![GIGANTE, Giacinto (1806-1876) and Camille Marie BONNARD (active in Rome 1820-1827). 'Views in Italy: Rome and Naples' [titled thus on the spine]. [c. 1820-1830].](https://www.christies.com/img/LotImages/2004/CKS/2004_CKS_06905_0162_000(080747).jpg?w=1)
細節
GIGANTE, Giacinto (1806-1876) and Camille Marie BONNARD (active in Rome 1820-1827). 'Views in Italy: Rome and Naples' [titled thus on the spine]. [c. 1820-1830].
2° album (338 x 250mm). 24 hand-coloured etched views of the environs of Naples by Giacinto Gigante (c.180 x 260mm), one hand-coloured etched view of the Blue Grotto in Capri (180 x 265mm) signed by Teodoro Witting (1793-1846), and 19 etched plates with sepia watercolour depicting the major monuments of Rome (c. 145 x 180mm) by Camille Marie Bonnard, all mounted one to a page on brown or blue paper. Contemporary red morocco gilt by C.J. Aitken, titled in gilt on spine, gilt edges (lightly rubbed, a little worn at corners). Provenance: John Waldie (1781-1862, bookplate) -- Fine Arts No. 410 (library or exhibition label).
WATERCOLOUR VIEWS OF NAPLES ON AN ETCHED BASE BY GIACINTO GIGANTE, the major exponent of the Scuola di Posillipo. Gigante was trained in the style of Philip Hackert, developing a profound understanding of landscape, based on direct visual contact and precision of detail. In 1820 he met the German painter Jakob Wilhelm Hüber (1787-1871), from whom he learnt both watercolour technique and the use of the camera lucida, establishing the essential lines of the landscape and its monumental characteristics. The precision displayed in these untitled early views of Naples is remarkable. Lago d'Averno with the Castello di Baia in the background (no. 8) -- which relates to another drawing by Gigante in the Uffizzi in Florence -- and Salerno from Vietri signed 'Gigante 1828' (no. 22) are particularly fine examples. From 1826 Gigante frequented Rome, where he produced some views of the capital and probably made contact with Camille Bonnard, the other major contributor to this album. This album is from the library of John Waldie, who travelled extensively in Europe, sometimes accompanied by his sisters Charlotte Waldie (later Eaton) and Jane Waldie (later Watts), both of whom published accounts of their travels. Cf. G. Carelli, Giuseppe Mancinelli e Giacinto Gigante; S. Ortolani, Giacinto Gigante e la pittura di paesaggio a Napoli e in Italia dal '600 all '800; Giacinto Gigante e la scuola di Posillipo: La collezione Angelo Astarita al Museo di Capodimonte (exhibition catalogue, ed. R. Causa and N. Spinosa; Naples, 1972); Napoli e la Campania Felix: Acquarelli di Giacinto Gigante (exhibition catalogue; Naples, 1983).
2° album (338 x 250mm). 24 hand-coloured etched views of the environs of Naples by Giacinto Gigante (c.180 x 260mm), one hand-coloured etched view of the Blue Grotto in Capri (180 x 265mm) signed by Teodoro Witting (1793-1846), and 19 etched plates with sepia watercolour depicting the major monuments of Rome (c. 145 x 180mm) by Camille Marie Bonnard, all mounted one to a page on brown or blue paper. Contemporary red morocco gilt by C.J. Aitken, titled in gilt on spine, gilt edges (lightly rubbed, a little worn at corners). Provenance: John Waldie (1781-1862, bookplate) -- Fine Arts No. 410 (library or exhibition label).
WATERCOLOUR VIEWS OF NAPLES ON AN ETCHED BASE BY GIACINTO GIGANTE, the major exponent of the Scuola di Posillipo. Gigante was trained in the style of Philip Hackert, developing a profound understanding of landscape, based on direct visual contact and precision of detail. In 1820 he met the German painter Jakob Wilhelm Hüber (1787-1871), from whom he learnt both watercolour technique and the use of the camera lucida, establishing the essential lines of the landscape and its monumental characteristics. The precision displayed in these untitled early views of Naples is remarkable. Lago d'Averno with the Castello di Baia in the background (no. 8) -- which relates to another drawing by Gigante in the Uffizzi in Florence -- and Salerno from Vietri signed 'Gigante 1828' (no. 22) are particularly fine examples. From 1826 Gigante frequented Rome, where he produced some views of the capital and probably made contact with Camille Bonnard, the other major contributor to this album. This album is from the library of John Waldie, who travelled extensively in Europe, sometimes accompanied by his sisters Charlotte Waldie (later Eaton) and Jane Waldie (later Watts), both of whom published accounts of their travels. Cf. G. Carelli, Giuseppe Mancinelli e Giacinto Gigante; S. Ortolani, Giacinto Gigante e la pittura di paesaggio a Napoli e in Italia dal '600 all '800; Giacinto Gigante e la scuola di Posillipo: La collezione Angelo Astarita al Museo di Capodimonte (exhibition catalogue, ed. R. Causa and N. Spinosa; Naples, 1972); Napoli e la Campania Felix: Acquarelli di Giacinto Gigante (exhibition catalogue; Naples, 1983).
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