A set of five original antique etchings depicting horses by Antonio Tempesta, Italian, 1555 to 1630. Engraved circa 1590. Antonio Tempesta, also called il Tempestino, was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. European Art, Baroque Graphic Art Prints And Collectibles.
(Florenz um 1555-1630 Rom), "Iesus Christus" - "S. Iacobus Maior Apostulus" - "S. Ioannes Apostulus & Evangelista". 3 Radierungen. Ein Blatt in der Platte sign., alle monogr., bei N. van Aelst in Rom, nicht dat. (1591). Je ca. 52 x 37,5 cm. - Auf Trägerpapier aufgezogen (stärkere Altersspuren). Bartsch XVII, 344, 350a und 348. Le Blanc IV, aus 41. - Leicht spätere Abzüge mit der zusätzlichen Verlegeradresse von Michael Hayé in Antwerpen und der Adressänderung von N. van Aelst, jetzt in Brüssel ansässig. - Aus der seltenen großformatigen, 15 Blätter umfassenden Folge von Christus, Maria, den zwölf Aposteln und Paulus. - Jeweils mit zwei Szenen aus dem Leben des Dargestellten, über der Ganzfigur ein lateinischer Spruch, unten die Benennung. Auf dem ersten Blatt (Christus) rechts unten eine Rollwerkkartusche mit Widmung an Papst Gregor XIV. sowie seinem Papstwappen auf der linken Seite. - Gregor XIV. war vom 8. 12. 1590 bis zu seinem Tode am 16. 10. 1591 Papst, weshalb eine genaue Datierung der Folge möglich ist.
TEMPESTA ANTONIO (1555 - 1630). Adoration of the Shepherds. Dimensions with frame: 59x75 cm. The work is accompanied by the expertise by Dr. Francesco Gatta, an extract of which is reported below. The work is dated 1603-1605 and will be included in the forthcoming monograph on the paintings of Antonio Tempesta by the scholar. Provenance: Collection of the Dukes of Canzano; Duchess Maria Clotilde Coppola of Canzano; Collection Postiglione Coppola of Canzano. Comparative literature: G. Baglione, "Le Vite de’ Pittori, Scultori et Architetti", Rome 1642; F. Federici, «Anticomoderno»: significati ed usi del termine nella letteratura artistica tra Cinque e Settecento, in «Conosco un ottimo storico dell’arte...» . Per Enrico Castelnuovo . Scritti di allievi e amici pisani, a cura di M. M. Donato, M. Ferretti, Pisa 2012, pp. 291-296; D. Gallavotti Cavallero, "L’iconografia di Santa Prisca e l’immagine di Pietro dalla basilica Vaticana al “titulus” della santa sull’Aventino nei secoli XVI e XVII", in L’Aventino dal Rinascimento a oggi, edited by Mario Bevilacqua and Daniela Gallavotti, Rome 2010, pp. 57-71; F. Gatta, "Alcuni inediti o poco noti dipinti a chiaroscuro di Antonio Tempesta dalle collezioni nobiliari romane del Seicento", in “Studi di Storia dell’Arte”, 31, 2020, pp. 103-118; F. Gatta, "Antonio Tempesta pittore di soggetti sacri: il ritrovamento dei 'quadri di devozione' di Ciriaco Mattei, novità e riflessioni", in “Arte cristiana”, 110, 930 (May/June 2022), 2022, pp. 176-187; E. Leuschner, "Antonio Tempesta: ein Bahnbrecher des römischen Barock und seine europäische Wirkung", Petersberg 2005; J. B. Lohff, "Malerei auf Stein. Antonio Tempestas Bilder auf Stein im Kontext der Kunst und Naturtheorie seiner Zeit", München 2015; J. B. Lohff, "Antonio Tempesta’s Paintings on Stone and the Development of a Genre in 17th-Century Italy", in "Almost Eternal. Painting on Stone and Material Innovation in Early Modern Europe", edited by P. Baker-Bates and E. Calvillo, Leiden-Boston 2018, pp. 180-220; "Meraviglia senza tempo. Pittura su pietra a Roma tra Cinquecento e Seicento", catalogue of the exhibition by F. Cappelletti and P. Cavazzini (Rome, Galleria Borghese, 25 October 2022-29 January 2023), Città di Castello 2022; F. M. Tuena, "I marmi commessi nel tardo Rinascimento romano", in "Marmi antichi", edited by G. Borghini, Rome 2001, pp. 81-97; A. Vannugli, "Antonio Tempesta: un retablo portátil en la catedral de Segovia y otras pinturas sobre piedra", in "In sapientia libertas. Escritos en homenaje al profesor Alfonso E. Pérez Sánchez", Madrid 2007, pp. 230-246; A. Zuccari, "Benedetto Giustiniani e i pittori di Santa Prisca", in "Caravaggio e i Giustiniani", catalogue of the exhibition by Silvia Danesi Squarzina (Rome, Palazzo Giustiniani, 26 January-15 May 2001; Berlin, Altes Museum, 15 June-9 September 2001), Milan 2001, pp. 81-86. The unpublished work presented here constitutes an important addition to the catalogue of paintings by the Florentine artist Antonio Tempesta (Florence 1555 – Rome 1630). Active in Florence in the workshop of the Flemish Jan van der Straet, Italianised ‘Giovanni Stradano’ (1523-1605), after having collaborated on important decorative projects for the Medici family under the direction of Vasari, he moved to Rome during the pontificate of Gregory XIII Boncompagni (1572-1585), where he was very prolific, especially as a fresco painter, for various papal commissions. [...] During the long pontificate of Clement VIII Aldobrandini (1592-1605), his graphic and pictorial production intensified and, despite the absence of documents that allow us to ascertain with precision the dating of his easel works, recent studies based on stylistic examination have allowed us to prepare a chronological analysis of his work. In particular, during the years of the Aldobrandini papacy, the artist gradually changed style, moving from the Flemish-Vasarian manner typical of the Florentine years – to which were added in Rome influences in the creation of the figures deriving from Santi di Tito and Agostino Ciampelli, and for the landscapes from Mathijs and Paul Bril – to the experimentation of an unprecedented modus operandi, characterised by an expressive severity typical above all of the years between the two centuries, arising from the close comparison with Greco-Roman sculptures and with early Christian painting that Tempesta had the opportunity to study in depth at that time, thanks also to the frequentation of illustrious patrons such as the Giustiniani, the Colonna, the Mattei and numerous members of the aristocracy and the circle of the Roman Oratorians, who were very attentive to those artistic typologies and greatly appreciated by them. The process of assimilation of this “ancient-modern” manner, which Tempesta began to draw on during the years of restoration in the Lateran Baptistery, where he created characteristic ‘ancient’ paintings, is confirmed by the frescoes commissioned from the painter by Cardinal Benedetto Giustiniani in the crypt of Santa Prisca (1601-1603). In this last building site, the client wanted to create a small underground sanctuary that was influenced by the antiquarian taste promulgated by the scholar Antonio Bosio, as well as in line with the decorative theories promoted by Cardinal Baronio, much appreciated in the Oratorian circle around which Cardinals Giustiniani, Mattei and de Torres gravitated. The early Christian stylistic revival celebrated in Santa Prisca also influenced a series of works that Tempesta created in those years on fine stone supports, especially alabaster. As has already been hypothesized with regard to the paintings executed by the artist on lapis lazuli slabs made during the Borghese pontificate (1605-1621), it is probable that during the previous Aldobrandini pontificate Tempesta was able to purchase a certain quantity of alabaster in bulk to create his paintings, taking advantage of the fervent market for that material that was intensifying in those years in the City, dictated above all by the decorative need of illustrious noble chapels. At the time that material was rare, but not excessively expensive, and its use allowed artists to produce small-format and highly valuable paintings, which were almost always intended to enrich cabinets of curiosities, fully satisfying the taste of refined collectors. Exploiting the typical characteristics of alabaster, Tempesta used the natural veining of the stones as backgrounds on which to develop his compositions, inventing marvelous sacred scenes taken from the Old and New Testaments. His painting, in these cases, overlapped with the basic layout offered by the stone, integrating it with an intelligent artistic device that aroused amazement and wonder. Among these works we should place the "Adoration of the Shepherds" under examination, which appears inextricably linked to two others of the same format depicting similar iconographic subjects, which were certainly produced in a not too broad period of years. The first, in chronological order, datable to 1602-‘03, is the Adoration of the Magi from the Borghese Gallery (oil on alabaster, 28.5 x 55.8 cm, inv. 500), which was perhaps originally part of the collections of Ciriaco Mattei, signed “ANT ... P / F ...TA” (inscription already correctly dissolved as the painter’s signature “ANT. TEMP /FEC. ESTA”), with an archaic and severe taste, with partial Tuscan-Flemish reminiscences in the glory of angels, very close, stylistically, to the Tempesta frescoes created in the ambulatory of the crypt