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Da: TABERNA LIBRARIA - ALAI - ILAB, Pistoia, Italia
Insieme di 2 l.a.f. + buste, affrancate e viaggiate, dirette alla scrittrice Flora Righi Amante. La prima su carta intestata con logo xilografato "Ex Libris Rina Maria Pierazzi. Col vento e contro il vento" 12 righe: "A te Flora un modesto omaggio di chi ti vuol bene". La seconda su carta intestata "Salotto di Cordelia": "A te cara Flora con la tua luminosa anima di artista sai dare conto alla mia poesia . impareggiabile . di bellezza quella tu sei".
Data di pubblicazione: 1840
Da: K Books Ltd ABA ILAB, York, YORKS, Regno Unito
Libro
No Binding. Condizione: Very Good. An original antique engraved portrait. Mounted/matted and ready to frame. Attractive, decorative and unusual. C. 1840.
Editore: Canova, Treviso, 1973
Da: Studio Di Raimondo, ROMA, RM, Italia
Presentazione di Luigi Grassi. Ristampa anastatica con ampio commento dell'edizione pubblicata a Firenze, da Ronardi, nel 1652. Tiratura di 700 esemplari. Ottimo esemplare. Similpelle editoriale, sovraccoperta (strappetti marginali senza mancanze). Pagine: pp. CXLIV-144-(16)-420. Formato: 8vo Peso: 1000.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,7x37,5 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,5x37,5 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,5x37,5 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,5x37,5 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,5x37,8 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Un minuscolo foro di tarlo nell'angolo superiore destro, peraltro ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,5x37,5 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,7x38 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 26x38 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Roma, 1741
Da: Libreria Ex Libris ALAI-ILAB/LILA member, Roma, Italia
Mappa Prima edizione
Incisione originale su rame (cm. 25,6x37,5 più margini bianchi) tratta dalle rarissime 'Tabulae anatomicae' stampate in prima edizione da Antonio De Rossi ed illustrate con note da Gaetano Petrioli. Carta vergellata con filigrana. Ottimo stato di conservazione.
Editore: Rome J.J. de Rubeis 1690., 1690
Prima edizione
Hardcover. Condizione: Very Good. 1st Edition. Two rare suites of engravings depicting Pietro da Cortona s celebrated frescoes in the salone of Palazzo Barberini and the Pitti Palace, then the residence of the Duke of Etro.
Editore: Firenze, Giovanni Antonio Bonardi, Firenze, 1652
Da: Libreria Alberto Govi di F. Govi Sas, Modena, Italia
Condizione: Buono (Good). THE BAROQUE ART MANIFESTO 4to (200x144 mm). [16], 420, [4] pp. Collation: ?-??4 A-Ee4 Fff6 [?]2. Jesuits' emblem on title page. Woodcut headpieces and initials. Later stiff vellum with inked title on spine. Faded manuscript note and small stamp of the Albani library at the bottom of the title page. Small tear anciently repaired on title page not affecting the text, some light staining and foxing. FIRST EDITION, in the issue with the rare added four pages containing a note of the typographer on the reception of the book (Lo stampatore dopo alcune copie pubblicate del Libro) and a letter in praise of the work, dated May 13, 1652, from the painter Giovanni Francesco Barbieri, called Guercino, which was printed separately and inserted only in a few copies, of this milestone treatise on Baroque painting and sculpture, written together by a Jesuit theologian and a painter. The authors appear in the title with the anagrams Odomenegico Lelonotti and Britio Prenetteri. They provide both a description and a justification of Baroque aesthetics. Emphasizing the importance accorded to image over word and the salvific value of art, Ottonelli points out the theological path towards salvation, while Pietro da Cortona brings his technical skills into play and provides artistic examples to illustrate this path. The very professional role of the two authors perfectly synthesizes the spirit of Baroque, which, in accordance with Counter-Reformation dictates, combines a high religious and moral purpose with the expressiveness and sensuality derived from a genuine cult of the image. This apparently extravagant collaboration between a theologian and a painter should actually be framed in the broader context of the artistic patronage of the time and the role played in it by the Jesuits. The latter were indeed at the center of the cultural life of the seventeenth century, but due to a chronic lack of money they were constantly in search of rich patrons in order to have their churches built and decorated. Just as the Jesuit Gian Paolo Oliva was one of Gian Lorenzo Bernini's closest and most influential friends, so Ottonelli played an important role in Pietro da Cortona's artistic career, for it was he who got him the commission to paint Palazzo Barberini. Giovanni Domenico Ottonelli, a native of Fanano in the Apennines of Modena, entered the novitiate in 1603. He taught rhetoric, was rector in Recanati and Fermo, and from 1640 to his death was director of the Marian Congregation of the artists in Florence. Among his many works is an important treatise on theater, Della cristiana moderatione del theatro (Florence, 1616-49). He died in Florence in 1670. Pietro Berrettini, known as Pietro da Cortona after the name of his hometown, was one of the leading Italian painters and architects of the Baroque period. Active especially during the pontificate of Urban VIII, he designed Castel Gandolfo and was involved in the work of the churches of Santi Luca e Martina, Santa Maria della Pace, and Santa Maria in Via Lata. Between 1633 and 1639 he was responsible for the frescoes that decorates Palazzo Barberini. He was also the author of valuable anatomical plates, published only posthumously in 1741. He died in Rome in May 1669. Melzi, II, pp. 264-265; Italian Union Catalogue, IT\ICCU\RMRE\002076; Cicognara, no. 222, De Backer-Sommervogel, VI, col. 12; Schlosser Magnino, 1967, pp. 616-618; G.D. Ottonelli, Trattato della pittura e scultura, uso et abuso loro, 1652, V. Casale, ed., Treviso, 1973.
