Quick filters:
Il salviati Stock Photos and Images
The Three Fates 1550 Francesco de' Rossi (1510–1563) Francesco Salviati or as Il Salviati The Palazzo Pitti - The Pitti Palace 1458 Renaissance Florence, Italy, Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-the-three-fates-1550-francesco-de-rossi-15101563-francesco-salviati-161313360.htmlRMKACCRC–The Three Fates 1550 Francesco de' Rossi (1510–1563) Francesco Salviati or as Il Salviati The Palazzo Pitti - The Pitti Palace 1458 Renaissance Florence, Italy,
Francesco de' Rossi aka Francesco Salviati, Il Salviati, Francesco Rossi and Cecchino del Salviati, 1510–1563. Florentine Mannerist painter. From Le Vite de' più eccellenti pittori, scultori, e architettori or Lives of the Most Excellent Painters, Sculptors, and Architects by Vasari, published 1829. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-de-rossi-aka-francesco-salviati-il-salviati-francesco-rossi-141502387.htmlRMJ65YMK–Francesco de' Rossi aka Francesco Salviati, Il Salviati, Francesco Rossi and Cecchino del Salviati, 1510–1563. Florentine Mannerist painter. From Le Vite de' più eccellenti pittori, scultori, e architettori or Lives of the Most Excellent Painters, Sculptors, and Architects by Vasari, published 1829.
Giuseppe Salviati (Giuseppe Porta, called Il Salviati), The Abduction of Helen, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), mid-16th century, Pen and brown ink, brown wash, heightened with white (partly oxidized), over traces of black chalk, on light blue paper., 11 15/16 x 15 1/8 in. (30.3 x 38.4 cm), Drawings Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/giuseppe-salviati-giuseppe-porta-called-il-salviati-the-abduction-of-helen-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-mid-16th-century-pen-and-brown-ink-brown-wash-heightened-with-white-partly-oxidized-over-traces-of-black-chalk-on-light-blue-paper-11-1516-x-15-18-in-303-x-384-cm-drawings-image344665272.htmlRM2B0MT20–Giuseppe Salviati (Giuseppe Porta, called Il Salviati), The Abduction of Helen, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), mid-16th century, Pen and brown ink, brown wash, heightened with white (partly oxidized), over traces of black chalk, on light blue paper., 11 15/16 x 15 1/8 in. (30.3 x 38.4 cm), Drawings
Francesco de' Rossi, (1510–1563), also known as Francesco Salviati or Il Salviati, Florentine painter Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-francesco-de-rossi-15101563-also-known-as-francesco-salviati-or-il-162592933.htmlRMKCEMXD–Francesco de' Rossi, (1510–1563), also known as Francesco Salviati or Il Salviati, Florentine painter
Classical Gods, Muses, and Allegorical Figures. Artist: Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: diameter 5-1/2 in.. Date: 1566-67. Based on the attributes of the figures, the subject matter of this composition has been identified as a gathering of the Classical gods Apollo, Mercury, and Pallas, accompanied by the muses, as well as by the allegorical figures of Prudence and Fame. The flying figure of Mercury at upper right, with caduceus in hand, injects diagonal movement to the asymmetrical group of recu Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/classical-gods-muses-and-allegorical-figures-artist-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-dimensions-diameter-5-12-in-date-1566-67-based-on-the-attributes-of-the-figures-the-subject-matter-of-this-composition-has-been-identified-as-a-gathering-of-the-classical-gods-apollo-mercury-and-pallas-accompanied-by-the-muses-as-well-as-by-the-allegorical-figures-of-prudence-and-fame-the-flying-figure-of-mercury-at-upper-right-with-caduceus-in-hand-injects-diagonal-movement-to-the-asymmetrical-group-of-recu-image212774013.htmlRMPA4KBW–Classical Gods, Muses, and Allegorical Figures. Artist: Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: diameter 5-1/2 in.. Date: 1566-67. Based on the attributes of the figures, the subject matter of this composition has been identified as a gathering of the Classical gods Apollo, Mercury, and Pallas, accompanied by the muses, as well as by the allegorical figures of Prudence and Fame. The flying figure of Mercury at upper right, with caduceus in hand, injects diagonal movement to the asymmetrical group of recu
Art inspired by Giardino di Pensieri, 1540, Woodcut, sheet: 9 7/16 x 7 5/8 in. (23.9 x 19.3 cm), Prints, Designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), After Marco Dente (Italian, Ravenna, active by 1515, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-giardino-di-pensieri-1540-woodcut-sheet-9-716-x-7-58-in-239-x-193-cm-prints-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-after-marco-dente-italian-ravenna-active-by-1515-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462968033.htmlRF2HW60CH–Art inspired by Giardino di Pensieri, 1540, Woodcut, sheet: 9 7/16 x 7 5/8 in. (23.9 x 19.3 cm), Prints, Designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), After Marco Dente (Italian, Ravenna, active by 1515, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Francesco de' Rossi (Il Salviati) (1510-1563) on copper engraving from 1841. Italian painter. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-de-rossi-il-salviati-1510-1563-on-copper-engraving-from-35799879.htmlRFC26R33–Francesco de' Rossi (Il Salviati) (1510-1563) on copper engraving from 1841. Italian painter.
. English: Ranuccio Farnese (1530-1565) Deutsch: Ranuccio Farnese (1530-1565) . 1544. Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority cont Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/english-ranuccio-farnese-1530-1565-deutsch-ranuccio-farnese-1530-1565-1544-francesco-de-rossi-1510-alternative-names-birth-name-francesco-de-rossi-il-cecchino-del-salviati-il-salviati-cecchino-salviati-description-italian-painter-fresco-painter-and-draughtsman-date-of-birthdeath-1509-or-1510-11-november-1563-11-november-1563-location-of-birthdeath-florence-rome-work-location-rome-ca-1530-1538-florence-1539-bologna-venice-1541-rome-1541-1545-florence-1545-1548-rome-ca-1548-1554-fontainebleau-1554-rome-1559-1563-authority-cont-image184850538.htmlRMMMMJMX–. English: Ranuccio Farnese (1530-1565) Deutsch: Ranuccio Farnese (1530-1565) . 1544. Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority cont
The Crucifixion 1962 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-crucifixion-1962-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image577191575.htmlRM2TF19MR–The Crucifixion 1962 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
Portrait of a Man Holding a Letter. between 1530 and 1540. Attributed to Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority control : Q704594 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-a-man-holding-a-letter-between-1530-and-1540-attributed-to-francesco-de-rossi-1510-alternative-names-birth-name-francesco-de-rossi-il-cecchino-del-salviati-il-salviati-cecchino-salviati-description-italian-painter-fresco-painter-and-draughtsman-date-of-birthdeath-1509-or-1510-11-november-1563-11-november-1563-location-of-birthdeath-florence-rome-work-location-rome-ca-1530-1538-florence-1539-bologna-venice-1541-rome-1541-1545-florence-1545-1548-rome-ca-1548-1554-fontainebleau-1554-rome-1559-1563-authority-control-q704594-image184864459.htmlRMMMN8E3–Portrait of a Man Holding a Letter. between 1530 and 1540. Attributed to Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority control : Q704594
Francesco Salviati, Portrait of a Man, painting in art, before 1563 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/francesco-salviati-portrait-of-a-man-painting-in-art-before-1563-image557464098.htmlRM2RAXK42–Francesco Salviati, Portrait of a Man, painting in art, before 1563
Francesco Salviati (1510-1563). Italian painter. Portrait of a gentleman, ca.1545. Farnese Collection. National Museum of Capodimonte. Naples. Italy. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-salviati-1510-1563-italian-painter-portrait-of-a-gentleman-134372155.htmlRMHPH51F–Francesco Salviati (1510-1563). Italian painter. Portrait of a gentleman, ca.1545. Farnese Collection. National Museum of Capodimonte. Naples. Italy.
An angel saves a thirsting Elijah. Engraving by A. Zucchi, c. 1720, after S. Manaigo after G. Porta, il Salviati. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/an-angel-saves-a-thirsting-elijah-engraving-by-a-zucchi-c-1720-after-s-manaigo-after-g-porta-il-salviati-image450067432.htmlRM2H469GT–An angel saves a thirsting Elijah. Engraving by A. Zucchi, c. 1720, after S. Manaigo after G. Porta, il Salviati.
Pallade e Ercole - salone Sansoviniano della Biblioteca Marciana, soffitto - olio su tela - Giuseppe Porta detto il Salviati - XVI secolo - Venezia Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/pallade-e-ercole-salone-sansoviniano-della-biblioteca-marciana-soffitto-olio-su-tela-giuseppe-porta-detto-il-salviati-xvi-secolo-venezia-image614679290.htmlRF2XM11KP–Pallade e Ercole - salone Sansoviniano della Biblioteca Marciana, soffitto - olio su tela - Giuseppe Porta detto il Salviati - XVI secolo - Venezia
Francesco de' Rossi (Il Salviati) (1510-1563) on copper engraving from 1841. Italian painter. Engraved by A.Gabi from a drawing by E.Lapidis after a s Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/francesco-de-rossi-il-salviati-1510-1563-on-copper-engraving-from-1841-italian-painter-engraved-by-agabi-from-a-drawing-by-elapidis-after-a-s-image622866777.htmlRF2Y5A0X1–Francesco de' Rossi (Il Salviati) (1510-1563) on copper engraving from 1841. Italian painter. Engraved by A.Gabi from a drawing by E.Lapidis after a s
Painting 'Charity' (1544-1548) by Italian Mannerist painter Francesco de' Rossi also known as Cecchino del Salviati on display in the Uffizi Gallery (Galleria degli Uffizi) in Florence, Tuscany, Italy. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/painting-charity-1544-1548-by-italian-mannerist-painter-francesco-de-rossi-also-known-as-cecchino-del-salviati-on-display-in-the-uffizi-gallery-galleria-degli-uffizi-in-florence-tuscany-italy-image185907466.htmlRMMPCPTA–Painting 'Charity' (1544-1548) by Italian Mannerist painter Francesco de' Rossi also known as Cecchino del Salviati on display in the Uffizi Gallery (Galleria degli Uffizi) in Florence, Tuscany, Italy.
'Rider Pierced by a Spear', 16th century. Artist: Francesco Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/rider-pierced-by-a-spear-16th-century-artist-francesco-salviati-image60269914.htmlRMDE1ETX–'Rider Pierced by a Spear', 16th century. Artist: Francesco Salviati
Palazzo Orio Semitecolo Benzon and Palazzo Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-palazzo-orio-semitecolo-benzon-and-palazzo-salviati-77871759.htmlRMEEKA67–Palazzo Orio Semitecolo Benzon and Palazzo Salviati
Francesco Dei Rossi, Italian Mannerist painter who lived and worked in Florence, Venice and Rome, 1510-1563. Known as il Cecchino del Salviati after his patron Cardinal Salviata. Francesco Rossi, Pittore. Copperplate engraving by Rocco Pozzi after Giovanni Domenico Campiglia after a self portrait by the artist from Francesco Moucke's Museo Florentino (Museum Florentinum), Serie di Ritratti de Pittori (Series of Portraits of Painters) stamperia Mouckiana, Florence, 1752-62. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/francesco-dei-rossi-italian-mannerist-painter-who-lived-and-worked-in-florence-venice-and-rome-1510-1563-known-as-il-cecchino-del-salviati-after-his-patron-cardinal-salviata-francesco-rossi-pittore-copperplate-engraving-by-rocco-pozzi-after-giovanni-domenico-campiglia-after-a-self-portrait-by-the-artist-from-francesco-mouckes-museo-florentino-museum-florentinum-serie-di-ritratti-de-pittori-series-of-portraits-of-painters-stamperia-mouckiana-florence-1752-62-image543597521.htmlRM2PGB055–Francesco Dei Rossi, Italian Mannerist painter who lived and worked in Florence, Venice and Rome, 1510-1563. Known as il Cecchino del Salviati after his patron Cardinal Salviata. Francesco Rossi, Pittore. Copperplate engraving by Rocco Pozzi after Giovanni Domenico Campiglia after a self portrait by the artist from Francesco Moucke's Museo Florentino (Museum Florentinum), Serie di Ritratti de Pittori (Series of Portraits of Painters) stamperia Mouckiana, Florence, 1752-62.
Palazzo Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-palazzo-salviati-50291450.htmlRMCWPY76–Palazzo Salviati
Francesco Salviati (1510–1563), Allegory of Charity. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-salviati-15101563-allegory-of-charity-103957634.htmlRMG13K0J–Francesco Salviati (1510–1563), Allegory of Charity.
Niccolò Vicentino, People paying homage to Psyche's beauty, Niccolò Vicentino (Italian, active ca. 1510–ca. 1550), After Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), ca. 1540–50, Chiaroscuro woodcut from three blocks in brown, probably first state, Sheet: 9 5/8 × 9 11/16 in. (24.5 × 24.6 cm), Prints Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/niccol-vicentino-people-paying-homage-to-psyches-beauty-niccol-vicentino-italian-active-ca-1510ca-1550-after-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-ca-154050-chiaroscuro-woodcut-from-three-blocks-in-brown-probably-first-state-sheet-9-58-9-1116-in-245-246-cm-prints-image344652268.htmlRM2B0M7DG–Niccolò Vicentino, People paying homage to Psyche's beauty, Niccolò Vicentino (Italian, active ca. 1510–ca. 1550), After Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), ca. 1540–50, Chiaroscuro woodcut from three blocks in brown, probably first state, Sheet: 9 5/8 × 9 11/16 in. (24.5 × 24.6 cm), Prints
Francesco Salviati - Il Tempo Opportuno. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/francesco-salviati-il-tempo-opportuno-image343963247.htmlRM2AYGTHK–Francesco Salviati - Il Tempo Opportuno.
The Abduction of Helen. Artist: Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: 11 15/16 x 15 1/8 in. (30.3 x 38.4 cm). Date: mid-16th century. A scene from Greek mythology, the sheet portrays the event that sparked the Trojan War - the abduction of Helen, the beautiful wife of Menelaus (King of Sparta), by Paris, the prince of Troy. Helen, with arms upraised, struggles against her captor in the background, while the dynamically posed sailors, straining to navigate the boat, form the center point of the drama. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-abduction-of-helen-artist-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-dimensions-11-1516-x-15-18-in-303-x-384-cm-date-mid-16th-century-a-scene-from-greek-mythology-the-sheet-portrays-the-event-that-sparked-the-trojan-war-the-abduction-of-helen-the-beautiful-wife-of-menelaus-king-of-sparta-by-paris-the-prince-of-troy-helen-with-arms-upraised-struggles-against-her-captor-in-the-background-while-the-dynamically-posed-sailors-straining-to-navigate-the-boat-form-the-center-point-of-the-drama-image213418365.htmlRMPB618D–The Abduction of Helen. Artist: Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: 11 15/16 x 15 1/8 in. (30.3 x 38.4 cm). Date: mid-16th century. A scene from Greek mythology, the sheet portrays the event that sparked the Trojan War - the abduction of Helen, the beautiful wife of Menelaus (King of Sparta), by Paris, the prince of Troy. Helen, with arms upraised, struggles against her captor in the background, while the dynamically posed sailors, straining to navigate the boat, form the center point of the drama.
Art inspired by Crucifixion, 1556, Woodcut, Sheet: 12 3/16 × 8 3/8 in. (31 × 21.2 cm), Prints, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-crucifixion-1556-woodcut-sheet-12-316-8-38-in-31-212-cm-prints-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462805071.htmlRF2HTXGGF–Art inspired by Crucifixion, 1556, Woodcut, Sheet: 12 3/16 × 8 3/8 in. (31 × 21.2 cm), Prints, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Francesco Salviati Il Tempo Opportuno Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-salviati-il-tempo-opportuno-137438314.htmlRMHYGRY6–Francesco Salviati Il Tempo Opportuno
Art inspired by Design for a Pilaster with Two Candelabra Grotesques and Three Masks, ca. 1540–60, Pen and brown ink, brush and brown wash, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-design-for-a-pilaster-with-two-candelabra-grotesques-and-three-masks-ca-154060-pen-and-brown-ink-brush-and-brown-wash-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462982661.htmlRF2HW6K31–Art inspired by Design for a Pilaster with Two Candelabra Grotesques and Three Masks, ca. 1540–60, Pen and brown ink, brush and brown wash, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
The Abduction of Helen 1975 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-abduction-of-helen-1975-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image577191094.htmlRM2TF193J–The Abduction of Helen 1975 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
. Phanes. 16th century. Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority control : Q704594 VIAF: 12395550 ISNI: 0000 0001 2120 9741 ULAN: 5 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/phanes-16th-century-francesco-de-rossi-1510-alternative-names-birth-name-francesco-de-rossi-il-cecchino-del-salviati-il-salviati-cecchino-salviati-description-italian-painter-fresco-painter-and-draughtsman-date-of-birthdeath-1509-or-1510-11-november-1563-11-november-1563-location-of-birthdeath-florence-rome-work-location-rome-ca-1530-1538-florence-1539-bologna-venice-1541-rome-1541-1545-florence-1545-1548-rome-ca-1548-1554-fontainebleau-1554-rome-1559-1563-authority-control-q704594-viaf12395550-isni0000-0001-2120-9741-ulan5-image185543291.htmlRMMNT6A3–. Phanes. 16th century. Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority control : Q704594 VIAF: 12395550 ISNI: 0000 0001 2120 9741 ULAN: 5
Art inspired by Lucretia Instructing her Daughters in Needlework, 1557, Woodcut (illustration), Sheet: 3 11/16 × 5 9/16 in. (9.3 × 14.2 cm), Prints, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-lucretia-instructing-her-daughters-in-needlework-1557-woodcut-illustration-sheet-3-1116-5-916-in-93-142-cm-prints-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462971696.htmlRF2HW653C–Art inspired by Lucretia Instructing her Daughters in Needlework, 1557, Woodcut (illustration), Sheet: 3 11/16 × 5 9/16 in. (9.3 × 14.2 cm), Prints, Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Francesco Salviati - Il Tempo Opportuno Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-salviati-il-tempo-opportuno-148374762.htmlRMJHB1EJ–Francesco Salviati - Il Tempo Opportuno
Saint Mary (the Blessed Virgin) with the Christ Child, Saint Antony Abbot and Saint Bernard of Clairvaux. Etching by A. Zucchi after S. Manaigo after G. Porta, il Salviati. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/saint-mary-the-blessed-virgin-with-the-christ-child-saint-antony-abbot-and-saint-bernard-of-clairvaux-etching-by-a-zucchi-after-s-manaigo-after-g-porta-il-salviati-image450061459.htmlRM2H461YF–Saint Mary (the Blessed Virgin) with the Christ Child, Saint Antony Abbot and Saint Bernard of Clairvaux. Etching by A. Zucchi after S. Manaigo after G. Porta, il Salviati.