of Santa Prisca, with the Stories of Saint Peter and the allegorical figures of Religion and Charity (1601-1603). A few years later, probably around 1605-‘08, we can place the execution of the very refined Adoration of the Magi (33x64.5 cm) mounted inside a small wooden altar preserved ab antiquo in the Cathedral of Segovia, which is composed of an assembly of various sacred scenes painted on alabaster sheets of different sizes, among which also appear an Adoration of the Shepherds, the Annunciation and the Eternal Father blessing with angels. The looser and more lively style, as well as the more controlled spatial organization, lead to dating this work later, in the second half of the first decade, to the period in which Tempesta, thanks also to his association with the painter Gaspare Celio and his attention to the painting of the Bolognese artists residing in Rome, refined his manner by fluidifying the graphic ductus with which the draperies were executed in particular. The work in question is located halfway between the two versions just mentioned and, for stylistic reasons, therefore appears to be linked to the last years of the Aldobrandini pontificate (1603-’05). In it we can see a positive evolution of the severe style evident in the paintings of Santa Prisca towards a sacred representation with a more intimate and emotionally engaging taste, with naturalistic accents that deviate from the Tuscan-Flemish mannerism typical of the artist’s youthful production. Another work on alabaster of the same subject and format is known by Tempesta, depicting The Adoration of the Magi (45x60 cm), signed “ANT. TEMP. FECI.”, formerly in New York at the dealer Stanley Moss, which however dates back to the late years of his production. [...] From the analysis of the constructive system of the composition it is clear that both in the Adoration of the Magi of the Borghese Gallery, and in that of Segovia and in the American version, Tempesta used the same scheme, with the Holy Family positioned on the left and the procession on the right; in the Adoration of the Shepherds in question, however, the organization of the scene is inverted in a specular sense, and in it there is the depiction of a smaller number of characters. In the three versions datable to the first decade, moreover, the physiognomies of the angels that constitute the celestial glory are very similar to each other, with multi-colored wings and brightly colored clothes; : The Madonna and Saint Joseph of the version presented here, moreover, are characterised by the same typical somatic traits also evident in the same characters of the versions in the Borghese Gallery and Segovia, demonstrating that Tempesta, during the first decade, formulated his own and unmistakable stylistic figures capable of making the public easily recognise his autographed works, very different and much more refined than those of his many followers and imitators. [...] Interesting observations also emerge from the analysis of the alabaster support of this painting. It is highly probable that for the execution of this type of work Tempesta procured blocks of alabaster during moments favourable to the purchase of this material. [...] It is entirely plausible that the artist did not buy the slabs on which to paint his compositions each time, but that, on the other hand, he proceeded by economising by purchasing in bulk material still to be sawn. Evidence of this can now be seen from the evident similarity of the two alabaster sheets that form the supports of the Adoration of the Shepherds in question and the Adoration of the Magi in Segovia. They have almost identical dimensions (32.8 x 62.5 cm versus 33 x 64.5 cm) and the morphological characteristics as well as the grain of the material of both suggest that they derive from the sectioning of the same block of alabaster, which was very probably found in the last quarter of the 16th century in an excavation in the subsoil of the city, very rich in that type of stone of Egyptian origin that was highly esteemed and used in Roman times. [...] The precious and elaborate baroque frame in which the work is preserved today was undoubtedly made in Rome during the first thirty years of the 18th century. It constitutes a precious testimony that still attests to the presence of the painting in the city at the dawn of the 18th century, more than a hundred years after its creation.. 62,50 x 32,80 cm.
