ORIGINAL COPPER-PLATE ETCHINGS/ ENGRAVINGS

From an imperial folio volume of
LE ANTICHITA ROMANE

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British Paintings in oil

These examples are fine dark impressions, indicating an early pull from the plate, and printed on a heavy wove paper with good margins. Some pages bear the watermark AG F FABRIANO. The name of the artist is within the plate (bottom left). Many are titled with a key to the buildings of note (bottom centre) and dated (bottom right). More.

Luigi Rossini studied in Rome between 1817 - 1824, where he engraved many large plates... More.

An extract of our prints currently available:

ORIGINAL COPPER-PLATE ETCHINGS/ ENGRAVINGS

From an imperial folio volume of
LE ANTICHITA ROMANE

LUIGI ROSSINI
Italian
1790 - 1850

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Architectural engraving/ etching of Foro Romano by Luigi Rossini

Veduta Generale del Foro Romano, dessiné d'apres nature - 1821

Imperial folio. Copper-Plate Etching / Engraving, mixed media. 15 location key. Plate Size 20 3/4" x 17 7/8"

Ref: LRA 1108.4/RG.LN/dn.annd > SOL

Architectural engraving/ etching of Colonna Antonina by Luigi Rossini

Veduta della Colonna Antonina, o sua Piazza Colonna - 1823

Imperial folio. Copper-Plate Etching / Engraving, mixed media. 3 location key. Plate Size 22 3/8" x 17 7/8"

Ref: LRA 1108.5/RG.LN/dn.annd > SOL

Architectural etching/ engraving of Tempio della Concordia by Luigi Rossini

Veduta dell' Interno del Tempio della Concordia, nel foro Romano - 1823

Imperial folio. Copper-Plate Etching / Engraving, mixed media. Plate Size 193 5/8" x 24 1/4"

Ref: LRA 1108.6/RG.LN/dn.annd > SOL

Architectural engraving of the scavo della colonna di Foca by Luigi Rossini

Veduta o Scavo della Colonna di Foca - 1822

Imperial folio. Copper-Plate Etching / Engraving, mixed media. 6 location key. Plate Size 14 3/4" x 22 1/8"

Ref: LRA 1108.7/RG.LN/dn.annd > SOL

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Architectural engraving of the Veduta del Grand'Interno dell'anfiteatro Flavio by Luigi Rossini

Veduta del Grand'Interno dell'anfiteatro Flavio detto il Colosseo - 1822

Imperial folio. Copper-Plate Etching / Engraving, mixed media. Plate Size 17 3/4" x 26"

Ref: LRA 1108.8/RG.LN/dn.annd > SOL

Architectural engraving of Dei Gran Colossi sul Monte Quirinale by Luigi Rossini

Veduta Generale dei Gran Colossi sul Monte Quirinale dal volgo Monte Cavello - 1819

Imperial folio. Copper-Plate Etching / Engraving, mixed media. location key. Plate Size 14 1/4" x 18 1/8"

Ref: LRA 1108.9/RG.LN/dn.annd > VOL

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Architectural engraving of Veduta della Scavo del Foro Trajano by Luigi Rossini

Veduta dello Scavo del Foro Trajano fatto in questi ultimi tempi - 1823

Imperial folio. Copper-Plate Etching / Engraving, mixed media. 3 location key. Plate Size 18 5/8" x 20 1/8"

Ref: LRA 1108.10/RG.LN/dn.annd > SOL

 

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LE ANTICHITA ROMANE

[The Rome of Antiquity, a collection of the most interesting Views of Ancient Rome.
Drawn and engraved by the Architect and Engraver Luigi Rossini., Rome, Scudellari, 1819-29]

Rossini studied in Rome between 1817 - 1824, where he engraved many large plates of ancient architecture of that city. The greater part of his work appeared in a collected edition of seven Imperial folio volumes published in 1829, under the title ANTICHITA ROMANE. Collectively, the plates have strength, especially in dealing with masses of dark masonry, but, with the exception of five, are considered by some to be generally less imaginative than those of Piranesi.

His record of temples, public baths, basilicas and other monuments commemorate the strength and beauty of Roman masonry, and were accurate enough to be used by practising architects, as well as other serious students of classical antiquity. Indeed, several views recorded ancient monuments which would disappear within a short period, leaving only Rossini's records of the 19th century excavations.

Rossini also enlivened his Views with fanciful figures, both of local citizens and aristocratic nobles on their Grand Tour, creating images of picturesque appeal and great visual presence.

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LUIGI ROSSINI
Italian
1790 - 1850

Rossini studied in Rome between 1817 - 1824. Having abandoned an architectural career due to economic reasons, he commenced the etching/ engraving, (technically 'Mixed Media engravings') of over a thousand large plates of ancient architecture of that city. The greater part of his work appeared in a collected edition of seven Imperial folio volumes published in Rome in 1829, under the title LE ANTICHITA ROMANE [The Rome of Antiquity, a collection of the most interesting Views of Ancient Rome. Drawn and engraved by the Architect and Engraver Luigi Rossini., Rome, Scudellari, 1819-29].

Collectively, the plates have strength and vigour in their execution, especially in dealing with masses of dark stone work, for they commemorate the strength and beauty of Roman masonry, and reflect Rossini's ability to capture the detail that made Roman architecture so splendid and enduring.

Hind stated the mantle of Piranesi fell upon Rossini. His etchings were characterized in an article in the periodical 'The Connoisseur' (1913 Vol. 35 p.101), as being "vigorous, convincing and imaginative." The shear complexity of producing plates of buildings, ruins, gardens and monuments of this size, with this abundance of architectural scale and contrasting human detail, engraved/etched by hand in reverse into copper, then inking and hand printing, almost boggles the 21st century mind and should be appreciated as truly the work of a masterful artist.

Rossini earned a deserved reputation as one of the premier practitioners of neoclassical etching. His career coincided with a period of great archaeological activity. Rossini's etchings of Rome followed Piranesi's example, and reported the latest excavations to an avidly interested European audience.

In turn, as they were carried home by northern Europeans on the Grand Tour, these etchings fuelled worldwide interest in classical architecture and studies. Rossini's Views include many of Rome's famous buildings, both classical and modern (or were at the time to him). His record of temples, public baths, basilicas and other monuments commemorate the strength and beauty of Roman masonry, and were accurate enough to be used by practising architects, as well as other serious students of classical antiquity. Indeed, several views recorded ancient monuments which would disappear within a short period, leaving only Rossini's records of the 19th century excavations.

 

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