brambilla ambrogio (34 risultati)

Loose Leaf. Condizione: New. Reproduction. None. No.

Loose Leaf. Condizione: New. Reproduction. Original title: Temple of Romulus and Remus German: Tempel von Romulus und Remus French: Temple de Romulus et Remus Spanish: Templo de Rómulo y Remus High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1550). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Port of Ostia German: Hafen von Ostia French: Port d'Ostia Spanish: Puerto de Ostia High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 17th century (1602). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Interior of an amphitheatre German: Innenausstattung eines Amphitheaters French: Intérieur d'un amphithéâtre Spanish: Interior de un anfiteatro High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1550). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Lateran Obelisk on Piazza di San Giovanni in Laterano in Rome German: Lateran Obelisk auf der Piazza di San Giovanni in Laterano in Rom French: Latran Obélisk sur la Piazza di San Giovanni à Laterano à Rome Spanish: Obelisco de Letrán en Piazza di San Giovanni en Laterano en Roma High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1589). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Portrait of Pope Sixtus V German: Porträt von Papst Sixtus V. French: Portrait du Pape Sixtus V Spanish: Retrato del Papa Sixto V High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1589). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Castrum Praetorium in Rome German: Castrum Praetorium in Rom French: Castrum Praetorium à Rome Spanish: Castrum Praetorium en Roma High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1553). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Theatre of Marcellus in Rome German: Theater von Marcellus in Rom French: Théâtre de Marcellus à Rome Spanish: Teatro de Marcelo en Roma High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1550). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Cortile del Belvedere German: Cortile del Belvedere French: Cortile del Belvedere Spanish: Cortile del Belvedere High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1579). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Roman street vents German: Römische Straßenöffnungen French: Évents de rue romains Spanish: Ventiladores de calles romanas High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1582). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Pantheum Romanum nunc Mariae Cognomento German: Pantheum Romanum nunc Mariae Cognomento French: Pantheum Romanum nunc Mariae Cognomento Spanish: Pantheum Romanum nunc Mariae Cognomento High-quality fine-art reproduction based on an original work from the Ycba. Creation period: 16th century (between 1581 and 1586). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Column of Marcus Aurelius German: Kolumne von Marcus Aurelius French: Colonne de Marc Aurèle Spanish: Columna de Marco Aurelio High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1589). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. Original title: Thermen of Diocletian in Rome German: Thermen von Diokletian in Rom French: Les hommes de Dioclétien à Rome Spanish: Termenes de Diocleciano en Roma High-quality fine-art reproduction based on an original work from the Rijksmuseum. Creation period: 16th century (1560). Professionally printed on premium fine-art paper (Photo Matt Fibre) in size A5. The motif is printed with a white border (museum-style presentation). No.

Loose Leaf. Condizione: New. Reproduction. None. No.

Loose Leaf. Condizione: New. Reproduction. None. No.

