westerhout arnold (29 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

tapa dura. Zustand: Bien. Política (323.311.121(46)(0:7.041.5)), Arte en general. Bellas artes. Deportes (7.041.5) F. Sánchez Cano. Madrid. 1963. 21 cm. 101 h. grab. Encuadernación en tapa dura artesanal. Westerhout, Arnold van 1651-1725. Dibujadas y grabadas por Arnold von Westerhout. Reproducidos en fotograbados por F. Sánchez Cano. España. Retratos . Conserva cubierta original Contiene notas manuscritas del anterior propietario. (=3221808=) LI186.

Zustand: New.

Kartoniert / Broschiert. Zustand: New.

Zustand: New.

Taschenbuch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.

Zustand: Good. 3 vols in 1, contemporary calf, gilt decorated spine, leather lettering labels, joints cracked, books plates to front paste-down and front endpaper, folio.22 x 33cm.Wormholes in lower right cortner of first 50 pages, mostly small., Santi Bartoli, Pietro and Giovanni Pietro Bellori.Le Pitture Antiche del Sepolcro de Nasonii Nella via Flaminia?.,1 double page and 34 engraved plates, damp-staining to initial leave of text, affecting the engraved plate at corner, Giovanni Battista Bussotti, Rome, 1680; .Menestrier (Claude François) Symbolica Dianae Ephesiae statua. 24 engravings, Rome: Giovanni Giacomo de Rossi, 1688; Writ (Giovanni Michele) Ragguaglio della solenne comparsa. dall'illustrissimo, et eccellentissimo Signor Conte di Castelmaine., engraved frontispiece, one large folding and 14 engraved plates,.*** The third work contains an account of the Earl of Castlemaine's embassy to Rome in 1687, on behalf of James II, who wished to return England to the Catholic Church.Text and plates describe wall-paintings and vaults of the ancient tomb of the Nasonii on the Via Flaminia, which had been unearthed in 1674. The work was reprinted throughout the seventeenth, eighteenth and early nineteenth centuries, and served as a pattern book among such Neoclassical designers as Adam, Wyatt, Soane, Percier and Fontaine, Hope and Nash.The plates show: 1. excavation and the façade of the tomb; 2. the plan of the tomb; 3, 4. overall views of two walls of paintings; 5-20. details of the paintings; 21. overall view of a painted ceiling; 22-35. details of the ceiling paintings. The paintings show Greek mythological subjects, hunts and the seasons. The book also carries decorated initials.Bartoli's drawings of the murals are preserved in the Royal Collection at Windsor Castle. They were used by G. Turnbull for some plates in A curious collection of ancient paintings (1741).OCLC Number / Unique Identifier:702324701;OCLC Number / Unique Identifier:1085650529; OCLC Number / Unique Identifier: 800892296.Provenance: Thomas Longueville, Skene Library, Ampleforth Abbey Library.