La Virtù sprezza la Fortuna - ssalone Sansoviniano della Biblioteca Marciana, soffitto - olio su tela - Giuseppe Porta detto il Salviati - XVI seco Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-virt-sprezza-la-fortuna-ssalone-sansoviniano-della-biblioteca-marciana-soffitto-olio-su-tela-giuseppe-porta-detto-il-salviati-xvi-seco-image614679384.htmlRF2XM11R4–La Virtù sprezza la Fortuna - ssalone Sansoviniano della Biblioteca Marciana, soffitto - olio su tela - Giuseppe Porta detto il Salviati - XVI seco
Design for a Pilaster with Two Candelabra Grotesques and Three Masks ca. 1540–60 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian. Design for a Pilaster with Two Candelabra Grotesques and Three Masks 386356 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-pilaster-with-two-candelabra-grotesques-and-three-masks-ca-154060-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-design-for-a-pilaster-with-two-candelabra-grotesques-and-three-masks-386356-image458161736.htmlRM2HHB1Y4–Design for a Pilaster with Two Candelabra Grotesques and Three Masks ca. 1540–60 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian. Design for a Pilaster with Two Candelabra Grotesques and Three Masks 386356
S.Apollonia,S.Caterina d’Alessandria,S.Lucia e S.Osvaldo in gloria - olio su tela - allievo di Giuseppe Porta detto il Salviati - prima metà del XVII Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sapolloniascaterina-dalessandriaslucia-e-sosvaldo-in-gloria-olio-su-tela-allievo-di-giuseppe-porta-detto-il-salviati-prima-met-del-xvii-image592426857.htmlRF2WBRAE1–S.Apollonia,S.Caterina d’Alessandria,S.Lucia e S.Osvaldo in gloria - olio su tela - allievo di Giuseppe Porta detto il Salviati - prima metà del XVII
The Visitation, 1540-50. The visit of St. Mary, who was pregnant with Jesus, to St. Elizabeth. After Francesco Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-visitation-1540-50-the-visit-of-st-mary-who-was-pregnant-with-jesus-to-st-elizabeth-after-francesco-salviati-image349002868.htmlRM2B7PCM4–The Visitation, 1540-50. The visit of St. Mary, who was pregnant with Jesus, to St. Elizabeth. After Francesco Salviati
![Design for a candelabrum, 16th century, (1881). Italian design for a candlestick, featuring winged sphinxes and garlands. Engraving after a copy of a drawing by Francesco Salviati. From "The South Kensington Museum", a book of engraved illustrations, with descriptions, of the works of art in the collection of the Victoria & Albert Museum in London (formerly known as the South Kensington Museum). [Sampson Low, Marston, Searle and Rivington, London, 1881] Stock Photo](https://c8.alamy.com/comp/WX0YXX/design-for-a-candelabrum-16th-century-1881-italian-design-for-a-candlestick-featuring-winged-sphinxes-and-garlands-engraving-after-a-copy-of-a-drawing-by-francesco-salviati-from-quotthe-south-kensington-museumquot-a-book-of-engraved-illustrations-with-descriptions-of-the-works-of-art-in-the-collection-of-the-victoria-amp-albert-museum-in-london-formerly-known-as-the-south-kensington-museum-sampson-low-marston-searle-and-rivington-london-1881-WX0YXX.jpg "Design for a candelabrum, 16th century, (1881). Italian design for a candlestick, featuring winged sphinxes and garlands. Engraving after a copy of a drawing by Francesco Salviati. From "The South Kensington Museum", a book of engraved illustrations, with descriptions, of the works of art in the collection of the Victoria & Albert Museum in London (formerly known as the South Kensington Museum). [Sampson Low, Marston, Searle and Rivington, London, 1881] Stock Photo")
Design for a candelabrum, 16th century, (1881). Italian design for a candlestick, featuring winged sphinxes and garlands. Engraving after a copy of a drawing by Francesco Salviati. From "The South Kensington Museum", a book of engraved illustrations, with descriptions, of the works of art in the collection of the Victoria & Albert Museum in London (formerly known as the South Kensington Museum). [Sampson Low, Marston, Searle and Rivington, London, 1881] Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/design-for-a-candelabrum-16th-century-1881-italian-design-for-a-candlestick-featuring-winged-sphinxes-and-garlands-engraving-after-a-copy-of-a-drawing-by-francesco-salviati-from-quotthe-south-kensington-museumquot-a-book-of-engraved-illustrations-with-descriptions-of-the-works-of-art-in-the-collection-of-the-victoria-amp-albert-museum-in-london-formerly-known-as-the-south-kensington-museum-sampson-low-marston-searle-and-rivington-london-1881-image274158498.htmlRMWX0YXX–Design for a candelabrum, 16th century, (1881). Italian design for a candlestick, featuring winged sphinxes and garlands. Engraving after a copy of a drawing by Francesco Salviati. From "The South Kensington Museum", a book of engraved illustrations, with descriptions, of the works of art in the collection of the Victoria & Albert Museum in London (formerly known as the South Kensington Museum). [Sampson Low, Marston, Searle and Rivington, London, 1881]
. L'Etruria pittrice, ovvero, Storia della pittura toscana, dedotta dai suoi monumenti che si esibiscono in stampa dal secolo X. fino al presente. LA PACE PITTURA A FRESCO DI FRANCESCO SALVIATI NELLA SALA CONTIGUA ALLA CAPPELLADI PALAZZO VECCHIO ANco il Salviati non si discostòmolto dalla maniera del Va-sari , o piuttosto simitaron1 un F altro ; essendo ambidue dellastessa età , e della stessa scuola dAn-drea ; e addestrati dipiù in Roma,con aver disegnato insieme quanto vàdi più bello in quella vasta Metropoli.Luno e laltro ebber fecondità din-venzione, ricchezza di composizione,e vaghezza di Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/letruria-pittrice-ovvero-storia-della-pittura-toscana-dedotta-dai-suoi-monumenti-che-si-esibiscono-in-stampa-dal-secolo-x-fino-al-presente-la-pace-pittura-a-fresco-di-francesco-salviati-nella-sala-contigua-alla-cappelladi-palazzo-vecchio-anco-il-salviati-non-si-discostmolto-dalla-maniera-del-va-sari-o-piuttosto-simitaron1-un-f-altro-essendo-ambidue-dellastessa-et-e-della-stessa-scuola-dan-drea-e-addestrati-dipi-in-romacon-aver-disegnato-insieme-quanto-vdi-pi-bello-in-quella-vasta-metropoliluno-e-laltro-ebber-fecondit-din-venzione-ricchezza-di-composizionee-vaghezza-di-image336606935.htmlRM2AFHNG7–. L'Etruria pittrice, ovvero, Storia della pittura toscana, dedotta dai suoi monumenti che si esibiscono in stampa dal secolo X. fino al presente. LA PACE PITTURA A FRESCO DI FRANCESCO SALVIATI NELLA SALA CONTIGUA ALLA CAPPELLADI PALAZZO VECCHIO ANco il Salviati non si discostòmolto dalla maniera del Va-sari , o piuttosto simitaron1 un F altro ; essendo ambidue dellastessa età , e della stessa scuola dAn-drea ; e addestrati dipiù in Roma,con aver disegnato insieme quanto vàdi più bello in quella vasta Metropoli.Luno e laltro ebber fecondità din-venzione, ricchezza di composizione,e vaghezza di
Palazzo Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-palazzo-salviati-50291395.htmlRMCWPY57–Palazzo Salviati
Francesco Salviati (1510–1563), Coronation of the Virgin with Angels, ca. 1550. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-francesco-salviati-15101563-coronation-of-the-virgin-with-angels-ca-103788439.htmlRMG0RY5Y–Francesco Salviati (1510–1563), Coronation of the Virgin with Angels, ca. 1550.
Marcus Pollio Vitruvius, I dieci libri dell'architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto patriarca d'aquileggia, Marcus Pollio Vitruvius (Roman, active late 1st century B.C.), Some illustrations attributed to Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), 1556, Printed book with woodcut illustrations, 17 1/4 x 11 13/16 x 1 3/16 in. (43.8 x 30 x 3 cm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/marcus-pollio-vitruvius-i-dieci-libri-dellarchitettura-di-m-vitruvio-tradutti-et-commentati-da-monsignor-barbaro-eletto-patriarca-daquileggia-marcus-pollio-vitruvius-roman-active-late-1st-century-bc-some-illustrations-attributed-to-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-1556-printed-book-with-woodcut-illustrations-17-14-x-11-1316-x-1-316-in-438-x-30-x-3-cm-image344668200.htmlRM2B0MYPG–Marcus Pollio Vitruvius, I dieci libri dell'architettura di M. Vitruvio tradutti et commentati da monsignor Barbaro eletto patriarca d'aquileggia, Marcus Pollio Vitruvius (Roman, active late 1st century B.C.), Some illustrations attributed to Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), 1556, Printed book with woodcut illustrations, 17 1/4 x 11 13/16 x 1 3/16 in. (43.8 x 30 x 3 cm
humans human beings people folk persons human human being antique portrait Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-photo-humans-human-beings-people-folk-persons-human-human-being-antique-142479545.htmlRFJ7PE35–humans human beings people folk persons human human being antique portrait
