Il disegno trova preciso confronto con alcuni fogli della Biblioteca Marucelliana di Firenze, considerati progetti per la decorazione di carrozze. Altri fogli per un confronto grafico si trovano al Gabinetto dei Disegni e Stampe degli Uffizi matita nera, penna e inchiostro bruno su carta
Giuseppe Zocchi (Italian, 1711-1767) Antique Etching ""Veduta della Chiesa, e Piazza di S. Maria Novella con la Festa della Corsa de' Cocchi." / "The Church and Piazza of Santa Maria Novella during the Chariot Race". Well framed and presented under glass. Measures 12-1/2" x 17-1/4" (sight), frame 19-1/4" x 24". Condition: Good condition. Estimate 80 - 160 Domestic shipping Third Party
FLORENTINER STRASSENSZENE Öl auf Leinwand. 30 x 50 cm. Verso auf Keilrahmen mit altem Etikett. In à jour gearbeitetem Rahmen. Sommerliche Darstellung der Piazza Santa Trinita mit zahlreicher Figurenstaffage und kontrastierender Beleuchtung der architektonischen Elemente. Links im Vordergrund die Colonna della Giustizia, die ursprünglich in den Terme di Caracalla stand und von Papst Pius IV an Cosimo de Medici geschenkt wurde. Die rote Porphyrstatue von 1580, die von Francesco del Tadda und seinen Sohn gefertigt wurde, erscheint hier in weißem gleißendem Licht. (1461975) (4) (13)
Giuseppe Zocchi (1711 Florenz 1767) Vedute delle Ville, e d'altri Luoghi della Toscana. Appreso Giuseppe Allegrini Stampatore in Rame Firenze 1744 Folge von Titelblatt, Inhaltsverzeichnis, Widmung und 50 Ansichten, nicht gebunden Je Radierung, alle Blätter einzeln und nicht gebunden / Each etching, all sheets loose and not bound 1744, erste Ausgabe Je ca. 36,5x56,5 cm, Blattgrösse / Each circa 36.5x56.5 cm, sheet size Literatur / Literature Mark J. Millard Architectural Collection, National Gallery of Art, Washington, D.C., IV, Nr. 169 M. Mason, Vues de Florence et de la Toscane d'après Giuseppe Zocchi, Genf 1974, Musée d'Art et d'Histoire, Cabinet des Estampes, S. 189 Mark J. Millard Architectural Collection, National Gallery of Art, Washington, D.C., IV, no. 169 M. Mason, Vues de Florence et de la Toscane d'après Giuseppe Zocchi, Geneva 1974, Musée d'Art et d'Histoire, Cabinet des Estampes, p. 189 Zustand / Condition Durchweg hervorragende Drucke. Die Blätter alle ungefaltet mit umlaufendem Rand, nur in diesem etwas fingerfleckig, sonst tadellos Consistently outstanding impressions. All sheets unfolded with full margins, only slightly finger-stained in the margins, otherwise impeccable Erläuterungen / Comments Im Auftrag des Marchese Andrea Gerini zeichnete Zocchi Ansichten der Toscana, wobei die zahlreichen Villen des Landstrichs im Fokus standen. Anschliessend wurden die Zeichnungen radiert und als Folge herausgegeben. Da unter den 16 Radierern nicht nur Italiener wie Zocchi oder Piranesi, sondern auch Deutsche und Franzosen waren, handelte es sich um ein internationales Projekt. Gleichwohl verraten die Radierungen Zocchis toskanische Handschrift: eine bewusste Einfachheit und Klarheit sowie überschaubare Proportionen. Die Folge richtete sich, wie alle Vedutenfolgen der Zeit, an Touristen. In einigen Ansichten sind Reisende sogar als Staffagefiguren integriert. Aufgrund des grossen Erfolgs der Erstauflage folgten 1754 und 1757 weitere Auflagen. Die Bedeutung der Serie für die spätere Vedutenkunst in Italien war erheblich. Bei Villendarstellungen spielten Gärten und die umgebende Landschaft eine grosse Rolle und gaben somit Impulse für die Landschaftsgraphik der Folgejahre. Die fünfzehn Lose 3075-3089 bieten einen repräsentativen Querschnitt durch das Genre der italienischen Vedute. Erste wirklichkeitsgetreue Ansichten von Landschaften und Städten kommen in der Kunst schon um 1500 vor. Seine Blütezeit erlebt das Genre aber im Italien des ausgehenden 17. und im Verlauf des 18. Jahrhunderts. Der internationale Italien-Tourismus bot dabei einen Absatzmarkt, der in seiner Breite vor allem durch druckgraphische Blätter bedient wurde. Zu nennen sind hier an erster Stelle natürlich die Radierungen von Antonio Canaletto und Giovanni Battista Piranesi. Canalettos Neffe Bernardo Bellotto etablierte das Konzept der höchst naturgetreuen Stadtansicht auch nördlich der Alpen während Piranesi topographische Motive noch um die architektonischen Inventionen der "Carceri" erweiterte. Chronologisch betrachtet machen in der hier angebotenen Auswahl die bei dem römischen Verleger Rossi schon im 17. Jahrhundert erschienenen und von Falda, Specchi und Venturini gestochenen Folgen bedeutender Bauwerke und Brunnen in Rom den Anfang. Den zeitlichen Schlussakkord bildet dann Luigi Rossinis umfangreicher Zyklus von Rom-Ansichten, der Piranesis Grossprojekt der „Vedute di Roma“ bis ins 19. Jahrhundert weiterführt. (Siehe auch die Einzelblätter Piranesis in unserer Online-Auktion, Lose 4088ff. sowie als interessante Beispiele niederländischer Veduten die Folgen von Reinier Nooms und Pieter Schenk, ebendort die Lose 4083 und 4114.) Commissioned by Marchese Andrea Gerini, Zocchi drew views of Tuscany, focusing on the region's numerous villas. The drawings were then etched and published as a series. Since among the 16 etchers there were not only Italians such as Zocchi or Piranesi, but also Germans and French, it was an international project. Nevertheless, Zocchi's etchings reveal his Tuscan signature: a deliberate simplicity and clarity as well as manageable proportions. Like all series of vedute of the time, the series was aimed at tourists. In some views, travelers are even integrated as staffage figures. Due to the great success of the first edition, further editions followed in 1754 and 1757. The significance of the series for later vedute art in Italy was considerable. In depictions of villas, gardens and the surrounding landscape played a major role and thus provided impulses for landscape graphics in the following years. The fifteen lots 3075-3089 offer a representative cross-section of the genre of Italian vedute. The first true-to-life views of landscapes and cities appeared in art as early as around 1500. However, the genre experienced its heyday in Italy in the late 17th and throughout the 18th century. International tourism to Italy provided a market that was largely served by printed graphic sheets. Foremost among these are, of course, the etchings by Antonio Canaletto and Giovanni Battista Piranesi. Canaletto's nephew, Bernardo Bellotto, established the concept of highly realistic city views north of the Alps as well, while Piranesi expanded topographical motifs with the architectural inventions of the "Carceri". Chronologically, in the selection offered here, the series of important buildings and fountains in Rome published by the Roman publisher Rossi in the 17th century and engraved by Falda, Specchi, and Venturini mark the beginning. The final chord is struck by Luigi Rossini's extensive cycle of views of Rome, which continues Piranesi's major project of the „Vedute di Roma“ into the 19th century. (See also the individual sheets by Piranesi in our online auction, lots 4088ff., as well as, as interesting examples of Dutch vedute, the series by Reinier Nooms and Pieter Schenk, likewise lots 4083 and 4114.) MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2025; 11:00 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 170.- Europa / Europe: CHF 270.- Übrige Länder / Other countries: CHF 360.-
Giuseppe Zocchi, Italian 1711-1767- A capriccio of ruins and steps leading to a pool, with the Farnese Hercules; black chalk, pen, brown ink, and grey wash on paper, arched top, 17.6 x 11 cm. Provenance: Collection of Sir Horace Mann, 1st baronet (1701-1786), by whom the drawings were commissioned from Zocchi. thence by descent to Mrs. Doris Ray Courtney Herbert. Drawings of Views of Rome, Florence, and Elsewhere by Giuseppe Zocchi, The Property of Mrs. D. Herbert of South Africa sale, Sotheby's, London, 11 July 1979, lot 190. Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley). Note: The drawings in the 11 July 1979 Sotheby's sale were removed by Sotheby's from an oblong folio album of Zocchi's drawings, the covers and mounts of which were of early 19th-century date. Sir Horace Mann was British envoy at Florence from 1740 to 1786, and intimate friend of Horace Walpole. Zocchi's drawings were commissioned by Mann, as stated in a note in English in an early 19th-century hand (pasted onto a flyleaf) which reads in part '...Giuseppe Zocchi... these his drawings made for the first Sir Horatio or Horace Mann while Envoy in Florence in 1764 & before & after'.
