Giovanni Battista Paintings & Artwork for Sale | Giovanni Battista Art Value Price Guide

Nov. 28, 2024
Attribuito a Giovanni Battista Lenardi Roma 1656 -1704) - Episode from the Jerusalem Delivered
Est: €600 - €1,200
pen and brown ink, grey wash and biacca on squared paper mm 243 x 183
Finarte
Oct. 14, 2024
Two Puti with Veronica's Shroud, red chalk on paper, attributed Giovanni Battista Tiepolo (1696-1770
Est: $500 - $10,000
Two Puti with Veronica's Shroud, red chalk on paper, attributed to Giovanni Battista Tiepolo (1696-1770). Has a hole at upper left. Drawing is 11 3/8" x 8 3/8". Laid paper with watermark. Part two of a single-owner Lancaster, Ohio collection. We sold the first part of this collection last July. All sales final. Invoices above $2500 must be paid with cash, cashier's check or wire transfer. In-house shipping is available. Pickup is Tuesday, Oct. 15 from 1 pm to 3 pm in Carroll, OH or by appointment by Nov. 1. We can provide in-house shipping for this item. We pack once the lot is paid for. Once packed up we will send you an invoice for shipping and handling. Shipping questions: shipping@burnsbid.com Sales tax will be collected on all bidders. If tax exempt, make sure your certification is submitted with the bid platform.
Burns Auction & Appraisal, LLC.
Jun. 13, 2024
Giovanni Battista Cipper 1664 Feldkirch-1736 Milano I giocatori di carte
Est: €8,000 - €12,000
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Cambi Casa d'Aste
Nov. 30, 2023
Giovanni Battista Cipper 1664 Feldkirch-1736 Milano Scena con popolani
Est: €12,000 - €15,000
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Cambi Casa d'Aste
Jul. 29, 2023
Aldrovandi - Seal or Walrus or Monstrous Sea Life
Est: $300 - $600
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Jul. 29, 2023
Aldrovandi - Seal or Walrus with a Man's Face
Est: $300 - $600
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Jul. 05, 2023
Peter Paul Girelli
Est: €1,500 - €2,500
by Giovanni Battista Cingolani Geometric topography of the Agro Romano, 1704 engraving, cm. 121x200 (some restoration on the corners and lower margins with loss of text on the cartouche)
Bolli & Romiti s.r.l
Jun. 24, 2023
Aldrovandi - Mammallian Monster with Human Face and Bird Hind Claws
Est: $300 - $500
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Jun. 24, 2023
Aldrovandi - Sea Monster
Est: $300 - $500
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
May. 18, 2023
GIOVANNI BATTISTA e GIOVANNI MAURO DELLA ROVERESE detti I FIAMMINGHINI (attr. a)
Est: €2,000 - €3,000
(Milano, 1561 ca. ; dopo il 1627 / Milano, 1575 ; 1640) Presentazione di Gesù al Tempio Olio su tela, cm 136X92 L'Orlandi scrive: 'Non vi è angolo, chiesa, o palagio, nei quali non si ritrovano pennellature di Fiamminghini'. Lo stesso scrive il Lanzi: 'Ne restano non solo lavori a fresco, ma inoltre quadri a olio d'istorie, di battaglie, di prospettive, di paesi quasi in ogni angolo della città'. Tuttavia, scarni sono gli interventi critici su questa famiglia di pittori il cui capostipite Giovanni, nato ad Anversa nel 1533, diede origine alla fortunata bottega milanese, la cui fama fu diffusa dai figli Giovan Mauro e Giovanni Battista. La tela in esame è quindi una testimonianza preziosa per cogliere lo stile di questi maestri, che nell'età borromaica, oltre a realizzare innumerevoli cicli a fresco e pale d'altare, si dedicarono con successo anche alla pittura da cavalletto, con esiti di gusto nordico e una piacevole verve narrativa. La loro formazione, come detto, avvenne nella bottega paterna e tra le prime opere ricordiamo il ciclo con le Storie di San Giovanni Battista dipinte nel braccio sinistro del transetto del Duomo di Monza (1586). Questi affreschi presentano caratteri che ricordano l'influenza del Figino e del Lomazzo, per la ricerca di una mossa e forzata grandiosità plastica mentre il cromatismo, a toni rosa, gialli, verdi accesi, sono di ascendenza lomazziana. L'opera in esame si presume partecipe di un ciclo, mentre i caratteri delle stesure e delle cromie ricordano altresì la sinuosità grafica di questi pittori e una possibile datazione tra il XVI e il XVII secolo. Detto ciò, è cosa alquanto intricata dipanare filologicamente queste opere per lo straordinario fermento creativo e l'operato contiguo di questi maestri, in modo particolare negli anni che precedono la fine del Cinquecento. Tuttavia, l'accentuata eleganza e la già citata sinuosità delle figure e delle vesti, portano a prediligere il nome di Giovanni Mauro.
