Alessandro Mochetti, Roma, Busto quasi colossale, Original Etching, 1821

Description

“roma, busto quasi colossale” (rome, near colossal bust) is a superb black and white burin and etching on paper, realized … more “roma, busto quasi colossale” (rome, near colossal bust) is a superb black and white burin and etching on paper, realized by the artist alessandro mochetti, after bernardino nocchi, as the inscriptions on plates on lower margins report “bernardino nocchi delineò/ alessandro mochetti incise roma”. Image dimensions: 47.7 x 33.8 cm this original print is numbered on plate in roman numerals on higher margin: “tom ii. /tav. Xiv" 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. The print shows a beautiful piece of the borghese's collection, a marble bust of the impersonification of rome as a gorgeous woman with elm represented in a neoclassical style. In excellent conditions with some light signs of the time with some sporadic minor stains along the lower margins, and a usual and imperceptible yellowing of the paper on the margins, this wonderful 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 borghese, de figurer dans le chapitre aux galeries et collections» vinet said, looking at this plate. Alessandro mochetti (1760 - 1812) we know little about the life of the italian engraver. He was a pupil of giovanni volpato and worked mainly with roman publishers. He participated in the realization of the illustrative tables of the bible by raphael, published in 1789 by pietro paolo montagnani and contributed with his engravings to illustrate the work il duomo di orvieto. For the series of prints episodes from the life of pius vi engraved the painting departure from rome by s.s. Pius vi for siena escorted by french dragons followed on the night of february 20 1798. He has etched images taken from paintings by many artists, including francesco manno. His son giuseppe was an engraver and worked at the calcografia romana. 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. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution less