published in Venice in 1771 by Giuseppe Lante. This two print is present at the British Museum, described: View of a ruined classical temple complex, at left a statue of Perseus (?), In the foreground a group of men in conversation. Museum number 1951,0714.132. Etching engraving. 287x422 mm. Trimmed on copper sign and glued onto backing sheets. Slight traces of use, good condition.

â&#x201A;Ź 300

625. Pietro GASPARI. Architectural fantasy with statue of Hercules ca 1771. Elaborate imaginary architectural scenery, skillfully blending ancient ruins and Baroque buildings with Egyptian and Gothic elements, which the Venetian painter and engraver had seen during his travels to France, Italy and Germany. It was included in a series published in Venice in 1771 by Giuseppe Lante. This two print is present at the British Museum, described: Interior of a ruined temple, a large statue of Hercules at right, in the foreground by a waterway are three men. Museum number 1951,0714.136. Etching engraving. 287x422 mm. Trimmed on copper sign and glued onto backing sheets. Small lack on the right margin, otherwise in good condition.

â&#x201A;Ź 350 274

626. Remondini. Specimen for Business Cards Bassano, End of XVIII century. Extremely rare leaflet containing 12 business card models, with refined neo-classical decorations. Remondini 1797, section ‘Mode’ number 974: “Otto Rami per Biglietti da Visita da 8. 9. 10. e 12 per foglio…” Copper engraving printed on strong paper. 220x320 mm. Wide margins. Good conditions.

€ 350

627. Francesco Zuccarelli Scuola veneta del 700. Disegno ad acquarello Refined monochrome watercolor in the manner of the Venetian landscape of the eighteenth century. Four characters shot from behind and a herd are depicted. On the right, an old man bends down to pet a dog. The pen outlines are decisive, the watercolor shading gives depth and movement to the volumes. Bistro and grey watercolor, pen and nk. Illustration in frame with brown ink. Sheet of 270x375 mm.; illustration of 227x324 mm. Laid paper. Marginal foxing. Little stain, good condition.

€ 1500

275

628. Scuola veneta del ‘700. Annunciation Tempera on 125x94 mm oval cardboard. Outline of the oval in gold. Oval inserted in parchment sheet with perforated card with dense floral decoration of 295x210 mm., With triple gold and black border squaring. Traces of use in the margins of the parchment sheet, image in good condition.

€ 600

629. DELLA BELLA, Stefano. Urbis et Arcis Monteriolanae ad Ichonem Gubernatori Artis Pictoria 13 etchings. mm ca. 130x135 mm numbered on the plate. Signed on the lower margin. “Stef Della Bella invent. fecit”. Margins. Good specimen, marginal foxing. Splendid and very rare complete series of the 13 etchings of landscapes and ruins of Rome printed on laid paper in 1818.

€ 600

276

630. DELLA BELLA, Stefano. Varie Figure Splendid and very rare complete series of the 8 etchings of landscapes and ruins of “Varie Figure” printed on laid paper in 1818. 8 etchings. mm ca 195x157 numbered on the plate. Signed on the lower: “Stef. della Bella florentinus fecit” and “Ciatres excud. cum Privi Regis”. Margins. Good copy, marginal foxing.

€ 300

631. DELLA BELLA, Stefano. Varij Capriccij Militarij Splendid and very rare complete series of the 6 etchings of landscapes and ruins of “Varij Capriccij Militarij” printed on laid paper in 1818. 6 etchings. mm. ca. 92x143 numbered on the plate. Signed on the lower: “S.D. la Bella fecit” and “F.L.D. Ciartres excud. Cum Privil. Regis”. Margins. Good condition, marginal foxing.

€ 300

277

632. DELLA BELLA, Stefano, da. Paesaggi con mulini 4 etchings, mm. ca 112x205 numbered on the plate. Signed on the lower: “Stef della Bella inv. Colignon fecit”. Margins. Good condition, marginal foxing. 4 Acquaforti. mm ca 112 x205 numerate sulla lastra 1-4, Firmate in basso: “Stef della Bella inv. Colignon fecit”. Margini. Buon esemplare, foxing marginale.

€ 300

633. DELLA BELLA, Stefano, da. Paesaggi con navi 4 etchings, mm. ca 112x210 numbered on the plate. Signed on the lower: “Stef della Bella inv. Colignon fecit”. Margins. Good condition, marginal foxing. 4 Acquaforti. mm ca 112 x210 numerate sulla lastra 1-4, Firmate in basso:“Stef della Bella inv. Colignon fecit”. Margini. Buon esemplare, foxing marginale.

€ 300

278

634. DELLA BELLA, Stefano, da. Paesaggi di Marina Splendid and very rare complete series of 8 etchings of marine landscapes dedicated to the Most Serene Prince Lorenzo of Tuscany, printed on laid paper in 1818, depicting the port of Livorno, the docking of ships in the open sea and other maritime scenes. The plates were engraved by François Colignon by Stefano della Bella. State III/3. De Vesme p. 212-213". 8 etchings, mm. ca 125x205 numbered on the plate. Signed on the lower: “S.B” and “F.L.D. Ciartres excud. Cum Priv.” Margins. Good condition, marginal foxing.