Hardcover. Condizione: Fine. FIRST STATE of three. Etched by Ambrogio Brambilla (active 1579-99) after his own drawing. Signed and dated in the plate "Io. Ambr. Bram. Inv et fe. 1579". Published by Claudio Duchetti, whose name appears at the foot of the plate. Two other states were printed (in the 17th c.). The second state (1602) bore the address of Giovanni Orlandi, which in the third state (printed ca. 1614) was abraded and replaced by that of Hendrick van Schoel. A fine copy of this marvelous print showing the spectacular fireworks display (la girandola) at Rome's Castel Sant'Angelo in 1579 on the feast day of Saints Peter and Paul during the pontificate of Gregory XIII (1572-1585).The scene is shown from a vantage point of an onlooker in what is now the Tor di Nona neighborhood on the near side of the Ponte Sant'Angelo. This is probably the earliest print depicting this event. From the fifteenth well into the nineteenth century, the Girandola at the Castel Sant'Angelo was Rome's most famous fireworks display. Two elements make it immediately recognizable: the massive cylinder of the castle and the explosion of rockets. The first documented exhibition of fireworks in Rome took place in 1410, but it was only in 1471, at the coronation of Sixtus IV, that fireworks began to be set off at the Castel Sant'Angelo, the fortress-like structure originally built as Hadrian's mausoleum. The earliest published description of the Girandola was in 1540, in Vannoccio Biringuccio's Pirotechnia: "They make use of the whole castle, which is indeed a very pleasing shape. They shoot many rockets that are a palmo [about nine inches] long and hold three to four ounces of powder each. These are constructed so that after they have moved upward with a long tail and seem to be finished they burst and each one sends forth anew six or eight rockets. Fire tubes are also made and small girandolas, flames, and lights, and even the coat of arms of the pope is composed in fire." The etching by Brambilla, probably the earliest print of the Girandola, has an inscription describing the order of events, as enthusiastic as it is lengthy. It reports that "all the windows, bell towers, and balconies of the city are illuminated." At a sign from the papal palace the Girandola begins with mortars and artillery "such that the whole city trembles"; when the rockets are unleashed, "it seems as if the sky has opened, and that all the stars are falling to earth, a truly stupendous thing and most marvelous to see." This extraordinary sight was recreated every year at Easter and on June 28, the eve of the feast of Saints Peter and Paul, as well as for the election and coronation of a new pope. The Girandola remained a high point on the itinerary of visitors to Rome until the late 1800s, when it was feared that continuing the explosions could do irreparable damage to the fabric of the building. Many nineteenth-century English writers described it. Charles Dickens, in 1845, wrote not only of the spectacle but also of the aftermath: "The show began with a tremendous discharge of cannon; and then, for twenty minutes, or half an hour, the whole castle was one incessant sheet of fire, and labyrinth of blazing wheels of every color, size, and speed. In half an hour afterwards, the immense concourse had dispersed; the moon was looking calmly down upon her wrinkled image in the river, and half a dozen men and boys, with bits of lighted candle in their hands, moving here and there, in search of anything worth having, that might have been dropped in the press, had the whole scene to themselves."(Suzanne Boorsch: Fireworks! Four Centuries of Pyrotechnics in Prints and Drawings, New York, Metropolitan Museum, 2000, exhibition cat., p 38-39) Among the features labeled in the print is the "Luogo di Giustizia", a place for executions. In other prints showing this structure, heads on stakes and bodies swinging from the gallows can be seen. Between the smell of the rotting heads and the odors emanating from the fish market (also shown), t.

