Brustolon, Certamen nauticum a Balborum aedibus

Giovan Battista Brustolon, Certamen nauticum a Balborum aedibus ad Rivoalti pontem usque percurrens 1763. Acquaforte. mm 325x465. Foglio: mm 470x640. Succi (Da Carlevarijs ai Tiepolo, 1983)

Pair of Italian Baroque style carved stools or benches in the manner of Andrea Brustolon. Each features four carved figural cherubs supporting carved armrests with scrolled volute ends, above acanthus

Venetian Baroque style highback armchair, in the manner of Andrea Brustolon (Italian, 1662-1732), scrolled crest, embossed leather upholstery, oversized brass tacks, carved walnut frame with recumbent

BRUSTOLON, Giambattista. Nocturna populi exultatio in pervigilio Sancti Petri Apostoli prope limina Patriarcalis Ecclesiae.1763Etching 325x457 mm.From Prospectum Urbis Venetiarum, Venezia, Lodovico Fu

Giovan Battista Brustolon, Dextrorsum Theresiani sinistrorsum S. Simeon Parvus atq: Fullonium. 1763. Acquaforte. mm 325x465. Foglio: 470x640. Succi (Da Carlevarijs ai Tiepolo, 1983) pp. 81-84. Fi

C. 20th Century. A fantastically imaginative Baroque Revival parlor suite in the manner of Venetian sculptor Andrea Brustolon (1662-1732). Suite includes a sofa and bergere, with elaborately carved Cl

Aedibus Costaguti 1777 etching by Dom Cunego entitled Pulchra Veritas et Simplex. Mythologic scene depicting a putti holding cane and fruit along sie a dog in the clouds. 14" x 18".

Venetian polychrome decorated figures of Blackamoors, late 19th century and later elements, in the manner of Andrea Brustolon (Italian 1662-1732), each modeled seated and exuberantly attired on tassel

Italian Renaissance Revival Carved Walnut Desk. Three short drawers, two single door cabinets on either side, parcel gilt accents to carvings, figural supports inspired by Andrea Brustolon. {Approxima

Baroque Carved and Stained Wood Armchair, in the manner of Andrea Brustolon, late 19th century, having reclining children resting on carved branch form arm rests, standing Blackamoor figures raised on

Isocrates, Nuper accurate recognitus, et auctus. Isocrates. Alcidamas. Gorgias. Aristides. Harpocration. (Al colophon:) Venetiis: in aedibus haeredum Aldi Manutii, & Andreae Asulani, 1534. In-folio (m

ARMLEHNSESSEL IM VENEZIANISCHEN STIL Wohl Italien, in der Art des Andrea Brustolon (1662-1732) Nussbaum, teils vollplastisch geschnitzt, dunkel gebeizt. H. 117 cm, B. 93 cm, T. 63 cm. Auf vier Klauenf

ARMLEHNSESSEL IM VENEZIANISCHEN STIL Wohl Italien, in der Art des Andrea Brustolon (1662-1732) Nussbaum, teils vollplastisch geschnitzt, dunkel gebeizt. H. 119 cm, B. 85 cm, T. 60 cm. Auf vier Klauenf

(pair) Venetian Baroque Revival throne armchairs, 19th c., in the manner of Andrea Brustolon (Italy, 1662-1732), raised foliate-carved ears, padded back and seat in damask upholstery, scrolling foliat

EARLY POCKET SIZE ALDINE EDITION OF VALERIUS MAXIMUS' DEEDS AND SAYINGS Valerius Maximus. Exempla quatuor et viginti nuper inuenta ante caput de ominibus. Venetiis, in aedibus Aldi et Andreae soceri,

AMMONIUS, Alexandrinus. Quatuor Euangeliorum consonantia, ab Ammonio Alexandrino congesta, ac a Victore Capuano episcopo translata. Coloniae, ex aedibus Eucharij Ceruicorni, 153216mo, 145X102 mm; Lega

AMMONIUS, Alexandrinus. Quatuor Euangeliorum consonantia, ab Ammonio Alexandrino congesta, ac a Victore Capuano episcopo translata. Coloniae, ex aedibus Eucharij Ceruicorni, 1532 16mo, 145X102 mm; Leg

CYPRIAN. D.CAECILII CYPRIANI CARTHAGINIENSIS EPISCOPL TOTIUS AFRICAE PRIMATIS & GLORIOSISSIMI MARTYRIS OPERA. Antverpiae: In aedibus Petri Belleri, subscuta Burgundiae. 1589 Three volumes bound in one

1528 Edition of "Macrobius", Beautifully Bound "Macrobius Ambrosius Aurelius Theodosius: In Somnium Scipionis ex Ciceronis VI Libro de Rep. Eruditissima Explanatio." Venice: in Aedibus Aldi & Andr

Silius Italicus, Caius. DE BELLO PUNICO SECUNDO XVII LIBRI NUPER DILIGENTISSIME CASTIGATI. Venice: Aedibus Aldi, July, 1523. 6" x 3.75". 210, [2] leaves. With Aldine woodcut device to title and final

Raphael (Italian, 1483-1520): from Raphael Santivs pinx in Aedibus Vaticanis, Pair of Prints dedicated to Pio Sxto Pont Max ,engraving, c.1775, unframed. Raphael was one of, if not the, most renowned

[ANTIQUARIAN BOOK], [VELLUM] HESIOD, ASCRAEI OPERA ET DIES; THEOGONIA, SCUTUM HERCULIS. Omia vero cum multis optimisque expositionibus. Venice: in aedibus Bartholomaei Zanetti, 1537. 8vo. Full vellum.

After Raphael (Italian 1483-1520): from Raphael Santivs pinx in Aedibus Vaticanis, dedicated to Pio Sxto Pont Max, engraving, c.1775, framed. Dimensions: 24.5 x 31.5" paper; 28.25 x 35.5" frame. Rapha

Raphael (Italian, 1483-1520): from Raphael Santivs pinx in Aedibus Vaticanis, dedicated to Pio Sxto Pont Max ,engraving, c.1775, framed. Dimensions: 24.5 x 31.5" paper; 28.25 x 35.5" frame. Raphael wa