€ 600

635. DELLA BELLA, Stefano. Diversi Animali Fattii Splendid and very rare complete series of the 25 animal etchings, printed on laid paper in 1818. Third state (of three). Della Bella engraved the animals while having access to the Medici menageries in Florence, Italy and those of the King of France in Paris. The menageries from hunting places for the nobility soon turned into veritable zoological gardens where exotic species, such as elephants, could also be observed. 25 etchings, mm. ca 85x110 numbered on the plate. Signed on the lower: “Stef. della Bella fecit” and “Cum Privilegio.”. Margins. Good condition, marginal foxing.

€ 400

279

636. DELLA BELLA, Stefano. Ornamenti di Fregi Splendid and extremely rare complete series of the 16 etchings of the Ornaments of Friezes, printed on laid paper in 1818. The series, performed by Della Bella in 1648 during his stay in Paris, is dedicated to the Medici family. De Vesme-Massar, 1971. 16 etchings. State VI/VI, mm. ca 85x252, different measures numbered on plate. Signed on the lower: S. D. della Bella inv. e fecit” and “Cum Privil regis.” Margins. Good condition, marginal foxing.

€ 600

637. DELLA BELLA, Stefano. Raccolta di Varii Cappricii Unito a: Recueil de divers Caprices A Paris, Chez Pierre Mariette le Fils, 1646. Alexandre de Vesme, Phyllis D. Massar Stefano della Bella. Catalogue Raisonné. New York, 1971, cat. no. 72.140 Splendid and very rare complete series of the 30 Capricci, printed on laid paper in 1818. 30 etchings. State IV/IV, mm. ca 85x252 of different measures numbered o the plate: the first part 1-18 signed:“Stef. Della Bella in. fecit” and “FLD il Ciatres excud. Cum Privil Regis Chrif”; the second part 1-12, signed: “Invenit F. Collignon fecit.” amd “Mariette excud. Cum Privil. Regis”. Margins. Good condition, marginal foxing.

€ 800

280

638. DELLA BELLA, Stefano. Principii del Disegno Splendid and very rare complete series of the 25 etchings of the Principii del Disegno, printed on laid paper in 1818. 25 etchings. State III/III, mm. ca 136x160, different measures numbered on the plate. Signed on the lower: “S. D. della Bella inv. e fecit” and “Avec privilege du Roy.” Margins. Good condition, marginal foxing.

€ 500

639. DELLA BELLA, Stefano. 1) Frontespizio de Recueil de quarante griffonnements et epreuves d’eau forte. 1646. Acquaforte, mm. 75x84. Firmata in basso a sx: SB. fec. Stato II/II. Buono stato di conservazione. 2) Vergine con Bambino e San Giovanni Battista e Santa Elisabetta. 1641. Acquaforte, mm. 172x155 l’inciso. Stato II/II. Buono stato di conservazione.

€ 300

281

640. DELLA BELLA, Stefano. Putto e piccolo satiro che giuocano con una capra Acquaforte. mm 225x244. Foglio: 358x262. De Vesme/Massar, 102.Firmata sulla lastra in basso "Steph. de la Bella Inven. et Sculpsit". Bellissima impressione nel II stato su 2 dopo la comparsa della lettera, su carta bianca non vergellata databile all'inizio del secolo XIX. Applicata per due punti in alto a passepartout moderno. Margini laterali di 8 mm, ampi in alto (70 mm) e in basso (55 mm). Ottimo stato di conservazione.

€ 300

641. DELLA BELLA, Stefano. La famiglia di Satiri in marcia 1657. Acquaforte, mm. 224x224 l’inciso. Firmato in basso a sx e dx: Steph. De la Bella inven. Et Sculpsit. Stato II/II. Leggere fioriture ai margini dell’illustrazione. Bell’esemplare. De Vesme, Massar 103.

€ 300

282

642. DELLA BELLA, Stefano. La roccia dei filosofi o il Monte Parnaso 1655. Secondo De Vesme questa incisione fu ideata come ornamento ad una tesi dedicata nel 1661 al papa Alessandro VII. La conformazione della montagna richiama infatti lo stemma, con i monti sovrapposti, della famiglia Chigi, a cui apparteneva appunto Alessandro VII. De Vesme/Massar, 66-333. Acquaforte. mm 279x223. Firmato in basso al centro: S. D. Bella. Ampi margini. Fioriture ai margini. Stato II/II. Buono stato di conservazione.

