Antiquariat.de
54 417 résultats
164417864ABVenice, Ivntas, 1644. 42 : 28 cm. 451 pages with engraved title-vignette and music-notes and many iniitials in red. Blindtooled pig-skin over wooden bords on 5 raised bands, 2 clips, edges in red.
Acquaforte e punta secca, 1939. Misure della lastra, 260x 185 mm misure del foglio 283x203 mm. Esemplare unico, come da iscrizione a matita “p. e. u” (prova esemplare unico) in basso. Variante dell’opera I guerrieri dello stesso anno (Marino, 866, Ficacci, 85), con numerose modifiche e su una lastra di dimensioni diverse. Firma e data incise sulla lastra in basso a sinistra, firma e titolo a matita in basso “I guerrieri P. e. u Luigi Bartolini”. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia C. Barsanti, Catalogo ragionato dell’opera grafica di Luigi Bartolini, Galleria Marino Roma (1972), n. 866; Ficacci, Luigi Bartolini alla Calcografia, n. 85. Etching and drypoint, 1939. Plate size, 260x 185 mm sheet size 283x203 mm. A unique example, as per pencil inscription "p. e. u" at bottom. Variant of the work I guerrieri of the same year (Marino, 866, Ficacci, 85), with numerous changes and engraved on a plate of different size. Signature and date engraved on the plate at lower left, and signature and title in pencil at bottom "I guerrieri P. e. u Luigi Bartolini". Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadri...
Acquaforte, 1740 circa, monogrammato in lastra in basso al centro A.C. Esemplare nel secondo stato finale, dopo le aggiunte e con la sigla in basso al centro. Della serie Vedute altre prese da i Luoghi altri ideate. In basso a sinistra in primo piano, la continuazione della barca e del ponte parzialmente visti nell'acquaforte Il carro che passa sopra un ponte. Sulla riva lontana del fiume il monumento, incorniciato da un albero e dal fogliame. In lontananza, oltre una zona collinare, vista di una città con torri, campanile, cupole e una piramide. Originariamente questa stampa e Il carro che passa sopra un ponte formavano una lastra unica che venne tagliata forse per un difetto di morsura verificatosi nella zona dell’albero sovrastante il piccolo monumento. Per tale ragione la parte destra della lastra subì una riduzione di circa 25 mm in altezza. Non si conoscono impressioni prima del taglio del rame che venne operato dallo stesso artista, come dimostra l’apposizione – nel secondo stato – della sigla A.C. sul margine inferiore della lastrina con Il Piccolo Monumento. L’elemento decorativo posto alla sommità dell’edificio, forse un leone, è assai prossimo alla scultura, pure enigmatica, che compare sulla colonna ionica del dipinto Capriccio con tempio e colonna. L’opera appartiene alle Vedute altre prese da i luoghi altre ideate… serie delle acqueforti dedicate al console ed amico Joseph Smith, la cui esecuzione va dal 1740 al 1744 circa. Si inserisce nello sviluppo artistico del Canaletto non come parentesi marginale, ma come un momento essenziale di alcuni problemi stilistici, che troveranno la loro piena realizzazione nei primi capolavori eseguiti nel soggiorno inglese. La serie raggruppa fogli che evocano un itinerario che partendo dalla laguna, cioè da Marghera, passando per Mestre, risale il corso del Brenta fino a Padova, non solo inscenata nel cosmorama del Prà della Valle ma in una veduta che segna il passaggio tra la realtà dei luoghi e la fantasia del capriccio. Se il Portico con la lanterna, indubbiamente una delle prove più alte dell’arte incisoria del Canaletto, è una veduta di piena fantasia, l’acquaforte con la cosiddetta Casa del 1741, ricongiunta con la Casa del colonnato, è l’evocazione di una città, che se pur manca di precisi riferimenti topografici, è intrisa di atmosfera veneziana. Giovanni Antonio Canal detto Canaletto (Venezia 17 ottobre 1697 – Venezia 19 aprile 1768)) fu il più illustre protagonista del vedutismo veneziano del Settecento. Grazie a contatti con amatori e collezionisti inglesi in viaggio a Venezia o residenti nella città lagunare, Canaletto beneficia di grande notorietà in Inghilterra presso la più alta aristocrazia e perfino la famiglia reale. Attorno al 1730 suo agente esclusivo è un inglese, il console Joseph Smith: divenuto mercante di quadri, questi si adopera con abilità e tenacia per introdurre il suo protetto nel mercato britannico delle opere d’arte, il più florido al tempo. Titolare di una grande bottega e affiancato da innumerevoli assistenti, Canaletto