Incisione in rame di 430 x 540 mm alla battuta, su foglio di 460 X 575 mm. In alto l'iscrizione "Il piacevole e nuovo giuoco novamente trovato detto Pela il Chiù". Gioco di 56 caselle non numerate disposte in due ellissi. Ogni casella presenta una figura ed una combinazione di dadi. Le combinazioni vincenti o perdenti sono indicate con le sigle P (paga), T (tira). La sigla Q (quattrini) indica la posta da pagare o tirare. Agli angoli in alto a sinistra: "Questo foglio il bel gioco t'apresenta / Di pela il Chiù venuto in luce adesso / Col qual si fugir l'otio ti talenta / Ti potrai tratener tal hor con esso / Ma qui non ti pensar che si consenta / Giocar per vitio che no(n) te concesso / Ma s'il tempo utilme(n)te spende voi / Gioca per spasso e tira se tu poi."; in basso a sinistra: "Con sei quattrini un pezzo alegramente / Poi stare, e tener un spasso d'eccelenza / Ma perchè sappi il tutto intieramente / Del gioco ti dirò la continenza / Prima piglia tre dadi et habbi mente / Al ponto che frarai con diligenza / E come quel ch'ai fatto haverai notato / Cerca quel ponto attorno a quest'ovato."; in alto a destra: "Come hai trovato il punto che fatt'hai / Guarda quella figura di diritto / E second'essa ti governerai / Per che quel ch'ai a far troverai scritto / E s' haverai da tirar, tu tirerai. / S'hai da giontar anchor starai al ditto / Chi T. tira vuol dir. P. paga o gionta / E Q. quatrini il numero poi si conta"; in basso a destra: "Quei che nel fine il ponto scontrarano / Come a farina tirano i denari / Con l'honoranza e quei che più farano / Giontano sin che al numero sien pari; / E la meta le riffe tireranno. / Del gioco sempre e acciò che siate chiari / La riffa de diciotto l'altre avanza / Tira ogni cosa et anco l'honoranza. Ambrogio Brambilla incise la matrice in rame nel 1589 per l'editore Giovan Battista di Lazzaro Panzera di Parma, attivo a Roma negli ultimi anni del Cinquecento (cfr. un esemplare della tiratura originale conservato al British Museum, REG. 1869,0410.2460). Il rame venne poi ristampato durante tutto il Seicento dai De Rossi a Roma, che tolsero il nome di Panzera ma lasciarono il monogramma di Brambilla. Il gioco inventato da Brambilla fu copiato subito da altri editori italiani e servì da modello per la produzione sei-settecentesca italiana del Gioco del Pela il Chiù. Di conseguenza tutte le caselle relative alle diverse combinazioni che danno luogo a vincite e perdite rimasero fondamentalmente le stesse, con poche varianti. (Alberto Milano. Giochi da salotto, 2012). Il gioco è elencato nel magazzino di Vaccari del 1614 come 'Il giuco del gioco Chiù', insieme ad un piccolo gruppo di altri giochi, tra cui la famosa 'Oca' (Ehrle, 1908, p. 62). Essa appare anche nell'inventario De Rossi del 1648 che documenta la divisione dell'eredità da Giuseppe de Rossi l'anziano (Consagra, 1993, p.512). Evidentemente rimase popolare, perché nel Settecento esistevano ancora tavole (Bertarelli). Il linguaggio delle iscrizioni indica una fonte nell'Italia nordorientale. Questo esempio ha l'indirizzo di Giovanni Battista Panzera, un incisore e stampatore di Parma che aveva acquistato nel Borgo di Roma. Alcune opere di Brambilla portano il suo indirizzo. Forse a causa dei suoi contatti nel nord dell'Italia. Michael Bury, 'The Print in Italy 1550-1620'). Ambrogio Brambilla (active 1579-1599) fu un incisore e cartografo italiano principalmente attivo a Roma. (EN) Copper engraving measuring 430 x 540 mm at the stroke, on a sheet measuring 460 x 575 mm. At the top is the inscription "The pleasant and new game newly discovered called Pela il Chiù". Game of 56 unnumbered boxes arranged in two ellipses. Each box presents a figure and a combination of dice. The winning or losing combinations are indicated by the initials P (pay), T (throw). The initials Q (money) indicate the stake to be paid or drawn. At the top left corners: "This sheet presents to you the beautiful game / Of pela il Chiù which has just come to light / With which you can escape idleness / You can spend some time with it / But here do not think that it is permitted / To play for vice that is not granted to you / But if you spend your time usefully / Play for fun and then throw if you like."; bottom left: "With six farthings a piece cheerfully / Then stay, and have a great time / But so that you know everything completely / I will tell you the continence of the game / First take three dice and pay attention / To the point that you will break with diligence / And as you have noted what you have done / Look for that point around this oval."; top right: "As you have found the point that you have made / Look at that figure of law / And according to it you will govern yourself / Because what you have to do you will find written / And if you have to throw, you will throw. / If you have to play again you will stay on the finger / Who T. throws means. P. pays or plays / And Q. farthings the number is then counted"; bottom right: "Those who at the end will clash / Like money in flour / With honor and those who will do more / Join until the number is even; / And the raffles will draw half. / Always of the game and so that you are clear / The raffle of eighteen is ahead of the others / It draws everything and even honor. Ambrogio Brambilla engraved the copperplate in 1589 for the publisher Giovan Battista di Lazzaro Panzera of Parma, active in Rome in the last years of the sixteenth century (see an example of the original print run preserved in the British Museum, REG. 1869,0410.2460). The copperplate was then reprinted throughout the seventeenth century by De Rossi in Rome, who removed Panzera's name but left Brambilla's monogram. The game invented by Brambilla was immediately copied by other Italian publishers and served as a model for the seventeenth-eighteenth-century Italian production of the Gioco del Pela il Chiù. Consequently, all the boxes relating to the different combinations that give rise to wins and losses remained fundame.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1544 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 63 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: 63 Volume 5 Language: Italian.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1544 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 105 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: 105 Volume 1 Language: Italian.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1544 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 94 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: 94 Volume 2 Language: Italian.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1544 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 135 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: 135 Volume 4 Language: Italian.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1544 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. 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. Pages: 129 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: 129 Volume 3 Language: Italian.