Wannenes Art Auctions
Mar. 21, 2023
[1655-1671 ca]. LIBRO: (ARTE-ARQUITECTURA). FERRERIO, PIETRO; FALDA, GIOVANNI BATTISTA: PALAZZI DI R
Est: -
[1655-1671 ca]. LIBRO: (ARTE-ARQUITECTURA). FERRERIO, PIETRO; FALDA, GIOVANNI BATTISTA: PALAZZI DI ROMA DE PIU CELEBRI ARCHITETTI DISEGNATI DA... Roma: Gio. Gacomo Rossi, 1655-1671 ca. Dos tomos en un vol en folio mayor apaisado. LIBRO I: 44 grabados calcográficos, de un total de 45. LIBRO II: 61 grabados calcográficos. Primera y última lám. con tenues cercos de humedad. Enc. en cartoné rozado, lomera en piel. Tratado de arquitectura con detallados alzados y planimetrías de numerosos palacios construidos durante los siglos XV, XVI y XVII en la ciudad de Roma. Brunet II 1235.
Soler y Llach
Feb. 01, 2023
ANDREA DE FERRARI (attr. a)
Est: €1,500 - €2,500
(Genova, 1634 - 1657) San Giovanni Battista condotto al martirio Olio su tela, cm 73X97 Il dipinto di chiara genesi ligustica e strettissime affinità con lo stile di Orazio de Ferrari è stato ricondotto, sia pur con la dovuta prudenza, al catalogo del figlio Giovanni Andrea da Camillo Manzitti. È appunto il Soprani a confermare che la bottega dell'artista era condotta a livello familiare e l'unico collaboratore era appunto Andrea che: 'dava già segni di dover riuscire un ottimo Pittore; e noi con giusto fondamento l'arguivamo da un ritratto, che in età di soli dodici anni egli fece del P. Paoletti Agostiniano; ritratto assai al natural e con qualche franchezza dipinto; il qual si conferva nella libreria Aprosìana di Ventimiglia' (cfr. R. Soprani, C. G. Ratti, Vite de' pittori, scultori, ed architetti genovesi, I, Genova 1768, p. 289). Si deve altresì notare che l'immagine è desunta dalla tela di medesimo soggetto resa nota da Piero Pagano e Maria Clelia Galassi nel 1988 (n. 311). Bibliografia di riferimento: F. R. Pesenti, La pittura in Liguria. Il primo Seicento, Genova 1986, pp. 433-88 M. Newcome, in Kunst in der Republik Genua 1528-1816, catalogo della mostra a cura di M. Newcome, Francoforte 1992, p. 116, fig. 49.2 P. Donati, Orazio De Ferrari, Genova 1997, p. 149, n. 64
Wannenes Art Auctions
Nov. 27, 2021
Attribué à Giovanni Battista BUSIRI (Rome 1658 - 1757) Paysage classique avec des ruines romaines Plume et encre brune, lavis gris et brun.
Est: €300 - €400
Attribué à Giovanni Battista BUSIRI (Rome 1658 - 1757) Paysage classique avec des ruines romaines Plume et encre brune, lavis gris et brun. Indication " Poussin" sur le montage. 10,2 x 15,8 cm Quelques rousseurs. Expert: cabinet de BAYSER
Les Andelys Enchères
Dec. 19, 2020
Giovanni Battista SPINELLI (1613-1658) Vierge a` l…
Est: €8,000 - €10,000
Giovanni Battista SPINELLI (1613-1658) Vierge a` l'Enfant Toile Cadre: En bois sculpte´ redore´ (ressemele´) d'e´poque Louis XV Hauteur: 65 cm Largeur: 49 cm Restaurations anciennes
Osenat
Dec. 03, 2020
Giovanni Battista Crosato, um 1697 Venedig – 1756/58, zugeschrieben
Est: €6,000 - €7,000
GROßE GESIMSDEKORATION EINES PALASTSAALS Öl auf Leinwand. Doubliert. 110 x 151 cm. Passend gestalteter, hell marmorierter Rahmen. Mit Grisaille-Trompe-l'oeil-Malerei, die eine Stuckierung vortäuscht. Dargestellt ein geflügelter Putto an perspektivisch gemaltem Gesimskämpfer neben großer Volute, in den Händen ein goldener Lorbeerfeston. Betonte schattenbildende Beleuchtung von unten. Gesamtausführung in hoher Qualität. Der Maler, dessen Gesamtwerk durchaus neben die Werke des Tiepolo gestellt werden kann, arbeitete ab 1733 überwiegend im piemonteser Raum und wirkte vor allem an den Fresken des Palazzo Stupinigi, später auch im Königlichen Theater von Turin, ab 1756 Mitglied der Akademie in Venedig. (1240451) (11)
Hampel Fine Art Auctions
Sep. 19, 2020
Aldrovandi, pub. 1599 - Parrot. 669
Est: $300 - $600
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Sep. 05, 2020
Aldrovandi, pub. 1599 - Frontispiece with Dragons, Cherubim, & Lion Shield
Est: $300 - $600
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Sep. 05, 2020
Aldrovandi, pub. 1599 - Owl. 540
Est: $300 - $600
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Sep. 05, 2020
Aldrovandi, pub. 1599 - Large Lot with 48 Pages with Various Woodcut Images of Shells, Fish, & Sea Life
Est: $500 - $1,000
This extraordinarily rare, first edition, folio engraving is from Ulysse Aldrovandi’s Opera Omnia. The work was published between 1599 and 1648 in Bologna, Italy by Clemente Ferroni, Niccolo Tebaldini, & Giovanni Battista Bellagamba. Many of the illustrations are the work of Jacopo Ligozzi. It was a massive, multi-volume, natural history encyclopedia. This work included the first published image of a toucan and bird of paradise. It was originally 13 volumes in total and featured illustrations of animals, plants, minerals, and fantastic “monsters” including dragons. Aldrovandi was an Italian botanist, pharmacologist, and noted author. He studied mathematics, Latin, law, and philosophy eventully earning a degree in medicine in 1553. In 1549, on return from studies in Paua, he was arrested in Bologna for heresy and sent to Rome where he managed to exonerate himself, likely due to his parents' nobility. Aldrovandi channeled much of his life’s work into collecting, writing and illustrating different biological specimens. His collection is now in display in the University in Bologna. The specimens were classified according to his own system and contributed to the later development of animal taxonomy. He became a full professor at the University of Bologna in 1561 where he presented natural history as a systematic study. He was also appointed the inspector of drugs and pharmacies, which met opposition, but was confirmed by Pope Gregory XIII. The Pope actually became a benefactor of Aldrovandi's numerous works on natural history. Only four of the volumes credited to Aldrovandi appeared in his life time (1522-1605). His students used his manuscripts to complete the remainder of his work. It was the largest collection of natural history illustrations to appear before the 18th century. “Aldrovandi was aware that the enormity of his task would stretch beyond his lifetime; just as Aristotle had passed his work on to his disciples, Aldrovandi hoped that his own pupils would continue the unfinished business of writing the definitive history of nature. At the end of his life, his literary production -mostly based on the objects of his museum- totaled more than 400 volumes, a number that he claimed would take more than a century to print. ‘And with all this I have kept three scribes in my house, excellent painters, designers, engravers, and have spent much on transportation [of artifacts] and on a library that can stand up to any other particular library in Italy.’ While it is hardly surprising that we should find Aldrovandi's attempts to bring all knowledge under one roof overwhelming, given our own assumption that there is always more to know, the number and size of his many unfinished projects amazed even contemporaries… “Separate from the thirteen printed volumes, which covered a range of topics -birds, insects, fish, quadrupeds, serpents, monsters, and hard objects, that is, stones, metals, gems, and fossils- the manuscripts included Aldrovandi 's voluminous correspondence, drafts of treatises, tables that classified and tabulated the natural world, and his own encyclopedic compendia that organized all his reading notes alphabetically, topically, and geographically.” (Findlen, Possessing Nature) The scope and titles of the volumes ae as follows: Vols. I-III. The Ornithology: Ornithologiae, hoc est, De Avibus Historiae Libri... Vol. IV. Fishes & Whales: De Piscibus Libri V et De Cetibus Lib. Unus. Vol. V. Monsters: Monstrorum historia cum Paralipomenis historiae omnium animalium Vol. VI. From Dogs to Chameleons: The “Clawed” Quadrupeds: De Quadrupedib. Digitatis Viviparis Libri Tres, et De Quadrupedibus Digitatis Oviparis Libri Duo. Bartholomaeus Ambrosinus… collegit Vol. VII. Cloven-hoofed Quadrupeds: Quadrupedum omnium bisulcorum historia Vol. VIII. Solid-hoofed