ACCADEMIA DEGLI OCCULTI. Carmina Academia Occultorum

. Elegant walking stick made of compact wood and silver. Italy, 19th cent. . Cm 93,00. On the handle we find the inscription: 'Accademia degli Incamminati'. This prestigious Academy was founded in Bol

Agostino VENEZIANO - Baccio BANDINELLI. 1493-1560L’Accademia di Baccio Bandinelli a Roma.1500-1550Bulino, mm. 265x289. Filomargine. Nell’immagine la scritta “ACADEMIA DI BACCHIO BRAN

oil and sand on canvas, 100x132cm, signed lower right, Label on the reverse of the M.H. de Young Memorial Museum, San Francisco, featuring the known futurist collector Julius Spencer, Pasadena as the

Olio su compensato, cm. 63x50. Firma in basso a destra. Sul verso: titolo; timbri "L'Artistica" Campi Bisenzio.

Ausfuehrung: Ermanno Nason _x000D_ Kobaltblaues, farblos ueberfangenes Glas. Frei geblasen und geformt. Stilisierte Frauenfigur. Am Boden bezeichnet: P. Picasso - E. Costantini Fucina Angeli VE 1954 3

[STATI UNITI] 1969 (10 dic.) Cosmogramma, uno degli 87 preparati per la missione spaziale Apollo 12, ma per motivi tecnici non imbarcati e restituiti dopo un periodo di quarantena al capitano della mi

Pablo Picasso Fucina degli Angeli Condor. Designed in 1965. Transparent, slightly opalescent glass, violet-black applications. Iridescent surface. 40.5 x 30 x 17 cm. Inscribed on the bottom: P. Picass

Pablo Picasso Fucina degli Angeli, E. Costantini Spiritello. Designed in 1960. Orange-colored, partially stronger red glass. Orange-colored and purple-black thread and point-like melts. 37 x 32 x 18 c

Pablo Picasso Fucina degli Angeli, E. Costantini Centauro. Designed in 1962. Transparent yellow glass, partially with yellow powder melts, red glass. Thread-like and point-like applications made of re

Pablo Picasso Fucina degli Angeli, E. Costantini Pan. Turquoise-colored glass, meltings in turquoise and red, freely blown and shaped. Slightly iridescent. Inscribed on the base ring: P. Picasso / E.

Pablo Picasso Fucina degli Angeli, E. Costantini Flautista. Blue glass and colorless glass with blue inclusions. H. 25 cm. Marked on the bottom: P. Picasso-E. Costantini / Fucina Angeli -VE / ® 19

Mario Carreno y Morales was a Cuban painter. He studied painting at the Academia de San Alejandro, Havana, Cuba from 1925 until 1926. In 1934, he studied at the Real Academia de Bellas Artes de San Fe

METAL: 18k Gold/Titanium. MEASUREMENTS: Case - 43mm. Rubbert Band with titanium deployment buckle - 9" long. Two reg. chronograph, 18k gold bezel. MOVEMENT: Automatic, working order. Skeleton bac

Mario Carreno y Morales was born in Havana, Cuba in May 1913. He studied painting at the Academia de San Alejandro in Havana, the Real Academia de Bellas Artes de San Fernando in Madrid, Spain; later,

Giuseppe Capogrossi Fucina degli Angeli Glass relief Composition 2. 1966. Blue, yellow and red glass. Abstract amorphous form elements, mounted on an illuminated, rectangular acrylic glass box. 67 x 4

Bifolium from a large humanist manuscript of Fazio degli Uberti, Dittamondo, in Italian, on parchment [Italy, mid-fifteenth century] Two conjoined leaves, each with single column of 33 lines of an acc

Ashendene Press.- Horatius Flaccus (Quintus) Carmina Alcaica, one of 150 copies on Japanese vellum, printed in red and black in Subiaco type, initials supplied by hand by Graily Hewitt, the first in g

Francisco Toledo (1940-2019) Franz Kafka, Un lnforme Para Una Academia, 2005 Bound portfolio of 15 etchings From the numbered edition of 40 Each signed/numbered on recto Juan Martin Gallery stamp on i

Vocabolario degli Accademici della Crusca. Impressione Napoletana secondo l'ultima di Firenze. Tomo I (-VI). In Napoli: a spese di Giuseppe Ponzelli, nella stamperia di Giovanni di Simone, 1746-1748.

Pair of armchairs for Palazzo degli Uffici Montecatini, Parma Antonio & figli production. 1940. Metal, leather. Cm 59,00 x 85,00 x 60,00.

Olio su tela, cm. 130x97. Sul verso: firma, data e titolo.

Moscow, 1858, 36x31 cm., tempera on panel with silver riza, defects

Saviero Manetti (1723-1784): Storia naturale degli uccelli tratta con metodo e adornata di figure inigliate in rame e miniate al naturale: Six Plates Six engravings with hand-coloring on laid paper, 1

Venice, Giuseppe Antonelli, 1834. In 2 . 2 vols. Large allegorical vignette engraved on copper on the title page of vol. I, text on 2 columns, vignettes and plates designed and engraved by various art