Pianta planimetrico prospettica della città di Parma incisa da Ambrogio Brambilla per l'editore Marcello Clodio. Il titolo corre lungo la parte superiore dell'incisone per tutta la sua ampiezza. Nella parte inferiore, su dieci colonne, troviamo 79 rimandi ai luoghi notabili. L'opera segue il modello introdotto dal disegno di Paolo Bolzoni (1572), che sarà riferimento per tutta la produzione successiva sino al XVIII secolo. Allo stesso tempo il modello cartografico del Bolzoni è da ricondursi ad dipinto su pergamena, databile al 1570 ca, che era conservato presso la Biblioteca Palatina, il quale andò distrutto nei bombardamenti del 1944. Di quest'ultimo se ne ha però contezza grazie ad una copia realizzata nel 1875, firmata P. Sottili, conservata presso il Museo Nazionale di Antichità. L'incisione, trattata all'acquaforte e bulino, data alle stampe da Marcello Clodio a Roma, come ipotizzato dal Da Mareto, venne con ogni probabilità realizzata su commissione del Cardinale Alessandro Farnese. Rispetto al disegno del Bolzoni il lavoro del Brambilla presenta un grave errore nell'orientazione della pianta indicando il settentrione in luogo di ponente. Questo errore sarà riproposto anche da autori successivi, si vedano: Florimi agli inizi del XVII secolo, fin anche al Mortier nel XVIII secolo. Autore: Brambilla Ambrogio inc. & Clodio Marcello edit. Luogo: Parma. Anno: 1589. Tecnica: incisione in rame. Dimensioni: 325x449 mm. Rif: Da Mareto 1975: n° 29; Bifolco, Ronca 2018: III, 2286.

Incisione originale su rame (cm. 30x48,5 più ampi margini bianchi). Carta vergellata con filigrana. Esemplare in ottimo stato di conservazione. Imprint in basso al centro: 'Claudij duchetti formis'. Replica, pubblicata da Claude Duchet (Duchetti), dell'edizione lafreriana del 1544. Arrigoni-Bertarelli, n. 1548. Rubach, n. 287. Affascinante veduta della Colonna Traiana con sfondo di case su una linea assai bassa e figure umane. La colonna, inaugurata nel 113 d.C., fu edificata per celebrare la conquista della Dacia da parte dell'Imperatore Traiano. Antoine Lafrery (Antonio Lafreri nella forma italianizzata), incisore, editore e mercante di stampe curò la pubblicazione tra il 1544 ed il 1575 di una serie di circa 200 incisioni - raffiguranti perlopiù monumenti ed antichità romane ed opera di diversi autori - nota come 'Speculum Romanae Magnificentiae'. Le stampe erano poste in vendita sia singolarmente che sotto forma di raccolta con un numero spesso variabile di fogli. Dal 1574 iniziò a circolare anche una tavola-frontespizio dello 'Speculum', attribuita a Etienne Duperac. Successivamente, tra il tardo Cinquecento ed il Settecento, i rami lafreriani conobbero tirature posteriori con l'imprint di vari editori ed il contributo di diversi incisori. Inoltre lo 'Speculum' fu ampliato nel tempo mediante l'aggiunta di altre tavole il cui minimo comune denominatore appare quello di riprodurre opere antiche e moderne di Roma.