(Florenz um 1555-1630 Rom), "Iesus Christus" - "S. Iacobus Maior Apostulus" - "S. Ioannes Apostulus & Evangelista". 3 Radierungen. Ein Blatt in der Platte sign., alle monogr., bei N. van Aelst in Rom, nicht dat. (1591). Je ca. 52 x 37,5 cm. - Auf Trägerpapier aufgezogen (stärkere Altersspuren). Bartsch XVII, 344, 350a und 348. Le Blanc IV, aus 41. - Leicht spätere Abzüge mit der zusätzlichen Verlegeradresse von Michael Hayé in Antwerpen und der Adressänderung von N. van Aelst, jetzt in Brüssel ansässig. - Aus der seltenen großformatigen, 15 Blätter umfassenden Folge von Christus, Maria, den zwölf Aposteln und Paulus. - Jeweils mit zwei Szenen aus dem Leben des Dargestellten, über der Ganzfigur ein lateinischer Spruch, unten die Benennung. Auf dem ersten Blatt (Christus) rechts unten eine Rollwerkkartusche mit Widmung an Papst Gregor XIV. sowie seinem Papstwappen auf der linken Seite. - Gregor XIV. war vom 8. 12. 1590 bis zu seinem Tode am 16. 10. 1591 Papst, weshalb eine genaue Datierung der Folge möglich ist.
Antonio TEMPESTA et collaborateurs (Florence, 1555 - Rome, 1630) Couple de cavaliers devant une scène de chasse Huile sur toile (Restaurations) Couple of riders in front of a hunting scene, oil on canvas, by A. Tempesta and collaborators 15.55 x 19.69 in. 39.5 x 50.0 cm Provenance : Collection particulière, Paris Une composition similaire figure sur une estampe d’Antonio Tempesta (planche 8 de la série des scènes de chasse VI publiée par Callisto Ferranti, voir Londres, British Museum, n° X,3.345) Antonio TEMPESTA et collaborateurs (Florence, 1555 - Rome, 1630) 39.5 x 50.0 cm Une composition similaire figure sur une estampe d’Antonio Tempesta (planche 8 de la série des scènes de chasse VI publiée par Callisto Ferranti, voir Londres, British Museum, n° X,3.345)
Antonio Tempesta (1555 Florence - 1630 Rom): Battle of Gibeon, mounted battle, 17th century, Copper engraving Technique: Copper engraving on Paper Inscription: Monogrammed lower left in the image with "AT. TE II.". Inscribed and titled "IOSVE IMPERANTE SOL CONSTITIT." in Latin below. Date: 17th century Description: Scenic representation of the biblical passage Joshua 10, 11-15, Old Testament. Joshua's victory at Gibeon. At Joshua's command, the sun stands still during the battle. The depiction shows a martial battle scene with fighting and fallen soldiers. The eye is drawn to a rearing horse with a falling rider. The animal's wide, fear-filled eyes fixate the viewer. Further troops are indicated in the background, giving an idea of the scale of the battle. Keywords: 17th century, Baroque, Religious, Italy, Size: Paper: 20,6 cm x 28,7 cm (8,1 x 11,3 in), Plate: 19,7 cm x 28,3 cm (7,8 x 11,1 in), Depiction: 18,8 cm x 28,0 cm (7,4 x 11 in)
Tempesta (Antonio, 1555-1630). Battling Animals, circa 1600, 8 etched prints * Tempesta (Antonio, 1555-1630). Battling Animals, circa 1600, 8 etched prints on laid paper, from the series of 25 (plus title) prints, published in Rome by Nicolas van Aelst, two captioned in Latin, sheet sizes 9.6 x 13.6 cm (3 3/4 x 5 3/8 ins) and smaller, all 8 tipped onto a single backing sheet, which is itself tipped onto a larger backing sheet (46 x 33 cm) QTY: (1) NOTE: British Museum number X,3.460-484 (for the complete series). The prints comprise Illustrated Bartsch numbers 916 (Rhinoceros fighting an Elephant), 918 (Bear fighting a Tiger), 919 (Unicorn chasing Lizards from a Pond), 920 (Two Rams fighting), 924 (Chimerical Animal chasing other Animals), 928 (Centaur attacking a Satyr), 929 (Leopard fighting a Boar), and 931 (Tiger fighting a Centaur).