Contemporary half calf with marbled boards; spine with five (5) blind raised bands, flanked by gilt tooling; gilt lettered title on Morocco label on two; contemporary pasted and free endpapers; all edges speckled red., Text in Italian; captions in Latin.This work was dedicated by Piranesi to one of his highly esteemed co-workers (during the 1750?s), Robert Adam. Concerning the Rome 1762 edition, Luigi Ficacci states: ?Edition Rome 1762. Engraved title on the title page: The Campus Martius of Ancient Rome, the Work of G. B. Piranesi, Fellow of the Royal Society of Antiquaries, London. The Latin title page bears the title, the date of the edition, and the dedication to Robert Adam. The address is: ?Veneunt apud Auctorem in aedibus Comitis Thomati via Felice prope Templum SS. Trinitatis in Monte Pincio?.The genesis of the work goes back to the second half of the 1750s: its publication is announced as imminent in the first volume of Antichita Romane (1756). The large Plan of Campo Marzio and 6 copperplates (?Ichnographia? or plan of the Campus Martius, ill. 493), executed in collaboration with Robert Adam and dedicated to him, is dated 1757 on the plate. The approbatio is dated 1761. The plate by Vesterhout (plate XXXI, ?) reproduces the technical solution adopted by Carlo and Francesco Fontana for restoration of the Column of Antonius Pius in 1705.?, Size : Folio (542x406mm). , Etched copper engravings with illustrated title in Latin, illustrated title in Italian, ornamental head-piece and engraved decorative copper initial at A1r; the initial opens the text. Tab. I-XLVIII, plus three full page engravings entitled ?Sepulchrum Mariae Honorij Imp. Uxoris ??, ?Labrum aegyptiacum porphyreticum??, and Nonnulla monumenta sepulcralia, quae recensentur??; these 51etchings include double-page plates numbered V-X forming the plan of the Campus Martius and one double page plate # XXXII; two triple or oversized folding plates numbered II and XXXI; a single page numbered XLVIII depicting three copper plates, entitled ?Elevazione de? Teatri?? , ?Elevazione del Pantheon?? and ?Elevazione dell? Anfiteatro?; single pages two [half-page] copper plates each - numbered XII (entitled ?Hypsographia?? and ?Sectio??) and XLVI (entitled ?A Reliquiae?? and ?Orthographia??) respectively; the remaining copper plates are full page in size. Plate XXXI was engraved by Vesterhout* after Fontana.Thick, wide margined paper; many watermarks, pointing this Roman edition to the time frame of 1770?s -1790?s. Examples of watermarks: an unlisted on both free endpapers with an inner fleur de lis design within a circle; #19 (1790?s) at plate 43; #68 (probably 1790?s) at plate 35; #59 (mid 1770?s -1790?s) at plates 31 and 32; #64 (1790?s) also on plate 31; # 12 (late 1780?s -1790?s) at plate 30; #14 (mid 1761) or #16 (1790?s) at plate 29; #59 (mid 1770?s -1790?s) and 64 (1790?s) at insert plate 21 entitled Scenographia Machinae qua Clemente XI. Pont. Max. An. D. MDCCV; #74 (1790?s) on unnumbered plate entitled ?Sepulchrum Mariae Honorij Imp. Uxoris? generally featured as headpiece vignette of the Latin text.; #12 (late 1780?s -1790?s) on unnumbered plate, entitled ?Labrum aegyptiacum porphyreticum??, here as full plate, otherwise a headpiece of the Latin text. *Plate XXXI, depicting the excavation of the Antonine column in 1705, was signed by both, its engraver, Arnold Van Westerhout or Vesterhout, and by its designer and artist, Franciscus Fontana. The second illustrated title or title in Italian reads: 'Il Campo Marzio Dell'Antica Roma'., References : Luigi Ficacci, pp. 394-431; Focillon (1964): 428-479; Hind (1978): 85; Millard iv (2000): 91; RIBA, Early Pr. iii (1999): 2551; Wilton-Ely (1994): plates 559-612. , Ll: Bl., Illustrated title in Latin, A1-H2, a1-c2 (with catalogue and indices); illustrated title in Italian; Tab.I-XLVIII plus three full-leaf unnumbered plates, bl. Plates and text crisp and clean, near fine. Thick, wide margined paper.

