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Anna Laetitia Pecci-Blunt print collection of views of Rome, 1589-circa 1860

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Pecci-Blunt (Anna Laetitia) Print Collection of Views of Rome
Series II. Sites and monuments, 1619-circa 1851, undated 47 prints
Series II is comprised of 47 prints of monuments and sites, including churches, palaces, fountains, bridges, piazze, and villas. These celebrate public works undertaken by the papacy and monuments associated with the standard itinerary for religious and secular pilgrims to the city, and travelers who came to study the masterpieces and ancient ruins of the city. The Basilica of St. Peter's, the Seven Pilgrim Churches, Castel Sant'Angelo (Hadrian's Mausoleum), and the Pantheon are represented, as well as Bernini's Fountain of the Four Rivers and the Ponte Rotto.
Arrangement
The arrangement of this series follows the collection's original order by monument or site. Within each site or monument grouping, the prints are listed by chronological order.
Arch of Constantine
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3** Girelli, Pietro Paolo, active 1690, printmaker. Facciata dell'arco antico di Costantino che risguarda l'Anfiteatro di Flavio detto il Colosseo, 1692 1 print etching and engraving ; plate mark 43.2 x 55.1 cm, on sheet 48.2 x 73.7 cm
Facciata dell'arco antico di Costantino che risguarda l'Anfiteatro di Flavio detto il Colosseo: 1692

The print, after a drawing by Giuseppe Tiburzio Vergelli, according to the inscription, depicts the Arch of Constantine with a number of figures gathered in the foreground and detailed renderings of the sculpture and bas-reliefs. With the collector's mark of Alessandro Castagnari on the verso (initials "A.C." with the Capitoline wolf of Rome, Lugt 86a).
Imprint: Rome, Matteo Gregorio Rossi, in Piazza Navona.
Basilica of St. John Lateran
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2* 9 Morel, François, approximately 1768- printmaker. Vue de l'eglise de St. Jean Lateran et de celle de Ste. Marie Majeure, [not before 1784] 1 print etching ; plate mark 34.3 x 47.7 cm, on sheet 45.7 x 62.2 cm
Vue de l'eglise de St. Jean Lateran et de celle de Ste. Marie Majeure: [not before 1784]

The view after a painting by German landscape painter Jacob Philipp Hackert is taken from the countryside outside of Rome. It depicts the Basilica of St. John Lateran (Basilica di S. Giovanni in Laterano) and the rooftop and domes of Santa Maria Maggiore. With Pecci-Blunt collector's mark, in black ink, in the lower right hand corner and one on the verso.
Imprint: Rome, chez George Hackert, Place d'Espagne. Dedicated to Prince Youssoupoff [Nikolai Borisovisch Yusupov?].
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3* 1 Rupp, Ladislaus, 1793-1854, printmaker. Veduta interna della basilica di S. Giovanni Laterano in Roma, 1829 1 print aquatint, hand coloring ; plate mark 40 x 49 cm, on sheet 41.1 x 56.3 cm
Veduta interna della basilica di S. Giovanni Laterano in Roma: 1829

The print depicts the interior of the Basilica of St. John Lateran (Basilica di S. Giovanni in Laterano). Below the Italian, the title is repeated in French. With Pecci-Blunt collector's mark, in black ink, in the lower right hand corner and another one on the verso. An oval embossed monogram stamp appears below the title with the initials "M.R." [?] (not in Lugt). Imprint: Milan. Title in Italian and French. Watermark: J. Whatman. Ref.: Arrigoni-Bertarelli 1012.
Basilica of St. Peter in the Vatican
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1* 8 Maggi, Giovanni, 1566-1618, printmaker. Basilica d. Petri in Vaticano uná cum Palatio Pontificali Roma, 1619 1 print engraving ; plate mark 35.6 x 50.5 cm, on sheet 40.4 x 53.9 cm
Basilica d. Petri in Vaticano uná cum Palatio Pontificali Roma: 1619

Saint Peter's is depicted with eight architectural features identified in a legend at the base. The square and steps before the basilica are filled with soldiers, artillery, wagons, prelates and other figures. Drawn and etched by Giovanni Maggi and published by Matthaus Greuter in Rome. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and on the verso.
Imprint: Rome, M. Greuter. Dedication to Joanne Baptista Vives.
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4** Silvestre, Israël, 1621-1691, etcher. Vedute della chiesa di S.to Pietro in Vaticano, et del palazzo papale, ed altri luoghi, disegnate in Roma fuori della Porta de Cavalli Leggieri..., 1652 1 print etching ; plate mark 30.5 x 79.2 cm, on sheet 35 x 82.9 cm
Vedute della chiesa di S.to Pietro in Vaticano, et del palazzo papale, ed altri luoghi, disegnate in Roma fuori della Porta de Cavalli Leggieri...: 1652

Drawn and etched by Silvestre, the print depicts Saint Peter's and the pontifical palace in panorama from a viewpoint beyond the walls, near the Porta de' Cavalli Leggeri. Eight sites are identified in French in two columns at the base and repeated in Italian and Latin including the gate to the Vatican Palace, Porta Angelica, the Vatican Obelisk, the headquarters of the Inquisition, Camposanto and the walls and bastions. At the top of the print two griffins hold aloft the Hesselin coat of arms and a banner bearing a dedication to de Hesselin from J. Viuot, probably J. Vivot. Hesselin is likely Louis de Hesselin. Ref.: Faucheux 31 (State 1).
Imprint: Paris. Text is in French, Italian and Latin. By privilege of the King.
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5* 6 Falda, Giovanni Battista, approximately 1640-1678, printmaker. Disegno delle fabriche prospettive e piazza fatte novamente in Roma d'ordine della Sta di N. S. Papa Alexandro VII, 1663 1 print etching ; plate mark 36.7 x 49.2 cm, on sheet 39.8 x 51.9 cm
Disegno delle fabriche prospettive e piazza fatte novamente in Roma d'ordine della Sta di N. S. Papa Alexandro VII: 1663