€ 300

643. DELLA BELLA, Stefano. Le Florentin à la chasse 1654. Acquaforte, mm. 183x269. Firmato in basso a sx: SBella. In basso a dx: a Paris ches Bason. Al centro il titolo dell’opera: Le Florentin à la Chasse. Stato II/II. Leggere fioriture. Buono stato di conservazione. De Vesme, 115. 742iii.

€ 400

283

644. DELLA BELLA, Stefano. 1) Due teste di cavalli. 1641. Acquaforte, 115x150 mm. Firma in basso a dx: SBella. Buono stato di conservazione. 2) Teste di due leoni e una leonessa. 1641. Acquaforte, 110x155 mm. Firma in basso a sx: Stella Della Bella fecit. Buono stato di conservazione. Splendide incisioni provenienti dall’opera “Tétes de différents animaux”.

€ 200

645. DELLA BELLA, Stefano. 1) Teste di tre cammelli. 1641. Acquaforte, 120x150 mm. Firma in basso a sx: Stella Della Bella fecit. Buono stato di conservazione. 2) Testa di due cammelli. 1641. Acquaforte, 124x150 mm. Firma in basso a sx: Stel Della Bella fecit. Buono stato di conservazione.

Splendide incisioni provenienti dall’opera “Tétes de différents animaux”. De V. 113.727; Talbierska 59.26ii/vi

€ 200

284

646. DELLA BELLA, Stefano. 1) Riposo nella fuga in Egitto. 1641. Acquaforte, 177x150 mm. In basso a sx: Stef. De la Bella fecit. Buono stato di conservazione. Stampa raffigurante il riposo durante la fuga in Egitto della sacra famiglia: sulla sinistra dell'immagine la Madonna seduta allatta il Bambino mentre sulla destra, seduto a terra, Giuseppe è intento a leggere un libro. De Vesme/Massar 48.17.ii. 2) Studio di teste maschili e una femminile. Acquaforte, 140x38 mm. Buono stato di conservazione. 3) Testa di satiro. Acquaforte, 50x68 mm. Buono stato di conservazione.

€ 300

647. DELLA BELLA, Stefano. 1) Fuga in Egitto. Acquaforte, 137x120 mm. Firma in basso a sx: Stef. De la Bella fecit. Buono stato di conservazione. 2) Imbarcazione e figure sulla riva. Acquaforte, 123x70 mm. Firma in basso a sx: S. D. Bella in. et fe. In basso a dx: Israel ex. Cum privil. Regis. Buono stato di conservazione. 3) Studio di volti e profili. Acquaforte, 78x82 mm. Buono stato di conservazione. Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300 285

648. DELLA BELLA, Stefano. 1) Tre bambini che reggono un vassoio. c. 1638. Acquaforte, 130x160 mm. Firma in basso a sx: Guidus Renus Bononiensis invent. In basso al centro: S.D. Bella fecit. Buono stato di conservazione. 2) Cinque teste di bambino. Acquaforte, 122x25 mm. In basso al centro: SB. f. Buono stato di conservazione. De Vesme/Massar 97.410 3) Satiro con donna e bambino. Acquaforte, 90x65 mm. In basso a sx: SB. fec. Buono stato di conservazione. Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300

649. DELLA BELLA, Stefano. 1) Tre volti di uomini barbuti. Acquaforte, 136x85 mm. Buono stato di conservazione. 2) Riposo durante la fuga in Egitto. 1641 ca. Acquaforte, 130x82 mm. In basso a sx: Stef. De la Bella fecit. Buono stato di conservazione. 3) Donna di tre-quarti vista di spalle. Acquaforte, 111x81 mm. In basso a sx: SDB. fec. Buono stato di conservazione. Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300 286

650. DELLA BELLA, Stefano. 1) Profilo di giovane. Acquaforte, 64x85 mm. In basso a sx: SDB. fec. Buono stato di conservazione. 2) Profilo di anziano. Acquaforte, 64x85 mm. In basso a dx: SDBella fec. Buono stato di conservazione. 3) Gruppo di uomini e volto di profilo con elmo. Acquaforte, 117x47 mm. In basso a sx: SDB. f. Buono stato di conservazione. 4) Testa di donna di profilo entro ovale. Acquaforte, 81x64 mm. In basso a sx: SDB. fec. Buono stato di conservazione. Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300

651. DELLA BELLA, Stefano. 1) Studio di orecchi e di labbra. Acquaforte, 110x114 mm. Buono stato di conservazione. 2) Testa di cammello di profilo. Acquaforte, 84x80 mm. In basso a dx: SDB f. Buono stato di conservazione. 3) Gruppo di anziani con bastoni e giovani madri. Acquaforte, 55x53 mm. In basso a sx: SDB fec. Buono stato di conservazione.

Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte” e da “Livre pour apprendre à dessiner”.

