The page is in Italian. Since the requested translation is not provided in the form of text, I'm unable to directly translate the specific content from the URL provided.

Engraving on heavy paper taken from the "New Collection of Ancient Monuments of the Noble City of Rome". Finely engraved plate on copper, drawn from life and engraved by Domenico Amici from Rome.

Excellent inking and good condition, slight traces of flowering and browning. Sheet intact with wide original margins. INSURED shipping by courier, for insurance declare any damages at the time of collection. Origin private collection.

FRIENDS, Domenico
Designer and engraver in copper, born in Rome in 1808. In the Roman landscape painting that succeeded the great era of Vasi and Piranesi, he was among those who showed greater ambitions: after having etched some views "drawn from life" in etching, he also wanted to appear as an "inventor" and made a series of 30 imaginary views in the style of stage designs, which in 1831 he published in Rome under the title of "Opera-scenografica - invented and engraved - by Domenico Amici-Romano."
But those branches, all carved with only contours, in the way that had been passed down by the three Hackerts and accepted in Rome, for the figure, by T. Piroli and F. Giangiacomo, and initially, for the engraved landscapes, by the same Antonio Acquaroni, no longer attracted anyone; so that even the author was led to clarify, taking as a model not Piranesi, but the still living Luigi Rossini.
After the Roman Ruins in 20 plates (Rome 1832-33), he began to depict "obelisks" and "fountains," adding to those subjects the other of "cloisters," for a collection of 30 plates published in 1838. Meanwhile, he continued to portray buildings and ruins for new collections, some of which were realized as such (Views of the Outskirts of Rome, Rome 1847), while others disintegrated along the way, as the plates entered collections of others. After the proclamation of the dogma of the Immaculate Conception (December 8, 1854) and the subsequent erection, by architect Luigi Poletti, of the commemorative column of the event, near the Spanish Steps, the author reproduced it first. And this was his greatest professional success. He also translated into 12 plates a series of watercolors by Carlo Werner depicting the ruins of Porta San Pancrazio after the defense of Rome in 1849, and participated, like Antonio Acquaroni, his main work companion at the Roman Calcography, in the grand Scenography of the most famous Monuments ... of 1864.
But his work, judged today, has, overall, little more than documentary and curiosity value. We will recall in this regard the Palazzo di Montecitorio, engraved by him in 1840, as it had already appeared in the imagination of Giuseppe Gioachino Belli, with at the top "banner, clock, and bell tower" and "a huge pair of bells", and below the crowd of Romans attentive to the lottery draw.
The date of death of A. is unknown, but in 1870-71 he was still living and working, as evidenced by dated drawings from the National Printing Cabinet in Rome, from the already Morandi collection (one of which shows the view of the surroundings of Porta Pia after the breach) and from other private collections.
Bibl.: Universal Catalogue of books on art, Supplement, London 1877, p. 19; P. Arrigoni-A. Bertarelli, Plans and views of Rome and Lazio preserved in the collection of prints and drawings, Milan 1939, V. Index; Exhibition of Rome in the Nineteenth Century, curated by the Institute of Roman Studies, Rome 1932, pp. 49, 57, 146; A. Petrucci, Italian engraving. The Nineteenth Century, Rome 1941, p. 12; D. R. Peretti Griva-A. Petrucci, Rome, Turin 1949, p. 26; Exhibition of drawings from the Library of the National Institute of Archaeology and the History of Art (catalogue), curated by V. Cianfarani, Rome 1956, n. 188; A. Petrucci, Caravaggio and the Roman printmaking world, Rome 1957, p. 85; U. Thieme-F. Becker, General Lexicon of Visual Artists, I, p. 404. TRECCANI