Quadrupeds: De Quadrupedibus solidipedibus volumen integrum, Joannes Cornelius Uterverius, collegit et recensuit. Hyeronimus Tamburinus in lucem edidit Vol. IX. Marine Invertebrates: De Reliquis Animalibus Exanguibus Libri Quatuor, nempe de Mollibus, Crustaceis, Testaceis, et Zoophytis Vol. X. Snakes & Dragons: Serpentum, et Draconum Historiae Libri Duo Vol. XI. The Botanical Collection: Dendrologiae naturalis scilicet arborum historiae libri duo sylua glandaria, acinosumque pomarium vbi eruditiones omnium generum unà cum botanicis doctrinis ingenia quaecunque non parum iuvant, et oblectant Ovidius Montalbanus Vol. XII. Insects: De animalibus insectis libri septem Vol. XIII. Metals & Minerals, including Fossils: Musaeum Metallicum
Trillium Antique Prints & Rare Books
Jun. 25, 2020
CESARE DANDINI (attr. a)
Est: €1,000 - €2,000
(Firenze 1596-1656) San Giovanni Battista Olio su tela, cm 93X77 Grazie all'educazione eterogenea appresa nelle botteghe di Francesco Curradi, di Cristofano Allori e Domenico Cresti, Dandini riuscirÃ a definire un proprio stile, ma di non poca importanza fu il viaggio di studio a Roma e l'influenza di Guido Reni, i cui esempi il pittore plasmerÃ sui modelli di Francesco Furini, pervenendo cosÃ¬ a esiti di notevole eleganza. Sorprende altresÃ¬, come l'artista concepisca canoni estetici di sapore neomanie-rista coniugandoli a un fare pittorico barocco, dove la figura colta al limite della superficie prospettica, quasi schiacciata sul primo piano, estende le proprie forme attraverso una soda fisicitÃ e una dirompente tavolozza, testimoniando come durante la maturitÃ non gli venga mai a mancare l'energia creativa.
Wannenes Art Auctions
Feb. 12, 2020
Crescenzi (Giovanni Battista). Anfiteatro Romano, 1649
Est: £200 - £300
Crescenzi (Giovanni Battista). Anfiteatro Romano nel quale con le Memorie de Grandi si rappilogano in parte lOrigine, & le Grandezze de Primi Potentati di Europa. Et descrivendosi i Principii, & l'Instituto di tutti gli Ordini Antichi, e Nuovi della Cavalleria di Collana, si rappresenta la Nobilita delle Famiglie Antiche, e Nuove della Regia Citta di Milano. Parte Prima [all published], 1st edition, Milan: Giovanni Battista & Giulio Cesare fratelli Malatesta, [1649], [16], 402 [i. e. 406] pages, large woodcut Milanese coat-of-arms to title, text in double column, full-page genealogical tables, woodcut initials, occasional woodcut head- and tail-pieces, light stain to upper inner margins, and lower outer corners at front of volume, minor scratches to final leaf and rear blank (very slightly affecting a few letters), marbled endpapers, later 19th century full plum morocco, spine lettered in gilt, a few minor marks, folio (34.2 x 23.3 cm) (Qty: 1)
Dominic Winter Auctions
Oct. 30, 2019
GIOVANNI BATTISTA LENARDI (ITALIAN 1656-1704) THE CONVERSION OF SAINT PAUL
Est: £800 - £1,200
Graphite and ink on paper (Dimensions: 26cm x 18.5cm (10in x 7.25in)) (26cm x 18.5cm (10in x 7.25in))
Lyon & Turnbull
Mar. 16, 2019
Prints, Giovanni Battista Ferrari
Est: $300 - $500
(lot of 2) Giovanni Battista Ferrari (Italian, 1584-1655), "Limon Straitus Amalphitanus" and "Limon Lavrae" from "Hesperides, sive, De Malorum Aureorum cultura etusa Libri Quatuor" (1648), copperplate engravings with hand coloring, overall (with frame/each): 23"h x 18.5"w
Clars Auctions
Mar. 16, 2019
An Italian 17th Century Botanical Engraving, Giovanni Battista Ferrari, 1655
Est: $400 - $600
A rare 17th century Italian hand-colored engraving of "Citri Flores" by Giovanni Batista Ferrari, 1655, in a giltwood frame.
Bermingham & Co. Auctioneers
Jan. 21, 2019
Giovanni Battista Ferrari (Italian 1584 - 1655) Two Etchings
Est: $300 - $500
From the book "Hesperides, Sive de Malorum Aureorum Cultura Et Usu, Libri Quatuor", unknown edition, each hand colored etching depicting citrus fruit.
Locati LLC
Nov. 08, 2018
Lenardi (Giovanni Battista, 1656-1704) Saint Stanislaus Kostka on his deathbed, shown an image of Maria della Strada, pen and brown ink with monochrome wash.