Giuseppe Zocchi, Italian 1711-1767- Three studies for architectural designs and ornaments: An unfinished sketch for a temple with an urn; A vase with dancing maidens; and Capital and frieze of a round temple; black chalk, pen, brown ink, and brown wash on paper, three sheets on a shared mount, the first inscribed 'Zocchi' verso, 19 x 29.1 cm. and smaller, three (3). Provenance: Collection of Sir Horace Mann, 1st baronet (1701-1786), by whom the drawings were commissioned from Zocchi. thence by descent to Mrs. Doris Ray Courtney Herbert. Drawings of Views of Rome, Florence, and Elsewhere by Giuseppe Zocchi, The Property of Mrs. D. Herbert of South Africa sale, Sotheby's, London, 11 July 1979, lot 214. Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley). Note: The drawings in the 11 July 1979 Sotheby's sale were removed by Sotheby's from an oblong folio album of Zocchi's drawings, the covers and mounts of which were of early 19th-century date. Sir Horace Mann was British envoy at Florence from 1740 to 1786, and intimate friend of Horace Walpole. Zocchi's drawings were commissioned by Mann, as stated in a note in English in an early 19th-century hand (pasted onto a flyleaf) which reads in part '...Giuseppe Zocchi... these his drawings made for the first Sir Horatio or Horace Mann while Envoy in Florence in 1764 & before & after'.
Giuseppe Zocchi, Italian 1711-1767- View of the Roman Forum with the Arch of Septimus Severus and the Temple of Antoninus and Faustina at Rome; black chalk, pen, brown ink and wash on paper, 19.1 x 31.5 cm. Provenance: Collection of Sir Horace Mann, 1st baronet (1701-1786), by whom the drawings were commissioned from Zocchi. thence by descent to Mrs. Doris Ray Courtney Herbert. Drawings of Views of Rome, Florence, and Elsewhere by Giuseppe Zocchi, The Property of Mrs. D. Herbert of South Africa sale , Sotheby's, London, 11 July 1979, lot 201. Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley). Note: The drawings in the 11 July 1979 Sotheby's sale were removed by Sotheby's from an oblong folio album of Zocchi's drawings, the covers and mounts of which were of early 19th-century date. Sir Horace Mann was British envoy at Florence from 1740 to 1786, and intimate friend of Horace Walpole. Zocchi's drawings were commissioned by Mann, as stated in a note in English in an early 19th-century hand (pasted onto a flyleaf) which reads in part '...Giuseppe Zocchi... these his drawings made for the first Sir Horatio or Horace Mann while Envoy in Florence in 1764 & before & after'. A certain amount of artistic license is used in the depiction of this scene, since in the 12th century the cella of the Temple of Antoninus and Faustina was converted into the Church of S. Lorenzo in Miranda, and in 1602 it was provided with a Baroque façade.
Giuseppe Zocchi (Circa 1711-1767) Italian, Color Engraving of The Arno River and the Ponte Santa Trinita. Colored engraving print of a harbor scene by Giuseepe Zocchi, titled on bottom; "Veduta di una parte di Lung' Arno, e del Ponte à S. Trinita presa dal Palazzo del Sig. March. Roberto Capponi" / "View of a part of the Lungarno, and the Ponte Santa Trinita taken from the Palace of Signor Marchese Roberto Capponi". Overall Size: 39 x 31 in. Sight Size: 26 x 19 in. Giuseppe Zocchi (c. 1711–1767) was an Italian engraver and painter best known for his finely detailed vedute—panoramic views—of Florence and the Tuscan countryside. Born in Florence, Zocchi was commissioned by the Marchese Andrea Gerini to travel throughout Italy to study and sketch landscapes, which became the foundation for his celebrated series of engravings. His most famous work, Vedute delle Ville e d'altri luoghi della Toscana, captured the elegance of Tuscan villas and landmarks with remarkable precision and artistry, blending topographical accuracy with an idealized aesthetic. Zocchi's engravings served both as artistic achievements and valuable historical documents, preserving the architecture and urban landscapes of 18th-century Italy. His work remains a cornerstone of Italian vedutismo and continues to be appreciated for its technical mastery and historical significance.
Etching with engraving, "Veduta del Palazzo del Sig:re March:se Strozzi, del Centauro, e della Strada, che conduce a S. M.Nouella", a view of the Palazzo Strozzi in Florence. Figures engraved by artist Giuseppe Zocchi (Italian, 1716 - 1767) with help from Bernardo Sgrilli (Italian, active 1733 - 1755) who engraved the buildings and street. Measures: Frame: 28" x 35" Site: 20-1/2" x 28".
Follower of Giuseppe Zocchi, Italian 1711-1767- Six Italianate landscapes with architectural capricci and figures beneath classical ruins; oils on unstretched canvases, each approximately 102 x 117.5 cm., six (6). (unframed). ( VAT charged on Hammer Price) Note: The present paintings are heavily reminiscent of Zocchi's fantastical architectural capricci, featuring figures who are dwarfed by the monumental classical ruins above them. Indeed, these works recall a pair of paintings by Zocchi which sold at Bonhams, London, on 4 July 2018, lot 94, and another which sold at Christie's, London, on 9 December 2016, lot 196.
