Duomo, Signed (23 results)

Condition: Good. Signed Copy . Inscribed by author on half title page. Stamped on half title page.

Softcover. Condition: Fine. Dust Jacket Condition: No Dustjacket. 1st Paperback Edition. thext in Italian; a cura di Timothy Verdon (signed) ; fine in softcover; a solid copy; ALL ORDERS SHIPPED WITH DELIVERY CONFIRMATION; Size: 7 x 10". Signed.

Hardcover. Condition: Very Good. Dust Jacket Condition: Fair. 1st Edition. 230 p. Nr. 72/250. Inscribed by Author(s).

Very Good hardback in Very Good dustjacket, Text in Italian, English, German and French, some bumping to lower edges of boards, dustjacket rubbed with some edge wrinkling, appears to be signed by either the author or photographer on the title page, LOC1.

In-4° pp. 213 con varie ill. n.t. Bross. edit. ill. Ottimo stato. Dedica autografa dell'autore sel frontespizio.

First Edition. Signed. Good paperback copy; edges somewhat dust-dulled and nicked. Remains quite well-preserved overall. Physical description: 102 pages. Notes: Text is in Italian. Subjects: Capodistria. Cathedral. Italy cathedral history. 3 Kg.

In 8° formato album, mezza tela, pp. XXVI di testo+ 93 tavole che illustrano 337 riproduzioni in nero. Dedica autografa dell'editore al frontespizio.

in 8° - pp.123 - Brossura editoriale - Dedica autografa dell'autore al frontespizio - Libro usato.

In-8, brossura, pp. 253. Dedica autografa di Francesco De Gregorii al frontespizio. In ottimo stato.

Volume: 1 29,5x20,5 cm., in brossura, pp. XII (2), 111, 31 tavole in nero fuori testo, prima edizione, in italiano, piccoli strappi al dorso e ai margini esterni, fragili, ma bell'esemplare. Dedica autografa del curatore.

First Edition. Signed. Good paperback copy; edges somewhat dust-dulled and nicked. Remains quite well-preserved overall. Physical description: 102 pages. Notes: Text is in Italian. Subjects: Capodistria. Cathedral. Italy cathedral history. 1 Kg.

In-8°, pp. 24, brossura editoriale con dedica autografa dell'autore. Una tavola in b.n. f.t. con due illustrazioni (lo schizzo leonardesco dal Codice Atlantico con il disegno del Duomo di Pavia e un medaglione col ritratto del pavese Giovanni Antonio Amadeo). Buon esemplare. Italiano.

Condition: BUONO USATO. INTERLINGUE Volume rilegato con titoli in oro al piatto anterore e al dorso, coperta in buono stato di conservazione, sovraccoperta illustrata a colori e con ordinari segni del tempo. Tali regolari e lievemente imbruniti, pagine ben salde alla costa e con minima naturale imbrunitura. Libro completamente fruibile, testi di Laura Tettamanzi, con una presentazione di Giorgio Bocca, presenti foto a colori di Enzo Pifferi. Realizzazione editoriale di Enzo Pifferi, progetto grafico: Mariacristina Lombardi e Francesco Frigerio, lingue: italiano, inglese, tedesco e francese, numero pagine 98; da segnalare: presunta dedica autografa di Laura Tettamanzi al foglio di guardia.

Condition: Quasi ottimo. Italia Settentrionale Local History Northern Italy al piede del front.: Ateneo di Salò; Comune di Salò - in 4°, bross. edit. ill. con bandelle - con dedica autografa dell'autrice - prima edizione - illustrazioni in b.n. e a colori nel testo OTTIME CONDIZIONI.

Cm. 26, br. edit., 25 (3) più una tavola fotografica f.t. Dedica autografa al Prof. Venceslao Santi. Interessante relazione sui lavori di restauro nella Cattedrale modenese. Ottimo esemplare.

24 cm, br. editoriale; p. 16, una tavola più volte ripiegata f.t. e una fotografia del Duomo con dedica autografa dell'Autore Molto buono.