Est: £500 - £700
NO RESERVE Lenardi (Giovanni Battista, 1656-1704) Saint Stanislaus Kostka on his deathbed, shown an image of Maria della Strada, pen and brown ink with monochrome wash, traces of black chalk squaring, on laid paper with two attributions to Lazzaro Baldi on the recto, another verso, 235 x 162 mm. (9 1/4 x 6 3/8 in), laid onto paper support with repaired tears and some browning. Provenance: Benjamin West (1738-1820), London [L. 419 - blindstamp lower centre]; Professor Raymond E. Pahl, FBA, (1935-2011), thence by descent; Crispian Riley-Smith, Yorkshire; Anonymous sale, London ⁂ The attribution has been suggested by Jorg Merz, on the basis of a photograph [private correspondence with previous owner].
Forum Auctions - UK
Jun. 14, 2018
(CHRISTIAN MISSIONARY TRACT)
Est: $300 - $500
(Roberto Francesco Romolo Bellarmino). Limmud HaMeshihim BeKitzur / Dottrina Christiana Breve. < > Text in Hebrew and Italian. Hebrew prepared by Giovanni Battista Jona. ff. (4), 64. Ex-library. Lightly browned. Contemporary limp vellum, light wear. 4to. Vinograd, Rome 32. Rome Sacra Congregatione di Propaganda Fide 1658 Giovanni Battista Jona, formerly, Judah Jonah of Safed, was a Jewish convert to Christianity who, along with the censor Domenico Gerosolimitano (originally, Rabbi Samuel Vivas of Jerusalem), served as scribe to the Vatican.
Kestenbaum & Company
Jun. 28, 2016
Giovanni Battista Langetti (c.1635-1676), Sorrow, Oil, 1663
Est: €34,000 - €44,200
Oil on canvas, relined Italy, 1663 Giovanni Battista Langetti (c. 1635-1676) – Italian Baroque painter Dimensions: 131 x 169 cm Gilt stucco frame: 141 x 192,5 cm Literature: M. Stefani Mantovanelli, Giovanni Battista Langetti: Il Principe dei Tenebrosi, Soncino 2011 Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. The painting 'Compianto per il Cristo morto' of the Baroque painter shows the dead body of Christ with crown of thorns and white cloth arranged in full size of the painting and illuminated by an unknown source of light, while the angels are in deep mourning. Condition: Craquelé can be seen overall on the canvas. There are scattered scratches close to the lower angel and a hole is in the belly of Christ. Loss of color and small tears are on the right of the lower angel. The painting had been restored. Restoration can be seen in the following parts: at the head of the left angel, on the right of the lower angel and at the right edge. There a small retouched spots along the edges. The craquelé had been partially retouched. Some of the retouched spots can be seen with the naked eye. The overall impressionof the painting is good apart from this. The frame shows traces of usage and obvious rubbed areas, knocked spots and small losses of material. The dimensions are 131 x 169 cm and the frame measures 141 x 192,5 cm. Giovanni Battista Langetti (c.1635-1676) The Genoa-born Giovanni Battista Langetti was a popular Italian Baroque painter in his time. He lived and worked in Rome, Venice and Florence. He was a pupil of Pietro da Cortona and later he learned from G. F. Cassana in Florence, were he stayed for a longer time. The artist belongs to the most important artists of the naturalistic tendency of the Baroque of the 17th century. Langetti mainly painted religious and mythological subjects such as apostles, saints, eremites as well as philosophers characterize his oeuvre. (msc) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Auctionata Paddle8 AG
Nov. 29, 2015
GIOVANNI BATTISTA (1656-1704) INNOCENT XI ENGRAVING - Black and white engraving of James II in supplication before Pope Innocent XI; lower left margin Gio Batta Lenardi rom inv. et delin.; Lower right margin Arnoldo Van Westerhout (1651-1725) Flam Sculp; set under glass in black wood frame; Measures: Visible Art 10''H x 7.5''W, Frame 16''H x 14''W - Condition: Age appropriate wear; All items sold as is.
Est: $50 - $100
GIOVANNI BATTISTA (1656-1704) INNOCENT XI ENGRAVING - Black and white engraving of James II in supplication before Pope Innocent XI; lower left margin Gio Batta Lenardi rom inv. et delin.; Lower right margin Arnoldo Van Westerhout (1651-1725) Flam Sculp; set under glass in black wood frame; Measures: Visible Art 10''H x 7.5''W, Frame 16''H x 14''W - Condition: Age appropriate wear; All items sold as is.
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