Giuseppe Zocchi (126 results)

Couverture rigide. Condition: Très bon. First edition and first issue of this magnificent suite depicting the villas, gardens and animated landscapes of Tuscany. Brunet, V, 1107; R.M. Mason, Giuseppe Zocchi, Florence: Libreria Editrice Fiorentina, 1981, "Le Edizione" B1; Moreni, II, 324-325. A very fresh copy of this suite of engravings by Zocchi which completes his work on the views of Florence. The plates depict Tuscan villas amidst the surrounding gardens and landscapes. The scenes are animated by human and animal activities, often tinged with humor. A second edition was published by Giuseppe Bouchard in 1754 and a third by Bouchard in 1757. « Giuseppe Zocchi was employed for the decoration in the palaces of Florence and its surroundings especially in the palaces of Serristori, Rimuceini and Gerini. The Gerinis were his patrons. During his travels he drew the most remarkable places of the regions he was crossing and these drawings were, later on, engraved and gathered in interesting typographical series  » E. Bénezit. « Nel 1744, nel pieno sviluppo del "vedutismo", che aveva soprattutto a Roma ea Venezia i suoi più originali é significativi rappresentanti, anche Firenze, con l'opera di Giuseppe Zocchi riproposta in queste pagine, ebbe l'occasione di offrire al pubblico di amatori e viaggiatori del Grand Tour la propria immagine. Questa venne fissata in una serie di moderne vedute che, net rispetto delta rigorosa tradizione artistica locale, mostrano un carattere lucidamente realistico e razionale tehendo, neIl'ambito più vasto del loro genere, al gusto per l'esattezza della visione e la precisione topografica piuttosto che al "capriccio" o 'aIl'vocazione poetica dei Iuoghi raffigurati. Giuseppe Zocchi aveva manifestato fin da ragazzo un notevole talento artistico, tanto che non aveva ancora venticinque ann[i noi suo protettore, il marchese Gerini, gli commissionô le tavole su Firenze che noi oggi conosciamo ». « Recorded in 1744, the views of Florence, beyond debt paid to the Roman and Venetian landscape painting, particularly Giuseppe Vasi and Michele Maneschi, contain an element of unquestionable originality in that realistic and descriptiveness which Zaman his boards lit up. Next to the urban planning and architectural reconstruction of his city, Zocchi tends to return the social atmosphere with an analytical section that depicts streets, squares and river, where next to carters, fishermen, merchants and peasants flow and noble ladies, carnages and prelates. » Precious copy of this superb work dedicated to Tuscany in the middle of the eighteenth century, preserved in its contemporary binding.

"Folio (21 2/8 x 14 6/8 inches). Fine engraved title-page by Johann Gottfried Seuter after G. Zocchi (old central crease) and 50 exceptionally fine engraved plates after Zocchi by Giuseppe Benedetti (7), Marco Antonio Corsi (4), Philotee-Francois Duflos (2), Giuseppe Filosi (4), Vincenzo Franceschini (1), Giuliano Giampiccoli (1), Michele Marieschi (2), Niccolo Mogalli (3), Pietro Monaco (7), Filippo Morghen (9), Johann Sebastian Muller (1), Giovanni Battista Piranesi (1), Joseph Wagner (6), and Giuseppe Zocchi (2), each numbered in the plate. Contemporary calf with the gilt supra libros of the Dukes of Portland on each cover (scuffed). Provenance: with the supra-libros of the Duke's of Portland on each cover; with the engraved armorial bookplate of William Arthur, Sixth Duke of Portland (1857-1943), whose library at Welbeck Abbey, Nottinghamshire was renowned, on the front paste-down; with the small green morocco library label of Charles Filippi, his sale Tajan, Paris, 21st October 1994, lot 174; From the Collection of Prince and Princess Henry De la Tour d'Auvergne Lauraguais, their sale, Sotheby's London, 3rd May, 2012 , lot 490 Third edition, first published in 1744. The magnificent plates illustrate some of the most important and impressive Tuscan villas set about by their beautiful gardens and surrounding landscape. The son of a sand-digger from Fiesole, Zocchi " was apprenticed to that important figure of the Florentine Baroque, Ranieri del Pace. On the latter's death (in 1738), it was Gabburri who offered his support, as did the wealthy Marchese Andrea Gerini. Zocchi very probably studied perspective, which he enriched with trips to Rome, Bologna and to the North of Italy. He was awarded the prize for young students in the painting class at the Accademia in 1737, and in 1741 was admitted to the first year. Between 1739 and 1741, he must also have travelled to Venice, where he was Joseph Wagner's student and where he learned the art of engraving. Gabburri had encouraged him in this field by having him draw the paintings of various artists in the churches in Florence to be used as basis for engravings. It must be emphasised, however, that although Zocchi is primarily known in the modern age as a draughtsman and view painter, he was in his own time pre-eminently a figure painter, even in his architectural and landscape works. Proof of this lies in Gabburri's own words, when he mentions how Zocchi would pass from landscape painting "after having painted figures in oil, and architecture a fresco and in tempera" "Zocchi's most famous work is his two-fold series of engravings published in 1744, promoted and paid for by the Marchese Gerini, entitled Selection of XXIV Views of the principal Districts, Squares, Churches, and Palaces of the City of Florence and of Views of Villas and of Places in Tuscany, made after Zocchi's own drawings. The complete set of drawings (probably the set owned by Zocchi's patron, Gerini) consisting of seventy-seven sheets, is now in the Pierpont Morgan Library in New York" (Roberto Contini for the Museo Thyssen-Bornemisza). Berlin Kat. 2701; R.M. Mason Giuseppe Zocchi, Florence: Libreria Editrice Fiorentina, 1981, 'Le Edizione', B1.".

