Valle (Pietro della) Voyages de Pietro della Valle ... dans la Turquie, l'Egypte, la Palestine ..., 8 vol., half-titles to first 4 vol. only, 2 engraved portrait plates, 5 engraved plans, one engraved plate, occasional marginal pencil marks and notes to endpapers, H3 vol. 2 with small paper and printing defect, one or two small marginal losses, contemporary calf, sympathetically rebacked, a little rubbed, slight bumping to corners, 12mo, Paris, Ganeau, 1745. *** Provenance: Vols 1, 3, 4 and 5 inscribed in pencil, "Wilfrid Blunt, Eton College, 1945". Several volumes with his pencil notes to endpapers.
Piano raffigurante il Ponte Lucano, tra Roma e Tivoli, cornice con decoro a grottesche, grifoni e trofei musicali su fondo nero. Tavolo intagliato a quattro colonne con piedi a doppia voluta, lastronato, filettato in ottone e intarsiato a motivi vegetali
PIETRO DELLA VALLE (1827-1891). Oil painting on canvas depicting ''LANDSCAPE WITH SHEPHERDS AND HERD''. Signed and dated 1864 lower right. In a beautiful carved and gilded frame. PIETRO DELLA VALLE (1827-1891). Dipinto olio su tela raffigurante ''PAESAGGIO CON PASTORI E ARMENTI''. Firmato e datato 1864 in basso a destra. In bella cornice intagliata e dorata.
raffigurante paesaggio alberato con viandanti incorniciato da ramage fogliaceo e bordo nero attribuibile a Pietro della Valle (Livorno 1819- Firenze 1880) tavolino tondo in palissandro con fusto centrale di forma cilindrica scanalato ed intagliato. Firenze primi XIX sec. h cm 72 x Ø 83
PIETRO DELLA VALLE (1827-1891). Oil painting on canvas depicting ''LANDSCAPE WITH SHEPHERDS AND ARMMENTS''. Signed and dated 1864 lower right. In a beautiful carved and gilded frame. PIETRO DELLA VALLE (1827-1891). Dipinto olio su tela raffigurante ''PAESAGGIO CON PASTORI E ARMENTI''. Firmato e datato 1864 in basso a destra. In bella cornice intagliata e dorata.
Pietro Della Valle Italian, 1827-1891 View of Livorno Signed P. Della Valle and dated F. Livorno 18... (lr) Oil on canvas 20 x 30 3/4 inches (50.8 x 78.1 cm) C
Pietro Della Valle Italian, 1827-1891 View of Livorno Signed P. Della Valle and dated F. Livorno 18... (lr) Oil on canvas 20 x 30 3/4 inches (50.8 x 78.1 cm) C
Attributed Pietro Della Valle (1827-1891) Mediterranean Cappriccio Oil on canvas Indistinctly signed and dated 1849?? lower left 160cm x 107cm Some damage to canvas and paint losses For a comparative smaller example, refer Sotheby's 28th November 2011, Lot 24
Valle, Pietro della. Reiß-Beschreibung in unterschiedliche Theile der Welt, nemlich in Türckey, Egypten, Palestina, Persien, Ost-Indien, und andere weit entlegene Landschafften ... auß dem Original in die Hoch-Teutsche Sprach übersetzet. 4 Teile in 1 Bd. 9 Bl., 218 S., 6 Bl.; 2 Bl., 236 S., 6 Bl.; 2 Bl., 244 S., 7 Bl.; 3 Bl., 231 S., 6 Bl. Mit 31 (incl. Titel) Kupfertafeln, davon 1 doppelblattgroß. 34,5 x21 cm. Pergamentband d. Z. mit RSchild.(Genf, J.-H. Widerhold, 1674. Tobler 95. Lipperheide Lb 21. Graesse VII 251. Ebert 23363. Nagler, Monogr. III 1568. Vgl. Cox I 273. VD 17 39:135561Q. Einzige deutsche Ausgabe. Pietro della Valle bereiste den Orient in den Jahren 1614 bis 1626. Das vorliegende Werk ist eine kulturgeschichtlich hochinteressante Beschreibung dieser abenteuerlichen Unternehmung. Der 1. Teil behandelt den Nahen Osten, die Teile 2 und 3 Persien, der letzte Teil Indien und die Rückkehr nach Rom. Enthalten ist auch eine frühe Beschreibung des damals in Deutschland noch unbekannten Getränks namens 'Kaffee'. Im Vorwort betont der Drucker-Verleger Widerhold, daß er den Text nach dem vollständigen italienischen Original habe übersetzen lassen, während die franz. und niederl. Fassungen unvollständig seien. Die Kupfertafeln von J. J. Thourneyssen zeigen Volksszenen (teils mit Tieren wie Pfauen, Kamelen oder Elefanten), Schlachten und Gräuelszenen vieler Art etc. - Die Anfangslage etwas wurmstichig. Stellenweise Feuchtigkeitsspuren, teils gebräunt bzw. braunfleckig.