GIUSEPPE ZOCCHI (attr.)(Firenze 1711-1767). Cuttlefish ink drawing on paper depicting "ROMANTIC SCENE". Veneto. In carved, lacquered and painted wooden frame. GIUSEPPE ZOCCHI (attr.)(Firenze 1711-1767). Disegno a inchiostro di seppia su carta raffigurante "SCENA AMORINA". Veneto. In cornice in legno intagliata, laccata e dipinta.
Giuseppe Zocchi (1711 Florence - 1767 ibid.) after Pietro Cortana (18th century): The judgement of Hercules Hercules at the crossroads, c. 1767, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Pietro da Cortona inv et del: / Gius Zocchi sc". At the lower part inscribed in the printing plate: " / The JUDGEMENT of HERCULES / After an Original Drawing of Pietro da Cortona. / T.Bradford Fleet Street, Excudit.". Date: c. 1767 Description: The depiction follows a model by Pietro da Cortona and shows the hero sitting in the foreground with a club in his left hand. Sheet from the so-called "Luti Collection", a series of 30 etchings after old master drawings from the collection of the Florentine artist Benedetto Luti. Source: sog. Luti-Sammlung"" | print suite Keywords: printmaking, Italy, rococo, mythology, hero, judgement, Hercules, club, Florence, 18th century, Baroque, Mythology, Germany, Size: Paper: 41,6 cm x 30,2 cm (16,4 x 11,9 in), Plate: 38,4 cm x 27,4 cm (15,1 x 10,8 in)
A pietra dura plaque representing the harbour of Livourne, by the Grand Ducal Workshop, Florence, after a design by Giuseppe Zocchi, mid 18th century Including chalcedony, Bohemian and Sicilian jaspers, lapis lazuli, rock crystal, cornelian, giallo antico, white marble, alabaster, amongst others, with inscription “S.A.R / FIRENZE”, within its original gilt-bronze frame, the masks added later Height with frame: 28 1/2 in ; width with frame: 40 3/4 in ; Height without frame: 19 in ; width frame: 31 1/4 in ; Haut. avec cadre : 72,5 cm ; larg. avec cadre : 103,5 cm ; Haut. sans cadre : 48,5 cm ; larg. sans cadre : 79,5 cm
GIUSEPPE ZOCCHI (Italian, 1711-1767). Ceres (Demeter) on a chariot drawn by lions receives offerings from peasants, Etching by Zocchi after Pietro da Cortona (Italian, 1597-1669). Framed. Not examined out of frame. - 14 x 10 1/4 in. (sight) The lifelong collection of Bernie Delia
Giuseppe Zocchi (1711 Florence - 1767 ibid.) after Pietro Cortana (18th century): The judgement of Hercules Hercules at the crossroads, c. 1767, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Pietro da Cortona inv et del: / Gius Zocchi sc". At the lower part inscribed in the printing plate: " / The JUDGEMENT of HERCULES / After an Original Drawing of Pietro da Cortona. / T.Bradford Fleet Street, Excudit.". Date: c. 1767 Description: The depiction follows a model by Pietro da Cortona and shows the hero sitting in the foreground with a club in his left hand. Sheet from the so-called "Luti Collection", a series of 30 etchings after old master drawings from the collection of the Florentine artist Benedetto Luti. Source: sog. Luti-Sammlung"" | print suite Keywords: printmaking, Italy, rococo, mythology, hero, judgement, Hercules, club, Florence, 18th century, Baroque, Mythology, Germany, Size: Paper: 41,6 cm x 30,2 cm (16,4 x 11,9 in), Plate: 38,4 cm x 27,4 cm (15,1 x 10,8 in)
GIUSEPPE ZOCCHI (attr.)(Firenze 1711-1767). Sepia ink drawing on paper depicting "LOVE SCENE". Veneto. In carved, lacquered and painted wooden frame. GIUSEPPE ZOCCHI (attr.)(Firenze 1711-1767). Disegno a inchiostro di seppia su carta raffigurante "SCENA AMORINA". Veneto. In cornice in legno intagliata, laccata e dipinta.
