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Pietro Fontana
Ara con Tripode - Etching by V. Feoli After B. Nocchi - 1821
1821

Name: Ara con Tripode - Etching by V. Feoli After B. Nocchi - 1821
Brand: Pietro Fontana
Price: 663.39 CHF
Availability: InStock
Rating: 4.9 (564 reviews)

$815.28

£617.60

€700

CA$1,129.47

A$1,266.77

CHF 663.39

MX$15,392.51

NOK 8,423.93

SEK 7,986.48

DKK 5,329.64

About the Item

Image dimensions: 33.7 x 48.6 cm. “Ara con tripode” (Ara with tripod) is a beautiful black and white burin and etching on paper, realized by the artist Vincenzo Feoli, after Bernardino Nocchi as the inscriptions on plates on lower margins report “Bernardino Nocchi delineò/ Vincenzo Feoli incise in Roma”. This original print is numbered on plate in Roman numerals on higher margin: “Tom II. /Tav. XXVIII" and is a plate from the series "Illustrazioni de'Monumenti scelti Borghesiani già esistenti nella Villa sul Pincio (..)date ora per la prima volta in luce dal cav. Gio. Gherardo De Rossi e da Stefano Piale sotto la guida di Vincenzo Feoli", by Ennio Quirino Visconti, published by Stamperia de Romanis in Rome, 1821. Original Title: Ara con Tripode di quindecemviri, e la corona degli Arvali Translated Tite: Ara with tripod representing fifteen men, and the Arvali's crown This old master’s original prints shows a beautiful piece of the Borghese's collection, the commemorative ara with the tripod with the decorations of a crown, the Arvali's Crown. The Arvali was an ancient Roman priestly college twelve members chosen for life among the members of the patrician families, who devoted themselves to the worship of the Goddess Dia, an archaic Roman divinity, later identified with Ceres, and of Marmar or Mavors, later identified with Mars, who protected the earth, the fields and the crops. In excellent conditions with some light signs of the time, with some sporadic minor stains along the margins, a usual yellowing of the paper at the edges, this beautiful etching has preserved still today his beauty and his fresh impression. Illustrazioni de' Monumenti scelti Borghesiani This collection in two volumes is a beautifully detailed catalog of classical sculptures collected by Prince Borghese (1730-1800) in his Villa on the Pincio. Ennio Quirino Visconti (1751 - 1818) wrote the texts that accompany the large branches depicting. To these writings, which were available by the son of the illustrious archaeologist, the publishers added only a few illustrations relating to some minor monument of which copper had already been engraved. The engraved title-plate are signed by draughtsmen like Agostino Tofanelli, Stefano Tofanelli, Bernardino Nocchi, Domenico de Angelis or Teodoro Matteini, and by engravers Pietro Fontana Veneto, P. Vitali, Pietro Bettelini, Giovanni Folo Veneto, Giovanni Brunetti da Ravenna, Giovanni Ottaviani, Francesco Cecchini, Gio. Batta. Leonetti, Girolamo Carattoni, Domenico Cunego, Luigi Cunego, Alessandro Mochetti, Luigi Pizzi, Angelo Campanella or Giacomo Bossi. The Volume I shows ancient full-length statues, of the Borghese warrior by Agasias (two plates), Greek gods and heroes and Roman famous historical figures; the last two plates represents antique Egyptian deities. There are plates representing ancient bas-reliefs, sarcophagi, of mythological subjects, the Borghese Vase, portrait busts, a vase on an altar, two statues of Amor; and two modern statues, by Bernini (the Apollo and Daphne, and the David). «Très bel ouvrage» writes Brunet, «Grand ouvrage, le seul qui mérite, parmi ceux sur la villa Borgese, de figurer dans le chapitre aux Galeries et Collections» Vinet said, looking at this plate. Vincenzo Feoli (Rome, 1750 - 1831) Vincenzo Feoli was an Italian engraver and a talented translator of topographic, architectural and archaeological drawings, whose professional capacity seems to have been recognized by his contemporaries. He engraved illustrative plates for the main publishing projects of his era. His first known artworks today date back to the first years of the decade 1790-1799, when he should have been over 40 years old. This led Rossella Leoni to postpone the date of his birth of about ten years. Bernardino Nocchi (Lucca, 1741 - Rome, 1812) Bernardino Nocchi moved to Rome in 1769 with his colleague Stefano Tofanelli, entering the school of Niccolò Lapiccola where he developed a baroque style with neoclassical suggestions. Bernardino Nocchi was noticed by Pope Pius VI, who in 1780 entrusted him with the painting of the Sacred Apostolic Palaces and then in 1785 with the Print Room of the Vatican Library. But he also works outside the capital, in Gubbio where in 1797 he realizes the transit of St. Joseph in the Church of San Secondo, in Spoleto, in Lucca and in Catania. Returning to Rome, Nocchi painted some of his best paintings: Prince Camillo Borghese in 1799 , The apotheosis of Saint Prudenziana, Saint Novato and Saint Timothy in 1803 and Pius VII in 1807.

Creator:

Pietro Fontana (1762 - 1837)

Creation Year:

1821

Dimensions:

Height: 17.45 in (44.3 cm)Width: 23.23 in (59 cm)Depth: 0.04 in (1 mm)

Medium:

Etching

Movement & Style:

Old Masters

Period:

1820-1829

Framing:

Framing Options Available

Condition:

Insurance may be requested by customers as additional service, contact us for more information.

Gallery Location:

Roma, IT

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Ancient Roman Fresco, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Carlo Nolli in the 18th Century. Signed on the plate. Good condition...

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This is an 18th century engraving and etching entitled "Parmigiani Amica" by Robert Strange after a painting by Girolamo Francesco Maria Mazzola, better known as Parmigianino, who lived during the Renaissance period. It was published in London in 1774. As the inscription states, the painting was in the collection of the King of Naples at the time the engraving was made. The engraving depicts a half-length portrait of a young woman, known as Parmigiani's Amica (meaning "female friend" in Italian). She is depicted wearing a simple but elegant dress with a low-cut neckline, which reveals her delicate features and graceful neck. Her hair is arranged in a simple yet stylish manner. She is turning to the right to look lovingly at her infant, which she is holding with her right arm. She is touching the baby's mouth with her left hand. The background of the engraving is plain and unadorned, allowing the viewer to focus entirely on the subject of the portrait. The result is a beautiful and timeless image that captures the essence of Renaissance portraiture. The engraving is printed on watermarked paper. The sheet measures 16.25" high and 12' wide. The sheet is adhered to paper in its upper corners and it has been removed from the paper in its lower corners. There is some mild discoloration and some wrinkling in the margins, including the lower inscription area, and a small dark spot in the upper margin, which may represent a drop of ink occuring at the time of printing. These issues do not involve the image, which is in very good condition. The print is held by several museums and institutions, including: The Metropolitan Museum of Art in New York, The British Museum in London, The Royal Museums of the UK, The British National Trust...

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1821

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