Giovanni Fontana

Monumento al Popolo - Drawing by Giovanni Fontana - 16th Century

16th Century

L'Annunziata in S. M. sopra Minerva is an original old master artwork realized by Giovanni Fontana. Ivory colored sheet attached on an ivory colored cardboard ( cm 35.8 x 26.7) Bea...

Study for Statue is an original drawing in pencil on paper, realized by the architect and engineer Giovanni Fontana (1540-1614). The state of preservation of the artwork is good exc...

Ancient monument "Antiquities of Herculaneum", is an etching on paper realized by Luigi Vanvitelli of 18th Century. Signed on plate. Good conditions...

Emanuele Filiberto Monument is an original modern artwork realized in the 1850s by an Italian artist. Original Black Pen Drawing on ivory paper. Titled on the upper margin "Emanu...

Pencil and wash Image size: 10 1/2 x 15 3/4 inches (27 x 40 cm) Mounted

A late-Boroque study of relief-style carvings adorned with scrolling acanthus leaves, mythical figures, and floral swags. Graphite on cream laid paper, 6 x 4 1/2 inches (154 x 115 m...

This masterly frontispiece study, executed with a very sure hand, testifies to the survival of the great Baroque taste in 18th century Venice. It could be one of the very last works by Giovanni Antonio Pellegrini: the few lines that cross the papal arms evoke those of Benedict XIV, who became pope in 1740, one year before the artist's death. 1. Giovanni Antonio Pellegrini and the European influence of Venetian history painting in the 18th century Giovanni Antonio Pellegrini was born in Venice in 1675 and trained in the studio of the Milanese painter Paolo Pagani (1655 - 1716). Pagani, who had been living in Venice since 1667, took him to Moravia and Vienna from 1690 to 1696. After a stay in Rome from 1699 to 1701, Pellegrini married Angiola Carriera in 1704, the sister of the great pastelist Rosalba Carriera. From 1708 onwards, Pellegrini left Venice and began an extensive tour of Europe: he worked in England between 1708 and 1713, where he met great success, particularly at Kimbolton Castle and Castle Howard. He then worked in Germany and the Netherlands, then in Bohemia and Austria, before returning briefly to England in 1719. In 1720 he was in Paris where he decorated the ceilings of the Royal Bank for John Law...

The proposed attribution for this drawing in brown ink on paper is the name of the painter and academician of the Tuscan-Roman neoclassical cohort Francesco Nenci (Anghiari, April 19...