Iunius. - Iulius. - Augustus. 3 Bl. von 12 Monaten. Kupferstiche wohl v. Francesco Bartolozzi (1725-1815) n. Giuseppe Zocchi (1711-1767). Blgr. je ca. 20,5 x 33 cm. Jwls. mit Titel u. lat. Text i.d. Platte. An 3 Seiten auf Darstellung beschnitten. Auf festes Papier aufgezogen. - Etw. gebr., stockfl., vereinz. kl. Löcher, tls. randrissig. R
GROSSE VEDUTE VON FLORENZ – BLICK ÜBER DEN ARNO ZUR BRÜCKE SANT TRINITA Öl auf Leinwand. 67 x 94 cm. Kunsthistorische Dokumentation Dr. Elisabetta Airaldi, Florenz. Die Ansicht geht auf ein Gemälde von Zocchi zurück, das den Blick auf die Stadt bietet, jedoch ohne die hier ins Bild gesetzte Kuppel des Florentiner Domes. Die Aufschriften in Rot am unteren Bildrand im Stil des 18. Jahrhunderts, ebenso das hier eingefügte Wappen von Florenz. Erg. Bekannt für seine Veduten von Florenz und Umgebung. Werke seiner Hand finden sich im Palazzo Pitti, Florenz, in den Museen von Nancy und New York. (1401611) (2) (10) Giuseppe Zocchi, 1711 Florence - 1767 ibid., circle of LARGE VEDUTA OF FLORENCE - VIEW ACROSS THE ARNO TO THE SANT TRINITA BRIDGE Oil on canvas. 67 x 94 cm. Art historical documentation by Dr Elisabetta Airaldi, Florence.
Zocchi, Giuseppe (1716 -Florenz-1767, nach) - „Veduta del Palazzo Vecchio e della Piazza con la Festa degli Omaggi nella Solennità di S. Gio. Batista, Radierung von Carlo Gregori, Reproduktion auf Velin, ca. 33 x 45,4 cm, hinter Glas gerahmt
ZOCCHI, Giuseppe (c.1711-1767), a partir de desenhos de Giovanni Francesco Barbieri (Guercino) (1591-1666) Cinco retratos gravados sobre papel, segunda metade do século XVIII. Dim. aprox. mancha: 21,5 x 17 cm; Dim. aprox. total (cada): 56,5 x 40,5 cm. Papel com marcas de manuseamento, com manchas de acidez ocasionais. Leves vincos. Emoldurados (5)
Giuseppe Zocchi (1711 Florence - 1767 ibid.) after Pietro Cortana (18th century): The Judgement of Hercules Hercules at the Crossroads, c. 1767, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Pietro da Cortona inv et del: / Gius Zocchi sc". At the lower part inscribed in the printing plate: " / The JUDGEMENT of HERCULES / After an Original Drawing of Pietro da Cortona. / T.Bradford Fleet Street, Excudit.". Date: c. 1767 Description: The depiction follows a model by Pietro da Cortona and shows the hero sitting in the Voedergrund with a club in his left hand. Sheet from the so-called "Luti Collection", a series of 30 etchings after old master drawings from the collection of the Florentine artist Benedetto Luti. Source: sog. Luti-Sammlung"" | print suite Keywords: Prints, Italy, Rococo, Mythology, Hero, Judgement, Hercules, Club, Florence, 18th century, Baroque, Mythology, Germany,
Zocchi, Giuseppe (1716 -Florenz-1767, nach) - „Veduta del Palazzo Vecchio e della Piazza con la Festa degli Omaggi nella Solennità di S. Gio. Batista, Radierung von Carlo Gregori, Reproduktion auf Velin, ca. 33 x 45,4 cm, hinter Glas gerahmt
After Giuseppe Zocchi (1711 - 1767) Italian, Veduta del Palazzo Strozzi; Ingresso in Citta dalla porta S. Gallo; Veduta del R. Giardino di Boboli; Veduta della Piazza, e Chiesa do S. Gaetano; Veduta della Piazza di S. Maria Novella; Veduta dei Palazzi Corsi e Viviani; Veduta della Porta Romana; Veduta del Real Palazzo Pitti; Veduta del Palazzo Corsini Lungo Arno presa dalla Piazza Scarlatti; Veduta del Duomo di Firenze, a set of ten engravings by Matteo Carboni, the text in Italian and French, plates 24 x 32 cm, each recently framed and glazed 49.5 x 59.5 cm Qty: (10)
After Giuseppe Zocchi (1711 - 1767) Italian, Veduta della Piazza, e Chieda di S. Giovannino de PP Gesuiti; Veduta del Palazzo Vecchio del G.D. della Loggia...; Veduta di una parte di Firenze presa Fuori della Porta a S. Niccolo presso al Fiume Arno; Veduta della Badia Fiorentina, e del Palazzo del Potesta presa dalla Piazza della Chiesa de P.P. dell' Oratorio, a set of four engravings, 50.5 x 68 cm, each framed and glazed 75.5 x 92.5 cm Qty: (4)
