Null Circle of Abraham-Louis-Rodolphe Ducros,
Swiss 1748-1810-

View of the Basi…

Description

Circle of Abraham-Louis-Rodolphe Ducros, Swiss 1748-1810- View of the Basilica of Maxentius and Constantine, after Giovanni Battista Piranesi; pen, black ink and watercolour on paper, inscribed 'DUCROS TEMPLE OF PEACE / (BASILICA OF MAXENTIUS)' to the backing board, 39 x 55.5 cm. Provenance: Private Collection, UK. Note: This watercolour appears to be a copy after Giovanni Battista Piranesi's (1720-1778) etching entitled 'Veduta degli Avanzi del Tempio della Pace' [BM 1914,0216.109], first published in 1757. The present work very much recalls the style and technique of Ducros, whose output was heavily influenced by Piranesi, with Andrew Wilton describing in the Burlington Magazine (vol. 117, no. 992, November 1985) how, in Ducros' watercolours, 'the great monuments of the Roman past are depicted in compositions that rely unashamedly on Piranesi'. The present work bearsa striking similarity to a watercolour of the same subject by Ducros, dated to 1779, which is now held in the collection of the Yale Centre for British Art [B1977.14.141].

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Circle of Abraham-Louis-Rodolphe Ducros, Swiss 1748-1810- View of the Basilica of Maxentius and Constantine, after Giovanni Battista Piranesi; pen, black ink and watercolour on paper, inscribed 'DUCROS TEMPLE OF PEACE / (BASILICA OF MAXENTIUS)' to the backing board, 39 x 55.5 cm. Provenance: Private Collection, UK. Note: This watercolour appears to be a copy after Giovanni Battista Piranesi's (1720-1778) etching entitled 'Veduta degli Avanzi del Tempio della Pace' [BM 1914,0216.109], first published in 1757. The present work very much recalls the style and technique of Ducros, whose output was heavily influenced by Piranesi, with Andrew Wilton describing in the Burlington Magazine (vol. 117, no. 992, November 1985) how, in Ducros' watercolours, 'the great monuments of the Roman past are depicted in compositions that rely unashamedly on Piranesi'. The present work bearsa striking similarity to a watercolour of the same subject by Ducros, dated to 1779, which is now held in the collection of the Yale Centre for British Art [B1977.14.141].

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D. ANDERSON (1854-1938), Basilica of San Zeno, Verona, around 1880, albumen paper print Domenico Anderson (1854 Rom - 1938 ibid.): View across the forecourt to Basilica di San Zeno with the Campanile on the right and the defence tower on the left, Verona, c. 1880, albumen paper print Technique: albumen paper print Inscription: Lower middle inscribed in the printing plate: "S. Zeno | Magazzino Fotografie Arche Scaligere V. Florianello Verona". Date: c. 1880 Description: Original photograph with high detail sharpness. An early example of travel photography. Around the middle of the 19th century, more and more tourists from bourgeois circles travelled to Italy. At that time, photographs could only be taken at great expense in terms of time and with expensive, unwieldy equipment. This made many tourists all the more grateful for the work of the professional photographer's studios on site, so that they could bring back a souvenir from their holiday home or collect them as mementos. Famous photographers such as Carlo Naya, Giorgio Sommer and the Alinari brothers photographed the most famous sights in their home cities and travelled themselves to photograph their customers' favourite destinations and offer them as albumen prints. Ancient art treasures were also photographed and offered to travellers. The high-quality photographs of sculptures and frescoes continued to make an important contribution to documenting the art treasures and making them accessible to scholars from all over Europe, who previously had to rely on copies or engravings if they were unable to view the original themselves. Keywords: Italy view, documentary photography, architectural photography, travel photography, Verona, church, Campanile, Basilica Minor, wheel window, 19th century, Historicism, Architecture, Italy, Size: Albumen paper: 20,4 cm x 26,0 cm (8 x 10,2 in)

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