(1555 Florenz - 1630 Rom). Illustrationen zu Torquato Tasso's "Gerusalemme Liberata". 17 Radierungen, 1590 - 1630. Ca. 27,5 x 20,5 cm. Tls. unter Passep. - Einige fl. D
(1555 Florenz - Rom 1630). Jagdszene. Radierung. Bildgr. ca. 17,5 x 27,8 cm. Unter Passep. - Oben li. u. stellenweise leicht braunfl. u. mittig gewellt. R
(1555 Florenz - Rom 1630). Der Tod von Camillus in der Schlacht zwischen Griechen u. Römern. Die linke Teil. Kupferstich auf Bütten bei Giovanni Orlandi (1590-1640). Blgr. 33,8 x 43,3 cm. Mit den Namensz. u. Titel "Hasta sub exsertam subito perlata papillam haesit..." i.d. Platte. - Tls etw. randrissig, tls. Wurmsp., tls. größere Fehlst. im Himmel unterl.
(1555-1630) nach. 6 Bl. mit Jagdszenen aus der Folge von 12 "Icones venantum species varias representantes". Kupferstiche auf Bütten von Egbert Jansz. bei Johann Theodor u. Johann Israel de Bry, Ffm. ca. 1598. Blgr. je ca. 8 bzw. 8,5 x 12 cm. Meist mit schmalem Rändchen um die Einfassung. Neben- u. untereinander auf 1 Bl. Karton mont. Aus Ho. 1-12. - Wildschweinjagd. - Vgl. Rijksmuseum RP-P-1878-A-1136. - Wildschweinjagd. - Vgl. RP-P-1878-A-1137. - Wolfsjagd. - Vgl. RP-P-1878-A-1133. - Hasenjagd. - Vgl. RP-P-1878-A-1135. Löwenjagd. - Vgl. RP-P-1878-A-1138. Hirschjagd. - RP-P-1878-A-1131. - Leicht gebr., tls. leicht stockfl. Aus den Slgn. Ines Beckendorf-Kaps (L.3575) u. Ines Kaps (L.3551). R
(1555 Florenz - 1630 Rom) Nachfolger des 17./18.Jhs.; Schlachtenszene Virtuos und subtil gemalte Schlachtenszene mit lebendiger, äußerst bewegter Schilderung des Geschehens. In Stil und Sujet deutlich der Tradition der italienischen Schlachtenmaler des 16./17 Jhs. folgend, wobei Parallelen zum Werk Antonio Tempestas besonders eminent sind. Öl/Kupfertafel. 16,8 cm x 22,1 cm. Rahmen. Follower of Antonio Tempesta (1555 - 1630), active 17th or 18th C.; Oil on copper panel.