Giuseppe Zocchi (Italian, 1711-1767) Scelta di XXIV Vedute delle principale Contrade, Piazze, Chiese e Palazzi della Città di Firenze Ten etchings with engraving from the series, including the title page, by various engravers, including Giuseppe Vasi, Carlo Gregori and Bernardo Sgrilli, after Zocchi's original drawings, from the second edition published in 1754 by Giuseppe Bouchard, Florence, on double sheets of laid paper with the central vertical fold, trimmed to the plate or with small margins Plate 515 x 695 (20 1/4 x 27 3/8in); Sheet 515 x 698 (20 1/4 x 27 3/8in) (10)
Giuseppe ZOCCHI (1711-1767) Veduta del Palazzo Vecchio - Veduta del Palazzo Strozzi C. Gregorj sculp. T XXIII - B. Gabbuggiani sculp. Eau-forte, burin Belles épreuves en réimpression Quelques accidents et manques dans les marges. Pli pincé à chacune Etching and engraving Beautiful proofs in reprint Some accidents and lacks in the margins Pinch pleat on each print 51 x 69,5 CM - 20 1/8 x 27 3/8 IN
After Giuseppe Zocchi (Italy, 1711-1767), 18th C. Verso with period script. With some later paint/coloring. Overall sizes from 23"h x 32-1/4"w to 26-1/2"h x 32-3/4"w Provenance: Harrods, London, UK Provenance: Property from a Private Park Avenue, New York City Collection
(lot of 11) Francesco Bartolozzi (Italian, 1727-1815) after after Giuseppe Zocchi (Italian, 1711-1767), Months of the Year, 11 engravings with hand coloring (missing November), each titled with text lower margin, sheet (unframed/each): 16"h x 19"w
Giuseppe Zocchi (1711 Florence - 1767 ibid.) after Pietro Cortana (18th century): The Judgement of Hercules Hercules at the Crossroads, c. 1767, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Pietro da Cortona inv et del: / Gius Zocchi sc". At the lower part inscribed in the printing plate: " / The JUDGEMENT of HERCULES / After an Original Drawing of Pietro da Cortona. / T.Bradford Fleet Street, Excudit.". Date: c. 1767 Description: The depiction follows a model by Pietro da Cortona and shows the hero sitting in the Voedergrund with a club in his left hand. Sheet from the so-called "Luti Collection", a series of 30 etchings after old master drawings from the collection of the Florentine artist Benedetto Luti. Source: sog. Luti-Sammlung"" | print suite Keywords: Prints, Italy, Rococo, Mythology, Hero, Judgement, Hercules, Club, Florence, 18th century, Baroque, Mythology, Germany,
Giuseppe Zocchi (1717-1767) Veduta interna della Chiesa di S. Vincenzo a Prato, riccamente ornata, e illuminata per le Solenni Feste … di Caterina de Ricci… Etching, 482 x 324 mm (sheet) Late edition printed on unlaid paper. Trace of horizontal central fold. Reinforced on two sides on verso. Generally in good condition.
Giuseppe Zocchi (Firenze 1716 - 1767) cerchia di Veduta dell'Arno a Firenze dalla Vaga Loggia Olio su tela 29 x 40 cm La tela in esame s'ispira all'opera di Zocchi, oggi in collezione privata e pubblicata alle pagine 78 e 79 della monografia intitolata "Inventare la realtà Giuseppe Zocchi e la Toscana del Settecento", a cura di Alessandro Tosi. Giuseppe Zocchi (Florence 1716 - 1767) circle of View from the Vaga Loggia of the Arno in Florence Oil on canvas 29 x 40 cm This canvas is inspired by the artwork of Zocchi, now in a private collection and published on pages 78 and 79 of the monograph entitled "Inventare la realtà of Giuseppe Zocchi and la Toscana del Settecento", edited by Alessandro Tosi.
Giuseppe Zocchi Italian, (1711-1767) Viduta sul Fiurne and Villa dei SS. Mancini vicino a Signa detta Castelletti. hand-colored etchings framed, each measures 12 x 19 inches
GIUSEPPE ZOCCHI (Attr.)(Firenze 1711-1767). Sepia ink drawing on paper depicting "SCENA AMORINA". Veneto. In carved, lacquered and painted wooden frame. GIUSEPPE ZOCCHI (Attr.)(Firenze 1711-1767). Disegno a inchiostro di seppia su carta raffigurante "SCENA AMORINA". Veneto. In cornice in legno intagliata, laccata e dipinta.
