carlo cesio (14 resultados)

Condición: Good. Three works bound together in three uniform volumes. Folio (37 cm). Complicated collation includes title pages, text, and 105 engraved plates. In brown mottled paste-paper over boards, worn and abraded. Some foxing, especially on title pages and text pages, but good overall. Contemporary ownership inscription on endleaves. Seventh edition of all three works. Preissler's scarce and interesting manual on the principles of drawing is fully illustrated with plates of human figures and landscapes. It also reprionts the important anatomical studies of Carlo Cesio (1626-1686), whose Anatomia dei pittori was first published in 1697. This is essentially a book of anatomy for artists, illustrated with two skeletons and fourteen myologic plates.

leather_bound. Condición: Very Good. Volume in-Folio 38x24 cm. , legatura novecentesca in mezza pelle, cc. 1-Ant.[4] 18 tav.+[4] 18 tav.+[4] 18 tav.+[4] 18 tav.+[2] 16 tav.+[2] 16 tav.+ [1] 12 tav., buono/ottimo stato di conservazione con piccoli difetti e alcune carte con piccole macchioline. Sei diversi frontespizi, antiporta e 116 tavole finemente incise a piena pagina, opera con testo in gotico di grande interesse. Splendida raccolta di incisioni con soggetti vari : paesaggi, anatomia, fiori, putti. 707B. Book.

circa 35 x 24,5 cm. 1 Blatt verso weiss "Thieme-B. VI, 315; Bartsch XXI, 62, 23. Nummer 3 aus der 30 Blätter umfassenden Serie "Galeria nel palazzo Farnese in Roma". Paris sitzt rechts neben einem grossen nach iben schauenden Hund während Merkus herabfliegt und ihm den goldenen Apfel reicht. " - Nur wenig fleckig, meist sauber, auf festem Papier, verso mit kleinem Sammlerstempel.

circa 35 x 24,5 cm. 1 Blatt verso weiss "Thieme-B. VI, 315; Bartsch XXI, 62, 24. Nummer 4 aus der 30 Blätter umfassenden Serie "Galeria nel palazzo Farnese in Roma". Links steht der bocksfüssige Pan neben einer Ziege und einem Baum, an dem seine Panflöte hängt, vom Himmel herab kommt die Jagdgöttin Diana mit ihrem Bogen. " - Nur wenig fleckig, meist sauber, auf festem Papier, verso mit kleinem Sammlerstempel.

Gravure à l'eau forte sans titre (fin XVIIe - début XVIIIe, soit après 1687 et avant 1725)), 53,1 x 26, de Carlo Cesio (1626 -1686) d'après Annibale Carraci (1560 - 1609) représentant deux scènes mythologiques (l'étreinte de Salmacis et d'Hermaphrodite / Pan et Cupidon) en médaillons entourés par des atlantes et des putti. Signatures au dessus du trait inférieur de la gravure "Ann. Carac. Inv" - "C. Cesius del. et sculp." - "Westerhout formis cum Privil. S. Pontificis". N°14 en chiffre arabe dans le coin inférieur de la gravure, pli central. Quatorzième gravure (sur 44) extraite de la série "Galeria nel Palazzo Farnese in Roma.del Sereniss. Duca di Parma etc. dipinta da Annibale Carracci intagliata da Carlo Cesio" dont la première édition par Collignon date de 1657 et qui après la mort de ce dernier en 1687 a été rééditée par le hollandais Arnold van Westerhout, en remplaçant le nom de Collignon par le sien. Les atlantes sont ceux qui entourent la scène de Vénus et Anchise sur la voute du Palais Farnèse à Rome. Quelques rousseurs aux marges. Bon état. PHOTOS NUMERIQUES DISPONIBLES PAR EMAIL SUR SIMPLE DEMANDE-DIGITAL PHOTOGRAPS MAY BE AVAILABLE ON REQUEST Size: 55,4 x 36. Estampes - Gravures - Dessins.

LeatherBound. Condición: NEW. LeatherBound edition. Condition: New. Reprinted from 1780 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 44.

Très belle épreuve à grandes marges sur beau papier vergé filigrané. Bartsch XXI - 3. Épreuve à l'adresse "Vincentius Billy formis Romae". l'estampe a pris uniformément l'eau. 29,6 x 43,3 cm.