THE TRAVELS... INTO EAST-INDIA AND ARABIA DESERTA... WHEREUNTO IS ADDED A RELATION OF SIR THOMAS ROE'S VOYAGE INTO THE EAST-INDIES.. LONDON: J. MACOCK, FOR JOHN PLACE, 1665 . First English edition, folio (295 x 183mm.), half-title, folding engraved map, 3 engraved plates on 2 leaves, 5 woodcut plans in text, contemporary sheep, [Wilson p.234; Wing V48A; this edition not in Atabey, Blackmer or Weber], binding worn
of rectangular form with rounded corners, with a central rectangular panel with canted corners, the elaborate picturesque ornamentation in scagliola, on a black background, centred with a scene of 'Di Tempesta nel golfo di Napoli' (A storm in the gulf of Naples), with Vesuvius in the background, the scene enclosed by a frieze painted in grisaille with vegetal spirals, from which silhouettes with lions, caryatids and grotesque masks emerge, the border decoration includes six rectangular panels with scenes of the ruins of Pompei, alternating with six blue medallions containing mythological figures, on an associated base terminating in paw feet Footnote provided by Anna Maria Massinelli The first works of art from the celebrated Livorno workshop of the Pietro and Giuseppe Della Valle brothers, active mid 19th century, included this piece made in the third decade of the 19th century, which in 1841 was awarded and presented in the Florentine Exhibition of 'products of Tuscan manufacture', as the following 'Pietro and his brother Della Valle of Livorno, present a table with a view of Vesuvius surrounded by six small scenes of Pompei on a black ground.' The iconography of the table develops the romantic theme of the leisured walk through the ruins of Pompei, celebrating one of the referred destinations, at the end of the 18th and early 19th century, together with Rome, Florence and Venice, of the travellers on the Grand Tour, with Naples being considered the birthplace of Ancient Greece and where the ancient rites and myths had evolved. Together with the archaeological sites of the territory, the volcano became one of the central elements of interest to the travellers combined with their frequent volcanic activity (recorded eruptions between 1796-1822, 1824-1834, 1835-1839). The descriptive obsession with Vesuvius from various aspects, such as seen by light of moon or gilded by a sunset, gave rise to a vast output by artists/travellers, or artists from the Neapolitan school between the end of the 18th century and the early 19th century. The unpredictability of the volcano resulted in constant documentation, including scientific and artistic interpretation. As well as the specific events at Herculaneum and Pompei the image of the frightening and yet fascinating volcanic eruption one of the most consistent subjects of the Romantic movement. This theme of using archaeological sites and volcanoes by contemporary Neapolitan artists was followed through by Della Valle in his panels. The central scene is partly inspired by a painting by Salvatore Fergola (1799-1874), which features 'A Storm in the Gulf of Naples' with Pompeii in the background, from the Museo Pignatelli, Naples (Fig. 1). When compared to the painting Pietro Della Valle's version lessens the dramatic event of the storm and in preference concentrates on the meticulous detail of the use of scagliola to convey the general atmosphere. The small panels, with small figures walking within them, portray an artistic interpretation, sometimes fantastical, of Pompeian ruins, which in reality were difficult to approach due to archaeological instability. The scenes around the border