Giuseppe Zocchi (1711 Florence - 1767 ibid.) after Pietro Cortana (18th century): The Judgement of Hercules, c. 1767, Etching Technique: Etching on Paper Inscription: At the lower part signed in the printing plate: "Pietro da Cortona inv et del: / Gius Zocchi sc". At the lower part inscribed in the printing plate: " / The JUDGEMENT of HERCULES / After an Original Drawing of Pietro da Cortona. / T.Bradford Fleet Street, Excudit.". Date: c. 1767 Description: The depiction follows a model by Pietro da Cortona and shows the hero sitting in the Voedergrund with a club in his left hand. Sheet from the so-called "Luti Collection", a series of 30 etchings after old master drawings from the collection of the Florentine artist Benedetto Luti. Source: sog. Luti-Sammlung"" | print suite Keywords: Prints, Italy, Rococo, Mythology, Hero, Judgement, Hercules, Club, Florence, 18th century, Baroque, Mythology, Germany,
Antique 18th Century Italian Hand-colored Copper Engraving After Giuseppe Zocchi (Italian, c. 1711–1767) | Inscribed / Titled: "VEDUTA DELLA PIAZZA DI S. PIER MAGGIORE"; From Scelta di XXIV Vedute di Firenze [From the Series "Views From Florence"] | Engraved by Pietro Antonio Pazzi (Italian, 1706-c.1766) and published in Florence, 1760 | Professionally matted and custom framed under glass | Approx. Size: 24" H x 14" W | Giuseppe Zocchi (Italian, also Joseph Zocchi; c. 1711–1767) was an Italian painter and printmaker active in Florence and best known for his veduta of the city.
Giuseppe Zocchi 1716 Florenz - 1767 Florenz - Kathedrale von Florenz - Kolor. Kupferstich/Papier. 27,1 x 42,4 cm (Rahmenausschnitt). Bez. l. u.: Jo Zocchi delin., M. u. (u. a.): A View of the Cathedral Church of FLORENCE and the Grand Procession of the HOST (...). Unter Glas gerahmt. Ungeöffnet. Gebräunt, etw. fleckig, beschn.
Blick auf Mantua Öl auf Leinwand. Doubliert. 50 x 72,5 cm. Verso diverse Aufkleber sowie zwei italienische Ausfuhr-Gummistempel. Entgegen der bisherigen Meinung, es handle sich bei dem vorliegenden Gemälde lediglich um ein „Capriccio mit Brücke“, darf festgestellt werden, dass der Maler hier eine Vedute von Mantua geschaffen hat. Das mittelalterliche, in Ziegelmauerwerk aufgeführte Kastell mit vier quadratischen Ecktürmen, von denen einer höher zieht, beherrscht das Bildzentrum. Links davon die im 18. Jahrhundert noch bestehenden Bauten des Areals des Palazzo Ducale, das sich heute in veränderter Weise präsentiert. Bei dem Gewässer, über das die weitgespannte Bogenbrücke zieht, dürfte es sich um die ehemalige schützende Wassergrabenanlage des Kastells handeln; alternativ ist anzunehmen, dass der Maler den Fluss Mincio bewusst schmaler dargestellt hat, um einen belebten Vordergrund zu schaffen. Die Überbrückung existiert in erneuter Weise bis heute. Zusätzlich belebt wird die Vedute durch Steindenkmale, einen großen Pfeiler am linken Bildrand, dem eine Löwenfigur aufsitzt, sowie die Figurenstaffage mit Pferdekarren, Figuren auf der Brücke sowie zwei Kähnen darunter. Lichtführung und Malqualität entsprechen völlig den bekannten Werken Zocchis. Zocchi hat sich bekanntlich weitgehend mit Veduten von Florenz und oberitalienischer Städte beschäftigt. Seine Capricci spielen zahlenmäßig eine eher untergeordnete Rolle. So ist nicht verwunderlich, dass es sich auch hier eine Vedute handelt, wobei Ansichten von Mantua aus dieser Zeit ausgesprochen selten sind. (†) Anmerkung: Der Künstler war ein italienischer Maler und Zeichner, der in Florenz lebte und für seine Florentiner Veduten bekannt wurde. Er fertigte unter anderem Zeichnungen von bekannten Ansichten von Florenz an, die von anderen gestochen und 1744 gedruckt wurden. Zudem arbeitete er für den Wiener Hof der Habsburger sowie den Berliner Hof der Hohenzollern. Literatur: Das Gemälde publiziert von Charles Beddington. (1330517) (11) Giuseppe Zocchi, 1711 Florence – 1767 ibid. VIEW OF MANTUA Oil on canvas. Relined. 50 x 72.5 cm. Verso various labels and two Italian export rubber stamps. Contrary to the previous opinion that the present painting is merely a Capriccio with a Bridge, it was discovered that the painter created a veduta of Mantua here. The centre of the picture is dominated by the medieval brick fort with four square corner towers, one of which rises higher. To the left of this are the buildings of the Palazzo Ducale, which still existed in the 18th century but now looks differently. The body of water over which the long-span arched bridge stretches is probably the former protective moat of the fort; alternatively, it can be assumed that the painter intentionally made the Mincio River narrower to create a busy foreground. Today the bridge still exists in a renewed form. In addition, the veduta is enlivened by stone monuments, a large pillar on the left edge of the picture with a seated lion figure and figural staffage with horse-drawn carts, people on the bridge with two boats beneath it. The use of light and the quality of the painting correspond entirely with Zocchi’s well-known works. Famously, Zocchi mostly painted vedutas of Florence and northern Italian cities. In terms of numbers his capricci play a rather minor part. Unsurprisingly the present painting is also a veduta, although views of Mantua from this period are extremely rare. (†) Literature: The painting published by Charles Beddington.