€ 300 287

652. DELLA BELLA, Stefano. 1) Tre teste di bambino, uno frontale e due di profilo Acquaforte, 139x85 mm. Leggerissime fioriture, buono stato di conservazione. 2) Giovane donna di spalle e particolare della sua acconciatura. Acquaforte, 98x79 mm. In basso a sx: SDB fec. Fioriture. Buono stato di conservazione. 3) Donna e bambino a cavallo Acquaforte, 45x60 mm. In basso a sx: SDB fec. Fioriture. Buono stato di conservazione.

€ 300

653. DELLA BELLA, Stefano. 1) Due teste di bambino di profilo. Acquaforte, 137x85 mm. Leggerissime fioriture, buono stato di conservazione. 2) Volto di profilo e volto di tre quarti con elmo. Acquaforte, 85x65 mm. In basso a sx: SDB f. Leggerissime fioriture, buono stato di conservazione. 3) Profilo di anziana e anziano con barba e turbante. Acquaforte, 42x70 mm. In basso a sx: SDB fec. Leggerissime fioriture, buono stato di conservazione.

Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300

288

654. DELLA BELLA, Stefano. 1) Anziano in estasi. Acquaforte, 63x82 mm. Leggerissime fioriture, buono stato di conservazione. 2) Uomo di profilo con elmo. Acquaforte, 65x86 mm. Leggerissime fioriture, buono stato di conservazione. 3) Donna di profilo con occhi chiusi. Acquaforte, 65x84 mm. In basso a sx: SDB f. Leggerissime fioriture, buono stato di conservazione.

Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300

655. DELLA BELLA, Stefano. 1) Donna di profilo. Acquaforte, 123x95 mm. Leggerissime fioriture, buono stato di conservazione. 2) Uomo con elmo che guarda verso l’alto. Acquaforte, 70x85 mm. Leggerissime fioriture, buono stato di conservazione. 3) Uomo pensieroso con elmo. Acquaforte, 73x66 mm. Leggerissime fioriture, buono stato di conservazione.

Splendide incisioni provenienti dall’opera “Recueil de divers griffonnements et preuves d'eauforte”.

€ 300

289

656. Albrecht ALTDORFER The little spruce 1520-22. Etching with traces of coloring and correction stamp on the reverse, 154x113 mm. Altdorfer's monogram on a slate hanging from a tree branch. Slightly trimmed inside the copper. Pasted on cardboard proof. Good condition. Bartsch 66, Schm. 102, Waldmann 82. Acquaforte con tracce di coloritura e timbro di correzione al verso, 154x113 mm. Monogramma di Altdorfer su di una lavagnetta appesa ad un rametto dell’albero. Leggermente rifilata all’interno del rame. Prova controfondata. Buono stato di conservazione.

€ 500

657. Benedetto MONTAGNA Musical contest between Apollo and Pan 1505-20. Issue of XVIII century. The scene depicts the musical contest between Pan, with a wind instrument, and Apollo who is about to play a violin. Tmolus, judge of the challenge, is seated to the right, facing, while Midas is seen from behind. Renowned engraver whose works testify to his technical ability. Like other contemporary engravers, he was influenced by the manner of Mantegna which he integrated with the study of the more recent Dürer. Most of the drawings refer to his father's works, whose plasticity he tried to reproduce; if at first these attempts are not without roughness and imbalances, the subsequent works are softer and more and more sensitive to the atmosphere, with particular attention to light and shadow. Hind 185.40; B.XIII.344.22; TIB.XXV.2512.035 166x114 mm engraving. At the top right, the engraver's name: Benedict Montagna. Some light spots, good condition.

€ 500 290

658. Nicolas HOGENBERG The Prophet Jeremiah. 1525 [i.e. 1828]. Philadelphia Museum of Art: “The Almighty Appearing to Jeremiah the Prophet Predicting the Fall of Jerusalem. Plate 103 from William Young Ottley, A Collection of 129 Facsimiles of Scarce and Curious Prints, by the Early Masters of the Italian, German, and Flemish Schools (London 1828). … Artist/maker unknown, British. After an engraving by Nicholas Hogenberg, German, c. 1500 - 1539. Published by W. Y. Ottley, London. Hollstein, Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (1). Bartsch, Le Peintre graveur (VII.547.1). Philadelphia Museum of Art, Number 1985-52-4675 Etching. 161x117 mm. Trimmed within the platemark. Inscription lower right: D E C V Iheremias. On a block of stone the author's monogram and the date of creation: N H 1525. Good condition.

€ 300

659. Augustin HIRSCHVOGEL River landscape with five bare spruce trees in the foreground 1549. Rare engraving, German School. A specimen at The Cleveland Museum of Art. Hollstein XIIIA.167.34. Etching. 142x167 mm. Trimmed within the platemark. Signed AHF and dated ‘49’ in the plate. Traces of glue on the verso. Beautiful proof with very light woodworm holes.