Condition: Buono (Good). Book.

Second edition; folio (58 x 41.5 cm); double-page engraved allegorical title page, engraved dedication, engraved map, 24 double-page etched and engraved plates numbered I-XXIV, engraved by Corsi, Franceschini, Gabuggiani, Gregori, Papini, Muller, Marieschi, Monaco, Pazzi Pfeffel, Seuter, Sgrilli, Vasi, after drawings by Zocchi; contemporary red morocco gilt by Derome (ticket to title); small hole (50 mm) to blank outer margin outside plate plate mark of plate VII, tiny area of restoration to verso plate XXIII outside plate mark. A complete set of the finest pictorial record of the historical architecture of Florence in the XVIII century. In red morocco by Derome. Zocchi (1711-1767), a painter, draftsman, and etcher, was the protege of Gerini, who commissioned these prints and also paid for Zocchi's artistic education in Rome, Bologna, and Lombardy. Although he made easel and mural paintings, Zocchi's oeuvre is richest in drawings and prints. The present series was etched by a team of twelve artists after Zocchi's designs. The four most important squares are shown at times of great festivity, and are most likely the earliest views Zocchi made for this series. Other plates demonstrate various uses of the River Arno, the splendid bridges that cross it, and the great buildings along its shore. The series as a whole presents Florence in a wonderful light, as a city of beautiful architecture with a lively population: 'Consistently celebrative and accomplished, this collection shows a city striving to maintain a placid and prosperous appearance; Zocchi's limpid vision, similar to Carlevaris' and Visentini's interpretations of Venice, endow the city with cohesion and serenity.' (Millard) Berlin Kat. 2700, Brunet V, 1107.

Florence: Guiseppe Bouchard, 1754. Large folio: contemporary half calf with marbled boards, old mss. title label on front board; engr. dedication, double-page engr. title, 24 double-page plates, as called for. Binding rubbed, inner hinges strained; plate III with tear through title into printed border, plate IV with rust hole in printed border. The complete set of 24 views of Florence drawn by Giuseppe Zocchi (c.1711-67) on the commission of the Marchese Andrea Gerini (1691-1766), and engraved by some of the formost Italian engravers of the period, including Guiseppe Vasi. Although the influences of Piranesi can be seen, Zocchi pays more attention to everyday life in the city, including boatmen, swimmers, knife-grinders, promenaders and coachmen. The last four plates depict the festivals of the city, including the Chariot Race at Piazza Santa Maria Novella. The series was first published in 1744 and, like this edition, was dedicated to Maria Theresa of Austria, whose husband was Francis I, Holy Roman Emperor and Duke of Tuscany.

Landscape folio (390 x 58 cm), etched title and 50 etched and engraved plates of the villas of Tuscany after Zocchi by Piranesi and others, mostly Italian, occasional very minor soiling, contemporary mottled calf, spine gilt, red morocco label, neat repairs to joints and edges. Complete set of the finest pictorial record of Tuscany in the xviii century. A fine example. Zocchi (1711-67), a painter, draftsman, and etcher, was the protege of Gerini, who commissioned these prints and also paid for Zocchi's artistic education in Rome, Bologna, and Lombardy. Although he made easel and mural paintings, Zocchi's oeuvre is richest in drawings and prints. The third (second Bouchard) edition. The first was published in 1744 and a second (Bouchard's first) in 1754. The fine plates show Tuscan villas set in gardens and the surrounding bucolic landscape. The scenes are enlivened by human and animal activity, often of a humorous nature: a man fights to control his cloak whilst his hat is whisked away by a Tuscan hill-top wind. To the more discerning viewer, the work is a powerful example of political art with the engravings carrying pro-Tuscan, and specifically pro-Florentine, messages. After the death of Grand Duke Gian Castone in 1737, the duchy devolved to a regency under imperial command, which caused tensions with the local nobility. These views provide a stocktaking of Tuscan villas during this period alongside efforts to balance the differing aims of the Imperial court, the resident government, and the local owners. Thus bridges illustrate the good transportation network of Tuscany; the fortifications in the background demonstrate the security of the land; and the activities of local inhabitants along the shores of the Arno prove their industriousness and the serenity of country life. Millard, Italian Books, 169; Berlin Katalog 2701.