Stampa, mm. 515x740. In basso a sinistra: "Giuseppe Zocchi del." In basso a destra: Giuseppe Vasi scol. Roma". Filigrana con lettere CR e X; edito da G. Allegrini a Firenze nel 1744, in "Scelta di 24 vedute della città di Firenze dedicata alla maestà di Maria Teresa".
Stampa, mm. 515x740. In basso a sinistra: "Giuseppe Zocchi"; in basso a destra: "Mic. Mareschi Ven. Fraceschini le figure". Filigrana con lettere CR e X; edito da G. Allegrini a Firenze nel 1744, in "Scelta di 24 vedute della città di Firenze dedicata alla maestà di Maria Teresa".
(Firenze, 1711 ; 1767) GIUSEPPE ALLEGRINI (attivo tra il XVIII e il XIX secolo) Vedute delle Ville e altri luoghi della Toscana, Firenze 1744 Lotto di 50 incisioni, frontespizio ed elenco inscritto, in cornice moderna e sottovetro; usure, ondulazioni, gore e tracce d'umidità, tracce di sporco, le cornici non coeve Alt. cm 39X58 La cornice cm 46X66 A GROUP OF FIFTY DIFFERENT ETCHINGS; WEAR, FOLDS, HUMIDITY AND DIRT TRACES, FRAMES NOT COEVAL (52)
ZOCCHI Giuseppe (1711-1767). La Reale Villa di Pratolino., propriété du comte Demidoff. Gravure signée Joseph Vagner (1706-1780), d’après une œuvre de l’artiste, datant de 1744, conservée dans son encadrement d’époque en bois sculpté et doré. Rousseurs et pliures, accidents au cadre, mais bon état général. À vue : H. : 38 cm – L. : 5,5 cm. Cadre : H. : 49,5 cm – L. : 67 cm. Provenance : ancienne collection de Paul Pavlovitch Demidoff, 2ème prince de San Donato (1839-1885), et conservé par descendance directe.
Giuseppe ZOCCHI Florence, vers 1711 - 1767 Le triomphe de David Huile sur papier Cachet de collection illisible accompagné des initiales 'P.B.C.' tracées au pinceau au verso Sans cadre The triumph of David, oil on paper, by G. Zocchi h: 52 w: 37,50 cm Provenance : Collection H.W. Campe, Leipzig, son cachet (L.1391) dans le bas Commentaire : Notre dessin est préparatoire pour une gravure de Francesco Bartolozzi destinée aux 'Storie dell'Antico Testamento', éditées à Venise en 1758 par Giuseppe Wagner. Estimation 2 000 - 3 000 €
Architectural Capricii with Figures amongst Classical Ruins. A pair. Oil on canvas. Giuseppe Zocchi. Italian 1711-1767. Pair documented in Giancarlo Sestieri's Capriccio Il Architettonico in Italia nel XVII e XVIII secolo catalogue raisonné; pgs 342-343; 18a, 18b.; Zocchi is best known for architectural capriccios and also vedute, or topographical views, particularly of the city of Florence and its surroundings. His output was both prodigious and varied and as a young man, he came under the protection of the Marchese Andrea Gerini (1691 - 1766), an intellectual and patron of the arts from a noble Florentine family, who sent the artist to study the works of his contemporaries in Bologna, Rome, Milan, and Venice during which time Zocchi was exposed to the work of artists such as Canaletto, Marieschi and Panini. On his return to Florence, the Marchese commissioned Zocchi to produce the 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; a two fold series of engravings of the city and its environs intended to give to visitors as a memento of their stay in the city. In the years following publication of this series in 1744, Zocchi embarked on one of the most industrious periods of his career. He produced drawings and engravings for various printed works such as the Azioni gloriose degli uomini illustri fiorentini espresso co'loro ritratti nelle volte della Real Galleria di Toscana, amongst others, he took part in the decorative scheme of the church of San Carlo dei Barnabiti and completed numerous other public and private commissions throughout Tuscany including the decoration of the archbishop's palace in Pisa and the Palazzo Rinuccini in Florence. From 1750 onwards, Zocchi was taken on by the 'Galleria dei Lavori in Pietre Dure' in Florence to supply drawings and painted models for the Grand ducal workshop. He remained in this position until his death from the plague in 1767. Provenance: Collection of Dimitri Sursock, Beirut, and London. Thence by descent Sale, Bonhams, London, Old Master Paintings, 4 July 2018, lot 94, where purchased by the present owner. Dimensions: (Framed) 40 in (H) x 51.5 in (W) (Canvas) 34.75 in (H) x 47 in (W)