è artista e abile imprenditore. Nelle opere del Canaletto la città lagunare era raffigurata con grande oggettività: le sue composizioni erano sempre rigorosamente studiate attraverso numerosi disegni preparatori, tratti direttamente dal vero. La “veduta” fu uno dei generi più caratteristici della pittura del Settecento. Si differenzia dal paesaggio (altro genere molto diffuso nel XVIII secolo) per la rappresentazione oggettiva di luoghi e architetture, realizzata attraverso una prospettiva ben studiata. Venezia fu il centro di maggior produzione di “vedute”, con alcune personalità di grande spicco. Al verso, timbro di collezione di James Henry Lockhart (Pittsburgh 1912-Rotonda West 2002) - Lugt 4387. Magnifica prova, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Bromberg, n. 33 p. 169; Succi, I, p... Etching, 1740 circa, signed with monogram bottom centre: A. C. Second final state, with the signature added and other additions. From the series: Vedute alter prese da i Luoghi altri ideate - In the lower left foreground, the continuation of the boat and bridge partially seen on the etching The Waggon Passing over a Bridge. On the far bank of the river the monument, framed by a tree and foliage. In the distance beyond a hilly area, view of a town with towers, campanile, domes and a pyramid. Originally this print and The Waggon Passing over a Bridge formed a single plate that was cut perhaps because of a morsure defect occurred in the area of the tree above the small monument. For this reason, the right side of the plate was reduced in height by about 25 mm. There are no known impressions before the cutting of the copper, which was done by the artist himself, as shown by the affixing - in the second state - of the initials A.C. on the lower margin of the plate with The Little Monument. The work belongs to the Vedute altre prese da i luoghi altre ideate... series of etchings dedicated to the consul and friend Joseph Smith, whose execution goes from about 1740 to 1744. It is part of the artistic development of Canaletto not as a marginal parenthesis, but as an essential moment of some stylistic problems, which will find their full realization in the first masterpieces executed in his English stay. The series groups together sheets that evoke an itinerary that starting from the lagoon, that is from Marghera, passing through Mestre, goes up the course of the Brenta to Padua, not only staged in the cosmorama of Prà della Valle but in a view that marks the passage between the reality of places and the fantasy of caprice. If the Portico with the lantern, undoubtedly one of the highest proofs of Canaletto's engraving art, is a view of full fantasy, the etching with the so-called House of 1741, rejoined with the House of the colonnade, is the evocation of a city, which even though it lacks precise topographical references, is imbued with Venetian atmosphere. Giovanni Antonio Canal called Canaletto (Venice 17 October 1697 - Venice 19 April 1768)) was the most illustrious protagonist of the Venetian vedutismo of the eighteenth century. Thanks to his contacts with English amateurs and collectors travelling to Venice or living in the lagoon city, Canaletto enjoyed great notoriety in England among the highest aristocracy and even the royal family. Around 1730 his exclusive agent was an Englishman, the consul Joseph Smith: having become a picture dealer, he worked with skill and tenacity to introduce his protégé into the British market of works of art, the most flourishing at the time. Owner of a large workshop and flanked by countless assistants, Canaletto is an artist and a skilled entrepreneur. In Canaletto's works the lagoon city was depicted with great objectivity: his compositions were always rigorously studied through numerous preparatory drawings, taken directly from life. The "veduta" was one of the most characteristic genres of eighteenth-century painting. It differs from landscape (another genre widespread in the eighteenth century) for the objective representation of places and architecture, achieved through a well-studied perspective. Venice was the center of greater production of "views", with some very important personalities. On verso, collection mark of James Henry Lockhart (Pittsburgh 1912-Rotonda West 2002)- Lugt 4387. A fine impression, printed on contemporary laid paper, good condition. Bibliografia Bromberg, n. 33 p. 169; Succi, I, p. 278, n. 7.