"Oblong folio (16 x 22 inches). Fine engraved title-page, 24 engraved plates (lacking the engraved dedication leaf and the plan of Florence). Later marbled paper boards. Provenance: with the small green morocco library label of Charles Filippi, his sale Tajan, Paris, 21st October 1994, lot 173; From the Collection of Prince and Princess Henry De la Tour d'Auvergne Lauraguais, their sale, Sotheby's London, 3rd May, 2012 , lot 491 Later edition, first published as "Scelta de XXIV vedute delle principali contrade, piazza, chiese, e palazzo dell citta di Firenze" in 1744. The son of a sand-digger from Fiesole, Zocchi " was apprenticed to that important figure of the Florentine Baroque, Ranieri del Pace. On the latter's death (in 1738), it was Gabburri who offered his support, as did the wealthy Marchese Andrea Gerini. Zocchi very probably studied perspective, which he enriched with trips to Rome, Bologna and to the North of Italy. He was awarded the prize for young students in the painting class at the Accademia in 1737, and in 1741 was admitted to the first year. Between 1739 and 1741, he must also have travelled to Venice, where he was Joseph Wagner's student and where he learned the art of engraving. Gabburri had encouraged him in this field by having him draw the paintings of various artists in the churches in Florence to be used as basis for engravings. It must be emphasised, however, that although Zocchi is primarily known in the modern age as a draughtsman and view painter, he was in his own time pre-eminently a figure painter, even in his architectural and landscape works. Proof of this lies in Gabburri's own words, when he mentions how Zocchi would pass from landscape painting "after having painted figures in oil, and architecture a fresco and in tempera" "Zocchi's most famous work is his two-fold series of engravings published in 1744, promoted and paid for by the Marchese Gerini, entitled Selection of XXIV Views of the principal Districts, Squares, Churches, and Palaces of the City of Florence and of Views of Villas and of Places in Tuscany, made after Zocchi's own drawings. The complete set of drawings (probably the set owned by Zocchi's patron, Gerini) consisting of seventy-seven sheets, is now in the Pierpont Morgan Library in New York" (Roberto Contini for the Museo Thyssen-Bornemisza).".