Lucretia instructing her daughters in needlework from Giovanni Ostaus's, La vera perfettione del disegno di varie sorte di recami (Venice, 1557). Artist: Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: Sheet: 3 11/16 × 5 9/16 in. (9.3 × 14.2 cm). Published in: Venice. Date: 1557. An argument among the generals of the Roman tyrant Tarquin about whose wife was the most chaste resulted in a surprise visit to Rome, where the men discovered that their women were up to no good. Only the beautiful Lucretia, wife of Col Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/lucretia-instructing-her-daughters-in-needlework-from-giovanni-ostauss-la-vera-perfettione-del-disegno-di-varie-sorte-di-recami-venice-1557-artist-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-dimensions-sheet-3-1116-5-916-in-93-142-cm-published-in-venice-date-1557-an-argument-among-the-generals-of-the-roman-tyrant-tarquin-about-whose-wife-was-the-most-chaste-resulted-in-a-surprise-visit-to-rome-where-the-men-discovered-that-their-women-were-up-to-no-good-only-the-beautiful-lucretia-wife-of-col-image213296655.htmlRMPB0E1K–Lucretia instructing her daughters in needlework from Giovanni Ostaus's, La vera perfettione del disegno di varie sorte di recami (Venice, 1557). Artist: Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: Sheet: 3 11/16 × 5 9/16 in. (9.3 × 14.2 cm). Published in: Venice. Date: 1557. An argument among the generals of the Roman tyrant Tarquin about whose wife was the most chaste resulted in a surprise visit to Rome, where the men discovered that their women were up to no good. Only the beautiful Lucretia, wife of Col
Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/foto-carlo-lannuttilapresse-11-03-2019-roma-italia-cronaca-operazione-congiunta-esercito-italiano-e-polizia-locale-roma-capitale-nella-zona-del-campo-rom-di-via-salviati-contro-lo-smaltimento-illegale-di-rifiuti-tossici-e-roghi-tossici-nella-foto-il-generale-di-brigata-comandante-brigata-sassari-andrea-di-stasio-image240354705.htmlRMRY12TH–Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio
People paying homage to Psyche's beauty 1922 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/people-paying-homage-to-psyches-beauty-1922-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image591175450.htmlRM2W9PA8X–People paying homage to Psyche's beauty 1922 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
. Portrait of a Man . 16th century. Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority control : Q704594 VIAF:?12395550 ISNI:?0000 0001 2120 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-a-man-16th-century-francesco-de-rossi-1510-alternative-names-birth-name-francesco-de-rossi-il-cecchino-del-salviati-il-salviati-cecchino-salviati-description-italian-painter-fresco-painter-and-draughtsman-date-of-birthdeath-1509-or-1510-11-november-1563-11-november-1563-location-of-birthdeath-florence-rome-work-location-rome-ca-1530-1538-florence-1539-bologna-venice-1541-rome-1541-1545-florence-1545-1548-rome-ca-1548-1554-fontainebleau-1554-rome-1559-1563-authority-control-q704594-viaf12395550-isni0000-0001-2120-image184983165.htmlRMMMXKWH–. Portrait of a Man . 16th century. Francesco de' Rossi (1510–) Alternative names Birth name: Francesco de' Rossi; il Cecchino del Salviati; il Salviati; Cecchino Salviati Description Italian painter, fresco painter and draughtsman Date of birth/death 1509 or 1510 11 November 1563 / 11 November 1563 Location of birth/death Florence Rome Work location Rome (ca. 1530-1538), Florence (1539), Bologna, Venice (....-1541), Rome (1541-1545), Florence (1545-1548), Rome (ca. 1548-1554), Fontainebleau (1554), Rome (1559-1563) Authority control : Q704594 VIAF:?12395550 ISNI:?0000 0001 2120
Art inspired by Frontispiece to Le sorti di Francesco Marcolini, 1540, Woodcut, Sheet: 9 9/16 × 7 13/16 in. (24.3 × 19.8 cm), Prints, Designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), After Marco Dente (, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-frontispiece-to-le-sorti-di-francesco-marcolini-1540-woodcut-sheet-9-916-7-1316-in-243-198-cm-prints-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520ca-1575-venice-after-marco-dente-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462968027.htmlRF2HW60CB–Art inspired by Frontispiece to Le sorti di Francesco Marcolini, 1540, Woodcut, Sheet: 9 9/16 × 7 13/16 in. (24.3 × 19.8 cm), Prints, Designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520–ca. 1575 Venice), After Marco Dente (, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Art inspired by La Vera Perfettione del Disegno di varie sorti di recami, 1567, Woodcut, Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm), Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-1567-woodcut-overall-6-516-x-8-716-in-16-x-215-cm-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462960645.htmlRF2HW5K0N–Art inspired by La Vera Perfettione del Disegno di varie sorti di recami, 1567, Woodcut, Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm), Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1540 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian See comment for 22.21. Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 366854 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/frontispiece-to-le-sorti-di-francesco-marcolini-da-forli-intitolato-giardino-di-pensieri-1540-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-see-comment-for-2221-frontispiece-to-le-sorti-di-francesco-marcolini-da-forli-intitolato-giardino-di-pensieri-366854-image458618884.htmlRM2HJ3W1T–Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1540 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian See comment for 22.21. Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 366854
The Visitation, 1540-50. The visit of St. Mary, who was pregnant with Jesus, to St. Elizabeth. After Francesco Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-visitation-1540-50-the-visit-of-st-mary-who-was-pregnant-with-jesus-to-st-elizabeth-after-francesco-salviati-image349002988.htmlRM2B7PCTC–The Visitation, 1540-50. The visit of St. Mary, who was pregnant with Jesus, to St. Elizabeth. After Francesco Salviati
![The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and Stock Photo](https://c8.alamy.com/comp/2T1DK06/the-beaucousin-collection-at-the-national-gallery-quotcharityquot-by-f-salviati-1860-engraving-of-a-painting-the-most-recent-accession-to-our-national-gallery-at-least-of-those-which-have-been-exposed-to-public-scrutiny-is-the-collection-of-thirty-one-pictures-purchased-last-year-from-m-edmond-beaucousin-at-paris-for-some-xa35000-or-xa36000-we-do-not-recollect-the-exact-amount-the-quotcharityquot-by-salviati-a-florentine-by-birth-b-1510-d-1563-contrasts-remarkably-by-the-boldness-displayed-in-its-motive-and-grouping-with-the-more-modest-work-of-francia-and-2T1DK06.jpg "The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and Stock Photo")
The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-beaucousin-collection-at-the-national-gallery-quotcharityquot-by-f-salviati-1860-engraving-of-a-painting-the-most-recent-accession-to-our-national-gallery-at-least-of-those-which-have-been-exposed-to-public-scrutiny-is-the-collection-of-thirty-one-pictures-purchased-last-year-from-m-edmond-beaucousin-at-paris-for-some-xa35000-or-xa36000-we-do-not-recollect-the-exact-amount-the-quotcharityquot-by-salviati-a-florentine-by-birth-b-1510-d-1563-contrasts-remarkably-by-the-boldness-displayed-in-its-motive-and-grouping-with-the-more-modest-work-of-francia-and-image568857078.htmlRM2T1DK06–The Beaucousin Collection at the National Gallery - "Charity", by F. Salviati, 1860. Engraving of a painting. 'The most recent accession to our National Gallery, at least of those which have been exposed to public scrutiny, is the collection of thirty-one pictures purchased last year from M. Edmond Beaucousin, at Paris, for some £5000 or £6000, we do not recollect the exact amount. The "Charity" by Salviati, a Florentine by birth (b. 1510, d. 1563), contrasts remarkably by the boldness displayed in its motive and grouping with the more modest work of Francia, and
Catalogue of paintings and drawings. . - 23 inches 35. PORTRAIT OF FRANCESCO DEGLI ALBIZZIIL SALVIATI (FRANCESCO DEI ROSSi) 36 IL SALIATI (FRANCESCO DKl ROSSI) Florentine, 1510-1563PORlRAir OF FR.WCF.SCO DF.C^LI ALBlZ/l This portrait has attributes which suggest greater strengththan the picture actually possesses. It is Michaelangelesque inspirit, but in a superficial sense onh. Yet the picture hasmassiveness and dignity and is a good example of this phase ofmanneristic painting. The ponderous elements of the composi-tion are well arranged and controlled by a coppery tonal qualitthroughout. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/catalogue-of-paintings-and-drawings-23-inches-35-portrait-of-francesco-degli-albizziil-salviati-francesco-dei-rossi-36-il-saliati-francesco-dkl-rossi-florentine-1510-1563porlrair-of-frwcfsco-dfcli-alblzl-this-portrait-has-attributes-which-suggest-greater-strengththan-the-picture-actually-possesses-it-is-michaelangelesque-inspirit-but-in-a-superficial-sense-onh-yet-the-picture-hasmassiveness-and-dignity-and-is-a-good-example-of-this-phase-ofmanneristic-painting-the-ponderous-elements-of-the-composi-tion-are-well-arranged-and-controlled-by-a-coppery-tonal-qualitthroughout-image338157939.htmlRM2AJ4BW7–Catalogue of paintings and drawings. . - 23 inches 35. PORTRAIT OF FRANCESCO DEGLI ALBIZZIIL SALVIATI (FRANCESCO DEI ROSSi) 36 IL SALIATI (FRANCESCO DKl ROSSI) Florentine, 1510-1563PORlRAir OF FR.WCF.SCO DF.C^LI ALBlZ/l This portrait has attributes which suggest greater strengththan the picture actually possesses. It is Michaelangelesque inspirit, but in a superficial sense onh. Yet the picture hasmassiveness and dignity and is a good example of this phase ofmanneristic painting. The ponderous elements of the composi-tion are well arranged and controlled by a coppery tonal qualitthroughout.
