Provenance

Mr. Vincent J. Buonanno

Buonanno, Linda Mrs.

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This is a drawing of an elaborate architectural structure. The drawing depicts a highly intricate and ornate architectural piece. The structure is tiered and rises to a pointed apex, combining classical design elements such as arches and balustrades. The symmetry and detailed craftsmanship suggest an impressive and ceremonial purpose.
Giovanni Noati, Giovanni Antonio Ardizzone, Catafalque in the Cathedral of Piacenza for Odoardo Farnese, Duke of Parma and Piacenza, 1647, etching, Gift of Vincent Buonanno, 2023.41.8

Catafalque in the Cathedral of Piacenza for Odoardo Farnese, Duke of Parma and Piacenza

Giovanni Noati, Giovanni Antonio Ardizzone · 1647 · etching ·  Accession ID  2023.41.8

This is a drawing of a baroque architectural structure with ornate decorative elements. The image features a highly detailed and symmetrical altar-like structure, set upon a series of stepped platforms. The central focus is a tall spiral column adorned with decorative ribbons and topped with a small domed canopy with a cross. Flanking the central column are two smaller triangular forms equipped with lamps or candelabras. Intricate scrolls, carvings, and classical motifs enrich the surface. Raised urns emitting flames are placed at strategic points for balance and emphasis.
Niccolò Alù, Catafalque for Ranuccio II in the Church of the Steccata, 1695, etching on laid paper, Gift of Vincent Buonanno, 2023.41.7

Catafalque for Ranuccio II in the Church of the Steccata

Niccolò Alù · 1695 · etching on laid paper ·  Accession ID  2023.41.7

This is a drawing of an ornate architectural interior with an elaborate altar. The scene features a grand hall with vaulted ceilings, patterns, curtains, and an altar with carvings, statues, and decorative elements. Sculptural figures flank the altar. Tall windows and chandeliers are in the background and along the hall's aisles. The drawing shows intricate designs and textures in fine line work.
Antonio Stiassi, Catafalque for the Funeral of the Duke of Parma Antonio I in the Church of S. Maria Maddalena in Bologna, c. 1731, etching, Gift of Vincent Buonanno, 2023.41.13

Catafalque for the Funeral of the Duke of Parma Antonio I in the Church of S. Maria Maddalena in Bologna

Antonio Stiassi · c. 1731 · etching ·  Accession ID  2023.41.13

The image shows an intricate architectural design with sculptures and symbols. It features a tall structure, possibly a monument or ceremonial altar. The base includes ornamental features like carved figures and patterns. Statuettes in niches adorn the structure, including a skeleton. At the top is a small sculpture with pointed spires resembling Gothic architecture, each topped with flames. Decorative elements like shields, crosses, and text panels are present, emphasizing heraldry and textual messaging. The detailed drawing suggests it may be a plan for an architectural project or ceremonial construct.
Giovanni Luigi Valesio, Nicolaus de Monte, Catafalque for the Funeral of Giulio Thieni, Marquis of Scandiano, 1621, engraving, Gift of Vincent Buonanno, 2023.41.15

Catafalque for the Funeral of Giulio Thieni, Marquis of Scandiano

Giovanni Luigi Valesio, Nicolaus de Monte · 1621 · engraving ·  Accession ID  2023.41.15

This is a drawing of a hunting scene. The image depicts a group of clothed figures engaged in hunting, with some on foot and others on elephants. The setting is a forested area with trees and hills in the background. In the foreground, there are animals, including a deer and other hunted game. The figures are wearing classical attire, some holding spears and showing action and movement. The scene is detailed with intricate line work, capturing motion and the natural environment.
François Hutin, The Seconda Macchina for the Chinea of 1743: The Royal Hunt, 1743, etching, Gift of Vincent Buonanno in Honor of Andrew Robison, 2016.121.10

The Seconda Macchina for the Chinea of 1743: The Royal Hunt

François Hutin · 1743 · etching ·  Accession ID  2016.121.10

This is an engraving of various figures engaged in a grand vignette. The scene is rich with characters and symbols. There is a central figure on a chariot surrounded by others engaged in activity. The image features a densely packed composition with figures in classical garments, some holding instruments or weapons. In the lower central area and sides, there are figures with water-themed elements. This is in the style of an allegorical or mythological engraving typical of the late Baroque period.
Miguel de Sorellò, The Seconda Macchina for the Chinea of 1738: The Triumph of Bacchus and Ceres, 1738, etching, Gift of Vincent Buonanno in Honor of Andrew Robison, 2016.121.4

The Seconda Macchina for the Chinea of 1738: The Triumph of Bacchus and Ceres

Miguel de Sorellò · 1738 · etching ·  Accession ID  2016.121.4

The image shows an ornate architectural structure with a tall, intricately adorned tower in the center, flanked by lavishly decorated canopies supported by columns. The sky is filled with artistic, flowing clouds. The artwork features detailed brushwork or etching, employing fine lines for depth and texture. The color palette is monochromatic, with dark lines against a lighter background. Several figures are depicted close to us, engaging in various activities, while the architecture dominates the view in the distance.
Giuseppe Pozzi, The Seconda Macchina for the Chinea of 1758: The Porcelain Tower of Nanjing, 1758, etching, Gift of Vincent Buonanno in Honor of Andrew Robison, 2016.121.27

The Seconda Macchina for the Chinea of 1758: The Porcelain Tower of Nanjing

Giuseppe Pozzi · 1758 · etching ·  Accession ID  2016.121.27

The image consists of six full-body portraits of men wearing attire from the 17th or 18th century. They are standing upright in formal postures, each with distinct facial features. The men's clothing includes long cloaks, knee-length coats, knee breeches, stockings, and buckled shoes. Some wear high-collared ruffs, wigs, or natural curls. One man holds a staff, and another wears a tricorn hat. Additional accessories such as hats and gloves are also visible. The background is plain.
David Herrliberger, Costumes of the Men of the Reformed Church, 1751, engraving on laid paper, Gift of Vincent Buonanno, 2023.41.6

Costumes of the Men of the Reformed Church

David Herrliberger · 1751 · engraving on laid paper ·  Accession ID  2023.41.6

This is a drawing of an architectural façade. The structure is symmetrically arranged, with a central archway flanked by smaller entrances. Above the archway, there is an emblem adorned with symbols and figures. The façade includes columns, statues, balustrades, and domed roof elements at the top of each section. A wide staircase leads up to the entrance. The drawing features precise lines and a subtle wash to highlight the architectural details and spatial relationships.
Paolo Posi, Study for "The Seconda Macchina for the Chinea of 1754: An Allegory of Waterworks", 1754, graphite with pen and brown ink with gray wash, Gift of Vincent Buonanno in Honor of Andrew Robison, 2016.179.1

Study for "The Seconda Macchina for the Chinea of 1754: An Allegory of Waterworks"

Paolo Posi · 1754 · graphite with pen and brown ink with gray wash ·  Accession ID  2016.179.1

The image depicts a grand architectural façade with a mountainous backdrop. The structure features detailed arches and classical columns, set against a steep hill or mountain where small figures are ascending. The foreground shows activity, including horse-drawn carts and individuals. The structure has intricate rooftop decoration, including statues, vases, and greenery.
Giuseppe Vasi, The Seconda Macchina for the Chinea of 1778: A Dwelling near Monte Testaccio, 1778, etching, Gift of Vincent Buonanno in Honor of Andrew Robison, 2016.121.61

The Seconda Macchina for the Chinea of 1778: A Dwelling near Monte Testaccio

Giuseppe Vasi · 1778 · etching ·  Accession ID  2016.121.61