Couverture rigide. Condition: Très bon. Florence, 1744.In-folio de 1 titre frontispice gravé, (1) f. de dédicace gravé, et 24 planches sur double-page. Plein veau havane marbré, dos à nerfs orné, filets or sur les coupes, tranches rouges. Reliure parisienne de l'époque.600 x 430 mm. --- Edition originale et premier tirage du plus beau livre gravé sur Florence, orné d'un splendide titre allégorique sur double page d'après giuseppe magni, de 24 estampes gravées sur double-page d'après Zocchi et d'une planche contenant une épitre dédicatoire signée d'André Gerini sans la date de 1744 qui manque souvent.(Berlin Katalog, 2700).« Ce recueil de 24 vues est annoncé dans les catalogues tantôt sous le nom de Gerini et sous la date de 1744, tantôt sous celui de Gius. Magni et sous l'année 1754. Cela vient de ce que, dans une partie des exemplaires, outre le frontispice gravé d'après le dessin de Jos. Magni et daté de 1754, il se trouve une planche contenant une épitre dédicatoire signée d'André Gerini et sous la date de 1744. Les vingt-quatre vues sont de Jos. Zocchi, de qui l'on a un autre recueil intitulé : Vedute delle ville, e d'altri luoghi della Toscana. Firenze, 1744, in-folio. obl. » (Brunet). « Giuseppe Zocchi fut employé a des décorations dans les palais de Florence et de ses environs particulièrement dans les palais Serristori, Rimuceini et Gerini. Les Gerini furent ses protecteurs. Au cours de ses voyages, il dessina les sites les plus remarquables des régions qu'il parcourait et ces dessins furent, dans la suite, gravés et réunis en intéressantes séries topographiques.»  E. Bénezit.Les 24 estampes (680 x 500 mm) représentent la vue générale de Florence, le Reale Palazzo de Pitti, la cité vue de la porte alla Croce, une autre vue dessinée de la porte S. Niccolo, le Pont St Trinita, Chiesa et Piazza d'Ognissanti, Palazzo Strozzi, Chiesa di S. Michele, Palazzi Corsi et Viviani Piazza della Nunziata, Chiesa e Piazza di S. Pier Maggiore.Nel 1744, /// Florence, 1744.Folio [600 x 430 mm] with 1 engraved frontispiece, (1) l. of engraved dedication, and 24 plates on double-page. Full light brown marbled calf, spine ribbed and decorated, red edges. Contemporary Parisian binding. --- First edition and first issue of the most beautiful engraved book about Florence, illustrated with a splendid allegorical title on double-page after Giuseppe Magni, with 24 engravings on double-page after Zocchi and one plate including a dedication signed by André Gerini without the date of 1744 which is often missing.Berlin Katalog, 2700.« This collection of 24 views is announced in the catalogues sometimes under the name of Gerini and under the date of 1744, sometimes under the one of Gius. Magni and the year 1754. It is due to the fact that, in some copies, besides the frontispiece engraved after the drawing of Jos. Magni and dated 1754, there is a plate containing a dedication signed by André Gerini and under the date of 1744. The twenty four views are from Jos. Zocchi, of whom we have another album entitled: Vedute delle ville, e d'altri luoghi della Toscana. Firenze, 1744, obl. folio. » Brunet« Giuseppe Zocchi was employed for the decoration in the palaces of Florence and its surroundings especially in the palaces of Serristori, Rimuceini and Gerini. The Gerinis were his patrons. During his travels he drew the most remarkable places of the regions he was crossing and these drawings were, later on, engraved and gathered in interesting typographical series? » E. Bénezit.The 24 engravings (680 x 500 mm) represent a general view of Florence, the Reale Palazzo of Pitti, the city seen from Porta Alla Croce, another view drawn della Porta S. Niccolo, the bridge St Trinita, Chiesa and Piazza d'Ognissanti, Palazzo Strozzi, Chiesa di S. Michele, Palazzi Corsi and Viviani, della Piazza della Nunziata, Piazza di S. Maria Nuova, Chiesa e Piazza di S. Pier Maggiore?Nel 1744, nel pieno sviluppo del "vedutismo", che aveva sopratt.

Hardcover. Condition: Fine. 3rd Edition. Third edition (second Bouchard). Oblong folio (41 x 60 cm; engraved sheet: 39.5 x 58 cm). Engraved pictorial title with allegorical scene and 50 numbered plates. Title repaired to verso but also at foot of recto just encroaching on plate-mark; slight traces of damp; plates fresh and in excellent condition with very minor browning on some plates. Ex-libris and stamp of Rugby School on first flyleaf; documents and correspondence related to former owners included. Modern half calf over marbled boards; very slight wear. A fine, clean and crisp copy. Magnificent work on the villas and country houses of Tuscany. The work was first published in 1744 and Bouchard's first edition in 1754 with this edition appearing three years later. The engravings are by a range of different artists: Benedetti, Berardi, Carboni, Corsi, Duflos, Filosi, Franceschini, Giampiccoli, Marieschi, Mogalli, Monaco, Morghen, Muller, Parr, Piranesi, Seuter and Wagner, all after Zocchi.   Giuseppe Zocchi (c. 1711 1767) was an Italian painter and printmaker active in Florence and best known for his vedute of the city.   The villas depicted include Villa di Poggio Imperiale, Villa di Monte Gufoni, Villa La Cecina and the Careggi Villa. Some of thre plates also show the gardens and surrounding Tuscan countryside, including views of the Arno for example.     Millard, Italian Books, 169; Berlin Katalog 2701; R.M. Mason, Giuseppe Zocchi, Firenze 1981. Hind, Piranesi 75.