The print depicts 14 sites in 15 vignettes illustrating construction projects completed under the reign of Chigi Pope Alexander VII, giving prominence to Saint Peter's (which appears with Bernini's colonnade), and including the Piazza Colonna, the Pantheon, or Santa Maria della Rotunda, S. Maria della Pace, Santa Maria in Trastevere, Chiesa di Sant'Ivo alla Sapienza, Porta del Popolo, the interior and exterior of S. Maria del Popolo, Santa Maria di Montesanto, Santa Maria dei Miracoli and others. Sites are lettered "A" through "R," but skip the letters J and K. Drawn and etched by Falda. Ref.: The Illustrated Bartsch. Vol. 47, pt. 1, Italian Masters of the Seventeenth Century: Giovanni Battista Falda, no. 4 (252); Folger Shakespeare Library ART Box R763 no.29 (size L)
Imprint: Rome.
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22** Falda, Giovanni Battista, approximately 1640-1678, printmaker. Veduta dell'ampia Basilica Vaticana, 1729 1 print engraving and etching ; plate mark 47.8 x 62.3 cm, on sheet 50.6 x 65.9 cm
Veduta dell'ampia Basilica Vaticana: 1729

The aerial view of Saint Peter's and the piazza with Bernini's colonnade shows new embellishments in travertine added to the piazza under the direction of Lodovico Sergardi. Surrounding buildings are also visible and a number of people and carriages traverse the square. Ref.: Arrigoni-Bertarelli 3794
Imprint: Rome, Lorenzo Filippo de Rossi, Calcografo Vaticano, figlio del q.m Domenico erede di Gio. Giacomo in Roma alla Pace. By privilege of the Pope. Drawn and etched by Falda.
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23** Brun, Giovanni, 1754- etcher. Veduta della Basilica di S. Pietro in Vaticano, 1785 1 print etching ; plate mark 43.1 x 60.4 cm, on sheet 54.8 x 79.8 cm
Veduta della Basilica di S. Pietro in Vaticano: 1785

Drawn and etched by Brun in 1785, according to the inscriptions, the print depicts Saint Peter's and the piazza with Bernini's colonnade. Four features are identified including the colonnade and piazza, the obelisk erected by Domenico Fontana, the new sacristy and the pontifical palace. Surrounding buildings are also visible and a number of people and carriages traverse the square.
Imprint: [Rome], Presso Carlo Losi.
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5* 1 Abbott, Henry, active 1820, printmaker.St. Peter's and the Vatican, 1820 November 1 1 print aquatint ; image 29.9 x 44.9 cm, on sheet 34.2 x 46.9 cm
St. Peter's and the Vatican: 1820 November 1

Drawn, carved by H. Abbott, and "acquatinted" by R. Reeve, according to the inscriptions, the print depicts Saint Peter's and the piazza. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and on the verso in blue ink. Imprint: [London], Baldwin, Craddock & Joy, 47 Paternoster Row. Printmaker: R. Reeve. Trimmed within plate mark.
Possibly issued in: Antiquities of Rome: comprising twenty-four select views of the principal ruins, illustrated by a panoramic outline of the modern city taken from the capitol from drawings by Henry Abbott, Esq., made in the year 1818. London: Baldwin, Craddock and Joy, 1820.
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6* 11 Penna, Agostino, active 1825-1846, etcher. Veduta della Basilica di S. Pietro in Vaticano, 1829 1 print etching ; plate mark 45 x 58.6 cm, on sheet 45.6 x 59 cm
Veduta della Basilica di S. Pietro in Vaticano: 1829

Drawn and etched by Penna, according to the inscriptions, the print depicts Saint Peter's and the piazza, with three structures identified including the pontifical palace or Palazzo Pontificio, Raphael's Loggia and the sacristy. In the foreground Pope Pius VIII is leaving the Vatican by coach, accompanied by a large retinue of guards. Many of the onlookers greet him on their knees. With Pecci-Blunt's collector's mark, in black ink, in the lower right hand corner and one on the verso.
Imprint: Rome.
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5* 2 Rupp, Ladislaus, 1793-1854, printmaker. Interno dell'insigne Basilica di S. Pietro in Vaticano, undated 1 print aquatint, hand coloring ; plate mark 40 x 48.6 cm, on sheet 42.4 x 56.8 cm
Interno dell'insigne Basilica di S. Pietro in Vaticano: undated

The print depicts the interior of Saint Peter's filled with daylight, with several figures conversing, while others pray. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and one on the verso, and the oval embossed monogram "M.R." [?]. Imprint: [Milan?]. Watermark: J. Whatman. Text in Italian and French. Title in Italian to the left, and French to the right.
Castel Sant'Angelo
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1* 5 Della Bella, Stefano, 1610-1664, etcher. Castello St. Angelo, [between 1631 and 1637] 1 print etching ; plate mark 21.2 x 34.8 cm, on sheet 23.2 x 36.5 cm
Castello St. Angelo: [between 1631 and 1637]

The print depicts the Castel Sant'Angelo, flying a large flag and surrounded by artillery smoke. The scene includes several onlookers and the viewpoint is from the left riverbank towards the bridge and castle. With collector's marks of Pecci-Blunt, Alessandro Castagnari (initials "A.C." with the Capitoline wolf of Rome, Lugt 86a), and J. Burleigh James ("J. B. J.", Lugt 1425). Ref.: De Vesme 818. Date from BM.
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2* 7 Veduta di Castello Santo Angelo, undated 1 print etching ; plate mark 36 x 50.7 cm, on sheet 39.2 x 52.6 cm
Veduta di Castello Santo Angelo: undated