Contemporary half calf; double gilt fillets bordering marbled boards; spine with five (5) matching gilt fillets on raised bands, embossed gilt lettered title on two and four; pasted and free endpapers marbled; all edges marbled., Text in Latin and Italian.This work was dedicated by Piranesi to one of his highly esteemed co-workers (during the 1750?s), Robert Adam. Concerning this Rome, 1762 edition, Luigi Ficacci states: ?Edition Rome 1762. Engraved title on the title page: The Campus Martius of Ancient Rome, the Work of G. B. Piranesi, Fellow of the Royal Society of Antiquaries, London. The Latin title page bears the title, the date of the edition, and the dedication to Robert Adam. The address is: ?Veneunt apud Auctorem in aedibus Comitis Thomati via Felice prope Templum SS. Trinitatis in Monte Pincio?.The volume is composed of 2 title pages (Latin and Italian, whose sequence varies according to the copy), 2 ornamented letters, 4 vignettes, 42 plates by Piranesi (5 of these plates are composed of several copperplates), and 1 engraved by Vesterhout*, 68 pages of text in Italian and Latin, preceded by 6 pages of dedication to Robert Adam and followed by 29 pages of indices. ?The genesis of the work goes back to the second half of the 1750s: its publication is announced as imminent in the first volume of Antichita Romane (1756). The large Plan of Campo Marzio and 6 copperplates (?Ichnographia? or plan of the Campus Martius, ill. 493), executed in collaboration with Robert Adam and dedicated to him, is dated 1757 on the plate. The approbatio is dated 1761. The plate by Vesterhout (plate XXXI, ?) reproduces the technical solution adopted by Carlo and Francesco Fontana for restoration of the Column of Antonius Pius in 1705.?*Plate XXXI, depicting the excavation of the Antonine column in 1705, was signed by both, its engraver, Arnold Van Westerhout or Vesterhout, and by its designer and artist, Franciscus Fontana. The second illustrated title or title in Italian reads: 'Il Campo Marzio Dell'Antica Roma'., Size : Folio (542 x 406mm)., Copper engravings with illustrated title in Latin, illustrated title in Italian, two half-page head-piece vignettes opening dedication at a1v-2r; two engraved decorative copper initials opening the text at A1v and A2r; two large end-piece vignettes at R2v, and R3r; moreover, Tab. I-XLVIII with fifty-two (52) copper engraved plates; these include: a double-page plate numbered XXXII, two triple or oversized folding plates numbered II and XXXI; a larger oversized engraving (1500x1500mm) encompassing plates V-X forming the plan of the Campus Martius; a single page numbered XLVIII, depicting three copper plates, entitled ?Elevazione de? Teatri?? , ?Elevazione del Pantheon?? and ?Elevazione dell? Anfiteatro?; single pages two [half-page] copper plates each - numbered XII (entitled ?Hypsographia?? and ?Sectio??) and XLVI (entitled ?A Reliquiae?? and ?Orthographia??) respectively; the remaining copper plates full or single page sized. , Upper marginal corner of upper pasted endpaper with sticker reading ?C.E.Rappaport // Libri Rari // Roma?- , References : Luigi Ficacci, pp. 394-431; Focillon (1964): 428-479; Hind (1978): 85; Millard iv (2000): 91; RIBA, Early Pr. iii (1999): 2551; Wilton-Ely (1994): 559-612. , Ll: Bl. (2), Illustrated title in Latin, illustrated title in Italian, a1-b2 (with dedication), A1-Q2, R1-3 (with approbation and explanatory texts); a1-c2 (with Index) ; *1-***2, ****1-3 (with catalogues); [illustrations: Tab.I-XLVIII]; bl. (2). Fine thick laid 18th century Italian paper with wide margined paper watermarked engravings; spine and corners worn ? A handsome and attractive example, plates are clean and crisp.

Hardcover. Zustand: Very Good. First edition. Volume 2 only (of 2). Folio. pp. [18] 1-178 [179-194]. With an engraved frontispiece plate by Arnold van Westerhout, and 56 other engraved plates, several of which are folded; and 2 folded letterpress tables at the back. Bound in parchment, spine label stamped in gold, edges mottled red. With two small contemporary ink ownership stamps and one tiny ownership name in ink on the tile page. Boards are a bit bowed, lacking the front free endpaper, else near fine. Giovanni Ciampini's pioneering work illustrates the art and architecture of early Christian churches and monuments in Rome, with particular attention given to their mosaics: Volume 2 depicts the mosaics and paintings of the buildings as they appeared in the seventeenth century. Superbly engraved, it includes several unique views of Christian monuments in Rome no longer extant or that have been profoundly altered. All 57 engraved plates are bright and in fine condition.