Rilegato. Condition: quasi ottimo. prima edizione. A SUPERB COLLECTION OF EXTRASIZE PLATES. FIRST EDITION. Elephant folio (69x47,5cm). A leaf of text and a total of 28 enormous engraved plates including the title-plate and the equestrian portrait of the Grand Duke of Tuscany Francesco I, 8 of which are double-paged. Contemp. quarter leather and marbled paper, spine rather wormed and worn, especially towards the caps, little flaws to the corners of the covers. Very fine internally: the engravings are spotless, crisp, clean and really bright. An excellent copy, rarely found in such good condition. A splendid monumental volume of very large prints of the frescoes at Poggio a Caiano, Florence, illustrating the history of the Royal Tuscan familiy, particularly Lorenzo the Magnificant (1469-92). All plates are signed with names of source-artists, draughtsmen and engravers. The first two, unnumbered plates are signed as designed and drawn by Giuseppe Zocchi and engraved by Carlo Faucci or Carlo Gregori. For plates numbered I-XII source artists were Giovanni da San Giovanni, Cecco Bravo, Ottavio Vannini, Franco Furino; the draughtsman, Giovanni Elia Morghen; the engravers, Felice Polanzani, Johann Gottfried Seutter, Georg Martin Preisler, Carlo Gregori, Antonio Faldoni, G.E. Morghen or Carlo Faucci. For plates numbered 1-6 the source artist was Baldasare Franceschini Volterrano; the draughtsman, Morghen; the engraver, Giuliano Giampiccoli. For the last nine, unnumbered plates the source artists were Giovanni Battista Pittoni, Antonio Canal, Giovanni Battista Cimaroli, Donato Creti, Nunzio Ferraiuoli, Fracesco Monti, Domenico Valeriani, Giuseppe Valeriani, Giuseppe Orsoni, Sebastiano and Marco Ricci or Antonio Balestra; the draughtsman was Domenico Maria Fratta, and the engravers were Dauphin Beauvais, Laurent Cars, Bernard Lepicié, Jacques-Philippe Le Bas, Louis Desplaces, Charles-Nicolas Cochin or Nicolas Tardieu. The frontispiece portrait carries the dedication from Andrea Gerini to Francesco I, Holy Roman Emperor and Grand Duke of Tuscany. Plate IX carries the publication date '1746'. Plates numbered I-XII, captioned in Italian, show paintings depicting actions of Lorenzo de' Medici (1449-92) - apart from plates XI, XII, which are uncaptioned and show four bas-reliefs. These twelve are signed as after paintings by Giovanni da San Giovanni, Cecco Bravo, Ottavio Vannini and Franco Furino; who were working at the Pitti Palace from 1635 to about 1642. Plates 1-6, captioned in Italian, show paintings depicting actions of various members of the Medici family. These are all signed as after paintings by Baldassare Franceschini il Volterrano and Alessandro Allori (which he had begun for Don Lorenzo de' Medici's Villa Petraia in 1636 and completed about 1648). The final nine unnumbered plates form a separate group. Each is inscribed 'Mac.S', and shows the tomb of some celebrated person, surrounded by allegoric figures, and is captioned with a quotation from Lucretius, Vergil or other Latin poet. They are signed as after paintings by Pittoni, Canal, Cimaroli, Creti, Ferraiuoli, Mirandol, Monti, Valeriani, Valeriani, Orsoni, Sebastiano and Marco Ricci and Balestra. They are possibly versions of the nine plates published in 1741 under the title Tombeaux des princes, grands capitaines et autres hommes illustres, qui ont fleuri dans la Grand-Bretagne vers la fin du XVIIème et le commencement du XVIIIème siècle - a set of nine plates published after a series of twenty-four paintings of British celebrities commissioned by Owen Swiny (MacSwiny) from that group of artists. This set includes Pittoni's celebrated allegoric monument to Sir Isaac Newton, showing the prismatic demonstration of the heterogeneity of sunlight. Brunet, IV, 680; Berlin Kat. 4104; On Swiny's Tombeaux see G. Knox, '"The tombs of famous Englishmen" as described in the letters of Owen McSwiny to the Duke of Richmond', in Arte Veneta, 37 (1983), p.228- 35; B. Mazza, 'La vicenda dei "Tombeaux des princes". 1976, pp. 80-102.

Firenze, appresso Giacomo Moro e Giuseppe Bardi, s.d. (primi decenni del sec. XIX). Cm. 29 x 37 + larghi margini. Perfette condizioni.