Softcover. Condition: Good. "Folio (310 x 205 mm.), original 'carta rustica' boards, retaining the original sewing. [35 + 1] leaves. THE DRAWINGS FOR THE NEW FACADE OF THE MILAN CATHEDRAL - THE ONLY KNOWN TEXT BY GIAN LORENZO BERNINI PUBLISHED DURING HIS LIFETIME. Collation: [?]2 A4+1, A6, A4, [0]4, [1]8, [2]4, [3]3. Quire 2A and 3A are misbound. Leaf [1]8 is an original blank. With 3 folding (one with extensions), 2 double-page and 1 full-page engraved plates. With also 5 smaller woodcuts in text. An unsophisticated copy. Content: Texts: fol. 1r: title (looking like a half-title, verso blank); fol. 2r: laudatory poem within a typographical border: "In lode della fabrica del duomo di Milano. Del Gia co. Hermes stampa"; fol. 2v: laudatory poem within a typographical border: "Del conte Gioanni Rabbia"; fols. 3r-6v (signed A1-A4 plus one extra leaf of a slightly smaller format, bound between ll. 5 and 6): "Per la facciata del Duomo di Milano', an introduction to the subject and an overview of the recent plans (1634-July 1654); fols. 7r-12v (2A1-2A6, section named "A"): discussions on the facade of the Duomo, including "Oppositione del Richini" by Francesco Maria Richini and "Oppositione fatta dal Butio" by Carlo Buzzi, both accompanied by the replies of Francesco Castelli ("Risposta del Castelli"); fols. 13r-16v (3A1-3A4, section named "B"): commentary on the project of Francesco Castelli by Giovanni Battista Baratteri, "Illustrissimo, & eccellentissimo Sigor mio Sig. Patron Collendissimo", dated Codogno, 15 October 1651; fol. 17r (section "C", verso blank): commentary letter on the projects of Francesco Castelli and Carlo Buzzi by the famous Italian architect and sculptor Giovanni Lorenzo Bernini, undated; fol. 18r (section "D", verso blank): opinion on the same subject by Giovanni Battista Giattini S.J., dated Rome, 23 March 1652; fols. 19r-20r (section "E", leaf 20v blank): geometrical demonstration by Castelli (with diagram) as answer to the fifth 'opposition' of Richini and two similar demonstrations (with diagrams) as answers by Pietro Paolo Caravaggio versus two letters of Castelli, the first dated 11 May 1652; fol. 21r (section "F", verso blank): opinion on the drawings of Francesco Castelli and Carlo Buzzi by the Venetian architects Sebastiano Rocca Tagliata and Baldessar Longhena, dated Venice, 14 July 1653; fol. 22r-v (section "G"): commentary on the same subject by Benedetto Giovannelli Orlandi, dated Siena, 9 March 1654; fol. 23r (section "H", verso blank): commentary on the same subject by the architect Vincenzo Paoli, dated 10 June 1654; fols. 24r-25r (section "I", leaf 25v blank): commentary on the same subject by Guido Antonio Costa, dated Urbino, 17 June 1654, "Abozzo di discorso contenente le considerationi fatte sopra duoi dissegni di facciata per l'inclita Fabrica del Duomo di Milano"; fol. 26r-v (section "L"): opinion on the same subject by Bartolomeo Avanzini, undated, 'Pareri del Sig. Bartolomeo Avanzini intorno alli duoi Disegni'; fol. 27r (section "M", verso blank): idem by Daniele de Capitanei de Scalve Porro; fol. 28r-v blank; fol. 29r/v: anonymous opinion about the two projects, dated 24 July 1653 and signed 'N.N.' on leaf 29v; fols 30r-32v: a commentary dealing with the matter of the costs of building the facade, and the adoption of different styles of construction, Gothic or Roman, and the related costs, with the possibility of reusing marbles taken from other parts of the building; then making a comparison between the different style of the façade and the rest of the building for the charterhouse of Pavia, the Holy House in Loreto, the church of S. Petronius in Bologna, and the church of Jesuits in Rome; fol. 33r: final note by Castelli about the plates that follow in the book; fol. 33v blank; fols. 34r-35v considerations by an anonymous on the inscriptions to be put on the facade of the Cathedral to celebrate the Virgin, to whom the church is dedicated, and a brief historical account on the foundation of the church in the ye.

4°. Mit zahlr., tls. farb Abbildungen. 177 S. Mit eigenhändiger Widmung des Verfassers an Joachim Kardinal Meisner. - Wohlerhaltenes, sauberes Exemplar einer Professorenbibliothek, mit deren dezentem Stempel. Sprache: Italienisch Gewicht in Gramm: 2500 OLwd. mit Rtit. und OU (dieser mit geringen Läsuren) im OPp.-Schuber.

Announcement card for the exhibition at Galerie Françoise Lambert, opening on November 26, 1970, which featured drawings collages, and studies for Christo?s Milan projects: Arco della Pace Wrapped, Curtains for La Rotonda, Wrapped Monument to Vittorio Emanuele, Piazza del Duomo, and Wrapped Monument to Leonardo da Vinci, Piazza della Scala. The announcement is signed by Christo and Jeanne-Claude in blue crayon.

Brossura. Condition: ottime. Prima edizione. Prima edizione. Cm.31,8x21,8. Pg.48. Con sette figure nel testo e 34 tavole fuori testo, anche in grande formato. Dedica autografa dell'autore. 400 gr.