Paolo Salviati, Capitello del palazzo Ducale rappresentante il giudizio di Salomone, albumin paper, black and white positive process, sheet size: height: 24.50 cm; width: 20.00 cm, inscribed: recto and: copied: N. 1052 Capitello del palazzo Ducale rappresentante il giudizio di Salomone, P. Salviati - Venezia, architectural photography, sculpture, sculpture, sculpture art, capital (column, pillar), Solomon, hist. building, locality, street Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/paolo-salviati-capitello-del-palazzo-ducale-rappresentante-il-giudizio-di-salomone-albumin-paper-black-and-white-positive-process-sheet-size-height-2450-cm-width-2000-cm-inscribed-recto-and-copied-n-1052-capitello-del-palazzo-ducale-rappresentante-il-giudizio-di-salomone-p-salviati-venezia-architectural-photography-sculpture-sculpture-sculpture-art-capital-column-pillar-solomon-hist-building-locality-street-image392107226.htmlRM2DNX0NE–Paolo Salviati, Capitello del palazzo Ducale rappresentante il giudizio di Salomone, albumin paper, black and white positive process, sheet size: height: 24.50 cm; width: 20.00 cm, inscribed: recto and: copied: N. 1052 Capitello del palazzo Ducale rappresentante il giudizio di Salomone, P. Salviati - Venezia, architectural photography, sculpture, sculpture, sculpture art, capital (column, pillar), Solomon, hist. building, locality, street
Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri'. Artist: After Marco Dente (Italian, Ravenna, active by 1515-died 1527 Rome); Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: sheet: 9 7/16 x 7 5/8 in. (23.9 x 19.3 cm). Date: 1540. This woodcut of a scholarly gathering is fully signed by Giuseppe Salviati yet is an almost exact copy of an engraving by Marco Dente, who died in 1527. The only changes are the adaptation of the book in the foreground to represent Marcolini's Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/frontispiece-to-le-sorti-di-francesco-marcolini-da-forli-intitolato-giardino-di-pensieri-artist-after-marco-dente-italian-ravenna-active-by-1515-died-1527-rome-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-dimensions-sheet-9-716-x-7-58-in-239-x-193-cm-date-1540-this-woodcut-of-a-scholarly-gathering-is-fully-signed-by-giuseppe-salviati-yet-is-an-almost-exact-copy-of-an-engraving-by-marco-dente-who-died-in-1527-the-only-changes-are-the-adaptation-of-the-book-in-the-foreground-to-represent-marcolinis-image213323479.htmlRMPB1M7K–Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri'. Artist: After Marco Dente (Italian, Ravenna, active by 1515-died 1527 Rome); Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Dimensions: sheet: 9 7/16 x 7 5/8 in. (23.9 x 19.3 cm). Date: 1540. This woodcut of a scholarly gathering is fully signed by Giuseppe Salviati yet is an almost exact copy of an engraving by Marco Dente, who died in 1527. The only changes are the adaptation of the book in the foreground to represent Marcolini's
Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/foto-carlo-lannuttilapresse-11-03-2019-roma-italia-cronaca-operazione-congiunta-esercito-italiano-e-polizia-locale-roma-capitale-nella-zona-del-campo-rom-di-via-salviati-contro-lo-smaltimento-illegale-di-rifiuti-tossici-e-roghi-tossici-nella-foto-il-generale-di-brigata-comandante-brigata-sassari-andrea-di-stasio-image240354704.htmlRMRY12TG–Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio
Classical Gods, Muses, and Allegorical Figures 2000 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/classical-gods-muses-and-allegorical-figures-2000-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image577191174.htmlRM2TF196E–Classical Gods, Muses, and Allegorical Figures 2000 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
. Italiano: Il cantante Rino Salviati (circa 1950) Cartolina promozionale RCA Licensing Salviati, Rino . 13 December 2011 (original upload date). The original uploader was Catenaccio at Italian . 76 Rino Salviati Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/italiano-il-cantante-rino-salviati-circa-1950-cartolina-promozionale-rca-licensing-salviati-rino-13-december-2011-original-upload-date-the-original-uploader-was-catenaccio-at-italian-76-rino-salviati-image208212984.htmlRMP2MWP0–. Italiano: Il cantante Rino Salviati (circa 1950) Cartolina promozionale RCA Licensing Salviati, Rino . 13 December 2011 (original upload date). The original uploader was Catenaccio at Italian . 76 Rino Salviati
Art inspired by Classical Gods, Muses, and Allegorical Figures, 1566–67, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk, on blue paper; circular framing outline in compass point and brown ink, diameter 5-1/2 in., Drawings, Giuseppe Salviati (, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-classical-gods-muses-and-allegorical-figures-156667-pen-and-brown-ink-brush-and-brown-wash-highlighted-with-white-gouache-over-black-chalk-on-blue-paper-circular-framing-outline-in-compass-point-and-brown-ink-diameter-5-12-in-drawings-giuseppe-salviati-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462953065.htmlRF2HW59A1–Art inspired by Classical Gods, Muses, and Allegorical Figures, 1566–67, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk, on blue paper; circular framing outline in compass point and brown ink, diameter 5-1/2 in., Drawings, Giuseppe Salviati (, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
Classical Gods, Muses, and Allegorical Figures 1566–67 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian Based on the attributes of the figures, the subject matter of this composition has been identified as a gathering of the Classical gods Apollo, Mercury, and Pallas, accompanied by the muses, as well as by the allegorical figures of Prudence and Fame. The flying figure of Mercury at upper right, with caduceus in hand, injects diagonal movement to the asymmetrical group of recumbent figures around the music-making Apollo at upper left. The study may have been preparatory for the Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/classical-gods-muses-and-allegorical-figures-156667-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-based-on-the-attributes-of-the-figures-the-subject-matter-of-this-composition-has-been-identified-as-a-gathering-of-the-classical-gods-apollo-mercury-and-pallas-accompanied-by-the-muses-as-well-as-by-the-allegorical-figures-of-prudence-and-fame-the-flying-figure-of-mercury-at-upper-right-with-caduceus-in-hand-injects-diagonal-movement-to-the-asymmetrical-group-of-recumbent-figures-around-the-music-making-apollo-at-upper-left-the-study-may-have-been-preparatory-for-the-image458128422.htmlRM2HH9FDA–Classical Gods, Muses, and Allegorical Figures 1566–67 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian Based on the attributes of the figures, the subject matter of this composition has been identified as a gathering of the Classical gods Apollo, Mercury, and Pallas, accompanied by the muses, as well as by the allegorical figures of Prudence and Fame. The flying figure of Mercury at upper right, with caduceus in hand, injects diagonal movement to the asymmetrical group of recumbent figures around the music-making Apollo at upper left. The study may have been preparatory for the
Art inspired by Assembly of male and female scholars gathered around an open book, in the middle ground a man holds aloft an armillary sphere, another group of scholars in the background, ca. 1515–27, Engraving, Sheet (Trimmed): 9 5/16 × 7 5/8 in. (23.6 × 19.4 cm), Prints, Circle/, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/art-inspired-by-assembly-of-male-and-female-scholars-gathered-around-an-open-book-in-the-middle-ground-a-man-holds-aloft-an-armillary-sphere-another-group-of-scholars-in-the-background-ca-151527-engraving-sheet-trimmed-9-516-7-58-in-236-194-cm-prints-circle-classic-works-modernized-by-artotop-with-a-splash-of-modernity-shapes-color-and-value-eye-catching-visual-impact-on-art-emotions-through-freedom-of-artworks-in-a-contemporary-way-a-timeless-message-pursuing-a-wildly-creative-new-direction-artists-turning-to-the-digital-medium-and-creating-the-artotop-nft-image462998895.htmlRF2HW7BPR–Art inspired by Assembly of male and female scholars gathered around an open book, in the middle ground a man holds aloft an armillary sphere, another group of scholars in the background, ca. 1515–27, Engraving, Sheet (Trimmed): 9 5/16 × 7 5/8 in. (23.6 × 19.4 cm), Prints, Circle/, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT
La Vera Perfettione del Disegno di varie sorti di recami, page 3 (verso) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.Author's remarks to readers printed in black with illustrated initial woodcut 'H'.. La Vera Perfettione del Disegno di varie sorti di recami, page 3 (verso) 662315 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-3-verso-1567-giovanni-ostaus-italian-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-veniceauthors-remarks-to-readers-printed-in-black-with-illustrated-initial-woodcut-h-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-3-verso-662315-image458529528.htmlRM2HHYR2G–La Vera Perfettione del Disegno di varie sorti di recami, page 3 (verso) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.Author's remarks to readers printed in black with illustrated initial woodcut 'H'.. La Vera Perfettione del Disegno di varie sorti di recami, page 3 (verso) 662315
The Raising of Lazarus, ca 1543. Found in the Collection of the Fondazione Cini, Venezia. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-raising-of-lazarus-ca-1543-found-in-the-collection-of-the-fondazione-cini-venezia-image462499497.htmlRM2HTCJR5–The Raising of Lazarus, ca 1543. Found in the Collection of the Fondazione Cini, Venezia.
Catalogue of paintings and drawings. . PORTRAIT OF FRANCESCO DEGLI ALBIZZIIL SALVIATI (FRANCESCO DEI ROSSi) 36 IL SALIATI (FRANCESCO DKl ROSSI) Florentine, 1510-1563PORlRAir OF FR.WCF.SCO DF.C^LI ALBlZ/l This portrait has attributes which suggest greater strengththan the picture actually possesses. It is Michaelangelesque inspirit, but in a superficial sense onh. Yet the picture hasmassiveness and dignity and is a good example of this phase ofmanneristic painting. The ponderous elements of the composi-tion are well arranged and controlled by a coppery tonal qualitthroughout. The robe is a re Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/catalogue-of-paintings-and-drawings-portrait-of-francesco-degli-albizziil-salviati-francesco-dei-rossi-36-il-saliati-francesco-dkl-rossi-florentine-1510-1563porlrair-of-frwcfsco-dfcli-alblzl-this-portrait-has-attributes-which-suggest-greater-strengththan-the-picture-actually-possesses-it-is-michaelangelesque-inspirit-but-in-a-superficial-sense-onh-yet-the-picture-hasmassiveness-and-dignity-and-is-a-good-example-of-this-phase-ofmanneristic-painting-the-ponderous-elements-of-the-composi-tion-are-well-arranged-and-controlled-by-a-coppery-tonal-qualitthroughout-the-robe-is-a-re-image338157276.htmlRM2AJ4B1G–Catalogue of paintings and drawings. . PORTRAIT OF FRANCESCO DEGLI ALBIZZIIL SALVIATI (FRANCESCO DEI ROSSi) 36 IL SALIATI (FRANCESCO DKl ROSSI) Florentine, 1510-1563PORlRAir OF FR.WCF.SCO DF.C^LI ALBlZ/l This portrait has attributes which suggest greater strengththan the picture actually possesses. It is Michaelangelesque inspirit, but in a superficial sense onh. Yet the picture hasmassiveness and dignity and is a good example of this phase ofmanneristic painting. The ponderous elements of the composi-tion are well arranged and controlled by a coppery tonal qualitthroughout. The robe is a re
Palazzo Salviati in Rome, Veduta del Palazzo dell' ecc.mo sig.r duca Salviati alla Lungar (...) (title on object), Modern buildings in Rome (series title), Il quarti libro del nuovo teatro delli palazzi in prospettiva di Roma moderna daton in luce sotto il felice pontificato de nostro signore papa Innocenzo bottom margin. Print is part of an album., print, print maker: Alessandro Specchi, (mentioned on object), after drawing by: Alessandro Specchi, (mentioned on object), publisher: Domenico de'Rossi, (mentioned on object), print maker: Italy, after drawing by: Italy, publisher: Rome Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/palazzo-salviati-in-rome-veduta-del-palazzo-dell-eccmo-sigr-duca-salviati-alla-lungar-title-on-object-modern-buildings-in-rome-series-title-il-quarti-libro-del-nuovo-teatro-delli-palazzi-in-prospettiva-di-roma-moderna-daton-in-luce-sotto-il-felice-pontificato-de-nostro-signore-papa-innocenzo-bottom-margin-print-is-part-of-an-album-print-print-maker-alessandro-specchi-mentioned-on-object-after-drawing-by-alessandro-specchi-mentioned-on-object-publisher-domenico-derossi-mentioned-on-object-print-maker-italy-after-drawing-by-italy-publisher-rome-image606635377.htmlRM2X6XHH5–Palazzo Salviati in Rome, Veduta del Palazzo dell' ecc.mo sig.r duca Salviati alla Lungar (...) (title on object), Modern buildings in Rome (series title), Il quarti libro del nuovo teatro delli palazzi in prospettiva di Roma moderna daton in luce sotto il felice pontificato de nostro signore papa Innocenzo bottom margin. Print is part of an album., print, print maker: Alessandro Specchi, (mentioned on object), after drawing by: Alessandro Specchi, (mentioned on object), publisher: Domenico de'Rossi, (mentioned on object), print maker: Italy, after drawing by: Italy, publisher: Rome
La Vera Perfettione del Disegno di varie sorti di recami, page 10 (recto). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to ri Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-10-recto-dimensions-overall-6-516-x-8-716-in-16-x-215-cm-illustrator-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-publisher-giovanni-ostaus-italian-active-venice-ca-1554-91-venice-date-1567-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venice-from-top-to-bottom-and-left-to-ri-image213201368.htmlRMPAT4EG–La Vera Perfettione del Disegno di varie sorti di recami, page 10 (recto). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to ri
Palazzo Salviati in Rome, Veduta del Palazzo dell' ecc.mo sig.r duca Salviati alla Lungar (...) (title on object), Modern buildings in Rome (series title), Il quarti libro del nuovo teatro delli palazzi in prospettiva di Roma moderna daton in luce sotto il felice pontificato de nostro signore papa Innocenzo bottom margin. Print is part of an album., print maker: Alessandro Specchi, after drawing by: Alessandro Specchi, publisher: Domenico de'Rossi, print maker: Italy, after drawing by: Italy, publisher: Rome, Vatican City, Rome, Italy, 1699, paper, etching, height 220 mm × width 332 mm Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/palazzo-salviati-in-rome-veduta-del-palazzo-dell-eccmo-sigr-duca-salviati-alla-lungar-title-on-object-modern-buildings-in-rome-series-title-il-quarti-libro-del-nuovo-teatro-delli-palazzi-in-prospettiva-di-roma-moderna-daton-in-luce-sotto-il-felice-pontificato-de-nostro-signore-papa-innocenzo-bottom-margin-print-is-part-of-an-album-print-maker-alessandro-specchi-after-drawing-by-alessandro-specchi-publisher-domenico-derossi-print-maker-italy-after-drawing-by-italy-publisher-rome-vatican-city-rome-italy-1699-paper-etching-height-220-mm-width-332-mm-image599439213.htmlRM2WR6PR9–Palazzo Salviati in Rome, Veduta del Palazzo dell' ecc.mo sig.r duca Salviati alla Lungar (...) (title on object), Modern buildings in Rome (series title), Il quarti libro del nuovo teatro delli palazzi in prospettiva di Roma moderna daton in luce sotto il felice pontificato de nostro signore papa Innocenzo bottom margin. Print is part of an album., print maker: Alessandro Specchi, after drawing by: Alessandro Specchi, publisher: Domenico de'Rossi, print maker: Italy, after drawing by: Italy, publisher: Rome, Vatican City, Rome, Italy, 1699, paper, etching, height 220 mm × width 332 mm
Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/foto-carlo-lannuttilapresse-11-03-2019-roma-italia-cronaca-operazione-congiunta-esercito-italiano-e-polizia-locale-roma-capitale-nella-zona-del-campo-rom-di-via-salviati-contro-lo-smaltimento-illegale-di-rifiuti-tossici-e-roghi-tossici-nella-foto-il-generale-di-brigata-comandante-brigata-sassari-andrea-di-stasio-image240354685.htmlRMRY12RW–Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio
Crucifixion, 1556, Woodcut, Sheet: 12 3/16 × 8 3/8 in. (31 × 21.2 cm), Prints, Giuseppe Salviati (Giuseppe Porta, called Il Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-crucifixion-1556-woodcut-sheet-12-316-8-38-in-31-212-cm-prints-giuseppe-162569156.htmlRMKCDJH8–Crucifixion, 1556, Woodcut, Sheet: 12 3/16 × 8 3/8 in. (31 × 21.2 cm), Prints, Giuseppe Salviati (Giuseppe Porta, called Il
Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1921 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/frontispiece-to-le-sorti-di-francesco-marcolini-da-forli-intitolato-giardino-di-pensieri-1921-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image591021788.htmlRM2W9FA90–Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1921 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
. Italiano: Roma, palazzo Salviati alla Lungara. Sulla destra, il ponte dei Fiiorentini (popolarmente detto Ponte del soldino). Costruito tra San Giovanni dei Fiorentini e piazza della Rovere da una società privata nel 1863 e demolito nel 1941 e sostituito dal ponte Pincipe Amedeo, richiedeva un pedaggio di 5 centesimi (1 soldo) per essere attraversato. La foto è precedente alla costruzione dei muraglioni (1875-1900). 19 November 2013, 09:29:24. Unknown 67 Palazzo salviati roma Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/italiano-roma-palazzo-salviati-alla-lungara-sulla-destra-il-ponte-dei-fiiorentini-popolarmente-detto-ponte-del-soldino-costruito-tra-san-giovanni-dei-fiorentini-e-piazza-della-rovere-da-una-societ-privata-nel-1863-e-demolito-nel-1941-e-sostituito-dal-ponte-pincipe-amedeo-richiedeva-un-pedaggio-di-5-centesimi-1-soldo-per-essere-attraversato-la-foto-precedente-alla-costruzione-dei-muraglioni-1875-1900-19-november-2013-092924-unknown-67-palazzo-salviati-roma-image208238999.htmlRMP2P2Y3–. Italiano: Roma, palazzo Salviati alla Lungara. Sulla destra, il ponte dei Fiiorentini (popolarmente detto Ponte del soldino). Costruito tra San Giovanni dei Fiorentini e piazza della Rovere da una società privata nel 1863 e demolito nel 1941 e sostituito dal ponte Pincipe Amedeo, richiedeva un pedaggio di 5 centesimi (1 soldo) per essere attraversato. La foto è precedente alla costruzione dei muraglioni (1875-1900). 19 November 2013, 09:29:24. Unknown 67 Palazzo salviati roma
La Vera Perfettione del Disegno di varie sorti di recami, page 2 (recto) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.Dedication page printed in black with an illustrated woodcut initial 'I'.. La Vera Perfettione del Disegno di varie sorti di recami, page 2 (recto) 662312 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-2-recto-1567-giovanni-ostaus-italian-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venicededication-page-printed-in-black-with-an-illustrated-woodcut-initial-i-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-2-recto-662312-image458529393.htmlRM2HHYPWN–La Vera Perfettione del Disegno di varie sorti di recami, page 2 (recto) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.Dedication page printed in black with an illustrated woodcut initial 'I'.. La Vera Perfettione del Disegno di varie sorti di recami, page 2 (recto) 662312
Chirurgia è Graeco in Latinum conversa, Vido Vidio Florentino interprete, 1544. From a work on ancient Greek surgery edited and translated by Vidus Vidius. Attributed to Francesco Salviati. Formerly attributed to Francesco Primaticcio. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/chirurgia-xe8-graeco-in-latinum-conversa-vido-vidio-florentino-interprete-1544-from-a-work-on-ancient-greek-surgery-edited-and-translated-by-vidus-vidius-attributed-to-francesco-salviati-formerly-attributed-to-francesco-primaticcio-image440337098.htmlRM2GGB2CX–Chirurgia è Graeco in Latinum conversa, Vido Vidio Florentino interprete, 1544. From a work on ancient Greek surgery edited and translated by Vidus Vidius. Attributed to Francesco Salviati. Formerly attributed to Francesco Primaticcio.
The Crucifixion 1556 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian The artist Giuseppe Salviati had been a student of the famed Mannerist Francesco Salviati (1510-1563), from whom he took his name, replacing 'Porta.' Giuseppe designed and quite possibly cut the block for this signed woodcut, which may be related to his painting of the same subject once in the Palazzo Ducale, Venice. On June 30, 1556, Giovanni Ostaus was granted the privilege to publish both this woodcut, which was initially issued with surrounding text, and a needlework pattern book, for which the Lucretia, di Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-crucifixion-1556-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-the-artist-giuseppe-salviati-had-been-a-student-of-the-famed-mannerist-francesco-salviati-1510-1563-from-whom-he-took-his-name-replacing-porta-giuseppe-designed-and-quite-possibly-cut-the-block-for-this-signed-woodcut-which-may-be-related-to-his-painting-of-the-same-subject-once-in-the-palazzo-ducale-venice-on-june-30-1556-giovanni-ostaus-was-granted-the-privilege-to-publish-both-this-woodcut-which-was-initially-issued-with-surrounding-text-and-a-needlework-pattern-book-for-which-the-lucretia-di-image458638742.htmlRM2HJ4PB2–The Crucifixion 1556 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian The artist Giuseppe Salviati had been a student of the famed Mannerist Francesco Salviati (1510-1563), from whom he took his name, replacing 'Porta.' Giuseppe designed and quite possibly cut the block for this signed woodcut, which may be related to his painting of the same subject once in the Palazzo Ducale, Venice. On June 30, 1556, Giovanni Ostaus was granted the privilege to publish both this woodcut, which was initially issued with surrounding text, and a needlework pattern book, for which the Lucretia, di
Serie degli uomini i più illustri nella pittura, scultura, e architettura : con i loro elogi, e ritratti incisi in rame cominciando dalla sua prima restaurazione fino ai tempi presenti .. . a genitrice di Francefco, chelo forzò a riprendere la via di Firenze per affiflere all indigenzedella medefima , ed in fine ciò che non gli conceflTe di pi^ oltrecondarre quedOpere fu la fiera Pleuritide, che attaccò il noflroProfefibre nel portar fi, che egli continuamente faceva da Firenzead una Villetta , concefiagli dal Duca Salviati per più agevolmen-te finire le due già riferite Tele, che ardentemente Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/serie-degli-uomini-i-pi-illustri-nella-pittura-scultura-e-architettura-con-i-loro-elogi-e-ritratti-incisi-in-rame-cominciando-dalla-sua-prima-restaurazione-fino-ai-tempi-presenti-a-genitrice-di-francefco-chelo-forz-a-riprendere-la-via-di-firenze-per-affiflere-all-indigenzedella-medefima-ed-in-fine-ci-che-non-gli-conceflte-di-pi-oltrecondarre-quedopere-fu-la-fiera-pleuritide-che-attacc-il-noflroprofefibre-nel-portar-fi-che-egli-continuamente-faceva-da-firenzead-una-villetta-concefiagli-dal-duca-salviati-per-pi-agevolmen-te-finire-le-due-gi-riferite-tele-che-ardentemente-image342779040.htmlRM2AWJX4G–Serie degli uomini i più illustri nella pittura, scultura, e architettura : con i loro elogi, e ritratti incisi in rame cominciando dalla sua prima restaurazione fino ai tempi presenti .. . a genitrice di Francefco, chelo forzò a riprendere la via di Firenze per affiflere all indigenzedella medefima , ed in fine ciò che non gli conceflTe di pi^ oltrecondarre quedOpere fu la fiera Pleuritide, che attaccò il noflroProfefibre nel portar fi, che egli continuamente faceva da Firenzead una Villetta , concefiagli dal Duca Salviati per più agevolmen-te finire le due già riferite Tele, che ardentemente
La Vera Perfettione del Disegno di varie sorti di recami, page 40 (recto) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.From top to bottom, and left to right:Design is decorated with a pattern of overlapping diamonds.. La Vera Perfettione del Disegno di varie sorti di recami, page 40 (recto) 662590 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-40-recto-1567-giovanni-ostaus-italian-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venicefrom-top-to-bottom-and-left-to-rightdesign-is-decorated-with-a-pattern-of-overlapping-diamonds-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-40-recto-662590-image458529500.htmlRM2HHYR1G–La Vera Perfettione del Disegno di varie sorti di recami, page 40 (recto) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.From top to bottom, and left to right:Design is decorated with a pattern of overlapping diamonds.. La Vera Perfettione del Disegno di varie sorti di recami, page 40 (recto) 662590
Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1540 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian This woodcut of a scholarly gathering is fully signed by Giuseppe Salviati yet is an almost exact copy of an engraving by Marco Dente, who died in 1527. The only changes are the adaptation of the book in the foreground to represent Marcolini's fortune-telling book and the addition of the pack of cards required for divination. That Giuseppe so prominently signed a copy suggests that he cut the block himself-indeed, it was usually the cutt Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/frontispiece-to-le-sorti-di-francesco-marcolini-da-forli-intitolato-giardino-di-pensieri-1540-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-this-woodcut-of-a-scholarly-gathering-is-fully-signed-by-giuseppe-salviati-yet-is-an-almost-exact-copy-of-an-engraving-by-marco-dente-who-died-in-1527-the-only-changes-are-the-adaptation-of-the-book-in-the-foreground-to-represent-marcolinis-fortune-telling-book-and-the-addition-of-the-pack-of-cards-required-for-divination-that-giuseppe-so-prominently-signed-a-copy-suggests-that-he-cut-the-block-himself-indeed-it-was-usually-the-cutt-image458091387.htmlRM2HH7T6K–Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1540 Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian This woodcut of a scholarly gathering is fully signed by Giuseppe Salviati yet is an almost exact copy of an engraving by Marco Dente, who died in 1527. The only changes are the adaptation of the book in the foreground to represent Marcolini's fortune-telling book and the addition of the pack of cards required for divination. That Giuseppe so prominently signed a copy suggests that he cut the block himself-indeed, it was usually the cutt
La Vera Perfettione del Disegno di varie sorti di recami, page 23 (verso). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to ri Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-23-verso-dimensions-overall-6-516-x-8-716-in-16-x-215-cm-illustrator-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-publisher-giovanni-ostaus-italian-active-venice-ca-1554-91-venice-date-1567-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venice-from-top-to-bottom-and-left-to-ri-image213179089.htmlRMPAR42W–La Vera Perfettione del Disegno di varie sorti di recami, page 23 (verso). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to ri
Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/foto-carlo-lannuttilapresse-11-03-2019-roma-italia-cronaca-operazione-congiunta-esercito-italiano-e-polizia-locale-roma-capitale-nella-zona-del-campo-rom-di-via-salviati-contro-lo-smaltimento-illegale-di-rifiuti-tossici-e-roghi-tossici-nella-foto-il-generale-di-brigata-comandante-brigata-sassari-andrea-di-stasio-image240354702.htmlRMRY12TE–Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio
Lucretia Instructing her Daughters in Needlework, Giuseppe Salviati, 1557 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-lucretia-instructing-her-daughters-in-needlework-giuseppe-salviati-162527044.htmlRMKCBMW8–Lucretia Instructing her Daughters in Needlework, Giuseppe Salviati, 1557
Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1918 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/frontispiece-to-le-sorti-di-francesco-marcolini-da-forli-intitolato-giardino-di-pensieri-1918-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image591021786.htmlRM2W9FA8X–Frontispiece to 'Le sorti di Francesco Marcolini da Forli intitolato Giardino di Pensieri' 1918 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
Allegory of Painting (The Death of Leonardo da Vinci), ca. 1780-99. Leonardo on his deathbed, in the arms of François I of France. Among those present are other celebrated Italian artists: Francesco Salviati, Andrea del Sarto, l'Abate Primaticcio, Rosso Fiorentino and Benvenuto Cellini. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/allegory-of-painting-the-death-of-leonardo-da-vinci-ca-1780-99-leonardo-on-his-deathbed-in-the-arms-of-franxe7ois-i-of-france-among-those-present-are-other-celebrated-italian-artists-francesco-salviati-andrea-del-sarto-labate-primaticcio-rosso-fiorentino-and-benvenuto-cellini-image440343914.htmlRM2GGBB4A–Allegory of Painting (The Death of Leonardo da Vinci), ca. 1780-99. Leonardo on his deathbed, in the arms of François I of France. Among those present are other celebrated Italian artists: Francesco Salviati, Andrea del Sarto, l'Abate Primaticcio, Rosso Fiorentino and Benvenuto Cellini.
Le isole della laguna veneta . ^)ffiati artistici. Il nomo di Antonio Salviati parve rinnovare loglorio degli Obizzi. dei .Sodeci, dei IJcrovieri. dei liallarin. dei Seguso ; fu ricercatala composizione delle antiche paste, di cui sera smarrito il segreto, fu rimessa in LE ISOLE DELLA LAcìLNA 105 onore larte del soffio, che del resto non era mai perita nellisola. Oggi i bei mo-saici scintillanti,.! bei vetri iridescenti formano ancora un ornamento ricercato nellecase dei ricchi di ogni parto del mondo: decorazioni, lampade dogni maniera sifabbricano a Murano, cercandosi sempre di rinnovellare Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/le-isole-della-laguna-veneta-ffiati-artistici-il-nomo-di-antonio-salviati-parve-rinnovare-loglorio-degli-obizzi-dei-sodeci-dei-ijcrovieri-dei-liallarin-dei-seguso-fu-ricercatala-composizione-delle-antiche-paste-di-cui-sera-smarrito-il-segreto-fu-rimessa-in-le-isole-della-laclna-105-onore-larte-del-soffio-che-del-resto-non-era-mai-perita-nellisola-oggi-i-bei-mo-saici-scintillanti!-bei-vetri-iridescenti-formano-ancora-un-ornamento-ricercato-nellecase-dei-ricchi-di-ogni-parto-del-mondo-decorazioni-lampade-dogni-maniera-sifabbricano-a-murano-cercandosi-sempre-di-rinnovellare-image339161927.htmlRM2AKP4DY–Le isole della laguna veneta . ^)ffiati artistici. Il nomo di Antonio Salviati parve rinnovare loglorio degli Obizzi. dei .Sodeci, dei IJcrovieri. dei liallarin. dei Seguso ; fu ricercatala composizione delle antiche paste, di cui sera smarrito il segreto, fu rimessa in LE ISOLE DELLA LAcìLNA 105 onore larte del soffio, che del resto non era mai perita nellisola. Oggi i bei mo-saici scintillanti,.! bei vetri iridescenti formano ancora un ornamento ricercato nellecase dei ricchi di ogni parto del mondo: decorazioni, lampade dogni maniera sifabbricano a Murano, cercandosi sempre di rinnovellare
La Vera Perfettione del Disegno di varie sorti di recami, page 3 (recto) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.2 poems printed in black.. La Vera Perfettione del Disegno di varie sorti di recami, page 3 (recto). 1567. Woodcut. Giovanni Ostaus (Italian, active Venice ca. 1554–91) , Venice Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-3-recto-1567-giovanni-ostaus-italian-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venice2-poems-printed-in-black-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-3-recto-1567-woodcut-giovanni-ostaus-italian-active-venice-ca-155491-venice-image458112167.htmlRM2HH8PMR–La Vera Perfettione del Disegno di varie sorti di recami, page 3 (recto) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.2 poems printed in black.. La Vera Perfettione del Disegno di varie sorti di recami, page 3 (recto). 1567. Woodcut. Giovanni Ostaus (Italian, active Venice ca. 1554–91) , Venice