The print depicts the Castel Sant'Angelo, flying a large flag and surrounded by artillery smoke with the Basilica di San Pietro in Vaticano in the background, the bridge, and a sailing vessel in the foreground. With a legend of 5 sites including Castel Sant'Angelo, Saint Peter's, and the church and hospital of Santo Spirito in Sassia. Imprint: Rome, Giovanni Jacomo Rossi la Stampa in Roma alla Pace. Ref.: The Illustrated Bartsch. Vol. 47, pt. 2. Commentary. Italian Masters of the Seventeenth Century: Giovanni Battista Falda, 315 (with doubtful attribution to Falda)
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5** Benazech, Peter Paul, approximately 1730-1783. printmaker. A view of Rome and the Tiber &c, from an original picture in the collection of Peter Burrell Esqr., 1762 April 26 1 print etching and engraving ; plate mark 42.3 x 66.5 cm, on sheet 50.5 x 70.5 cm
A view of Rome and the Tiber &c, from an original picture in the collection of Peter Burrell Esqr.: 1762 April 26

The print after a painting by Gaspar dagli Occhiali, who was also known as Gaspar van Wittel, depicts the Tiber River, from the bank looking towards Saint Peter's, with Castel Sant'Angelo to the right. Fishermen with nets appear in boats and on the shore. Imprint: London, Mrs. Eliz: Knapton. Inscription: Engrav'd at the expence and under the direction of the late Mr. Arthr. Pond.
Church of S. Antonio all'Esquilino
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1* 6 Benedizione de' cavalli, nel giorno di San Antonio in Roma, [ca. 1820] 1 print etching, hand coloring ; plate mark 24.2 x 32.2 cm, on sheet 31.4 x 41.4 cm
Benedizione de' cavalli, nel giorno di San Antonio in Roma: circa 1820

The piazza is crowded with figures and horses, festooned with flowers, ribbons and feathers and gathered before the church of S. Antonio all'Esquilino for the blessing of the horses. Title and publisher from inscription in pencil. Attributed to Salvatore Busuttil in pencil inscription. Imprint: Rome, Giacomo Antonelli al corso alle convertite, #179 B. Illegible inscription in the lower right hand corner of the image: J. Feri [?] f. Rome. With Pecci-Blunt's collector's mark, in black ink, in the lower right hand corner and one on the verso in the center.
Church of S. Luigi dei Francesi
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24** Barrière, Dominique, approximately 1618-1678, printmaker. Figura del nobilissimo parato fatto d'ordine dell'emmo. sre. Cardinal de Retz nella Chiesa di San Luigi de Francesi in Roma per la festa del detto santo nell'anno 1665, [1665] 1 print etching on two sheets ; plate mark 65.7 x 44.9 cm, on sheet 67.4 x 46.3 cm
Figura del nobilissimo parato fatto d'ordine dell'emmo. sre. Cardinal de Retz nella Chiesa di San Luigi de Francesi in Roma per la festa del detto santo nell'anno 1665: [1665]

The nave of the church of San Luigi dei Francesi is filled with daylight and figures in groups conversing. According to inscription, it is after a drawing by Joseph Lanatus.
Church of the Apostles
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1* 7 [Solemn funeral pomp observed in Rome in the Church of the Apostles for the funeral of the deceased Marquis Antonio Canova], [ca. 1823] 1 print etching, hand coloring ; sheet 43.2 x 30.2 cm
[Solemn funeral pomp observed in Rome in the Church of the Apostles for the funeral of the deceased Marquis Antonio Canova]: [circa 1823]

The print, after a drawing by Giuseppe Valadier, depicts the funeral of sculptor Antonio Canova held in the Church of the Apostles (Chiesa dei Ss. Apostoli). The interior has been draped with black hangings and illuminated with large candelabra. Canova's Tomb of the Archduchess Maria Christina of Austria is shown on the left. Title and date from Anna Villari's essay "Apoteosi funeraria di Canova a Roma: Fortuna e sfortuna negli anni della Restaurazione," in La gloria di Canova: V Settimana di studi canoviani (2007). With Pecci-Blunt collector's mark on verso. Trimmed within plate mark.
Colosseum
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4* 1 Chenu, L. T. Le Colisée vu de St. Gregoire, a Rome, undated 1 print etching ; plate mark 25 x 36.9 cm, on sheet 35.2 x 45.7 cm
Le Colisée vu de St. Gregoire, a Rome: undated

The print, after a drawing by Charles-Nicolas Cochin, depicts the Colosseum from the via di San Gregorio. With Pecci-Blunt's collector's mark, in black ink, in the lower right hand corner and one on the verso.
Imprint: Paris, Chez Basset, rue St. Jacques, no. 64.
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3* 2 Alaux, Jean-Paul, 1788-1858, lithographer. Vue du Colisée, prise de l'intérieur du Temple de la Paix, undated 1 print lithography ; image 31.4 x 44.3 cm, on sheet 43.6 x 55.2 cm
Vue du Colisée, prise de l'intérieur du Temple de la Paix: undated

The print depicts the Colosseum from the interior of the Temple of Peace, with soldiers, tourists and workmen excavating in the foreground. With Pecci-Blunt collector's mark, in black ink, on the verso in the lower center.
Imprint: Paris, Engelmann, rue du F. Montmartre, no. 6. Marked "Alaux et Lesueur", and possibly printed by Jean-Paul Alaux after a drawing by Jean-Baptiste-Cicéron Lesueur.
Fountain of the Piazza di Bocca della Verità
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4* 2 Acquaroni, Antonio, approximately 1800-1874, etcher. Fontana sulla Piazza di S. Maria in Cosmedin, [ca. 1851] 1 print etching ; plate mark 27 x 35.7 cm, on sheet 37.2 x 54.5 cm
Fontana sulla Piazza di S. Maria in Cosmedin: [circa 1851]