Antonio Tempesta (1555 Florence - 1630 Rom): 'Mercurius Herses amore accenditur' - Mercury falls in love with Herse, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Mercurius Herses amore accenditur". Date: c. 1610 Description: Mercury floats on a cloud and catches sight of Herse carrying offerings to the temple of Athena with her companions. Ovid, Met. II, 710-731. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: God, Gods, Love of the gods, Greek mythology, Mercury, Herse, 17th century, Baroque, Mythology, Italy, Size: Paper: 9,7 cm x 11,9 cm (3,8 x 4,7 in)
Antonio Tempesta (1555 Florence - 1630 Rom): The fighters born from the dragon's teeth, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Militium Seges e draconis dentium seminio". Date: c. 1610 Description: On the battlefield with men fighting each other. At the top left, an armed soldier looks down from a cloud. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Sparten, Fighter, Dragon Tooth, Soldier, Fighting Machine, 17th century, Baroque, Mythology, Italy, Size: Paper: 9,8 cm x 11,8 cm (3,9 x 4,6 in)
Beautiful view of Rome, a smaller copy of the original sketched by Antonio Tempesta in 1593, and engraved and edited by Matteo Merian to be included in the works of Martin Zeiller. Toponyms, in Latin and Italian, are incorporated into the map. Map, (332 x 730mm). Two conjoined sheets (Restoration to verso, small chip at lower edge). (1)
(1555 Florenz - Rom 1630). Diana und ihre Nymphen entdecken die Schwangerschaft der Kallisto. Radierung bei P.de Jode d.Ä. Blgr. 22,2 x 33 cm. Mit dem Namneszug v. P.de.Jode i.d. Platte. Seitl. mit Rändchen um die Einfassung, ob. u. unt. in die Darst. beschn. mit etw. Darst.-Verlust. B. 822. Illustr. B. 855. Vgl. Rijksmuseum RP-P-OB-207.807. - Etw. gebr., stellenw. etw. flau, alle Ecken ausgebessert, 1 davon laienhaft. Aus den Slgn. Sibyll Kaps (L.3574) u. Erhard Oskar Kaps (L.3549). R
(1555-1630) nach. 6 Bl. mit Jagdszenen aus der Folge von 12 "Icones venantum species varias representantes". Kupferstiche auf Bütten von Egbert Jansz. bei Johann Theodor u. Johann Israel de Bry, Ffm. ca. 1598. Blgr. je ca. 8 bzw. 8,5 x 12 cm. Meist mit schmalem Rändchen um die Einfassung. Neben- u. untereinander auf 1 Bl. Karton mont. Aus Ho. 1-12. - Wildschweinjagd. - Vgl. Rijksmuseum RP-P-1878-A-1136. - Wildschweinjagd. - Vgl. RP-P-1878-A-1137. - Wolfsjagd. - Vgl. RP-P-1878-A-1133. - Hasenjagd. - Vgl. RP-P-1878-A-1135. Löwenjagd. - Vgl. RP-P-1878-A-1138. Hirschjagd. - RP-P-1878-A-1131. - Leicht gebr., tls. leicht stockfl. Aus den Slgn. Ines Beckendorf-Kaps (L.3575) u. Ines Kaps (L.3551). R
Das Reiterstandbild Cosimo I de' Medici. Radierung nach der Statue des Giovanni da Bologna (Giambologna) in Florenz. In der Platte sign., bei A. Vaccario in Rom, dat. 1608. 49 x 37,6 cm. (9) - Bartsch XVII, 84, 637. - Mit 3 Wappen und militärischer Darstellung in toskanischer Landschaft im Hintergrund.
Das Reiterstandbild Cosimo I de' Medici. Radierung nach der Statue des Giovanni da Bologna (Giambologna) in Florenz. In der Platte sign., bei A. Vaccario in Rom, dat. 1608. 49 x 37,6 cm. (9) - Bartsch XVII, 84, 637. - Mit 3 Wappen und militärischer Darstellung in toskanischer Landschaft im Hintergrund.
TEMPESTA, ANTONIO 1555 Florenz - 1630 Rom Title: Two Saints in Ecstasy. Technique: Watercolour pen drawing on paper. Mounting: Mounted. Measurement: 19,5 x 15cm. Frame: Framed. Verso: On the paper collection stamp Comte Rey de Villette (Lucht L.2200a) as well as old attributions. Provenance: Collection Erich Schleier, Berlin. We are grateful to Simonetta Prosperi Valenti, Rome, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph and her help in cataloguing it. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Antonio Tempesta Watercolour / Drawings Framed Saints Watercolour
(1555 Florenz - 1630 Rom). Jagdszene. Radierung. Bildgr. ca. 17,5 x 27,8 cm. Unter Passep. - Oben li. u. stelenweise leicht braunfl. u. mittig gewellt. R
(1555 Florenz - 1630 Rom). Illustrationen zu Torquato Tasso's "Gerusalemme Liberata". 17 Radierungen, 1590 - 1630. Ca. 27,5 x 20,5 cm. Tls. unter Passep. - Einige fl. D
after Otto van Veen. The last, 36th plate from the series "The war of the Romans against the Batavians". Etching, 167 x 210 mm (plate), 195 x 305 mm (sheet). I state on 2. Bartsch XVII.595 Fine, well-inked impression on laid paper with watermark. Sheet in very good condition.