162430244Leiden, Elzevir, 1624. 2 Bände in 1 gest. Titel, 7 Bl., 786 S., 3 Bl., 787-1338 S., 11 Bl., 15 gefalt. Kupferstich-Karten, 1 Münzdarstellung im Text Ganzpergament der Zeit mit handschriftlichem Rückentitel, Fol.
204119Venise, Giovanni Giacomo Hertz, 1678 2 tomes en un fort vol. grand in-8, [6] ff. n. ch. (faux-titre & titre, dédicace à Maffeo Barberini, au lecteur, approbations, table des chapitres), 494 pages, un feuillet vierge, [3] ff. n. ch. (titre, dédicace au consul Vighieri, table des chapitres), 410 pp., [50] ff. n. ch. de table, veau brun moucheté, dos à nerfs orné, tranches mouchetées de rouge (rel. de l'époque). Dos refait.
Two volumes, complete. A WONDERFUL SET OF THE RARE PRIVATELY-PRINTED CATALOGUE OF ONE OF THE GREAT PRIVATE COLLECTIONS OF BOOKS AND MANUSCRIPTS. 590; 8, 616 pp. Extensively indexed. Beautifully printed on fine wove paper, with ample margins. Horace de Landau (1824-1903) was the extremely successful representative of the House of Rothschild in Constantinople, Turin, and Florence, and amassed a library of about 90,000 volumes. This catalogue describes, thoroughly and with great precision, thousands of the most important. 4to. Beautifully bound in contemporary half morocco and marbled boards (volume I) and recent quarter vellum and marbled boards (volume II). ENTIRELY UNCUT. Light wear to extremities of volume I, else FINE AND BRIGHT. A rare and beautiful catalogue.
Abundant black and white illustrations and reproductions of photos. Features: Two Men's Madness - six lives and a fine ship, the Frank N. Thayer, are lost through the unaccountable frenzy of two Indians; In Wildest Ireland - A.W. Cutler describes and photographs "unspoilt" regions of the Emerald Isle - with many fascinating photos; The Guardian of the Line - the ordeal undergone by a humble railway-crossing keeper's wife in Lithuania on the Russian Front; In Search of the Unknown Land - The tragic story of the Stefansson Arctic Exploration Expedition, twelve-page article including many photos; The Tales of Golab Khan - some amusing stories of Indian life; The Airman's Escape - two British aviators raid a Bulgarian town, then one is shot down and must be rescued by his companion; From Job To Job Around the World - part VI - Two American wanderers make there way through the Holy Land to Constantinople - with photos; The Trouble at Crib No. 2 - a tug-boat fireman recounts an exciting story of a winter rescue on the Great Lakes; Australia's Water Miracle - article and photos describe how the Government of New South Wales has created a miracle of irrigation; The Story of Count Seilern - A Tragedy of the Hapsburgs; Alpine Acrobats - A vivid account, illustrated by some very remarkable photographs, of the first ascent of the needle-like "Cigar Rock" in the Italian Alps; Lovely one-page illustrated ad by Canada Steamship Lines promotes their Niagara to the Sea all-water route; and more. pp. 4 [ads], [3], 290-385, 7-32 [ads]. Unmarked with moderate wear. Soiling to back cover. Covers beginning to loosen, otherwise a sound vintage copy of this exceptional issue.. Book
Manifesto dell'allestimento di Eliseo Mattiacci presso la Galleria L'Attico di Fabio Sargentini nel giugno del 1970 . Cm 65x100. . . Molto buono (Very Good). . . .
Manifesto dell'"Azione con rullo compressore" di Eliseo Mattiacci presso la Galleria L'Attico di Fabio Sargentini, Roma 1° Marzo 1969. Fotografia di Claudio Abate . Cm 60x100. . . Molto buono (Very Good). . . . L'azione prevedeva l'ingresso dell'Artista nello spazio diretto da Sargentini con un rullo compressore giallo con il quale veniva disegnato un percorso schiacciando un cumulo di sabbia e creando una scia che dall'ingresso si estendeva fin dentro la galleria.
1st edition. Full gorgeous period vellum binding with leather label on spine. 8vo, 256 pages + 7 full plate color illustrations throughout. In Latin. Engraved frontispiece and engraved illustrated title page. Frontispiece, title page, and plates done in green, ochre, and blue. Engraved initials done in red. Brunet V:427. Created by the Grand Ducal Printing House of Florence with great typographical luxury. A beautifully printed work by the Florentine Carmelite Soldini, who expounded the theory that animals possess souls, which was somewhat counter to Church teaching at the time. Soldini discusses a pre-Darwinian idea of evolution, exploring the connections between different kinds of animals, some of which are strikingly illustrated in the colourful plates. The plates depict animals and pastoral scenes featuring prehistoric beasts, shellfish invading the land from the sea, animals and birds, including an ape, and sea creatures. Soldini also wrote a history of the Reformation and a study of Florentine philosophy. The author mentions all those authors who in ancient times claimed the presence in animals of a reflexive soul. "Soldini's publication undermines the belief in the cognitive superiority of man over animals.The eight engraved plates that enrich the edition portray marine animals, in particular crustaceans, as they colonize the earth. This representation is inspired by the theory of the French Benoit de Maillet (1656-1738) who, in his work Telliamed (the title repeats his name written in the opposite sense) reports his Neptunian theory of the earth: the globe would have been covered with water in ancient times which would be gradually retreating. And life would have originated in water through tiny seeds that would have generated all the aquatic forms from which all the terrestrial ones and then the winged ones should come up. Every plant or animal, including man, would essentially have a corresponding aquatic form Unexplored treasures. The exhibition of the Medici-Laurenziana Library). Copies sold at Christies in 2001 and 2006 for well over $3000.00. Subjects: Animal intelligence. Animal behavior. Evolution -- Early works to 1800. Psychology, Comparative. Engravings -- Color. Etchings -- Color. A la poupée prints. OCLC: 53019892. Faint blindstamp on final page of index and blank rear endpaper. Very Good Condition. An outstanding copy, much nicer than generally offered. (AC-21-21)
A Cura: Giovanni Antonio Liberati . Prefazione: Lettera dedicatoria al Cardinale Odoardo Farnese scritta da Scipione Perini (09 Novembre 1603), primo degli Accademici . Edizione: Prima rarissima edizione . Pagine: 254 . Illustrazioni: Incisione al frontespizio raffigurante un falco ghermente uccello con motto NATURA IUBENTE ET ARTE EXEQUENTE. Capilettera incisi riccamente. . Formato: 24° . Ex libris: Firma di appartenenza antica GIOVANNI TANCREDI . Rilegatura: Cartonato coevo grigio muto . Stato: Deteriorato . Caratteristiche: Esemplare da studio molto importante per il valore storico.Mancano le ultime 22 pagine finali, sottolineando però che dell'opera principale (INTRICHI) manca solo una pagina. Strappo a pg 99 angolo basso con perdita di una sola parola.La prima rappresentazione dell'opera si svolse a Palazzo Farnese a Caprarola il primo settembre del 1599 (posticipata rispetto alla previsione del 1598). L'attribuzione al Tasso è combattuta e fonte di scontro fra critici letterari. A rafforzare la paternità tassiana dell'opera esiste una lettera del Tasso scritta nel 1586 nella quale il Tasso affermò che stesse per iniziare la scrittura di una commedia dedicata a Virgiania De' Medici. Ritornando agli studi critici, è indubbio il lavoro di revisione di Antonio Liberati (autore del prologo e degli intermezzi) e in generale dei venti Accademici di Caprarola, in primis anche lo stesso Scipione Perini, finanziatore dell'opera stampata e probabilmente ideatore del titolo. Egli stesso infatti, pur nativo di Caprarola, si trasferì a Viterbo nel 1603 e in quello stesso anno prese la decisione di curare la stampa e commissionarla allo stampatore, Girolamo Discepolo. Fonti articolo di Fabiano Fagliari Zeni Buchicchio. Disponibile il testo mancante. . Note epoca: MDCIII
1774ST12037<p>Vicenza: per Gio. Battista Vendramini Mosca 1774. FIRST EDITION. 305 x 216 mm. 12 x 8 1/2". lxxvi pp.</p><p>Original paste paper boards covered in red and green block-printed patterned paper. In a modern red cloth folding box. Frontispiece engraving of the arms of bride and groom engraved allegorical vignettes on title page and at end woodcut head- and tailpieces and foliated initials all done with considerable charm. Spine and head edge just slightly faded a couple of very small snags in backstrip one page with mild thumbing but A SUPERB COPY EXCEPTIONALLY CLEAN FRESH AND BRIGHT both the text and original printed paper wrappers in an almost unbelievable state of preservation.<br /><br />This is a remarkably well-preserved Italian "wedding book" a souvenir produced for friends and guests of a noble bride and groom. It contains a collection of romantic poems by 28 different authors along with engravings of the newlyweds' arms. This kind of book was popular in Italy particularly in the north during the second half of the 18th and early part of the 19th centuries. Such occasional works were produced by printers in the major cities like Venice Vicenza Padua Trento and Milan for assorted noble patrons. Copies of these fête books are to be found today in Italian and Swiss libraries but only two copies of any such volumes are held in North America one by the New York Public Library and one by the Getty. KVK locates four copies of our work one of them damaged in three Italian libraries. The groom here Count Lodovico Tiene or Thiene was a scion of one of Vicenza's most important families. His ancestor also named Lodovico built the Palazzo Thiene that was memorably remodelled by Vicenza's most famous son Andrea Palladio. Our volume was obviously a treasured keepsake that was carefully stored away from light and dust and it looks amazingly like it must have on the day of the happy nuptials.</p> per Gio. Battista Vendramini Mosca
012-Io.J. Feder und Pinsel in Grau, grau laviert, über Bleistiftskizze, auf Velin, im Unterrand betitelt, rechts unten signiert ?Arthur Blaschnik fec.?. 22,7:28,5 cm. Zwei kleine Fehlstellen im linken Rand ergänzt, rechte obere Ecke angesetzt, zwei Knickfalten geglättet.
084-Io.J. Aquarellskizze, über Bleistift, auf cremefarbenem Velin, links unten bezeichnet ?Von Genazzano am Volskergebirge?. 14,5:38,8 cm. Zwei vertikale Knickfalten. Provenienz: Galerie Gerda Bassenge, Berlin, 1966; Galerie Joseph Fach, Frankfurt am Main (als V.P. Mohn); Sammlung H. Märkt, Reutlingen. Literatur: Chr. Steinhoff: Salomon Corrodi und seine Zeit 1810-1892. Ein Schweizer Künstlerleben im 19. Jahrhundert, Fehraltorf 1992, vgl. Nr. 48 ?Blick auf Rom vom Monte Mario aus?. Panoramen sind im Werk Corrodis mehrfach zu finden.
034-Io.J. Aquarell, über Bleistift, auf bräunlichem Velin. 18,6:26,1 cm. - Verso Reste einer alten Verklebung.
040-Io.J. Bleistift, blaugrau laviert, auf gelblichem Velin. 19:22 cm. Verso: Heilige Familie. Bleistiftskizze. ? Wahrscheinlich Studie nach einem Altmeister-Gemälde. Provenienz: Sammlung Fritz Hasselmann, München, Lugt 1012. Hier handelt es sich um eine Zeichnung nach C. Rottmanns (1797-1850) Fresko, ausgeführt 1832, aus dem Italien-Zyklus, den Rottmann im Auftrag König Ludwig I. für die Hofgarten-Arkaden in München ausführte.
157171359ABVenezia, Mattheo Boselli, 1571. 8°. Mit 57, teilweise wiederholten, Holzschnitten im Text und halbeitengrosser Druckermarke auf Titel. (4), 92, (12) Bll. Flexibler Pergamentband der Zeit (ohne Vorsätze, Deckel berieben).
732-Eo.J. Schwarze Kreide, weiß gehöht, auf bräunlichem Velin. 45,5:29,5 cm. Vergleichsliteratur: R. Giuliani, Vittoria Caldoni Lapcenko. La ?fanciulla di Alblano? nell?arte. Rom, 1995; Amrei I. Gold, Der Modellkult um Sarah Sissons, Emma Hamilton, Vittoria Caldoni und Jane Morris. Ikonographische Analyse und Werkkatalog. Münster /New York, 2009; U. Koeltz, Vittoria Caldoni ? Modell und Identifikationsfigur des 19. Jahrhunderts. Frankfurt a.M., 2010.