Bruxelles, 1976. 194 pp. 38 plates. Softcover. - Sl. worn. (Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts, Collection in quarto ; Sér. 2, t. 14, fasc. 2).

Zustand: Hervorragend. Zustand: Hervorragend | Sprache: Latein | Produktart: Bücher | Keine Beschreibung verfügbar.

Hardcover. Zustand: Poor. First Edition Thus. Title Page And 31 Portrait Plates13 1/4" X 8 7/8", Of Cardinals And Two Of The Pope. Antique Worn Marbled Boards, Covers Detached But Present, Spine Perished. Defective- Lacking Half Of Pages Which Were Removed By A Decorator- "Breaker", But The Remaining 33 Portrait Plates And Title Are Fine. This Title First Published 1676, But As The Portrait Plates For The Pope Indicate A Date Of 1700, This Example Published Circa 1700. Very Large Engraved Bookplate Of Thomas Anson Showing His Arms, "Nil Desperandem", And Two Putti. Per Wikipedia, Thomas Anson, Frs (C. 1695 - 1773) Was A British Member Of Parliament, Traveler And Amateur Architect From The Anson Family. Anson Was The Son Of William Anson (1656-1720) And Isabella Carrier, Sister-In-Law To Thomas Parker, 1St Earl Of Macclesfield. The Family Estate Was Shugborough Hall In Staffordshire. Admiral George Anson, 1St Baron Anson Was His Younger Brother And Along With Their Cousin, George Parker, 2Nd Earl Of Macclesfield, They Were Taught Mathematics And Navigation By Isaac Newton's Friend, The Mathematician William Jones, Who Was Later To Propose Anson's Membership For The Royal Society In 1730. Anson Went Up To St John's College, Oxford, And Later Studied Law At The Inner Temple. Upon His Father's Death, Anson Abandoned Law And Began The First Of Many Travels To The Continent, As Was Then The Fashion For Young Men Of Fortune And Taste. In 1732 Anson And His Friend The Earl Of Sandwich Formed A Riotous Dining-Club Called The Society Of The Dilettanti, Which Also Had The More Serious Purpose Of Encouraging Study Of Greek Architecture. In 1740 Thomas Briefly Joined His Brother George On The Centurion, As He And His Crew Began Their Circumnavigation Of The Globe. Anson Left Them In Order To Travel To Egypt. This Qualified Him For The Egyptian Society And The Divan Society, The Latter Being A Wild Drinking-Club Of Which Lord Dashwood And Lady Mary Wortley Montagu Were Avid Members. He Was Elected To The House Of Commons For Lichfield In 1747, A Seat He Held Until 1770. In 1748 Anson Was Sent To Versailles By Lord Sandwich With Secret Correspondence For The Duc De Choiseul And Madame De Pompadour. In Paris He Bought Crayons For His Friend The Duchess Of Bedford, And His Sister-In-Law, Lady Anson, Sent Him A Long List Of Presents She Desired. In 1762 He Succeeded To The Vast Fortune Of Spanish Treasure Amassed By His Admiral Brother. This Enabled Him To Further Indulge His Passion For Architecture At Shugborough. Anson And Another Member Of The Society Of The Diletantti Rebuilt The House In The Greek Revival Style That The Pair Were Championing In England. Anson Filled Shugborough With Paintings, Books And Objets D'art, And Had Vasalli Paint Allegories Upon The Ceilings. The Park Was Strewn With Temples And Follies, Including The Mysterious Shepherd's Monument, The Pagoda, Pigeon House And The Tower Of The Winds. The Park Has Been Described By Some As A Metaphor For Lord Anson's Circumnavigation Of The Globe. Others Contend That It Engages Aspects Of Many Cultures, Both As A Tribute To Admiral Anson's Voyage, And As A Representation Of Thomas Anson's Interest In Syncretic Philosophies. Anson Died Unmarried In March 1773. The Anson Estates Were Passed On To His Nephew, George Adams, Who Assumed The Surname Of Anson And Was Ancestor Of The Earls Of Lichfield.