Condition: Buono (Good). 0. Album in-4° oblungo (mm 250x355), carte [2] (tit. e indice delle vedute tipografici), + 24 tavole numerate di vedute riquadrate da incorniciature inc.in rame, con doppio titolo in italiano e in francese. Sotto al tit.: "Firenze presso Lorenzo Bardi". Legatura in mezza pergamena ottocentesca, piatti e sguardie marmorizzate. Titolo oro al piatto sup. Bellissimo esemplare. Raccolta completa di vedute di Firenze incise da Matteo Carboni e Giovan Battista Cecchi, ispirate a soggetti in prevalenza di Giuseppe Zocchi (ma anche di Cosimo Rossi, Giuseppe Puliti e Giuseppe Terreni) e da ciò denominata comunemente "Zocchi piccolo" o "Zocchino". In realtà la serie ripete solo alcuni soggetti della Scelta di XXIV vedute del 1744, mentre altre tavole "zocchiane"-nelle quali l'attribuzione allo Zocchi parrebbe apocrifa-sono completamente diverse. Fu edita, per la prima volta, da Giuseppe Bardi verso il 1800, stando a quanto dichiarato da Mori-Boffito, 95, che descrive l'esemplare del fondo Cappugi della Biblioteca Nazionale di Firenze, composto però di sole 20 tavole. Moreni, II, 223 e Bigazzi, n° 5284, 191 riportano, invece, una consistenza di 23 vedute. Sempre Mori-Boffito riferisce che verso il 1830 la serie ebbe una ristampa a cura di Lorenzo Bardi. Dal raffronto di questo nostro esemplare con quella edizione posteriore, abbiamo potuto appurare che furono successivamente aggiunte altre 2 tavole (Palazzo Medici Riccardi e Palazzo delle Cascine, arrivando ad un totale di 26 tavole), tolte sia le incorniciature che i nomi degli incisori, ricomposto il titolo (solo in francese), mentre le incisioni furono ritoccate o forse addirittura reincise. La presente copia, pertanto, rappresenta un'edizione intermedia, rara e sconosciuta alle fonti bibliografiche, che reca in calce alle incisioni il nome di Lorenzo Bardi, ma sul frontespizio tipografico datato 1818 riporta curiosamente la dizione "presso Giuseppe Molini e Comp.". Book.

Condition: Buono (Good). 0. Album in-4° oblungo (mm 270x425) con 26 vedute di Firenze incise in rame da disegni di Giuseppe Zocchi, ed incise da G.B. Cecchi e M. Carboni, ognuna con in basso il titolo in francese ed il nome dello stampatore Lorenzo Bardi, disposte con numerazione progressiva da 1 a 26 (alcune prive di numero). Leg. cartone celeste coevo con rinforzo in cart. marmorizzato al dorso, lievissime fioriture a qualche tavola, ma bellissimo Esempl. Questa serie, denominata comunemente "Zocchino", è tratta per lo più da soggetti di Giuseppe Zocchi, incisi verso il 1800 da G.B. Cecchi e M. Carboni, editi per la prima volta dallo stampatore ed editore Giuseppe Bardi, poi ristampati da Lorenzo Bardi. In questa edizione, databile intorno al 1830, non compaiono più le incorniciature a stampa che inquadravano i soggetti, mentre i titoli, precedentemente bilingui, compaiono adesso solo in francese. Le incisioni inoltre furono ritoccate o più probabilmente incise nuovamente. L'intervento è particolarmente visibile nella tavola di "Porta S. Gallo", dove l'alto muro di recinzione che compariva sulla sinistra non è più presente, forse perché demolito nel frattempo. La nostra raccolta è completa e rara a trovasi così integra in quanto spesso appare smembrata e distribuita in tavole sciolte. La sua consistenza in 26 tavole-due in più rispetto alla precedente edizione di Lorenzo Bardi (1818)-corrisponde a quanto riportato da Mori-Boffito, 104 che data la serie al 1830 circa. Book.

Cinque fogli incisi all'acquaforte di mm 341 x 515 alla battuta, su carta di filo veneziana; filigrana tre lune. Ottimo stato di conservazione. Questa serie piuttosto rara, relativa a eventi biblici, si completava in dodici fogli, tutti incisi da Wagner su disegni di Zocchi e Amigoni. I cinque fogli qui offerti rappresentano: "Abigail offre i doni a Davide", "Il sogno di Giacobbe" e "Mosè difende le figlie di Ietro"da Amigoni, "Giuseppe venduto dai fratelli" e "Il sacrificio della figlia di Ieste" da Zocchi. La serie è stata utilizzata anche per la realizzazione di maioliche da camino in Olanda: esiste ancora un esempio in perfetto stato di conservazione al Museo Tile di Otterlo; si potrebbe anzi pensare che uno degli sfruttamenti commerciali possibili di queste incisioni fosse proprio per il mercato della ceramica olandese. Comunque questa serie rappresenta una felicissima espressione di quella che fu forse la più importante fucina di artisti veneziani. Il rapporto tra l'Amigoni ed il Wagner era già profondamente consolidato quando, nel 1739, entrambi sbarcarono a Venezia; il grande incisore e calcografo tedesco aprì subito una bottega di incisione a San Zulian e ottenne il privilegio dal Senato della Repubblica per le sue stampe dal 1749. Alle opere stampate da Wagner senza una precisa indicazione dell'incisore possono aver lavorato, da soli o in partecipazione, i più grandi artisti veneziani del bulino, quasi tutti passati, per un tempo più o meno lungo, nella bottega a San Zulian; tra i più celebri si possono citare Flipart, Zilotti, Dall'Acqua, Berardi, Volpato, Brustolon, Leonardis, Daniotto, Zucchi. 18mo secolo.