€ 300 291

660. Master ES. Saint Michael the Archangel 1450-1467 [tiratura tarda; late issue]. Rare engraving, German School. British Museum: “St Michael; the archangel with raised sword and banner, walking on demons.” Master ES, German engraver and draughtsman, flourished between 1450 and 1467. Lehrs 1908-34 / Geschichte und kritische Katalog des deutschen, niederländischen und französischen Kupferstichs im XV Jahrhundert (II.220.152). British Museum number 1919,0616.18. Etching. 132x91 mm. Trimmed within the platemark. Good condition.

€ 300

661. Augustin HIRSCHVOGEL. Morte di Cleopatra. Death of Cleopatra 1547 [tiratura tarda; late issue]. Rare German School. A nude woman reclining against a tree, holding a snake to her bosom, with a Danube-type landscape in the background. Hollstein / German engravings, etchings and woodcuts c.1400-1700 (63.II). Bartsch / Le Peintre graveur (IX.172.5). British Museum, number E,1.263. Etching. 87 x 146 mm. Trimmed within platemark. Signed AHF and dated ‘47’ in the plate, lower left. Good copy.

€ 300

292

662. REMBRANDT – Francis VIVARES. Mendicanti. Cinque incisioni. Beggars. Five engravings 1738-1780 (c.). Beautiful proofs in reverse of Rembrandt's engravings, by the famous Franco-English artist. British Museum: “Engraver and publisher. b. S.Jean de Bruel de Rouergue 11 July 1709 (according to his self-portrait engraving), to Geneva with his parents in 1711; then at age 18 to London in 1727. Earliest dated print 1738. One of the main links between the French and British print trades. Had a very high reputation in France, where regarded as greatest landscape engraver, and key teacher of the British school of line-engraving (see Regnault-Delalande in the 1798 Basan sale cat. pp.xiv and 189). Death as 'the celebrated landscape engraver' recorded in Gentleman's Magazine, December 1780, p. 590.” New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700; White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (129). Five plates, etching and drypoint. Dimensions plates, 80x55 ca. Trimmed on the platemark. Numbered in upper right: 1, 4, 5, 6, 7. Excluding the n. 6, at the base of image all bear a facsimile of Rembrandt’ signature, and the inscription "F.V. fecit '. Glued to the corners on cardboard. Excellent state of conservation.

€ 250

293

663. REMBRANDT – John SMITH of Chichester. Lotto di due incisioni incollate su unico foglio. Lot of two engravings glued on a single sheet 1770. Beautiful proof in reverse of Rembrandt's engraving. Published in 1770 by John Boydell in the series “A collection of fifty-three prints”. British Museum: “Three oriental figures (Jacob and Laban?); outside porch, with additional figure in doorway; copy in reverse after Rembrandt. 1770 … Although unsigned and bound in the volume of a collection of prints by John and George Smith of Chichester, this print is believed to be made by John alone as there are no other known prints by George after Rembrandt. Printed on the same sheet as 1864,1114.277”. Etching. 144x108 mm. Trimmed on the platemark. Inscription content: Lettered with facsimile signature and date in top left, in reverse: "Rembrandt f 1641". Fine specimen.

Gesù Cristo tra i dottori, Christ disputing with the doctors Beautiful proof in reverse of Rembrandt's engraving. Published in 1770 by John Boydell in the series “A collection of fifty-three prints”. British Museum: “Christ disputing with the doctors; Christ as a young boy standing at centre towards right, three turbaned men seated at right, others listening beyond and at left; copy in reverse after the etching by Rembrandt. 1770 … Printed on the same sheet as 1864,1114.280.”. British Museum, 1864,1114.280; 1864,1114.277. Etching. 124x214 mm. Trimmed on the platemark. Inscription content: Lettered within image in lower right, with facsimile signature and date (in reverse): "Rembrandt f. 1652". Glued to the corners on cardboard. Fine specimen.

€ 250

294

664. BEGA, Cornelis. The Singer 1620-1664. Rare. British Museum: “A standing man singing whilst holding a sheet of paper, a boy and an old man in a fur cap onlooking at right, two other indistinct figures make up the group.” Cornelis Pietersz Bega, or Cornelis Pietersz Begijn (1631/1632 - 27 August 1664) was a Dutch Golden Age painter and engraver. Bega was born, lived and worked in Haarlem and was the son of sculptor and goldsmith Pieter Jansz. Begijn. His mother Maria was the illegitimate daughter of the Haarlem painter Cornelis van Haarlem. He assumed the name Bega when he started working professionally. He was a student of Adriaen van Ostade, and produced genre scenes of similar subjects, typically groups of a few peasant figures, often in interior settings, or fanciful figures. British Museum, number 1848,0205.17. Etching. 110x75 mm. Trimmed within the platemark. Glued to the corners on cardboard. Good specimen.