The print, drawn and etched by A. Acquaroni, depicts the fountain with the Temple of Vesta in the background. Inscription: A. Aquaroni. With Pecci-Blunt collector's marks, in black ink, in the lower right hand corner and on the verso. Date from the Istituto nazionale per la grafica. Ref.: Arrigoni-Bertarelli 1765.
Imprint: Rome, Calcografia camerale.
Frascati
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1* 2 Greuter, Mathieu, 1564?-1638, printmaker. E fatta celebre la città de Frascati della vaghezza delle sue ville suburbane..., 1620 1 print etching and engraving on three sheets ; plate mark 37.2 x 146.7 cm, on sheet 40.9 x 150.2 cm
E fatta celebre la città de Frascati della vaghezza delle sue ville suburbane...: 1620

The panoramic view of Frascati, a suburb to the south-east of Rome which was known for its magnificent residences, depict villas of the papal nobility, their waterworks and gardens including, from left to right, Villa Tuscolana, Villa Mondragone, Villa Borghese, Villa Rufina, La Rufinella, Villa Aldobrandina Belvedere, Sora, Como-Ludovisi, Belpoggio, Acquaviva and Arrigone. The coat of arms of Pope Paul V appears in the upper left hand corner. An additional coat of arms of Cardinal Scipione Borghese, nephew to Paul V, appears in the upper right hand corner.
Imprint: Rome, Matteo Greuter Todesco. By license and privilege of the Borghese Pope, Paul V. Drawn and etched by Greuter.
Obelisk of Piazza Navona
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3* 3 Rouhier, Louis, active 1650, printmaker. Obelisco Panphilio gia nell ippodromo di Ant. Caracalla et dalle rovine lacero in tre pezzi inalzato dalla Sta. di Nro. sig.re Innocentio Decimo sopra il novo fonte nel Cerchio Agonale hora Piazza Navona con li quattro fiumi, il Nilo, il rio della Platta, il Danubio, il Gange. Architettura del cavalier Gio. Lorenzo Bernino, Napolitano. Scoperta li 12 giugnio 1651, parte occidentale, [not before 1651] 1 print etching and engraving ; plate mark 49.3 x 37.2 cm, on sheet 51.6 x 38.8 cm
Obelisco Panphilio gia nell ippodromo di Ant. Caracalla et dalle rovine lacero in tre pezzi inalzato dalla Sta. di Nro. sig.re Innocentio Decimo sopra il novo fonte nel Cerchio Agonale hora Piazza Navona con li quattro fiumi, il Nilo, il rio della Platta, il Danubio, il Gange. Architettura del cavalier Gio. Lorenzo Bernino, Napolitano. Scoperta li 12 giugnio 1651, parte occidentale: [not before 1651]

The print depicts Bernini's Fountain of the Four Rivers in Piazza Navona, with figures personifying the Nile of Africa, the Danube of Europe, the Ganges of Asia and the Plate of the Americas. The reassembled obelisk which caps the waterwork was raised by Pamphilj Pope Innocenzo X, for whom the fountain was also constructed. Hieroglyphs are visible on the obelisk which is crowned with the Pamphilj dove bearing an olive branch.
Inscription: Scala di Pmi romani numero 40. con il quale e fatto il presente disegno. In black ink, on the verso: "8i [?]". With Pecci-Blunt's collector's marks, in blue ink, in the lower right hand corner and on verso. Ref.: Arrigoni-Bertarelli 2167; Folger Shakespeare Library ART Box R763 no.16 (size L).
Imprint: Rome, Gio: Iacomo Rossi li Stampa alla Pace, Roma.
Palazzo Mazarini (Palazzo Pallavicini-Rospigliosi)
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14** Silvestre, Israël, 1621-1691, etcher. Palazzo Mazarini in Roma, undated 1 print etching ; plate mark 34.3 x 68.4 cm, on sheet 35.2 x 68.9 cm
Palazzo Mazarini in Roma: undated

The print depicts the Palazzo Mazarini, residence of Cardinal Jules Mazarin, which is now known as the Palazzo Pallavicini-Rospigliosi. The legend identifies seven sites with the letters "A" through "G," including the palazzo, the gardens containing the Casino dell'Aurora with Guido Reni's L'Aurora, the tower of the Campidoglio on the Capitoline Hill, the tower of Nero, also known as the Torre delle Milizie, the basilica of San Vitale and the Palazzo di Monte Cavallo. The title is printed in a banner at the top of the print, which waves below the coat of arms of the Cardinal Mazarin. Imprint: Paris. By privilege of the King. See Faucheux 35, for the date of the print after Silvestre's third voyage to Italy.
Palazzo Salviati (Palazzo Mancini)
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4* 3 Vue de l'Académie Royale de Peinture &c. à Rome, 1761 1 print etching and engraving, hand coloring ; plate mark 30 x 44.4 cm, on sheet 33.4 x 48.4 cm
Vue de l'Académie Royale de Peinture &c. à Rome: 1761

The perspective view print of the Palazzo Mancini, at the time home to the French Royal Academy of Painting and Sculpture, has as its vantage point the facade with the via del Corso, populated by a number of figures who disappear into the distance. Inscribed "No. 184" in the upper right hand corner above the image and labeled as the 15th view. Ref.: Arrigoni-Bertarelli 2494.
Imprint: London, chés Wichnyther and Paris, chés Chéreau, rue St. Jacques. Distributed by Basset, rue St. Jacques a coin de celle des Mathurins and chés Lachaussée, rue S. Jacques.
Palazzo de Solis
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15** Ottaviani, Giovanni, 1735-1808, etcher. Prospetto della facciata del palazzo d'abbitazione in Roma à Piazza Colonna del emo, e rmo sig.r card. D. Francesco de Solis, arciv.o di Siviglia fatta illuminare il di 10. 11. 12. agosto 1769, [ca. 1769] 1 print etching ; plate mark 47.6 x 69.5 cm, on sheet 53.8 x 76.9 cm
Prospetto della facciata del palazzo d'abbitazione in Roma à Piazza Colonna del emo, e rmo sig.r card. D. Francesco de Solis, arciv.o di Siviglia fatta illuminare il di 10. 11. 12. agosto 1769: [circa 1769]

