Portraits of Doge Tommaso Mocenigo; Doge Nicola da Ponte; Dogesse Clara Delphinia Cornelia; and Dogesse Laurentana Marcella Mocenica

Details

Francesco Maggiotto (Venice 1750-1805)
Portraits of Doge Tommaso Mocenigo; Doge Nicola da Ponte; Dogesse Clara Delphinia Cornelia; and Dogesse Laurentana Marcella Mocenica
The first inscribed 'THOMAS MOCENIGO DUX VENET ARUM ELECTUS ANNO MCCCCXIII' (around the portrait) and 'Thomae Mocenicus D.V. ann: 1413 Franco Maggiotto' (to the reverse); the second inscribed 'NICOLAUS DE PONTE DUX VENETIARUM ELECTUS ANNO MDLXXVIII' (around the portrait) and 'Nicolaus Aponte D.V. an. 1578 Franco Maggiotto' (to the reverse, over an engraved musical score); the third inscribed 'CLARA DELPHINA CORNELIA DUCISSA VENEIARUM ANNO MDCXXIV' (around the portrait) and 'Clara Delphina Cornelia D.V. an. 1624 Franco Maggiotto' (to the reverse); and the fourth inscribed 'LAURETANA MARCELLA MOCENICA DUCISSA VENEIARUM ANNO MDLXX' (around the portrait) and 'Lauretana Marcella Mocenica D.V. anno 15 Franco Maggiotto' (to the reverse)
oil on copper, oval
5¾ x 4¾ in. (14.5 x 12 cm.)
a set of four (4)

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Lot Essay

Francesco was the son of the painter Domenico Maggiotto, celebrated assistant and follower of Giovanni Battista Piazzetta. In line with his father, he developed an eclecticism; his style was reminiscent of the great 18th Century tradition of Tiepolo, Longhi, Pittoni and Zuccarelli, including the first development of neoclassicism. These four copper panels were part of a series of 168 portraits of Dogi, Dogaresse, Popes and Patriarchs formerly belonging to the Pisani of S. Stefano family (see E. Martni, La pittura del Settecento veneto, Udine, 1981, p. 554, note 369, where a Portrait of the Doge Alvise Mocenigo is illustrated as fig. 878).

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