€ 250

665. REMBRANDT Van Rijn Tre Studi di teste di uomo anziano. Three Studies of Old Men’s Heads. ca. 1630. Very rare. Rijksmuseum: “The old man in these four little etchings has traditionally been identified as Rembrandt’s father, Harmen Gerritsz van Rijn. Whether this is actually the case remains uncertain, but it is striking that Rembrandt made them all in 1630, the year of his father’s death. He depicts the wrinkled skin so precisely that it is possible that he worked directly on the etching plate while his model sat to him.” See, Rembrandt / compiled by Erik Hinterding and Jaco Rutgers, Jaco Rutgers, Erik Hinterding, Ger Luijten, dl. I, p. 89, cat.nr. 59; Rijksmuseum, Object numberRP-P-OB-780. Etching. 105×84 mm. Glued to the corners on cardboard. Fine specimen.

€ 500

295

666. Martin SCHONGAUER - Wenceslaus HOLLAR. Donna con corona di foglie di quercia. Woman with wreath oak leaves 1646. A charming proof of the Czech engraver Wenceslaus Hollar active in England during the 17th century. From an original drawing by the German painter Martin Schongauer, which is often called Martin Schön. . British Museum: “A young woman with long wavy hair standing half-length behind a ledge, directed slightly to right, looking to front, with arms crossed, holding a peony or carnation in her left hand; wearing an oak-branch wreath and bodice with clasps in shape of oak leaves; after Martin Schongauer; first state, before 'Page 271.' added to upper right. 1646.” British Museum, number 1853,0611.222. Etching. 117x88 mm. Trimmed on the platemark. First state. Inscription content: Lettered within design at top left and right with artists' names and date: 'Martin Schõn inu. / [Whollar fecit] / 1646'. In the right corner the Hollar signature has faded, but the date of 1646 can just be read. Glued to the corners on cardboard. Fine specimen.

€ 150

667. Landscape with windmill. XVIII-XIX century. Rare. Scenic and impressive depiction of a windmill that stands out in the foreground on a landscape that recalls the Dutch countryside. The manner recalls the style of Rembrandt and seems to be an interpretation from a different angle of his famous etching of 1641. Not found in the bibliographies consulted. Etching. 105x153 mm. Trimmed on the platemark. Glued on cardboard. Good specimen

€ 300

296

668. REMBRANDT, Harmenszoon van Rijn. Old Woman Sleeping About 1635 â&#x20AC;&#x201C; 1637. A good impression of the only state. Bartsch 350-1(1); New Hollstein Dutch and Flemish (Rembrandt text) 160-1(1); Hollstein Dutch 350-1(1). Etching, 66x51 mm. Trimmed just inside the platemark. Glued to the corners on cardboard. Fine specimen.

â&#x201A;Ź 600

297

669. Giovanni Battista TIEPOLO. Varj Capriccj. Venezia, Giovanni Manfrin, 1785. Splendid copy of Tiepolo's masterpiece, in brilliant impression. It is an outstanding proof: the specimen, in addition to the impressive size of large sheets folded in quires that contain two engravings, with very wide margins that can not occur hardly ever in the copies that have been bound, and besides the good state conservation, it also presents, in addition, the portrait of Tiepolo engraved by Pietro Monaco. Tiepolo began making prints in the 1730s, and the Vari Capricci was his first set of etchings. Having studied in the collections of Anton Maria Zanetti the Elder and Zaccaria Sagredo, this series is a personal response to the prints and drawings of Salvator Rosa and Giovanni Benedetto Castiglione. They generally show groups of figures at rest or in contemplation: pastoral landscapes with soldiers and young boys, a horse and rider with a groom, women and children with goats and other animals. The ancient or Arcadian world is occasionally evoked, with figures set beside tombstones, classical urns and fragments of obelisks. In one print the figure of Death is shown reading from an open book, faced by a group of the living."From about 1742 Zanetti began including the Vari Capricci in his own volume of woodcuts, the Raccolta di Varie Stampe, writing to the Prince of Lichtenstein in 1751 that he had added prints by Tiepolo, '"being of a most spirited and piquant taste and worthy of the highest esteem." The beautiful Neoclassical Title-page, engraved by Giuseppe Maria Da Pian, contains the dedication to Girolamo Manfrin, who gives the name to the edition; follows the portrait of Tiepolo, engraved by Pietro Monaco, then the series of the ten Capricci, one of the highest and most refined expressions of Tiepolo's engraving art, as well as of the graphic production of the eighteenth century Venetian. Succi: “Conosciuta in un unico stato, la serie dei dieci Capricci, incisa verso il 1738-1739, fu pubblicata la prima volta nel 1743 da Anton Maria Zanetti … È da notare che i fogli di Giambattista inseriti nelle edizioni Zanetti sono sempre smarginati … La terza e ultima edizione dei Capricci, che è quella comunemente reperibile, venne pubblicata nel 1785. Essa è preceduta da un frontespizio con la dedica a Girolamo Manfrin. Questa edizione fu quasi certamente promossa dal residente britanni a Venezia John Strange, che aveva acquistato, verso la fine del 1784, dagli eredi Zanetti i rame dei Capricci di cui costoro erano ancora in possesso.” De Vesme 3-12; Rizzi 2938; Succi, pp. 355-365. Per le filigrane cfr. Salamon, Il Canaletto, 1971, n. 7 e 18. Copy in free quires, each quire with two engravings, sheets 346x235 mm. Title-page, portrait of Tiepolo, 10 plates with Caprices, all etched. Etchings in only state. Laid paper with Watermark: "three Crescents and Imperial"; "Shield with three Crescent moons surmounted by a crown”.