Incisione originale su rame (cm. 46x33,7 più ampi margini bianchi). Carta vergellata con filigrana. Esemplare in ottimo stato di conservazione. Imprint: 'Claudij duchetti formis'. Replica, pubblicata da Claude Duchet (Duchetti), dell'edizione lafreriana incisa da Etienne Duperac. Primo stato di due. Rubach, n. 366. Non in Arrigoni-Bertarelli. Affascinante raffigurazione della facciata della Basilica di San Pietro in Vaticano. Antoine Lafrery (Antonio Lafreri nella forma italianizzata), incisore, editore e mercante di stampe curò la pubblicazione tra il 1544 ed il 1575 di una serie di circa 200 incisioni - raffiguranti perlopiù monumenti ed antichità romane ed opera di diversi autori - nota come 'Speculum Romanae Magnificentiae'. Le stampe erano poste in vendita sia singolarmente che sotto forma di raccolta con un numero spesso variabile di fogli. Dal 1574 iniziò a circolare anche una tavola-frontespizio dello 'Speculum', attribuita a Etienne Duperac. Successivamente, tra il tardo Cinquecento ed il Settecento, i rami lafreriani conobbero tirature posteriori con l'imprint di vari editori ed il contributo di diversi incisori. Inoltre lo 'Speculum' fu ampliato nel tempo mediante l'aggiunta di altre tavole il cui minimo comune denominatore appare quello di riprodurre opere antiche e moderne di Roma.

Condizione: ACEPTABLE. Posiblemente el grabado mas importante sobre Toledo. Es el más antiguo, que se conoce, después del de Hoefnagel, publicado en el "Civitates Orbis Terrarum", Estos 2 grabados servirán de modelo a la mayoría de los editados en los siglos XVI y XVII. El publicado por Sebastián Munster en 1626 se basa en este de Brambilla. Preciosa vista a vuelo de pájaro de la ciudad, grabada a buril en talla dulce.En la parte superior escudo real y en la inferior clave de la vista con texto en castellano.Representado el arbolado y la hidrografía. - Edificios en perspectiva caballera. Fue grabado por Brambilla en 1585, pero no se conoce la fecha en que fue realizado por Petri de Noblibus. Blanco y negro, 47x72 cms. La medida especialmente grande, su fragilidad y la escasa impresion de ejemplares lo hace una estampa muy dificil de encontrar. El mismo artista realizó una vista de Sevilla del que hemos tenido algun ejemplar en el pasado. Existeun ejemplar en Toledo expuesto entre los oleos de el Greco en el Museo del Conde de Orgaz. Formato (cm): 72x47.

Incisione originale su rame (cm. 47x38,5 più ampi margini bianchi). Nel riquadro nell'angolo inferiore destro si legge: 'vero ritratto dela Citta de bologna co tutti gli nomi dele cose principali di essa como al presente si ritrova per claudio duchetto Nepote di Ant. lafreri 1582'. Piccoli restauri professionali lungo la piegatura centrale con due minuscole perdite di parte incisa nella parte della legenda. Nel complesso, esemplare in più che buono stato di conservazione, nitidamente impresso. Rara e affascinante pianta della città di Bologna nel primo stato di due, precedente l'imprint di Giovanni Orlandi. Bifolco-Ronca, p. 2126.

Incisione in rame ad acquaforte e bulino, mm 408x546, eseguita su carta vergellata, firmata in basso a destra in lastra: Romae, Claudij Ducheti formis 1581. Ambr. Bram. f. Rara pianta prospettica censita in soli 6 esemplari in collezioni pubbliche estere. Primo stato su due. Il titolo appare in alto al centro, mentre a sinistra campeggia lo stemma di Genova. In basso, su dieci colonne, una legenda con 58 rimandi. La pianta deriva chiaramente dalla precedente di Lafreri del 1573, la prima ad inaugurare questo genere di pianta prospettica. La lastra di Lafreri, dopo la sua morte era stata ereditata da Stefano Duchetti (Vedi Bifolco-Ronca, Cartografia e topografia italiana del XVI secolo), per cui Claudio Duchetti incaricÚ probabilmente Brambilla di incidere una nuova lastra. Successivamente fu acquistata da Giovanni Orlandi e ristampata nel 1602 e poi da lui ceduta a Hendrik Van Schoel ed ancora a De Paoli come risulta da un inventario di vendita del 1633. Bifolco-Ronca, Cartografia e topografia italiana del XVI secolo. Nr.cat: 7038.

Leather Bound. Condizione: New. Language: Italian. Language: Italian. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1544. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Italian, Vol:- Volume 5, Pages:- 63, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 5 63 63.

Leather Bound. Condizione: New. Language: Italian. Language: Italian. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2025, utilizing the invaluable guidance of the original edition published many years ago in 1544. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - Italian, Vol:- Volume 2, Pages:- 91, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. Volume 2 91 91.