A BYZANTINE ICON CORONATED BY A REFUGEE POPE [ST LUKE AS ARTIST]. Engraved broadside, 39 x 27.5 cm to platemarks, on sheet 44 x 34 cm, signed by Augustino Marchetti after Girolamo Leoncilli. Slightly foxed; one or two discreet wormholes confined to right blank margin only. Unrecorded broadside commemorating the ephemeral 'coronation' of a Byzantine icon popularly supposed to have been painted by St Luke himself. Belonging to the Eastern tradition of depicting Mary as the hagiosoritissa [?????????????] i.e. she who intercedes with Christ to plead for the salvation of all humanity the Spoleto icon's closest analog is today found in St Catherine's Monastery in Mount Sinai (cf. Bonfioli). Our broadside in fact depicts the icon true to life-size: 31 cm by 24 cm (cf Bonfioli), although the original is encased in a silver reliquary created in 1674. Quite aside from some extreme liberties taken by the engraver in the rendering of the image, the Virgin is depicted not as she is today, but rather with an ephemeral but apparently corporeal - crown superimposed upon her head, as directed according to the rite of 'canonical coronation'. This practice had first been applied to a Marian icon in 1616, and continues to the present day; but the circumstances of the Spoleto icon's coronation were certainly unusual. Having exiled the reigning Pope Pius VI to France in 1798, Napoleon's Rome remained sede vacante for six months until the election of Pius VII in March of 1800. The newly-elected pope was himself coronated in Venice, where it was thought safest for him to remain; during the succeeding months, he toured various dioceses in the region and sojourned in Spoleto (Umbria) in late June. Only later that year did he finally venture down to Rome by ship to ascend the Throne of St Peter. The Coronatio Canonica (formerly also performed by bishops!) is a formal decree in which the pope bestows the pontifical rite to impose an ornamental crown, diadem or halo overtop an image of Christ, Mary, or Joseph which has been popularly venerated essentially, a sort of physical mark of papal recognition of an icon. According to tradition, Luke the Evangelist was a painter and had been responsible for the earliest portraits of the Virgin Mary; several dozen examples of such icons survive today across the world. Our icon's formidable provenance (donated to Spoleto by Frederick Barbarossa himself in 1185 as an apology for sacking the town!) has given way in very recent years to doubts that it predates even the 11th century (Bonfioli); but its Byzantine origins are certainly unquestionable. Unrecorded in OCLC and ICCU. * cf eg. Mara Bonfioli, "La 'Santissima Icone'" in La Cattedrale di Spoleto: storia, arte, conservazione (2002), pp. 185-187; and Raynor, "In the Image of Saint Luke: the Artist in Early Byzantium" DPhil thesis, University of Sussex (2012).

Parma: Duomo e Battistero. Signierte und nummerierte Radierung. Incisione all`Acquaforte di Vincenzo Volpi. Hier die Numme rLXV ( von 100 ) der römischen Nummerierung. Bildmaß der Darstellung 18 x 24 cm ( Höhe x Breite ), aufwendig unter Glas und Passepartout gerahmt. Rahmenmaß: 42 x 48 cm. Am Unterrand bezeichnet und ( unleserlich ) signiert sowie in der Platte am rechten Unterrand *F. Volpi (19)94* bezeichnet. Verso mit altem Klebeetikett der Kunsthandlung Oliva in Parma *Esecuita in Esclusiva per Oliva*. Von guter Erhaltung. ( Weitere Bilder auf Anfrage erhältliche )( Bitte beachten: Hier ist wegen Bruchgefahr nur ein ausgerahmter Versand ohne Rahmen und Glas möglich, wenn der Rahmen gewünscht wird, so bitte ich um Selbstabholung nach Absprache ) ( Lagerort Klassiker-Regal unten Fach 3 ) Artikel 12981 /// Parma: Cathedral and Baptistery. Signed and numbered etching. Incisione all'Acquaforte by Vincenzo Volpi. This is number rLXV (of 100) of the Roman numeral series. Image size 18 x 24 cm (height x width), elaborately framed under glass and passe-partout. Frame size: 42 x 48 cm. Inscribed and (illegibly) signed at the bottom edge, and inscribed in the plate at the lower right edge *F. Volpi (19)94*. Verso with an old adhesive label from the Oliva art gallery in Parma *Esecuita in Esclusiva per Oliva*. In good condition. (Further images available upon request) (Please note: Due to the risk of breakage, shipping is only possible unframed, without glass. If a frame is desired, please arrange for collection in person.) (Storage location: Classics shelf, bottom shelf 3) Item 12981.

Milano, Antica Ditta Pietro e Giuseppe Vallardi, sans date [1871]. In-folio (350 X 476) maroquin marron foncé, dos sept nerfs filetés, caissons dorés fleuronnés avec points dorés, double encadrement de frise et large dentelle dorées sur les plats, titre doré au centre du premier plat, roulette dorée sur les coupes, bordure intérieure, tranches dorées (Assaleix) ; titre-frontispice, 64 planches, 33 pages de texte (dont page de titre), (1) page, (3) ff. de tables. Rousseurs. SECONDE ÉDITION de l'ouvrage le plus important et le plus complet sur le Dôme de Milan, bien complet des 64 PLANCHES gravées, dont 35 à double page. BEL EXEMPLAIRE dans une reliure en maroquin signée «Assaleix ». NICE COPY. PICTURES AND MORE DETAILS ON REQUEST.