€ 18000

298

299

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BADO E MART AUCTIONS with principal office in Padua, VIA S. FRANCESCO 152 and operating office in VIA DEI SONCIN,25, recorded with the Companies’ Register of Padua and Fiscal Code No. IT00773300280 [Company Register Code PD-132682], in carrying out its selling activity, acts as an agent on an exclusive basis in its name but on behalf of each Seller, whose name is registered in the special books held at BADO E MART office pursuant to the Police Regulations. The sales shall be deemed concluded directly between the Seller and the Buyer (hereinafter referred to as the “Buyer”); it follows BADO E MART that undertakes no responsibility except that deriving from its role as agent. The lots are knocked down to the highest bidder. If any dispute arises between two or more bidders, the disputed lot may, at the sole discretion of the Auctioneer, immediately be reoffered and resold. BADO E MART AUCTIONS reserves the right to withdraw any lot in its absolute discretion and without need of any notice. During the auction, the auctioneer in its absolute discretion is entitled to change the order of sale, to join and/or separate any two or more lots. BADO E MART AUCTIONS, moreover, shall also withdraw lots if the bids do not reach the reserve price, as agreed between BADO E MART AUCTIONS and the Seller. The minimum rate by which a bid may be increased is 10% of the minimum starting price, unless otherwise communicated by the Auctioneer. The highest bidder by making its bid undertakes to pay to BADO E MART AUCTIONS the hammer price of the lot plus the Buyer’s Premium due to BADO E MART AUCTIONS plus taxes and other charges applicable to the sale and to the commission. Title to the lots is transferred to the highest bidder only upon full payment of the hammer price and of the commissions referred to in paragraph 7 herein below. The following modalities of payment are accepted: a. by cash up to Euro 3.000; b. by credit card (Visa and Mastercard) in our office. A surcharge of 2% is payable on all payments made by credit card and Paypal; c. by banker’s draft and/or certified non negotiable cheque payable to Antiquariato Librario Bado e Mart s.a.s.; d. by bank transfer headed to Antiquariato Librario Bado e Mart sas IBAN: IT 84 M 03268 12100 0521 4960 4180

300

SWIFT: SELBIT2BXXX EUROPE CIN: M In remittance, the payment shall be deemed made only when BADO E MART AUCTIONS’s bank has confirmed the encashment of the cheque or the receipt of the remittance. The commissions due to BADO E MART AUCTIONS by the Buyer are the following: 23% of the hammer price + 5% on online platforms (Invaluable, LiveAuctioneers) of each lot up to an amount of Euro 100.000,00; 18% of the hammer price on any amount in excess of Euro 100.000,00. LOTS WITH THE SYMBOL K. In Italy the Legislative Decree No. 118/2006 provides a so called “Diritto di Seguito” (artist’s resale right) namely the right of the artist, who created figurative works or manuscripts, during his entire life and the right of his heirs for a period of 70 years from the artist’s death, to receive a payment calculated at a percentage of the sale price of the originals of his works on occasion of subsequent sales of the artist’s works. 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In the event of two identical bids, the bid communicated by the auctioneer shall prevail over the bid made by other bidders. BADO E MART AUCTIONS acts as mere agent of the Sellers and shall not be held liable for the description of the lots in the catalogues, brochures and other publications. Statements in the catalogue or condition reports or any other indication or illustration regarding the lots, are purely statements of opinion and are not to be relied upon as statements of warranty. Before every auction, an exhibition of the lots shall take place in order to allow a trough evaluation of the authenticity, the state of preservation, the provenance and the type and quality of any lot. The exhibition is intended to allow a review of the conservation status and quality of the objects and clear up any errors and / or inaccuracies that may appear in the compilation of the catalog. The descriptions in the catalog can be integrated on request of the customer by delivery of written reports (condition reports). After the award or Bado and Mart Auctions nor the Seller shall be liable for defects related to the state of conservation, for the wrong attribution, authenticity, provenance, weight or lack of quality of the items. Nor Bado and Mart Auctions nor the personnel to Bado and Mart Auctions will release any guarantee of this, except for cases provided by law. Notwithstanding the foregoing, and as provided by mandatory provisions of law any liability for damages either towards Bado and Mart Auctions, that the Seller shall not exceed the amount of the award of the relevant batch. The estimates regarding the possible sale price of each lot are expressed in Euro and are printed under their description in the catalogue and are not inclusive of the commissions payable by the Buyer to Bado and Mart Auctions. Estimates may be subjected to revision at any moment, so that the lots may be offered at the auction at a price different from that indicated in the catalogue. The description of the lots in the catalogue can also be subject to revision by way of appropriate communications to the public during the auction.

