Profil de la Ville de Rome
| Reference: | s4155 |
| Author | Pierre AVELINE "il vecchio" |
| Year: | 1720 |
| Zone: | Rome |
| Printed: | Paris |
| Measures: | 525 x 347 mm |
€1,500.00
| Reference: | s4155 |
| Author | Pierre AVELINE "il vecchio" |
| Year: | 1720 |
| Zone: | Rome |
| Printed: | Paris |
| Measures: | 525 x 347 mm |
€1,500.00
Description
Panorama of Rome taken from the Janiculum Hill, signed "Aveline fecit et excudit", published in Paris at Charpentier.
The panoramic view of Rome is taken from the Janiculum Hill and depicts on the left the Vatican complex and Castel Sant'Angelo. At the center the dense urban fabric from which towers and domes emerge not always recognizable. The entire view is in fact conducted with very essential and immediate handwriting of not great visual impact (see Barbara Jatta in "Roma Veduta" p. 193).
The view is attributed by Jatta to Antoine Aveline "the young". The Aveline family worked for over two centuries in the field of art and engraving; given the repetition of first names and the fact that they affixed the generic signature Aveline, there has often been confusion among the various members.
However, the imprint Aveline fecit et excudit leads us to believe that the Charpentier edition is the second state (of three) of the plate, which was later reprinted also by Chereau. Therefore we think it more probable - also for the graphic style - to attribute it to Pierre Aveline and the date of printing placed at about 1720.
Curious detail: the view does not include the Colosseum. In the lower margin, legend of 47 numbers.
Etching, with wide margins, usual central fold, sporadic and small oxidations in the white margins, on the whole in very good condition.
Literature
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Arrigoni Bertarelli (1939): p. 20, n. 154; B. Jatta in "Roma Veduta", p. 193, n. 45; Marigiiani (2007), p. 262, n. 175.
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Pierre AVELINE "il vecchio" (Pargi 1656 circa - 1722)
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He was also a print-publisher and print-seller. He probably trained with Adam Pérelle and, like him, specialized in topographical representations. He engraved in suites many views of Paris and of provincial, European and African cities, mixing etching and burin work in a style that was often rather unpolished. In 1685 he obtained a royal licence for ten years, authorizing him to reproduce ‘le profil des maisons royales’; he then published views of Versailles (Weigert, nos 198–293). He also engraved and published some fashionable images, such as Child of Good Family Walking with his Governess (W 388). Among the 412 items that comprise his oeuvre, there are only two portraits and two prints of historical subjects. Also attributed to him are some engravings of designs for theatre and ballet scenery after Giacomo Torelli, Niccolò Enea Bartolini and C. Carpoli; they are signed Aveline fecit.
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Literature
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Arrigoni Bertarelli (1939): p. 20, n. 154; B. Jatta in "Roma Veduta", p. 193, n. 45; Marigiiani (2007), p. 262, n. 175.
|
Pierre AVELINE "il vecchio" (Pargi 1656 circa - 1722)
|
He was also a print-publisher and print-seller. He probably trained with Adam Pérelle and, like him, specialized in topographical representations. He engraved in suites many views of Paris and of provincial, European and African cities, mixing etching and burin work in a style that was often rather unpolished. In 1685 he obtained a royal licence for ten years, authorizing him to reproduce ‘le profil des maisons royales’; he then published views of Versailles (Weigert, nos 198–293). He also engraved and published some fashionable images, such as Child of Good Family Walking with his Governess (W 388). Among the 412 items that comprise his oeuvre, there are only two portraits and two prints of historical subjects. Also attributed to him are some engravings of designs for theatre and ballet scenery after Giacomo Torelli, Niccolò Enea Bartolini and C. Carpoli; they are signed Aveline fecit.
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