Acquaforte e bulino, 675x495, firmata in lastra da Marco Antonio Corsi in basso a destra. Tratta dalla famosa opera "Scelta di XXIV vedute delle Principali Contrade, Piazze, Chiese e Palazzi della Citt? di Firenze" una delle due serie di 24 incisioni ciascuna, dedicate alle vedute di Firenze e delle ville dei Medici e della nobilt? fiorentina. Le incisioni di Zocchi ebbero grande successo e rappresentano il pi? interessante sffresco di vita fiorentina e toscana del XVIII secolo. Nr.cat: P1120021.

Firenze, [s.n.t.], non prima del 1744 non dopo il 1757, acquaforte, mm. 510x695 (l'impronta della lastra, compreso il titolo), mm. 632x810 (la cornice, novecentesca, in legno laccato color verde-acqua e oro). Il foglio è stato intelato al verso, con le estremità dell'ampio margine bianco ripiegate ed incollate attorno al telaio che lo ferma dentro la cornice. Sesta tavola delle Vedute di Firenze incise su disegni di Giuseppe Zocchi per conto del Marchese Andrea Gerini e pubblicate a Firenze da Giuseppe Allegrini nel 1744 e da Giuseppe Bouchard nel 1754 e nel 1757. Qualche non pesante fioritura, qualche restauro perlopiù marginale, buon esemplare, incorniciato in piacevole cornice in stile settecentesco, con vetro di protezione.

Incisione originale su rame (cm. 68x50 più ampi margini bianchi) firmata in basso a destra sulla lastra P.Pazzi. Tratta da 'Scelta di XXIV vedute delle principali contrade, piazze, chiese e palazzi della città di Firenze'. Lieve uniforme ingiallitura della carta. Restauri marginali abilmente eseguiti e alcuni rinforzi al verso ma, nel complesso, esemplare in buono stato di conversazione. Rara.

Firenze, [s.n.t.], non prima del 1744 non dopo il 1757, acquaforte, mm. 510x695 (l'impronta della lastra, compreso il titolo), mm. 630x810 (la cornice, novecentesca, in legno laccato color verde-acqua e oro). Il foglio è stato intelato al verso, con le estremità dell'ampio margine bianco ripiegate ed incollate attorno al telaio che lo ferma dentro la cornice. Ottava tavola delle Vedute di Firenze incise su disegni di Giuseppe Zocchi per conto del Marchese Andrea Gerini e pubblicate a Firenze da Giuseppe Allegrini nel 1744 e da Giuseppe Bouchard nel 1754 e nel 1757. Qualche non pesante fioritura, poche lievissime ondulazioni, qualche restauro al margine inferiore, buon esemplare, incorniciato in piacevole cornice in stile settecentesco, con vetro di protezione.

Condition: Very Good. View of Florence.Porta San Frediano is part of the walls of Florence and is located in the district of Oltrarno , in the westernmost area that takes its name from the homonymous village , in turn called San Frediano due to the presence of the ancient church of San Frediano., Image Size : 282x472 (mm), 11.10x18.58 (Inches), Platemark Size : 310x482 (mm), 12.20x18.98 (Inches), Paper Size : 328x504 (mm), 12.91x19.84 (Inches), Black & White, Copper Engraving.

Con cornice in legno. Condition: BUONO. Incisione su Rame di Bernardo Sgrilli. (Firmata: Joseph. Zocchi del.- Ver. Sgrilli sculp.). cm.52x70, Macchia all'angolo superiore destro di ca. 4x5 cm. che non ne compromette la conservazione. Firenze, cm.52x70, Con cornice in legno. Macchia all'angolo superiore destro di ca. 4x5 cm. che non ne compromette la conservazione. Piegatura centrale longitudinale.

Acquaforte. mm 309 x 487. Mason, 75. Stato I/II. In basso al centro: "Veduta di campagna vicino a Gamberaia". A sinistra "G. Z. del", a destra "Michele Marieschi scol. Vene.". Acquarellatura d'epoca. Proveniente da "Vedute delle ville e d altri luoghi della Toscana incise su disegni dello Zocchi per conto del Marchese Gerini e pubblicate a Firenze fra il 1744 ed il 1757. Bevilacqua, 46. 18mo secolo.