The print, after a drawing by Nicola Giansimoni, depicts the palazzo of Francisco de Solis, cardinal and archbishop of Seville. The facade of the palace had been re-designed by architect Nicola Giansimoni. According to a printed description published in the same year, celebrations are being held in honor of Saint Lawrence. The facade is illuminated by numerous torches and an orchestra plays at the base of the Column of Marcus Aurelius. The facade and celebrations are described in the publication Descrizione della magnifica, e celebre facciata eretta nel palazzo dell'emo e rmo principe il signor cardinale d. Francesco de Solis, arcivesco di Siviglia &c. &c.: il de x agosto MDCCLXIX in Piazza colonna. In Roma: si vendono da Giovanni Bartolomicchio incontro a Fiano, 1769. Ref.: Arrigoni-Bertarelli 2519.
Pantheon
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16** Boitard, Louis-Philippe, active 1733-1770, etcher. Santa Maria vulgo della Rotunda, 1738 March 19 1 print etching ; image 44.6 x 41 cm, on sheet 63 x 45 cm
Santa Maria vulgo della Rotunda: 1738 March 19

The interior of the Pantheon, or Santa Maria della Rotunda, drawn and etched by Boitard after a painting by Giovanni Paolo Panini, is depicted with daylight streaming through the oculus in the ceiling. The view is between two columns, looking north from the main altar towards the entrance and the Piazza della Rotonda. A number of figures converse, while others admire the architecture or regard the two figures leaning over the edge of the oculus' opening. Inscription with the building's history in two columns, with Latin on the left and English on the right. The name and address of the second publisher, W. H. Toms, has been added after printing. With Pecci-Blunt collector's marks in black ink, in the lower right hand corner and on the verso. Imprint: London, Sold at the Golden Pine Apple in Durham Yard in ye Strand, and W. H. Toms, in Union Court near Hatton Garden, Holbourn. Text in Latin and English. Dedicated to James Cavendish.
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6* 5 Rupp, Ladislaus, 1793-1854, printmaker. Veduta del Pantheon, in oggi S. Maria ad Martyres detta la Rotonda, 1824 1 print aquatint with wash ; plate mark 39.5 x 48.5 cm, on sheet 44.9 x 64 cm
Veduta del Pantheon, in oggi S. Maria ad Martyres detta la Rotonda: 1824

The exterior of the Pantheon is depicted from a vantage point on the other side of the Piazza della Rotunda. The view includes the fountain and obelisk and a number of grouped figures conversing in the foreground. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and on the verso. An oval embossed monogram stamp appears below the title with the initials "M.R." [?] (not in Lugt). Imprint: Milan. Text is in Italian and French. Ref.: Arrigoni-Bertarelli 2590.
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3* 4 Rupp, Ladislaus, 1793-1854, printmaker. Interno del Pantheon, in oggi S. Maria ad Martyres della la Rotunda, 1824 1 print aquatint, hand coloring ; plate mark 39.3 x 48.1 cm, on sheet 43 x 62 cm
Interno del Pantheon, in oggi S. Maria ad Martyres della la Rotunda: 1824

The interior of the Pantheon, or Santa Maria della Rotunda, is depicted filled with daylight. Several figures converse, while others pray. With Pecci-Blunt collector's marks, in black ink, in the lower right hand corner and one on the verso in the lower center. An oval embossed monogram stamp appears below the title with the initials "M.R." [?] (not in Lugt). Imprint: Milan. Text is in Italian and French. Watermark: J. Whatman. Ref.: Arrigoni-Bertarelli 2590.
Piazza Colonna
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3* 5 Veduta di Piazza Colonna, [ca. 1750] 1 print etching and engraving ; plate mark 36.5 x 50.5 cm, on sheet 41 x 56.3 cm
Veduta di Piazza Colonna: [circa 1750]

The print, after a drawing by Paroli, depicts the Piazza Colonna with nine sites identified at the base including Palazzo Chigi, the fountain, the via del Corso and the Column of Marcus Aurelius (then called the Colonna di Antonio Pio). Inscription in the lower right corner: P No. 4. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and on the verso. Ref.: Arrigoni-Bertarelli 2624.
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4* 4 Leizelt, Balthasar Friedrich. Vuë de la Place Colonne a Rome, undated 1 print etching, hand coloring ; plate mark 32.3 x 42.9 cm, on sheet 37.8 x 49.6 cm
Vuë de la Place Colonne a Rome: undated

The perspective view print after a drawing by Jean Barbault is of the Piazza Colonna in Rome. A speaker on an elevated platform at the base of the column has attracted a crowd. Four monuments are identified, including the Palazzo Chigi and the Column of Marcus Aurelius (called the Colonne Antonine). Imprint: Augsburg. Distributed by l'Academie Imperiale d'Empire des Arts libereaux. By privilege of Her Imperial Majesty. Imprint: Augsburg. Distributed by l'Academie Imperiale d'Empire des Arts libereaux. By privilege of Her Imperial Majesty. Title in French in reverse above the image. Inscription at upper left corner above the image: Collection des Prospects.
Piazza del Popolo
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3* 6 Cottafavi, Gaetano, active 1837-1864, etcher. Veduta generale della Piazza del Popolo, 1835 1 print etching ; plate mark 35.2 x 44.2 cm, on sheet 38.2 x 50.2 cm
Veduta generale della Piazza del Popolo: 1835

The print depicts the Piazza del Popolo from the north, looking towards the trident of via del Babuino, via del Corso and via di Ripetta. The twin churches Santa Maria di Montesanto and Santa Maria dei Miracoli and the obelisk are pictured to the right and the Villa Medici appears to the left. In the foreground a number of coaches are pictured to the left and to the right a crowd surrounds several dancers. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and one on the verso in the lower center. Imprint: Rome. Distributed by Pietro Datri, via Condotti, No.4. Text is in Italian and French.
Piazza del Quirinale
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6* 6 Villamena, Francesco, approximately 1566-1624, engraver. Illustriss. Equiti Cassiano Puteo...dum Ioannem Altum, militem praetorianum, romanarum antiquitatum indagtorem...meo cælo expressum ad te mitto... Vale. Romæ... MDCXXIII. Franciscus Villamoena, 1773 1 print engraving ; plate mark 37.8 x 52.3 cm, on sheet 39.4 x 53.4 cm
Illustriss. Equiti Cassiano Puteo...dum Ioannem Altum, militem praetorianum, romanarum antiquitatum indagtorem...meo cælo expressum ad te mitto... Vale. Romæ... MDCXXIII. Franciscus Villamoena: 1773

The full-length portrait is of the Swiss Guardsman Ioannes Altus, also known as Johann Alten, Johann Alt and Giovanni Alto. Altus is depicted in military costume, with a plumed hat and a sword in the Piazza del Quirinale. His right arm is lifted and he gestures to the viewer to look towards the antiquities behind him. He is surrounded by sculpture fragments, a skull, a snake and a starving animal in the foreground. In the background, figures mill around the square and the city is visible in the distance. The engraving is a 1773 reprint by the publisher and print dealer Carlo Losi from a 1623 work by Francesco Villamena. With illegible collector's mark, in blue ink, in the lower right hand corner. Ref.: Arrigoni-Bertarelli 2709 (cited as part of a series of portraits). Imprint: Rome, Carolum Losi. Text in Latin. Dedicated to Cassiano dal Pozzo.
Piazza di Spagna
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3* 7 Veduta della Piazza di Spagna in Roma, [ca. 1770] 1 print etching, engraving ; sheet 36 x 50.3 cm
Veduta della Piazza di Spagna in Roma: [circa 1770]

The view of the Piazza di Spagna after a drawing by Paroli shows the Fontana della Barcaccia, the Scalinata della Trinità dei Monti (or Spanish Steps), the church and monastery of SS. Trinità dei monti, the via del Babuino and the obelisk of Piazza del popolo. The viewpoint is from the southwest looking towards the Piazza del popolo on the left and the Spanish Steps to the right, with the fountain in the foreground. Inscription in the lower right corner: P No. 2. With Pecci-Blunt's collector's marks, in blue ink, in the lower right hand corner and one on the verso. Trimmed within plate mark. Ref.: Arrigoni-Bertarelli 2742.
Ponte Emilio (Ponte Rotto)
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18** Nieulandt, Willem van, II, 1579-1641, engraver. [Large view of Rome with the Isle of Tiber in the centre], undated 1 print engraving on three sheets ; sheet 41.2 x 87.1 cm
[Large view of Rome with the Isle of Tiber in the centre]: undated

The print depicts the Tiber River and the bridges of Rome, with from left to right the Ponte Santa Maria, now known as the Ponte Rotto or Ponte Emilio, the Ponte Cestio, the Isola Tiberina, or Tiber Island, and the Ponte Fabricio, also known as the Ponte dei Quattro Capi. At the time, the Ponte Santa Maria was considered a primary artery of Rome and despite several incidents of collapse it was repeatedly restored in the 16th century. In this image, the bridge shows evidence of repair to one of the central piers. The fact that the bridge spans the river in full suggests that the drawing for this print dates from before the bridge's irrevocable ruin in 1598, however, Nieulandt was in Rome from 1602-1605. In the foreground several boats are tied up and fishermen and other figures are gathered by the shoreline. Quatrains in French, Latin and Dutch in the lower margin: Voyci le pont Romain, et toutes les structures.... Imprint: Antwerp. Text is in French, Latin and Dutch. Dedication to: Joanni de Cock omnis antiquitatis aestimatore in amicitiae et grati animi symbolum. Trimmed within plate mark. Title from: Hollstein, F.W.H. et al. Meer - Ossenbeeck. Vol. 14 of Dutch and Flemish Etchings, Engravings and Woodcuts, circa 1450-1700. Amsterdam: Menno Hertzberger and Co., 1956, 9A (engraving executed on three plates)
Ponte Molle or Ponte Milvio
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17** Penna, Agostino, active 1825-1846, etcher. Veduta della torre moderna eretta sull'ingresso del Ponte Molle, 1828 1 print etching ; sheet 44.2 x 58.6 cm
Veduta della torre moderna eretta sull'ingresso del Ponte Molle: 1828

The print depicts the tower erected at the entrance to the Ponte Milvio, also known as the Ponte Molle, a bridge in northern Rome which spans the Tiber River. In the foreground several horsemen are driving bulls away from the bridge with staves. Two sites are identified in the background: Saint Peter's and a small building which was constructed on the site where the head of Sant'Andrea was returned to Rome. According to the inscription, the print was both drawn andetched by Penna. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and one on the verso. Imprint: Rome. Trimmed within plate mark.
Ponte Nomentano
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6* 8 Cooper, Richard, approximately 1740-1814, printmaker. Ponte Nomentano an ancient bridge upon the Anione, with the remains of a sepulchral monument near Rome, 1778 October 1 print aquatint ; plate mark 39.5 x 52.1 cm, on sheet 42.5 x 54.7 cm
Ponte Nomentano an ancient bridge upon the Anione, with the remains of a sepulchral monument near Rome: 1778 October