depict some of the more significant Pompeian monuments. Two panels depict scenes from the Forum, one panel of 'Il Foro' (The Forum), includes the profile of Vesuvius, and was inspired by the work of the artist Jacob Wolfensberger, engraved by E. Radclyffe. (Fig. 2) . The opposite side shows 'La Casa of Castore e Polluce' (The house of Castor and Pollux) (Fig. 3), from an anonymous coloured lithograph, Private Collection, Naples, and ' La tomba di Arrius Diomede' (The tomb of Arrius Diomede), after a lithograph by Alessandro d'Anna, dated Naples, 1823-1824. The side scenes depict, 'La Casa of the Faun' (The house of the faun), with archaeologists showing visitors a mosaic floor a scene taken from Franz Wenzel (active Naples 1829-1860) (Fig. 4), and 'Una Fontana a edicola' (A fountain and paper stand), after a watercolour by Giacinto Gigante, from Pompeian scenes completed between 1829-1832. The vista on the other side depicts the 'Il Tempio di Iside' (The temple of Iside), one of first important monuments uncovered at Pompei, from an engraving by Paolo Fumagalli at the beginning of the 19th century. The remaining decoration of the border consists of elaboration of the Pompeian theme, such as the vegetal frieze with lions and the medallions with the blue background. The table probably sold during the Florentine exhibition of 1841 and only now re-emerges, and can be added to the documented great works of art from the Pietro Della Valle workshop, which was celebrated in the Livorno contemporary guides. Pietro was recorded by Volpi in his guide to the city and surroundings of Livorno of 1846, as one of the significant Livornian artists, noting his painterly abilities and defining him with an individual style of scagliola craftsmanship. Piombanti recorded in his guide to the history and arts of Livorno published in 1873 that Pietro was responsible for the progression and development of this craft. Coming from a family of scagliolisti, Pietro Della Valle, had in fact started as a painter and one of his oil paintings depicting the Livorno docks was exhibited in 1838, Exh, Accademia di Belle Arti di Firenze, where he was a pupil. Not withstanding this recognition, Pietro turned to decorating in scagliola, and in using traditional methods and skills learnt from his formal artistic training, developed a unique talent rarely equalled by other artists. Contemporary writing recorded their technical methods and particularly his resulting unusual patina. They operated across Tuscany, though were always based in Livorno, which as a cosmopolitan centre put them in contact international clientele and English travellers often terminated their tours in Livorno. Other tables made by Della Valle are characterised by their sophisticated and ornate decoration and use of subjects popular in the 19th century. One example, from the Palazzo Pallavicini-Rospiglio, Rome, with a scene of Aurora, after Guido Reni, was offered at Christie's, London, 24th April 1980, lot 135 and another at Christie's, London, 25th October, 1991, lot 144. A smaller table attributed to the workshop of F. Della Valle, with two rectangular scenes depicting Istanbul and Venice, was offered at Semenzato, Venice, February 1989, lot 262.
Pietro Della Valle It. 1827-1889 Fishing Boats at the Dock (Probably Salerno) Signed "P. Della Valle" l.r. Original frame Oil on canvas 19 75in x 25.5in. 50.2 x 64.8 cm E2000-4000 74
Pietro Della Valle It. 1827-1889 Fishing Boats in an Italian Harbor (Probably Salerno) Signed "P. Della Valle" l.r. Original frame Oil on canvas 19.75in x 25.5in. 50.2 x 64.8 cm