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The Buyer shall pay to BADO E MART AUCTIONS the hammer price plus Buyerâ&#x20AC;&#x2122;s Premium within seven working days from the end of the sale. The Buyer may withdrawn the won lots after the total payment, partial payments are not allowed unless otherwise previously agreed in writing with BADO E MART AUCTIONS. In the event of delays in the payment of the hammer price plus commissions by the Buyer, after seven working days from the end of the sale, BADO E MART AUCTIONS, charged to the Buyer the liquidated damages, can proceed: -to take action to get the compulsory enforcement of purchase; -to sell the lot by private treaty, with the right to demand by the Buyer any price differences; - to sell at a later auction to the detriment of the Buyer, retaining as a penalty any advance payments received. -to act only for the recovery of a penalty equal to 23% of the hammer price. The Buyer, after the payment of the hammer price and of the commission, should collect the lots at his own risk and costs within seven days from auction. After this time, BADO E MART AUCTIONS shall not be held liable towards the Buyer with reference to the custody, to any possible deterioration or wear and tear of the lots and will have right to transfer lots which have not been collected at the expense and risk of the Buyer to its office or to private or public warehouse. Bado e Mart Auctions may arrange to have the lots packed, insured and shipped at the express request, expense and risk of the Buyer, upon receipt of the related payment. (H): Lots marked with this symbol, being under a temporary import regime on the Italian territory by a foreign seller, are not subject to any restrictive measure by the Italian legislation. For the other lots, possibly subject to a notification by the State, the Bidders will be required, to comply with all the provisions set forth in Legislative Decree no. 22 January 2004 n. 42 (SO-CALLED "Code of Cultural Heritage"). The export of lots by the Buyers, resident and non-resident in Italy will be governed by that legislation as well as to customs, currency and tax regulations. Bado and Mart Auctions assumes no liability to Bidders regarding possible restrictions on exports of the lots awarded nor for any licenses or permits that the contractor of a lot must obtain under Italian law. The Successful Bidder, in case of exercise of the right of first refusal by the state, can not force Bado and Mart Auctions and / or the Seller any refund of the interest on the price of the auction commission already paid. Any disputes about the attributions given in the catalog and on the quality of the lots awarded will be moved by registered mail with return receipt to be sent no later than 10 days from the award date. In case the complaint proves founded, based on the documentation that in any case will have to be produced under the responsibility and cost of the Buyer, Bado and Mart Auctions, will be held exclusively for the repayment of the sums already received without interest, upon surrender of the sold goods , without any further obligation for damages of any kind. In any case of auctions concerning books, the Buyer shall not be entitled to dispute any damage to bindings, foxing, wormholes, trimmed pages or plates or any other defect affecting the integrity of the text and/or illustrative material, including missing indices of plates, blank pages, insertions, supplements and additions subsequent to the date of publication of the work. Will not be also accepted dispute of any books not described in the catalog. As for Auctions of Drawings, Paintings and Prints and Bado Mart Auctions is not responsible for the works attributed to an artist, a school, a country or a period, as they are given as a guidance purpose and reflect the opinion of our experts. As for auctions of drawings, paintings and prints, porcelains and furniture Bado Mart Auctions is not responsible for works attributed to an artist, a school, a country or a period, defects, damages or losses as they are given for the purpose of orientation and reflects the opinion of our experts. For the auctions containing paintings, porcelains and furniture, Bado and Mart Auctions could ask for the help of a qualified transport courier to ship the lot(s) won. In the event that Bado e Mart Auctions is notified or become aware of a claim by a third party about the ownership or possession or control of one or more lots, it may, in its absolute discretion, retain possession of the lots for such period as it is reasonable for the settlement of the claim. Personal data will be processed in accordance with the 2016/679 European regulation (GPDR). These general conditions of sale shall be deemed accepted entirely and automatically by the sale participants and are available to any person requesting them. Any dispute relating to these general conditions on the auctions shall be submitted to the exclusive jurisdiction of the Foro of Padua and shall be governed by Italian Law, saving Bado e Mart Auctions rights to submit the claim to the Court where the defendant is resident. Please for any request or doubt call 0039 3495909733 or 004987553.

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In vista delle prossime aste, i nostri esperti saranno a disposizione per valutazioni di libri, autografi, stampe, fotografie, monete, medaglie, vini pregiati da collezione, gioielli, orologi, dipinti e disegni antichi.

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Bado e Mart Auctions Palazzo del Podestà – Via dei Soncin, 25 – 35122 Tel. + 39 049 8755317 Cell. +39 335 6107667 info@badoemart.it

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