The print drawn and etched by Cooper, depicts the Ponte Nomentano, a bridge that spans the Aniene River, with ruins to the right of the bridge. In the foreground, a peasant transports produce and a shepherd herds a flock of sheep. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and one on the verso. Imprint: London, R. Cooper, Great Russell Street, Bloomsbury and J. Boydell, Cheapside.
Porta Maggiore
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4* 5 Porta Maggiore, undated 1 print aquatint ; plate mark 30.3 x 37.7 cm, on sheet 39.5 x 54.8 cm
Porta Maggiore: undated

The print depicts the Porta Maggiore, a monumental, ancient gate on the eastern edge of the city at the terminus of the via Prenestina. The gate formed part of the city walls and the aqueduct system. Title from annotation in pencil in the lower right corner. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and one on the verso.
Ripa Grande (Harbor)
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3* 8 Veduta di Ripa Grande, undated 1 print etching ; plate mark 36.1 x 50.6 cm, on sheet 42.1 x 53.7 cm
Veduta di Ripa Grande: undated

The river bank is depicted with 11 sites identified at the base including, river boats and ocean-bound vessels used to carry goods, the custom house, Capitoline Hill, Campidoglio, church and monastery of Saint Dominic, bell tower of S. Maria in Cosmedin, the vestiges of the Ponte Sublicio and the Temple of Hercules Victor. A number of sailing vessels are docked in the harbor on the left and two figures converse in the right in the foreground. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and on the verso. Imprint: Rome, Gio Iacomo Rossi le Stampa in Roma alla pace. By privilege of the Pope.
Roman Forum
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13** Morel, François, approximately 1768- printmaker. Veduta generale del Foro Romano, [ca. 1810] 1 print etching ; image 49.9 x 74.5 cm, on sheet 63.3 x 83.8 cm
Veduta generale del Foro Romano: [circa 1810

The depiction of the Roman Forum after a painting by Filippo Giuntotardi, shows the principal buildings and monuments in the distance, including the Basilica of Constantine and the Temple of the Dioscuri (or Temple of Castor and Pollux). Closer to the viewer, the Temple of Saturn is shown to the right and the Arch of Septimius Severus appears on the left. In the foreground, a number of figures are gathered before the remains of the Temple of Vespasian, where observers and musicians watch a pair of dancers. Behind them, to the right, a group of peasants transport their goods on mules and donkeys. With collector's mark of Alessandro Castagnari ("A. C." with the Capitoline wolf of Rome, Lugt 86a). Ref. Arrigoni-Bertarelli 1907 (cited as a reprint by Calcografia Romana). Imprint: [Rome?]. Dedicated to Prince George of Mecklenburg-Strelitz.
Seven Pilgrim Churches
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2* 8 Lauro, Giacomo, active 17th century, engraver. Le sette chiese di Roma con le loro principali reliquie stationi et indultie, 1630 1 print engraving ; plate mark 36.4 x 47.9 cm, on sheet 37 x 48 cm
Le sette chiese di Roma con le loro principali reliquie stationi et indultie: 1630

The print depicts the Seven Pilgrim Churches of Rome, beginning with Saint Peter's, and continuing clockwise, with Santa Maria Maggiore, San Lorenzo fuori le mura, S. Croce in Gerusalemme, Basilica di S. Giovanni in Laterano, Basilica di S. Sebastiano and San Paolo fuori le mura, and two other churches. In the lower right hand corner a small map indicates the route to be followed by the pilgrims to arrive at the churches. Several architectural features of note include, the new facade of the Basilica di S. Sebastiano, the Cappella Paolina of Santa Maria Maggiore and two lateral bell towers of Saint Peter's. A portrait of Pope Urban VIII and his coat of arms appears at the top of the print.
Lauro published a similar version of this print with Latin text and a dedication to Pope Clement VIII in 1599. At that time he noted it was after a work by Antonio Tempesta. The earlier image does not include 17th century constructions, such as the Cappella Paolina. See British Museum collections. Later prints with the same title, Le sette chiese di Roma con le loro principali reliquie stationi et indultie, published by Giovanni Giacomo de Rossi, closely resemble Lauro's print with modifications including a refiguring of the Basilica di San Pietro in Vaticano to include Bernini's colonnade.
Imprint: Rome. Dedication to the Cardinal of Savoy. By privilege of Pope Urban VIII.
With Pecci-Blunt's collector's mark, in blue ink, in the lower right hand corner and one on the verso.
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6** Seutter, Matthaeus, 1678-1756, engraver. Le sette chiese di Roma con le loro principali reliquie, stationi, et indulgenze, [ca. 1730] 1 print engraving, hand coloring ; plate mark 50.4 x 58.5 cm, on sheet 52.3 x 60.4 cm
Le sette chiese di Roma con le loro principali reliquie, stationi, et indulgenze: [circa 1730]

The print depicts the Seven Pilgrim Churches of Rome, beginning with Saint Peter's, and continuing clockwise, with Santa Maria Maggiore, San Lorenzo fuori le mura, S. Croce in Gerusalemme, Basilica di S. Giovanni in Laterano, Basilica di S. Sebastiano and San Paolo fuori le mura. The title of the print appears in a banner at the top of the print, in Italian to the left and German to the right. In the lower right hand corner a small map indicates the route to be followed by pilgrims to arrive at the churches. Published by Johann Michael Probst. By privilege of "S.R.I. Vicariat., in partib., Rheni, Sveviae, et Juris Franconici."With Alessandro Castagnari's collector's mark ("A. C." with the Capitoline wolf of Rome, Lugt 86a). Ref.: Arrigoni-Bertarelli 761.
Imprint: Augsburg, Anjezo in Verlag bey Ioh Michael Probst, Chalcogr. Text in Italian and German.
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6* 4 Descriptio septem ecclesiarum Romæ quarum forma hodie naturaliter extat. Descripcion de las siete yglesias de Roma, como hoy estan, [ca. 1760] 1 print etching ; plate mark 40.5 x 51.8 cm, on sheet 45.8 x 59 cm
Descriptio septem ecclesiarum Romæ quarum forma hodie naturaliter extat. Descripcion de las siete yglesias de Roma, como hoy estan: [circa 1760]