Zustand: ACEPTABLE. Retrato de monje Laici Professi Ord. Minor. Strict. Observantiae Qui Romae in Conventu S. Bonaventure die XI. Septemb. MDCLXXXIV. aetatis suae LXIV. Obijt. Realizado por Arnold Westerhout (Amberes, 1651 - Roma, 1725), grabador, dibujante y editor flamenco que trabajó sobre todo en Italia. Recortado y pegado sobre cartulina. Formato (cm): 20,5x14.

In 4° (26×19,5 cm); (4), LXVII, (1 b.) cc. di tav. Legatura coeva in mezza-pelle scura con filetti e fregi in oro al dorso. Piatti foderati con carta marmorizzata coeva. Tagli rossi. Esemplare in buone condizioni di conservazione ad ampli margini. Prima edizione. Frontespizio, lettera dedicatoria, ritratto di Giovanni dalla Croce, ritratto di Santa Teresa più 67 tavole, il tutto inciso in rame. Importante opera incisoria del celeberrimo incisore e pittore originario di Anversa, Arnold van Westerhout or Arnoldo van Westerhout (Antwerp, 21 February 1651 Rome, 18 April 1725), sulla vita di Santa Teresa fondatrice dell'Ordine delle Carmelitane Scalze. La sua carriera artistica fu segnata da una straordinaria abilità tecnica nell'arte dell'incisione e da una vasta produzione di opere che spaziavano dalla ritrattistica alle illustrazioni botaniche fino alle serie tematiche. Van Westerhout iniziò la sua formazione artistica ad Amsterdam, un importante centro culturale e artistico dell'epoca. La città olandese fornì al giovane artista l'opportunità di entrare in contatto con la ricca tradizione artistica locale, influenzata dalle opere dei grandi maestri del secolo d'oro olandese. La sua abilità nel disegno e il suo interesse per l'arte dell'incisione emersero precocemente durante gli anni di apprendistato. La prima menzione documentata della sua carriera risale al 1674, quando Van Westerhout divenne membro della Corporazione di San Luca ad Amsterdam, un'associazione di artisti. Questa affiliazione fornì a Van Westerhout una piattaforma per entrare a far parte della comunità artistica locale, incontrare colleghi e condividere idee con altri maestri incisori dell'epoca. La sua abilità tecnica nell'arte dell'incisione gli valse presto una crescente reputazione. Van Westerhout si specializzò in diverse tecniche di incisione, tra cui l'acquaforte e il bulino, dimostrando una padronanza eccezionale nell'uso di strumenti specializzati per creare dettagli finemente incisi nelle sue opere. Una delle aree in cui Van Westerhout eccelse fu la ritrattistica incisa. Creò una serie di incisioni ritraenti figure di spicco dell'epoca, inclusi artisti, uomini di lettere e nobili. I suoi ritratti si distinsero per la loro precisione anatomica e per la capacità di catturare l'essenza e la personalità dei soggetti. La raffinatezza tecnica delle sue opere lo rese una scelta popolare tra coloro che desideravano ritratti incisi di alta qualità. Tuttavia, la fama di Van Westerhout si consolidò principalmente attraverso la sua notevole produzione di illustrazioni botaniche. Collaborò con importanti botanici e scienziati dell'epoca, tra cui Herman Boerhaave, contribuendo con le sue incisioni a pubblicazioni scientifiche e opere di divulgazione. Le sue rappresentazioni di piante erano caratterizzate da un dettaglio minuzioso e da una fedeltà scientifica, dimostrando una profonda comprensione della botanica. Uno dei progetti più significativi di Van Westerhout fu la collaborazione con il botanico Johann Jacob Dillenius per l'opera "Hortus Elthamensis", pubblicata nel 1732. Questo lavoro conteneva una serie di incisioni botaniche di alta qualità, molte delle quali erano opera