Condición: Near fine. First Edition. Oversized folio, 17 1/4 x 12 inches (438 x 304 mm); half title, engraved portrait of Annibale Carracci on frontispiece with tissue guard, rubricated title with large engraved vignette; 10 unnumbered prelim. pages and index, LXXIV pages with wide margins and uncut forty engravings on thirty-three numbered plates -of which 11 are oversized and folding- and over 60 large vignettes and historiated initials. Bound in half calf with orange paper-covered boards, corners bumped, edges and spine rubbed but binding is tight and square, paper supple and clean with only minor discoloration and toning to gutters. [Cicognara 3376; Bartsch XXI, pp. 103-114, nos.21-64]. The superbly engraved plates by Carlo Cesio (1622 - 1682) reproduce the Palazzo Farnese frescoes that Annibale Carracci (1560 - 1609) began in 1597 and completed in 1608 just one year before his death. The frescoes were commissioned by Alessandro Farnese (1468-1549), later Pope Paul III, ostensibly in honor of his niece's nuptials and located on the 'piano nobile' of the family's palace which today hosts the French Embassy in Rome. They depict "The Loves of the Gods" and were greatly admired at the time, and were later considered to reflect a significant change in painting style away from sixteenth century Mannerism in anticipation of the development of Baroque and Classicism in Rome during the seventeenth century. "The important cycle of frescoes, trompe-l'oeil, and architectural framework known as quadratura that make up the barrel-vaulted ceiling of the gallery depict the 'Loves of the Gods,' a sophisticated dialogue between the theme of love and allegorical subjects from antiquity." (Quoted from World Monuments Fund website).

First Edition - Primera edición. Roma, Gio. Jacomo Rossi, s.a. (1680). En gran folio. Medida de las láminas: (desde 485 x 375 a 485 x 750)mm. 16 magníficas láminas grabadas incluyendo la portada, todas plegadas excepto una. [Junto con:] CORTONA, Pietro Berrettini da (inventor). Heroicae virtutis imagines quas Eques Petrus Berrettinus Cortonensis pinxit Florentiæ in ædibus Sereniss. Magni Ducis Hetruriæ in tribus cameris Iovis, Martis, et Veneris. Curâ, & sumptibus Ioannis Iacobi de Rubeis, cum Priuilegio Summi Pontificis conccesso Anno MDCXCI. die 22. Octobris. Roma, Io. Iacob. de Rubeis, s.a. (1691). Medida de las láminas: (desde 485 x 375 a 485 x 800)mm. 25 láminas, 10 de ellas plegadas a gran tamaño, grabadas por Gerardin, Bloemart, Spierre, P. Simon, Iac. Blondeau, C. de la Haye, L. Visscher, etc., sobre dibujos de Cortona. 2 obras en un volumen. En gran folio (485 x 375)mm. Encuadernación del siglo XIX en holandesa con puntas, rozada. -I: Serie completa de 16 láminas, incluyendo portada grabada. Las láminas ilustran los frescos pintados por Pietro da Cortona en la Galería de Eneas, el Palacio Pamphili de la Piazza Navona de Roma, entre 1651 y 1654. El príncipe Camilio Pamphili encargó la realización de las láminas a Carlo Cesio, alumno de Cortona, que fueron publicadas por Rossi en 1680. -II: Serie completa de 25 láminas. Falto de portada tipográfica. Las láminas muestran las decoraciones realizadas entre 1641 y 1647 por Pietro da Cortona en el Palacio Pitti, en Florencia, para el Gran-Duque Fernando II. La decoración, ideada por Francesco Rondinelli, muestra al gobernante ideal en varias etapas de su vida (cada etapa gobernada por un planeta). Muy rara reunión de las dos obras que ilustran los frescos realizados por Cortona para decorar los palacios del Príncipe Panfilio en Roma y Pitti en Florenzia. Pietro Berettini da Cortona (1596-1669) fue un pintor italiano del período inicial del Barroco, conocido fundamentalmente por sus frescos. Se puede decir que representa el máximo exponente del arte decorativo del Barroco pleno, haciendo olvidar a artistas anteriores como Giovanni da San Giovanni y oscureciendo a competidores como Giovanni Lanfranco. En 1633-1639, lleva a cabo por encargo del papa Urbano VIII (Maffeo Barberini) su fresco más famoso: Alegoría de la Divina Providencia (conocida como Gloria de los Barberini), que se encuentra en el techo del gran salón del Palacio de los Barberini, en Roma. Ejemplar limpio. Alguna mancha ocasional, generalmente en el margen o al verso. 485x375mm. (19x14¾").