Issued for Spanish visitors and pilgrims to the Holy City, the print depicts the Seven Pilgrim Churches of Rome, beginning with Saint Peter's, and continuing clockwise, with Santa Maria Maggiore, San Lorenzo fuori le mura, S. Croce in Gerusalemme, Basilica di S. Giovanni in Laterano, Basilica di S. Sebastiano and San Paolo fuori le mura. The print also includes two other churches and the Castel Sant'Angelo in the lower left corner. In the lower right-hand corner a small map with a key indicates the route to be followed by pilgrims to arrive at the churches. A portrait of Pope Clement XIII and his coat of arms appear directly below the Latin title at the top of the print. This print closely resembles Lauro's Le sette chiese di Roma con le loro principali reliquie stationi et indultie in this collection, as well as later prints published by Giovanni Giacomo de Rossi of the same subject. With Pecci-Blunt collector's mark in blue ink, in the lower right hand corner and one on the verso. Ref.: Arrigoni-Bertarelli 763.
Temple of Jupiter Stator
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6* 9 Cunego, Domenico. Temple of Iupitor Stator. View of the three columns that remain of this temple having on the left the church of Sta. Maria Liberatrice with a part of the Pallatin Hill now called the Farnese Gardens, [ca. 1760-1767] 1 print etching and engraving ; sheet 44.7 x 57.3 cm
Temple of Iupitor Stator. View of the three columns that remain of this temple having on the left the church of Sta. Maria Liberatrice with a part of the Pallatin Hill now called the Farnese Gardens: [circa 1760-1767]

The print depicts the no-longer extant Temple of Jupiter Stator, whose original location is subject to debate. In the print, the three columns to the right are identified as the remains of the temple, with the church of Santa Maria Liberatrice (also no longer extant), in the center, and the Farnese gardens to the left. In the foreground peasants unload a wagon, two religious figures converse and a man waters his horse in a nearby fountain. Text is in English and French. Trimmed within plate mark. Title in English to the left and in French to the right. Inscription indicates that the plate was etched in Rome. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and on the verso.
Temple of Minerva Medica
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6* 10 Vivarès, François, 1709-1780, etcher. A view of the ancient temple of Minerva Medica at Rome; built by Augustus Caesar, 1769 1 print etching ; plate mark 39.2 x 55.2 cm, on sheet 43.9 x 59.6 cm
A view of the ancient temple of Minerva Medica at Rome; built by Augustus Caesar: 1769

The print depicts the overgrown ruins of a domed building on the left and a house to the right, in the distance. In the foreground to the left, a figure sits on an architectural fragment which he gestures to, while a man approaches him on foot. The man points back to a woman who follows with a basket on her head. On the right, a sculpted figure wearing a laurel wreath stands on a pedestal. Several other figures are visible in the field before the ruined building. The inscription indicates that the image was drawn by the artist Giovanni Battista Busiri after a painting by Thomas Smith. The print forms part of series originally printed in 1746 and later republished by John Boydell, John Bowles and Henry Parker in 1769. See BM. Bears Pecci-Blunt's collector's mark, in black ink, on the verso in the lower center.
Imprint: London, J. Boydell, Cheapside No. 90, H. Parker, Cornhill No. 82 and J. Bowles, No. 13, Cornhill.
Trajan's Column
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12** Cruyl, Lieven de, approximately 1640-1720, printmaker. Prospectus Columnæ Traiani Imp., 1692 1 print etching and engraving ; plate mark 38.2 x 49.3 cm, on sheet 47.9 x 72.6 cm
Prospectus Columnæ Traiani Imp.: 1692

Published by Matteo Gregorio Rossi, the print depicts Trajan's Column and the surrounding piazza, with five monuments identified in a banner at the base including the column, the Chiesa di S. Maria di Loreto, the Palazzo del Quirinale and the Palazzo Mazzarini, now known as the Palazzo Pallavicini Rospigliosi. Cited and attributed to Cruyl in Jatta 10S, fig. 41, who notes this print by Lievin Cruyl forms part of the suite, Prospectus Iocorum urbis Romae, and is from the second edition of 1692. The first was published by Giovanni Battista de Rossi in 1666. For differences between the first and second edition, see fig. 40 and fig. 41. Cruyl's name does not appear on the print.
Imprint: Rome, Typis Matthaei Gregori de Rubeis, in Foro Agonali. By privilege of the Pope.
Villa Albani
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3* 9 Morel, François, approximately 1768- printmaker. Vue de la Villa Albani, [not before 1784] 1 print etching ; plate mark 34.5 x 47.6 cm, on sheet 46.2 x 61.9 cm
Vue de la Villa Albani: [not before 1784]

The view from the Porta Pia of the Villa Albani seen in the distance and set in a lush vegetative landscape is after a painting by German landscape painter Jacob Philipp Hackert. In the foreground a dog barks playfully as a man climbs atop a mount being held by another. On the left two women sit beneath a tree and on the right a herd of goats are gathered. With Pecci-Blunt's collector's marks, in black ink, in the lower right hand corner and one on the verso.
Imprint: Naples, George Hackert. Dedication to Prince Youssoupoff [Nikolai Borisovisch Yusupov?]. By privilege of the King of the Two Sicilies.


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