Data di pubblicazione: 1741
Da: Ursus Rare Books, New York, NY, U.S.A.
Prima edizione
CORTONA, Pietro da. Tabulae Anatomicae a Celeberrimo Pictore Petro Berrettino Cortonesi. Text by Cajetano Petrioli. [4], 84 pp. Illustrated with an engraved plate on title and 27 full-page engraved anatomical plates after Pietro da Cortona. Folio, 405 x 285 mm, bound in contemporary Italian calf. Rome: Antonii de Rubeis, 1741. First Edition. One of the most artistic anatomical atlases ever published. The images were designed by the great Italian painter of the High Baroque period, Pietro da Cortona. "There is no doubt that among Italian painters, he [Pietro da Cortona] must be considered the most influential personality of his generation, and this pre-eminence was recognized by his own contemporaries" (Encyclopedia of World Art XI, 355-56). Cortona's elegant figures echo the style of other Renaissance Baroque artists, however, these studies for the Tabulae Anatomicae stand apart from those of his contemporaries. Cortona prepared the original drawings around the year 1618 when he was barely twenty years old. The original drawings, executed on grey paper in brown ink, were perhaps done as a commission for a work that remained unpublished. They were acquired in the eighteenth-century by the fervent collector Sir William Hamilton, then English Ambassador to the King of Naples, and are preserved today in the medical collection at the University of Glasgow Library. The drawings were not engraved nor published until a hundred years after the artist's death, for the first time in this Roman edition. Cortona placed his classical anatomical figures within and around Renaissance columns, plinths and arches with architectural vignettes in the backgrounds. Additionally, "many of the dissected men hold oval or rectangular medallions- they look like framed mirrors- within which are drawn figures detailing the anatomy of various regions" (Roberts & Tomlinson p. 273). Plates 1 & 4 are signed: "L.C.," who is probably the Urbino painter and copper-engraver Luca Ciamberlano. Pietro da Cortona, born Pietro Berrettini da Cortona, (1596-1669), was particularily celebrated for his frescos and ceilings in the Palazzos Barberini, Pitti and Pamphili. "Cortona's works are the most spectacular achievements of mid-seventeenth-century Italian painting . This [the Gran Salone of the Palazzo Barberini] was the most important commission of the 1630s, and Cortona produced a fresco that is for Roman Baroque painting what Michelangelo's Sistine Ceiling is for Roman High Renaissance painting- the grandest and most complete statement of its aesthetic ideals" (Held & Posner, 17th and 18th Century Art, pp. 107-109). An interesting side note is to be found in the vignette by Pietroli at the lower left of the title-page engraving; it depicts a transfusion from the carotid artery of a lamb into a vein in the left forearm of the recipient man holding the lamb with his right arm. Transfusions from animals to humans began in 1667, but the first transfusions from human to human did not take place until the nineteenth century. Professionally recased with new endpapers, some marginal stains to a few pages, overall, fresh and bright. Moe, The Art of Anatomical Illustration in the Renaissance and Baroque Periods, pp. 77-80. Choulant-Frank pp. 235-39. Garrison Morton 395.2. Heirs of Hippocrates 470. Roberts & Tomlinson pp. 272-279. See: Norman, The Anatomical Plates of Pietro da Cortona, (1986).
Editore: ROME, Typographia Antonii de Rubeis, ROME, 1741
Da: MEDA RIQUIER RARE BOOKS LTD, London, Regno Unito
Condizione: Buono (Good). Book.