di Van Westerhout. Le illustrazioni erano accompagnate da dettagliate descrizioni scientifiche delle piante, sottolineando la sinergia tra arte e scienza nella sua produzione. La sua influenza si estese ben oltre i confini olandesi, contribuendo a consolidare la reputazione dell'Olanda come centro di eccellenza nelle arti grafiche. Van Westerhout non solo contribuì all'evoluzione dell'arte incisoria, ma anche alla diffusione della conoscenza botanica attraverso le sue illustrazioni dettagliate e accurate. Arnold van Westerhout morì nel 1725, ma la sua eredità artistica e scientifica ha resistito nel tempo. Fin dal 1679 si trasferì a Venezia dove lavorò con Giovanni Palazzi (16401703) in collaborazione con i suoi colleghi incisori di Anversa Pieter van Sickeleers e Cornelis van Merlen. Ma è con il suo trasferimento a Roma nel 1681 che ottenne un notevole successo, divenendo in pochi anni uno dei più importanti e ricercati incisori d'Europa. L'opera ripercorre la vita ed i miracoli di Santa Teresa di Gesù, conosciuta anche come Santa Teresa d'Avila, è stata una monaca carmelitana, mistica e riformatrice spagnola del XVI secolo. Nata il 28 marzo 1515 a Gotarrendura, Spagna, con il nome di Teresa Sánchez de Cepeda y Ahumada, mostrò fin da giovane una profonda devozione religiosa. Entrata nel monastero carmelitano di Santa Maria della Grazia a 20 anni, Teresa presto iniziò a sperimentare visioni mistiche e estasi divine. Nel tentativo di riformare l'ordine carmelitano, fondò il monastero di San Giuseppe ad Avila nel 1562. La sua visione era quella di ritornare alla pratica ascetica e contemplativa originaria del Carmelo. Santa Teresa scrisse numerose opere spirituali, tra cui il suo celebre "Autobiografia", in cui descrisse le sue esperienze mistiche e la sua profonda unione con Dio. Fu anche autrice di capolavori come "Il Castello Interiore" e "Il Cammino di Perfezione", opere che riflettono il suo impegno per la preghiera e la vita spirituale. La vita di Santa Teresa è stata caratterizzata da numerosi miracoli attribuiti alla sua intercessione divina. Si dice che abbia compiuto miracoli di guarigione, di "resuscitazione" e bilocazione. In uno degli episodi più noti, avrebbe guarito miracolosamente una suora gravemente malata con un solo segno di croce. Canonizzata nel 1622, Santa Teresa di Gesù è stata dichiarata Dottore della Chiesa nel 1970 da Papa Paolo VI. Il suo contributo alla spiritualità cristiana e la sua eredità mistica continuano a influenzare milioni di persone in tutto il mondo, con numerosi fedeli che la venerano come patrona dei malati e degli studiosi. La festa di Santa Teresa è celebrata il 15 ottobre, un giorno in cui la Chiesa cattolica commemora la sua vita e i suoi insegnamenti. Ottimo esemplare con buoni margini. Rif. Bib.: esempl.

Kein Einband. Zustand: Sehr gut. Lilliputians, dwarfs. Arnold van Westerhout, Elias Baeck. A baroque series of caricatures of Lilliputians / dwarfs. 11 orig. copperplate engravings. Engraved by Elias Baeck, called 'Heldenmuth'. Published by A. Schmidt in Augsburg, ca. 1720. In upper corners numbered 'a 1-4', 'b 1-4', 'c 1, 2, 4' (c 3 missing). A total of 22 satirical depictions, each with 3-4 figures. Half of the engravings after van Westerhout (his cycle 'Raccolta di diverse caricature', 1687). Each engraving 18,5:28,5 cm (7 1/4 x 11 1/4 inch.). A rare series of copperplate engravings with curiously deformed stunted figures of various trades (crafts - including alchemist, butcher, cook) and estates as they were popular in the 17th and early 18th centuries.