Etching, 201 x 142 mm. Fine impression on thin laid paper with a fragment of watermark. Trimmed. Generally in very good condition except for paper thinning in some places.
A rare complete series of 12 etchings and title etching. The series was first published by Nicolas van Aelst in Rome in 1608. A very nice series mostly printed with good plate tone. Complete with full plate border and margins. The address of Van Aelst erased on title page in this state.
Antonio Tempesta (1555 Florence - 1630 Rom): Neptunus ob violatum a Laomedonte pactum eluviem Troianis agris immittit, leaf 103, 1610, Etching Technique: Etching on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Neptunus ob violatum a Laomedonte pactum eluviem Troianis agris immittit". Date: 1610 Description: Neptune with trident on his horses in the flooded city of Troy Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Neptune, sea tides, Troy, sea god, flooding, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Diverse forms Mitra diversis divenditur, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Diversas induta formas Mitra diversis divenditur". lower links numbered in the printing plate: "81". Date: c. 1610 Description: Erysichthon, who is punished by Demeter with an insatiable appetite, sells his daughter Mestra as a slave to satisfy his hunger Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Erysichthon, Mestra, hunger, Demeter, punishment, slave trade, betrayal, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Ob restitutum Silenum Midae a Baccho Defertur optio, c. 1606, Copper engraving Technique: Copper engraving on Paper, rolled-on on Paper Inscription: Lower middle inscribed in the printing plate: "Ob restitutum Silenum Midae a Baccho Defertur optio". Date: c. 1606 Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Bacchus, Mida, King Mida, wish, fulfilment, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Ulysses with the Cicones, c. 1620, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Ulysses landet den Ciconien an". Lower middle numbered: "4". Date: c. 1620 Description: Odysseus plundering the Ciconian capital of Ismaros. Source: Homer (650 v.Chr. -600 v.Chr. ) Odyssee | Book, Mythology Keywords: Cicones, wanderings, Thrace, Homer, battle, plundering, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Lycti ad Telethusam circa prolem mandatum, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Lycti ad Telethusam circa prolem mandatum". Date: c. 1610 Description: Ligdus orders his wife to give birth to a son. If it turned out to be a daughter, he would kill her. When Telethusa gives birth to a daughter, she passes the girl off as a boy. In antiquity, her name Iphis was used for both sexes Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: birth, daughter, son, transgender, transsexuality, Iphis, gender reassignment, transformation stories, gender, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): 'Mercurius Herses amore accenditur' - Mercury falls in love with Herse, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Mercurius Herses amore accenditur". Date: c. 1610 Description: Mercury floats on a cloud and catches sight of Herse carrying offerings to the temple of Athena with her companions. Ovid, Met. II, 710-731. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: God, Gods, Love of the gods, Greek mythology, Mercury, Herse, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): The fighters born from the dragon's teeth, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Militium Seges e draconis dentium seminio". Date: c. 1610 Description: On the battlefield with men fighting each other. At the top left, an armed soldier looks down from a cloud. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Sparten, Fighter, Dragon Tooth, Soldier, Fighting Machine, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Battle of Gibeon, mounted battle, 17th century, Copper engraving Technique: Copper engraving on Paper Inscription: Monogrammed lower left in the image with "AT. TE II.". Inscribed and titled "IOSVE IMPERANTE SOL CONSTITIT." in Latin below. Date: 17th century Description: Scenic representation of the biblical passage Joshua 10, 11-15, Old Testament. Joshua's victory at Gibeon. At Joshua's command, the sun stands still during the battle. The depiction shows a martial battle scene with fighting and fallen soldiers. The eye is drawn to a rearing horse with a falling rider. The animal's wide, fear-filled eyes fixate the viewer. Further troops are indicated in the background, giving an idea of the scale of the battle. Keywords: 17th century, Baroque, Religious, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Neptunus