Condition: Very Good. A charming view of the city of Florence in the middle of the 18th century. , Image Size : 268x436 (mm), 10.55x17.17 (Inches), Platemark Size : 300x453 (mm), 11.81x17.83 (Inches), Paper Size : 353x510 (mm), 13.90x20.08 (Inches), Original Hand Coloring, Copper Engraving.

Inc. in rame, mm.309x480 su foglio di mm.390x580. Iscrizioni: in basso 'G. Zocchi del.-Fran.co Philothe Duflos scol. Firen. Numero arabo della tavola '27'. L'inc. è tratta da "Vedute delle Ville e d'altri luoghi della Toscana", Firenze, Bouchard, 1754, seconda edizione dopo la prima del 1744. Lievissime tracce di muffa al marg. bianco sin. che non interessano la parte inc., paraltro feschissimo es. in ottimo stato.

Rilegato. Condition: ottimo. ZOCCHI ALLORI GUERCINO MARATTA (illustrator). [700' FIGURATO A COLORI] (cm.44x31) ottimo cartonato originale. Suite di 10 bellissime tavole incise su rame, finemente colorate a mano d' epoca con testo descrittivo a fronte. Misurano cm. 29x21 circa alla battuta del rame + grandi margini. In tutto sono 20 fogli. Rappresentano: annunciazione, nascita di S. Giovanni Battista, san Giuseppe, natività di Gesù, adorazione dei Re Magi, fuga in egitto ecc. ecc. tutte molto belle incise dallo Zocchi e altri da pitture dell Allori, Guercino, Maratta ecc. esemplare fresco e marginoso in perfetto stato di conservazione. Per i vari incisori e pittori vedi BENEZIT ecc.[f14].

unterhalb der Darstellung bezeichnet und betitelt; Bowles London um 1780 [Das feine Blatt dekorativ hinter Glas gerahmt. Maße im Rahmen 50x60cm.].

Paperback. Condition: New.

Paperback. Condition: new. New Copy. Customer Service Guaranteed.

Couverture souple. Condition: Bon. Giuseppe ZOCCHI (illustrator). Portfolio contenant les 12 gravures « I Mesi » (Les Mois), environ 19.2 x 25.5 cm, reproductions en fac-similé, par la Banca Nazionale dell'Agricoltura, Roma. Edition vers 1955-1960. Editions Ponte Vecchio, Firenze. Gravures à l'eau forte représentant des scènes typiques selon la vie au XVIIIe siècle, par Giuseppe Zocchi (1711-1767, Italie). Gravures taillées par Francesco Bartolozzi (1727-1815, Italie). Les indications sur les gravures et le texte dans le portfolio sont en langue italienne. Gravures en noir et blanc. Couverture souple, environ 32 x 44 cm. I dodici mesi dell'anno. Portfolio. Facsimile. Stampato a cura della Banca Nazionale dell'Agricoltura, Roma, ca. 1955-1960. Dell'edizione « Ponte Vecchio », Firenze. 12 fogli incisi all'acquaforte raffiguranti scene tipiche legate ai mesi e con qualche riga di testo di accompagnamento nella parte sottostante l'incisione. ca. 19.2 x 25.5 cm. BELLISSIMA serie eseguita da disegni dello Giuseppe Zocchi (1711-1767) e incise dal Francesco Bartolozzi (1727-1815, Italia). Lingua italiana. Bianco e nero. Copertura flessibile. ca. 32 x 44 cm. Etat : Bon état général. Toutes les 12 gravures sont présentes. Stato : buon condizione. E complete con tutti i 12 incisi. 32 x 44 cm 650g.

Hardcover. Condition: Very Good+. A series of portraits of illustrious Tuscan men with historical histories of the same . measuring 18 x 14 1/2 inches in contemporary (original) 18th Century patterned paper boards and half parchment binding which is severely damaged and stained with heavy loss at the top of the spine. The contents also show damage including old dampstaining throughout, which is at times heavy in the inner hinges and upper margins but which fortunately affects only 4 or 5 of the 52 glorious copper engraved portraits. A handsome production with defects but would serve well for reading or research.

Inc. in rame, mm.309x480 su foglio di mm.356x580. Iscrizioni: in basso 'G. Zocchi del.-Fran.co Philothe Duflos scul. Roma. L'inc. è tratta da "Vedute delle Ville e d'altri luoghi della Toscana", Firenze, Bouchard. Macchiolina in basso sotto il titolo, fresca bella impressione. Piegatura centrale.