731-Eo.J. Schwarze Kreide, weiß gehöht, auf bräunlichem Velin. 45,8:29,4 cm. Vergleichsliteratur: R. Giuliani, Vittoria Caldoni Lapcenko. La ?fanciulla di Alblano? nell?arte. Rom, 1995; Amrei I. Gold, Der Modellkult um Sarah Sissons, Emma Hamilton, Vittoria Caldoni und Jane Morris. Ikonographische Analyse und Werkkatalog. Münster /New York, 2009; U. Koeltz, Vittoria Caldoni ? Modell und Identifikationsfigur des 19. Jahrhunderts. Frankfurt a.M., 2010. Dasselbe Modell ? aber im Profil nach links - porträtierte von Moeller auch auf seinem Gemälde ?Junges Mädchen, gedankenverloren mit einem Ring am Zeigefinger spielend. Hüftbildnis im Profil nach rechts, 1843? (vgl. Auktion 643, 15.-18.09.2012, Leo Spik GmbH, Berlin, Kat.-Nr. 137, Farbabb. Seite 55).
1750190343-1Leipzig, J. Schuster (ab Bd. 8: Leipzig, B. C. Breitkopf) 1745-1750. 4°. Marmor. Lederbände d. Zt. mit reicher Rverg., Stehkantenvergoldung u. Marmorpapiervorsätzen und jeweils braunrotem Rückenschild.
18001979-03Paris 1800-07. Orig.-Radierung. "Presso l'Autore a Strada Felice nel Palazzo Tornati vicino alla Trinitá de' monti." Bez.: "Giovanni Battista Piranesi Architetto dis. ed inc." 43,5 x 55,5 cm. (Plattengr.). Unter Passep., ger. Einwandfrei. EA.
0829-Bo.J. Radierung, 1768, auf Bütten. 46:59 cm, Blattgröße 58,3:87,8 cm.- Unten mittig auf einer Kartusche bezeichnet, links unten signiert ?Cavaliere Piranesi delin. E inc.?. Literatur: Focillon 844; Hind 90, II (v.IV); Ficacci 961; Wilton-Ely 223. ? Sehr kräftiger Abdruck mit dem vollen Rand, die Ränder stockfleckig und mit kleineren Einrissen.
0727-Bo.J. Radierung 1765, aus Vedute di Roma, auf Bütten. 49,3:70,5 cm.- Unten in der Mitte auf dem Schriftband bezeichnet: "Villa Panfili / fuori di Porta S. Pancrazio. / 1. 2. Villa Corsini. / 3. Villa Ferroni."; unterhalb davon signiert: "Cav. Piranesi F." - Brillanter, tiefschwarzer Abdruck des 1. Zustandes mit schmalem Rändchen um die Plattenkante. Bugfalte geglättet. Literatur: Hind 124, I (von III); Focillon 840; Wilton-Ely 257; Taschen 995.
095-Io.J. Bleistift, auf cremefarbenem Pauspapier. 21,5:29,4 cm. Kleiner Einriß im Unterrand, kleines Löchlein im Himmel links oben. Provenienz: Friedrich August II., König von Sachsen, Lugt 971. Vergleichsliteratur: Ausst. Katalog: Von Dillis bis Piloty, München 1979, S. 74, vgl. Abb. 43-45; Kat. H.W. Fichter, Gezeichnete Kunst, Bd. 4, 1990, Nr. 37 sowie Bd. 9, 1995, Nr. 53; Joseph Fach, 2001, Kat. 80, Nr. 56. Zeichnungen auf Pauspapier fertigte Reinhold meist als Vorarbeiten für Gemälde an. Diese in der Regel vor der Natur entstandenen Studien verkaufte er allerdings nur, wenn ihn Geldnöte dazu zwangen. Bei der hier vorliegende Zeichnung kann es sich allerdings nicht um eine vor Ort entstandene Zeichnung handeln, da Reinhold selbst nie in Otranto gewesen ist. Vermutlich ist sie die Pause einer Zeichnung von J. Thürmer (1789-1833), der 1818 auf dem Weg nach Griechenland in Otranto auf das Schiff wartete, mit dem er die Reise fortsetzen konnte. In seiner Begleitung fanden sich damals seine Freunde und Kollegen F. Heger (1792-1836) und H. Hübsch (1795-1863).
