Lot 0397

Peri (Giovanni Domenico) - Fiesole Distrutta,

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Giovanni Domenico Tiepolo (Venice 1727-1804) The Gathering of Manna: Giovanni Domenico Tiepolo (Venice 1727-1804) The Gathering of Manna signed 'D** Tiepolo' (lower centre) pencil, brown pen, ink and wash on paper 27.2 x 38.2cm (10 11/16 x 15 1/16in). Footnotes:<

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GIOVANNI DOMENICO MOLINARI: (Caresana, 1721 - Torino, 1793) Bozzetto raffigurante la Madonna in gloria con la Trinità e Santi Olio su tela, cm 86,5X61 Allievo di Carlo Francesco Beaumont presso l'Accademia del disegno a Torino,

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Giovanni Domenico Campiglia (1692-1775): Italian Noblemen: Two Plates: Giovanni Domenico Campiglia (1692-1775): Italian Noblemen: Two Plates Two engravings in black on paper, c. 1750, with labels from James Papalia, NJ. Both 12 1/2 x 8 1/2 in. (sight), 21 1/4 x 17 1/4 in

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Giovanni Domenico Campiglia 1740 - 1768 Engraving: Giovanni Domenico Campiglia. Antique Copper Engraving on laid paper, after the drawing, engraved by Cosmus Colombini (1700 - 1800). 1740 - 1768. Signed in the plate, in ink, lower left and right. Shee

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GIOVANNI DOMENICO CAMPIGLIA (Italian, 1692-1768): Ten copperplate engravings from "Museum Florentinum," 1734 (all framed separately) Publisher: Antonio Francesco Gori 14" x 9" (sight, each)

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Giovanni Domenico Tiepolo Old Master Drawing (Manner): Taro Elders - 10" x 8"

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(6) AFTER GIOVANNI DOMENICO CAMPIGLIA PRINTS: (6) contemporary, decorative reproduction prints after engravings by Giovanni Domenico Campiglia of Classical subjects. Framed by J. Pocker. Dimensions: (Frame) H 20" x W 15.25", (Sight) H 13.5" x W 9

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Giovanni Domenico Tiepolo, Old Man with a Turban: Giovanni Domenico Tiepolo (Italian, 1727-1804). Old Man with a Turban, 1757 (Succi 100). Etching. Collection stamp on the reverse. Measures 5.5 in. high x 4.25 in. wide (with mat 14 in. high x 11 in.

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Engravings after Giovanni Domenico Campiglia: 19th century, 2 of 3 views of the sculpture of Bacchus by Michelangelo c.1496/8 in the Bargello in Florence, plate numbers 51 and 53, engraved by Carol Gregori..light toning, foxing, rippling to paper

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Giovanni Domenico Tiepolo - Joseph Explains his Dreams: Artist: Giovanni Domenico Tiepolo Title: Joseph Explains his Dreams to the Pharoah Year: 19th C. Dimensions: 13in. by 10in. Edition: From the rare limited edition P

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'Cleopatra' Giovanni Domenico Campiglia (Italian, 1692–1768): Italy, 18th century. Giovanni Domenico Campiglia (1692–1768) was an Italian painter and engraver from Florence, active under the patronage of the House of Medici.

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After Tiepolo (Italian, 1727-1804): After Giovanni Domenico Tiepolo (Italian, 1727-1804) "Allegory of Justice" fresco in the Colleoni Chapel, Bergamo, Italy, 1913 oil on academy board signed lower right "F. Mancini" for Francesco Mancin

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Giovanni D. TIEPOLO: Etchings after G. B. Tiepolo: Pair of etchings of "Dwarves and Dogs", drawn by Giovanni Battista Tiepolo (Italian, 1696-1770) and engraved by his son Giovanni Domenico Tiepolo (Italian,1727-1804); signed in plate: "Jo. Bapta Tiepo

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[Legal opinions] Rinaldi, 1698-1699, 4 volumes: FIRST EDITION OF RINALDI'S COLLECTION OF LEGAL OPINIONS ON CIVIL AND CRIMINAL LAW NO COMPLETE COPIES IN USA Rinaldi, Giovanni Domenico. [Vols 1-3:] Io. Dominici Raynaldi […] Observationum criminaliu

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Piemonte - Della Chiesa, Francesco Agostino: Relatione dello Stato presente del Piemonte Torino, per Giovanni Zavatta e Giovanni Domenico Gaiardo, 1635. In 4°. Al frontespizio grande marca xilografica, testatine, finalini e capilettera istoriat

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Group of 15 Classical Copper Etchings: Group of 15 Classical Copper Etchings, 19th century, from original drawings by Giovanni Domenico Campiglia (1692 - 1760), depicting a famous Roman statue of Bacchus, Apollo, Venus, Narcissus, etc., th

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Peri (Giovanni Domenico) - Fiesole Distrutta,

Item Details

Description

second edition, fine etched pictorial title and portrait of the author by Jacques Callot, some staining and spotting, contemporary vellum, red morocco label, this with chip at foot, just touching 1 letter, soiled, small 4to, [Florence], [Zanobi Pignoni], 1621. Scarce. Benesch calls the baroque portrait that accompanies this poem 'the most charming [of the period]'.