Zustand: Good. Mezzotint. 42 x 31.2 cm. Short tear, repaired.Old laid paper.Don Gaspar Mendez de Haro y Guzmán, Marchese del Carpio. Viceroy of Naples 1683-1687 and Spanish ambassador to Rome.? inscription lower left: Arnoldo van Westerhout fecit? inscription bottom (positional attribute): Illustrissimo Heroi, ac Domino Excellentissimo / D. GASPARI DE HARO ET GVSMAN / Marchioni de Carpio, duci de Montoro Comiti duci de Oliuares &c. / Hispaniarum Magnati nato, & Magna Cancellario, Ex Consilijs belliae Status pro CAROLO II. / Monarcha semper, & Catholico ad SS. D. INNOCENTIVM XI. Legato Ordinario & Extraordinario / nunc demum Regni Neapolitani pro meritis pro Regi.? Literature: ? M. Lopez-Fanjul y Diez del Corral, 'Las representaciones de Don Gaspar de Haro y Guzmán, VII Marqués del Carpio: retratos, alegorías y emblemas', Archivo Español de Arte, 86 (2013), no. 344, p. 291-310, esp. p. 300, ill. 7 on p. 301.? J. Fernández-Santos Ortiz-Iribas, '"No minorar la memoria de mis pasados". Apuntes para una biografía política de Gaspar de Haro y Guzmán, marqués del Carpio', Cuadernos de Historia Moderna 45 (2021), no. 2, p. 689-715, esp. p. 708, ill. 6.? Beatrice Cacciotti, 'La collezione del VII marchese del Carpio tra Roma e Madrid' in 'Bolletino d'Arte' 86-87 1994, pp.133-196 (on his collection.

Kein Einband. Zustand: Gut. Kupferstich 44,5 x 37,5, Vogelschaukarte der Stadt Alicata mit Belagerung durch eine Flotte, Titel am unteren Rand mit Buchstabenlegende, Wappenkartusche und zwei antike Bildnisse, über der Stadtansicht allegorische Szene. auf Karton aufgezogenes Blatt mit kleinen Beschädigungen im Titelfeld und an den Rändern.

[S.l.], [s.n.t.], [fine del XVII secolo], incisione in rame all'acquaforte, mm 271x187 (l'impronta della lastra), mm 314x209 (il foglio). Sottoscritta in lastra in basso a destra: Arnoldo van Westerhout ad vivum del. et sculp. Girolamo Rocca (. - 1691) è stato un giurista italiano. Originario di Catanzaro, divenne sacerdote e poi docente di diritto e teologia al Collegio Romano. In seguito fu ordinato vescovo di Ischia e per nove anni accolse il celebre storico e filosofo Giambattista Vico come precettore dei suoi nipoti. La sua opera principale è Disputationum iuris (1687), ristampata a Ginevra (1693) e a Venezia (1703). Buone condizioni.

Brussels, Académie Royale de Belgique, 1976, in-4°, sewn, orig. wrapp. 194 pp + xxxviii plts h.t. index. Published as a treatise of the Royal Belgian Academy, with a catalogue raisonné. Text in French.

"Le Blanc n° 23. Belle épreuve à grandes marges, sur papier vergé filigrané.

Roma, Arnold van Westerhout (colla nota "Al negozio Remondini"), [c. 1717], incisione all'acquaforte, mm. 435x680. L'assedio di Belgrado del 1717 ebbe luogo nel corso della Guerra austro-turca dopo la vittoria austriaca di Petervaradino e si concluse il 17 agosto 1717 con la conquista della fortezza di Belgrado da parte delle truppe austriache al comando di Eugenio di Savoia. Qualche leggera consuzione. Lievi e piccoli restauri. Rara.