La Vera Perfettione del Disegno di varie sorti di recami, page 27 (verso). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to ri Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-27-verso-dimensions-overall-6-516-x-8-716-in-16-x-215-cm-illustrator-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-publisher-giovanni-ostaus-italian-active-venice-ca-1554-91-venice-date-1567-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venice-from-top-to-bottom-and-left-to-ri-image213113688.htmlRMPAM4K4–La Vera Perfettione del Disegno di varie sorti di recami, page 27 (verso). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to ri
The Abduction of Helen mid-16th century Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian A scene from Greek mythology, the sheet portrays the event that sparked the Trojan War – the abduction of Helen, the beautiful wife of Menelaus (King of Sparta), by Paris, the prince of Troy. Helen, with arms upraised, struggles against her captor in the background, while the dynamically posed sailors, straining to navigate the boat, form the center point of the drama. The drawing may represent a study for a fresco that adorned the façade of a building in Venice, a type of painting for which Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-abduction-of-helen-mid-16th-century-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-a-scene-from-greek-mythology-the-sheet-portrays-the-event-that-sparked-the-trojan-war-the-abduction-of-helen-the-beautiful-wife-of-menelaus-king-of-sparta-by-paris-the-prince-of-troy-helen-with-arms-upraised-struggles-against-her-captor-in-the-background-while-the-dynamically-posed-sailors-straining-to-navigate-the-boat-form-the-center-point-of-the-drama-the-drawing-may-represent-a-study-for-a-fresco-that-adorned-the-faade-of-a-building-in-venice-a-type-of-painting-for-which-image457892341.htmlRM2HGXP9W–The Abduction of Helen mid-16th century Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Italian A scene from Greek mythology, the sheet portrays the event that sparked the Trojan War – the abduction of Helen, the beautiful wife of Menelaus (King of Sparta), by Paris, the prince of Troy. Helen, with arms upraised, struggles against her captor in the background, while the dynamically posed sailors, straining to navigate the boat, form the center point of the drama. The drawing may represent a study for a fresco that adorned the façade of a building in Venice, a type of painting for which
Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/foto-carlo-lannuttilapresse-11-03-2019-roma-italia-cronaca-operazione-congiunta-esercito-italiano-e-polizia-locale-roma-capitale-nella-zona-del-campo-rom-di-via-salviati-contro-lo-smaltimento-illegale-di-rifiuti-tossici-e-roghi-tossici-nella-foto-il-generale-di-brigata-comandante-brigata-sassari-andrea-di-stasio-image240354777.htmlRMRY12Y5–Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio
La Vera Perfettione del Disegno di varie sorti di recami, page 38 (verso) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.From top to bottom, and left to right:Design is decorated with a pattern of quatrefoil motifs that are all connected to one another by overlapping lines.. La Vera Perfettione del Disegno di varie sorti di recami, page 38 (verso) 662587 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-38-verso-1567-giovanni-ostaus-italian-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venicefrom-top-to-bottom-and-left-to-rightdesign-is-decorated-with-a-pattern-of-quatrefoil-motifs-that-are-all-connected-to-one-another-by-overlapping-lines-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-38-verso-662587-image458529657.htmlRM2HHYR75–La Vera Perfettione del Disegno di varie sorti di recami, page 38 (verso) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.From top to bottom, and left to right:Design is decorated with a pattern of quatrefoil motifs that are all connected to one another by overlapping lines.. La Vera Perfettione del Disegno di varie sorti di recami, page 38 (verso) 662587
Lucretia instructing her daughters in needlework from Giovanni Ostaus's, La vera perfettione del disegno di varie sorte di recami (Venice, 1557) 2006 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/lucretia-instructing-her-daughters-in-needlework-from-giovanni-ostauss-la-vera-perfettione-del-disegno-di-varie-sorte-di-recami-venice-1557-2006-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-image577191396.htmlRM2TF19EC–Lucretia instructing her daughters in needlework from Giovanni Ostaus's, La vera perfettione del disegno di varie sorte di recami (Venice, 1557) 2006 by Giuseppe Salviati (Giuseppe Porta, called Il Salviati)
Giardino di Pensieri, Designed by Giuseppe Salviati, 1540 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-giardino-di-pensieri-designed-by-giuseppe-salviati-1540-162487957.htmlRMKC9Y19–Giardino di Pensieri, Designed by Giuseppe Salviati, 1540
Design for a Pilaster with Two Candelabra Grotesques and Three Masks, Giuseppe Salviati, ca. 1540–60 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-design-for-a-pilaster-with-two-candelabra-grotesques-and-three-masks-162490451.htmlRMKCA26B–Design for a Pilaster with Two Candelabra Grotesques and Three Masks, Giuseppe Salviati, ca. 1540–60
Frontispiece to Le sorti di Francesco Marcolini, Designed by Giuseppe Salviati, 1540 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-frontispiece-to-le-sorti-di-francesco-marcolini-designed-by-giuseppe-162487954.htmlRMKC9Y16–Frontispiece to Le sorti di Francesco Marcolini, Designed by Giuseppe Salviati, 1540
Classical Gods, Muses, and Allegorical Figures, Giuseppe Salviati, 1566–67 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-classical-gods-muses-and-allegorical-figures-giuseppe-salviati-156667-162490459.htmlRMKCA26K–Classical Gods, Muses, and Allegorical Figures, Giuseppe Salviati, 1566–67
Carlo Rimbotti (1518-1591), 1548. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/carlo-rimbotti-1518-1591-1548-image336840687.htmlRM2AG0BMF–Carlo Rimbotti (1518-1591), 1548.
La casa fiorentina e i suoi arredi nei secoli XIV e XV . e spalliere anche più ornate, sincastra-vano tra le cornici tavole dipinte. Di pitture, per esempio, sidecorava la spalliera che nel palazzo di Parte Guelfa ricin-geva torno torno la gran sala sotto gli affreschi di Giotto, eche linventario de beni della Parte del 1431 designa come« dipinta ».2 Parecchie spalliere dipinte ricorda il Vasari, e diqualcuna rimangono tuttora dei frammenti. Egli racconta in-fatti nella vita del Botticelli che costui « nella via de Servi,in casa di Giovanni Vespucci, oggidì Piero Salviati, fece in-torno a una Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-casa-fiorentina-e-i-suoi-arredi-nei-secoli-xiv-e-xv-e-spalliere-anche-pi-ornate-sincastra-vano-tra-le-cornici-tavole-dipinte-di-pitture-per-esempio-sidecorava-la-spalliera-che-nel-palazzo-di-parte-guelfa-ricin-geva-torno-torno-la-gran-sala-sotto-gli-affreschi-di-giotto-eche-linventario-de-beni-della-parte-del-1431-designa-come-dipinta-2-parecchie-spalliere-dipinte-ricorda-il-vasari-e-diqualcuna-rimangono-tuttora-dei-frammenti-egli-racconta-in-fatti-nella-vita-del-botticelli-che-costui-nella-via-de-serviin-casa-di-giovanni-vespucci-oggid-piero-salviati-fece-in-torno-a-una-image342750110.htmlRM2AWHH7A–La casa fiorentina e i suoi arredi nei secoli XIV e XV . e spalliere anche più ornate, sincastra-vano tra le cornici tavole dipinte. Di pitture, per esempio, sidecorava la spalliera che nel palazzo di Parte Guelfa ricin-geva torno torno la gran sala sotto gli affreschi di Giotto, eche linventario de beni della Parte del 1431 designa come« dipinta ».2 Parecchie spalliere dipinte ricorda il Vasari, e diqualcuna rimangono tuttora dei frammenti. Egli racconta in-fatti nella vita del Botticelli che costui « nella via de Servi,in casa di Giovanni Vespucci, oggidì Piero Salviati, fece in-torno a una
La Vera Perfettione del Disegno di varie sorti di recami, page 5 (verso). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to rig Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-5-verso-dimensions-overall-6-516-x-8-716-in-16-x-215-cm-illustrator-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuovo-di-garfagnana-ca-1520-ca-1575-venice-publisher-giovanni-ostaus-italian-active-venice-ca-1554-91-venice-date-1567-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venice-from-top-to-bottom-and-left-to-rig-image213168292.htmlRMPAPJ98–La Vera Perfettione del Disegno di varie sorti di recami, page 5 (verso). Dimensions: Overall: 6 5/16 x 8 7/16 in. (16 x 21.5 cm). Illustrator: Woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati) (Italian, Castelnuovo di Garfagnana ca. 1520-ca. 1575 Venice). Publisher: Giovanni Ostaus (Italian, active Venice ca. 1554-91) , Venice. Date: 1567. Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice. From top to bottom, and left to rig
Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/foto-carlo-lannuttilapresse-11-03-2019-roma-italia-cronaca-operazione-congiunta-esercito-italiano-e-polizia-locale-roma-capitale-nella-zona-del-campo-rom-di-via-salviati-contro-lo-smaltimento-illegale-di-rifiuti-tossici-e-roghi-tossici-nella-foto-il-generale-di-brigata-comandante-brigata-sassari-andrea-di-stasio-image240354690.htmlRMRY12T2–Foto Carlo Lannutti/LaPresse 11-03 - 2019 Roma, Italia Cronaca. Operazione congiunta Esercito Italiano e Polizia Locale Roma Capitale nella zona del campo rom di via Salviati contro lo smaltimento illegale di rifiuti tossici e roghi tossici Nella foto: Il Generale di Brigata comandante Brigata Sassari Andrea Di Stasio
La Vera Perfettione del Disegno di varie sorti di recami, page 33 (verso) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.From top to bottom, and left to right:Design composed of 4 horizontal registers. Each register is decorated with a different foliage pattern.. La Vera Perfettione del Disegno di varie sorti di recami, page 33 (verso) 662577 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-33-verso-1567-giovanni-ostaus-italian-published-by-giovanni-ostaus-venice-woodcut-of-lucrezia-designed-by-giuseppe-salviati-giuseppe-porta-called-il-salviati-italian-castelnuova-di-garfagnana-ca-1520-1575-venicefrom-top-to-bottom-and-left-to-rightdesign-composed-of-4-horizontal-registers-each-register-is-decorated-with-a-different-foliage-pattern-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-page-33-verso-662577-image458529651.htmlRM2HHYR6Y–La Vera Perfettione del Disegno di varie sorti di recami, page 33 (verso) 1567 Giovanni Ostaus Italian Published by Giovanni Ostaus, Venice, woodcut of Lucrezia designed by Giuseppe Salviati (Giuseppe Porta, called Il Salviati), Italian, Castelnuova di Garfagnana ca. 1520-1575 Venice.From top to bottom, and left to right:Design composed of 4 horizontal registers. Each register is decorated with a different foliage pattern.. La Vera Perfettione del Disegno di varie sorti di recami, page 33 (verso) 662577
La Vera Perfettione del Disegno di varie sorti di recami, 1567 Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-la-vera-perfettione-del-disegno-di-varie-sorti-di-recami-1567-162451190.htmlRMKC8846–La Vera Perfettione del Disegno di varie sorti di recami, 1567
A man kneeling next to a basket of fish and taking one with both hands, two men at right in the background, ca. 1515-27. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-man-kneeling-next-to-a-basket-of-fish-and-taking-one-with-both-hands-two-men-at-right-in-the-background-ca-1515-27-image349007088.htmlRM2B7PJ2T–A man kneeling next to a basket of fish and taking one with both hands, two men at right in the background, ca. 1515-27.
Assembly of male and female scholars gathered around an open book, in the middle ground a man holds aloft an armillary sphere Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/stock-image-assembly-of-male-and-female-scholars-gathered-around-an-open-book-162523773.htmlRMKCBGMD–Assembly of male and female scholars gathered around an open book, in the middle ground a man holds aloft an armillary sphere