ob violatum a Laomedonte pactum eluviem Troianis agris immittit, leaf 103, 1610, Etching Technique: Etching on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Neptunus ob violatum a Laomedonte pactum eluviem Troianis agris immittit". Date: 1610 Description: Neptune with trident on his horses in the flooded city of Troy Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Neptune, sea tides, Troy, sea god, flooding, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Diverse forms Mitra diversis divenditur, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Diversas induta formas Mitra diversis divenditur". lower links numbered in the printing plate: "81". Date: c. 1610 Description: Erysichthon, punished by Demeter with an insatiable gluttony, sells his daughter Mestra as a slave to satisfy his hunger Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Erysichthon, Mestra, Hunger, Demeter, Punishment, Slave Trade, Betrayal, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Ob restitutum Silenum Midae a Baccho Defertur optio, c. 1606, Copper engraving Technique: Copper engraving on Paper, rolled-on on Paper Inscription: Lower middle inscribed in the printing plate: "Ob restitutum Silenum Midae a Baccho Defertur optio". Date: c. 1606 Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Bacchus, Mida, King Mida, wish, fulfilment, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Ulysses with the Kikons, c. 1620, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Ulysses landet den Ciconien an". Lower middle numbered: "4". Date: c. 1620 Description: Odysseus sacking the Ciconian capital Ismaros. Source: Homer (650 v.Chr. -600 v.Chr. ) Odyssee | Book, Mythology Keywords: Cicones, odysseys, Thrace, Homer, battle, plunder, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): Lycti ad Telethusam circa prolem mandatum, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Lycti ad Telethusam circa prolem mandatum". Date: c. 1610 Description: Ligdus ordered his wife to give birth to a son. If it were a daughter, he would kill her. When Telethusa gives birth to a daughter, she passes the girl off as a boy. In antiquity, her name Iphis was used for both sexes. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Birth, daughter, son, transgender, transsexuality, Iphis, gender reassignment, transformation stories, gender, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): 'Mercurius Herses amore accenditur' - Mercury falls in love with Herse, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Mercurius Herses amore accenditur". Date: c. 1610 Description: Mercury floats on a cloud and catches sight of Herse, who is carrying offerings to the temple of Athena with her companions. Ovid, Met. II, 710-731. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: God, gods, goddesses, Greek mythology, Mercury, Herse, 17th century, Baroque, Mythology, Italy,
Antonio Tempesta (1555 Florence - 1630 Rom): The fighters born from the teeth of the dragon, c. 1610, Copper engraving Technique: Copper engraving on Paper, mounted on Paper Inscription: Lower middle inscribed in the printing plate: "Militium Seges e draconis dentium seminio". Date: c. 1610 Description: On the battlefield with men fighting each other. At the top left, an armed soldier looks down from a cloud. Source: Publius Ovidius Naso (43 Sulmo-17 Tomis) Metamorphosen | Book, Mythology Keywords: Divisions, Fighter, Dragon Tooth, Soldier, Fighting Machine, 17th century, Baroque, Mythology, Italy,
A set of five original antique etchings depicting horses by Antonio Tempesta, Italian, 1555 to 1630. Engraved circa 1590. Antonio Tempesta, also called il Tempestino, was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Much of his work depicts major battles and historical figures. European Art, Baroque Graphic Art Prints And Collectibles.
Antonio Tempesta (Firenze, 1555 - Roma, 1630) Indigeni cacciano le antilopi acquaforte e bulino cm 13,5x10; con cornice cm 29x33incisione smarginata in cornice dorata del XX secolo
Antonio Tempesta (Firenze, 1555 - Roma, 1630) Caccia all'elefante acquaforte e bulino cm 13,8x10; con cornice cm 29x33incisione smarginata in cornice dorata del XX secolo Una copia uguale è conservata presso il Gabinetto dei Disegni e delle stampe della Pinacoteca Nazionale di Bologna
![[ROME] TEMPESTA, Antonio (1555-1630). Roma. Frankfurt: Merian, [1643].](https://stageimg.invaluable.com/housePhotos/Wannenes/30/774530/H21162-L376918580.jpg)
![TEMPESTA, Antonio (1555-1630). C. Caes. Ti. F [WITH:] Nero Augustus [AND WITH:] Domitianus Aug. Rome: Panzera da Parma [1596].](https://stageimg.invaluable.com/housePhotos/Wannenes/30/774530/H21162-L376918464.jpg)