Folio (226 x 360 mm). (4) pp., 16 engraved plates. Papered spine. Later German edition of this finely engraved instruction book for drawing the human body and anatomy, translated from the popular work of Carlo Cesio (1626-86), "based on Vesalian drawings" (Choulant, p. 37). "His anatomy for artists, 'Cognizione de muscoli del corpo umano per uso del disegno', appeared at Rome in 1697 and in German at Nuremberg in 1706, 1759, and 1780" (Thieme/B.). Cesio, a pupil of Pietro Berettini, lived in Rome, where he "maintained in his own house an academy for artists [. His book] contains sixteen pages of illustrations with explanations, among them five complete muscle-manikins [.] Johann Daniel Preissler published these plates in a German edition at Nuremberg, 1706" (Choulant). Preißler (1666-1737), a member of a Nuremberg artists' dynasty of Bohemian origin, published several such pattern books and is also known for his series of ornamental, Biblical and allegorical engravings. The preface of the later German editions, which were was probably released by Johann Daniel Preissler's son Johann Justin, is dated 1743. - Light waterstain to letterpress introduction, otherwise very well preserved. Rare. - Thieme/Becker VI, 316. OCLC 311529078. Cf. Choulant 256. Cicognara 309. Not in Kat. Ornamentstichslg. Berlin.

etching with engraving. 297 x 446 (image). narrow margins. signed in the plate. beige laid paper (11 short tears & 1 small hole at edges entering image, crease in upper left corner, remains of mounting on verso). Likely Third State with name of Vincentius (Vincenzo) Billy as publisher in the plate. St. Andrew is shown kneeling with his arms extended and hands together in prayer, his clothes being stripped from him, surrounded by soldiers (some on horseback) and onlookers. His cross is visible on a hill in the distance on the upper right. The scene is after a fresco by Guido Reni located in the Oratory of St. Andrew in San Gregorio Magno in Rome. This is one of Cesio's major prints. Bartsch 3.

Kein Einband. Condición: Gut bis sehr gut. Estado de la sobrecubierta: Kein Schutzumschlag. Kupferstich-Portrait des Malers Annibale Carracci (1560-1609) von Carlo Cesio (1625-1686). Entstanden um 1650, Text: Anibal Caracci - Pictor Bononiensi Natus Anno. 1560 obyt 1609. Darstellung (27.5 x 18cm) auf Papier (31 x 21.5cm) Copper engraving portrait of the painter Annibale Carracci (1560-1609) by Carlo Cesio (1625-1686). Created around 1650, text: Anibal Caracci - Pictor Bononiensi Natus Anno. 1560 obyt 1609. Image (27.5 x 18cm) on paper (31 x 21.5cm)# Jahr: 1650 Italien Italy Italien Italy Portrait Portrait Portrait, portrait, Annibale Carracci, Kupferstich, copper engraving, Maler, painter, Carlo Cesio, Barock, baroque.

[Mittelfalz, an der rechten oberen Ecke eine kleine Fehlstelle im breiten weißen Rand, am oberen Rand rechts der Mitte eine Feuchtigkeitsspur, knapp in die Darstellung reichend, verso Reste einer ehemaligen Montage, sonst gutes, breitrandiges Exemplar]. Die Identifizierung zu Cesio entnehme ich dem Katalog der Real Academia de Bellas Artes de San Fernando (Inventar-Nr. B-36-050); dort mit Verweis auf Adam Bartsch: Le peintree, Bd. 21, Wien, 1821, S. 107. --------------------------------------------------------------------------------- ------------------------------------------------------------ ------------------------------------------------------------ ------------------- BITTE BEACHTEN: Auf Grund der absurden und irrsinnig teuren staatlichen Regelungen für die Entsorgung der Versandpappen in den nachfolgenden Ländern, kann ich leider nicht mehr liefern nach: Österreich, Griechenland, Polen. Kunden in ÖSTERREICH können sich aber an die einheimische Post wenden, dort unter Alles Post Deutschland. --- PLEASE NOTE: Due to the absurd and insanely expensive government regulations for the disposal of shipping cartons in the following countries, I can unfortunately no longer deliver to: Austria, Greece, Poland. However, customers in AUSTRIA can contact their local post office, there under Alles Post Deutschland.

Kein Einband. Condición: Gut bis sehr gut. Estado de la sobrecubierta: Kein Schutzumschlag. Rechts unten nummeriert mit 22. Links unten etwas wellig.# Zeitraum: 1700-1799 Italien Mythologie Engel Putto.