Grosvenor Prints

Marietta Alboni, Contralto.
[n.d. c.1855.]
Lithograph on album page. 342 x 260mm. 13½ x 10½". Foxed, some spotting.
Marietta Alboni (1823-1894) was a renowned Italian contralto opera singer. Together with the charismatic Maria Malibran, she was considered the greatest deeper-voiced female singer of the nineteenth century. Rossini was taken by her abilities that he taught her the contralto roles in his operas. Her debut at the Teatro alla Scala took place in 1842 as Neocle in the Italian version of 'Le Siege de Corinthe', which was followed by roles in operas by Marliani, Donizetti, Salvi and Pacini. Whilst in London, 1848, Meyerbeer transposed the role of the page Urbain in 'Les Huguenots', from soprano to contralto and composed a new aria for her.
[Ref: 23669] £230.00 (£276.00 incl.VAT)

Le Brindisi Valse Brillante pour Le Piano. Dédiée a M.elle Alboni par Fréd. Burgmüller.
[Mayence anvers et Bruxelles, Chez les fils de B. Schott; c.1850.]
Lithograph with gold-leaf ribbed border, on album page. 260 x 197mm. 10¼ x 7¾". Some spotting.
Marietta Alboni raising a glass in a toast. Marietta Alboni (1823-1894) was a renowned Italian contralto opera singer. Together with the charismatic Maria Malibran, she was considered the greatest deeper-voiced female singer of the nineteenth century. Rossini was taken by her abilities that he taught her the contralto roles in his operas. Her debut at the Teatro alla Scala took place in 1842 as Neocle in the Italian version of 'Le Siege de Corinthe', which was followed by roles in operas by Marliani, Donizetti, Salvi and Pacini. Whilst in London, 1848, Meyerbeer transposed the role of the page Urbain in 'Les Huguenots', from soprano to contralto and composed a new aria for her.
See Harvard: 20.
[Ref: 23673] £95.00 (£114.00 incl.VAT)

Marietta Albony [facsimile signature].
Auguste Hüssener sc.
[n.d. c.1850.]
Engraving and stipple on album page. 279 x 214mm. 11 x 8½". Some spotting, time stained.
Marietta Alboni (1823-1894) was a renowned Italian contralto opera singer. Together with the charismatic Maria Malibran, she was considered the greatest deeper-voiced female singer of the nineteenth century. Rossini was taken by her abilities that he taught her the contralto roles in his operas. Her debut at the Teatro alla Scala took place in 1842 as Neocle in the Italian version of 'Le Siege de Corinthe', which was followed by roles in operas by Marliani, Donizetti, Salvi and Pacini. Whilst in London, 1848, Meyerbeer transposed the role of the page Urbain in 'Les Huguenots', from soprano to contralto and composed a new aria for her.
Harvard: 4.
[Ref: 23672] £130.00 (£156.00 incl.VAT)

D.F.E. Auber.
Erwin Hanfsteangel.,4, Rue Frochot. [n.d. c.1863.]
Photograph. Image 222 x 158mm. 8¾ x 6¼". Cut.
Daniel François Esprit Auber (1782-1871) was a French composer. He was the son of a print-seller, and although he was expected to continue in the family business, his father allowed him to learn how to play many musical instruments. Auber attempted various compositions at a young age and one of his violin concertos was played at the Paris Conservatoire, which encouraged him to undertake a resetting of an old comic opera, Julie (1811). His opera "le Séjour militaire" was badly received in Paris, which forced him to stop for several years, however his failure in business and the death of his father in 1819, compelled him once more to turn to music. His second opera was just as unsuccessful, yet he persevered and the following year he was rewarded by his opera in three acts, "La Bergère Châtelaine". He then went on from success to success culminating particularly with "La muette de Portici" in 1828, which quickly became one of Europe's favourite operas of the time, and was the foundation work of the new genre, Grand Opera, which was consolidated by Rossini's Guillaume Tell the following year. In 1829 he was elected a member of the Institute and a year later, named director of the court concerts. His opera "Le Philtre", was taken and translated into Italian, and set by Donizetti as "l'elisir d'amore", one of the most successful comic operas of all time. He was made a member of the Legion of Honour in 1825 and attained the rank of commander in 1847. Napoleon III made him his Imperial Maître de Chapelle in 1857. Manon Lescaut of 1856 marked the beginning of his slowdown in compositions, which his opera "le premier jour de bonheur" as the last in 1868. He died during the upheaval of the Paris Commune in 1871.
From the Collection of J.S. Bumpus.
[Ref: 17203] £130.00 (£156.00 incl.VAT)

The Barber of Seville.
Publish'd Mar 15. 1808 by Lauire & Whittle, 53 Fleet Street, London.
Hand-coloured etching. Sheet: 180 x 220mm (7 x 8½ "). Trimmed, losing letterpress song, with foxing.
An illustration to a ten-verse poem (not present) satirising Gioachino Rossini's 'Barber of Seville. A woman with cross-eyes and a hairy chin sits under a grape-trellis and an orange-tree; a barber kneels at her feet. In the song the amour promises to shave her every morning if she will marry him.
BM Satire 11195.
[Ref: 46482] £120.00 (£144.00 incl.VAT)

The Barber of Seville. Extracted from the Monthly Mirror - New Series No. XIV.
Publish'd Mar 15. 1808 by Lauire & Whittle, 53 Fleet Street, London.
Hand-coloured etching. 190 x 225mm (7½ x 8¾"), with letterpress underneath, sheet 290 x 225mm (11½ x 8¾"). Trimmed to plate on three sides.
An illustration and ten-verse poem satirising Gioachino Rossini's 'Barber of Seville. A woman with cross-eyes and a hairy chin sits under a grape-trellis and an orange-tree; a barber kneels at her feet. In the song the amour promises to shave her every morning if she will marry him.
BM Satire 11195.
[Ref: 54351] £290.00 (£348.00 incl.VAT)

A. Bazzini [facsimile autograph.]
Gez. u.lith. v.Jab.
Druck v. J. Hesse in Berlin. [n.d., c.1860.]
Scarce Sepia tinted lithograph heightened in white, image 290 x 245mm. 11½ x 9¾".
Antonio Joseph Bazzini (1818 - 1897), Italian violinist, composer and teacher; bow in hand, violin tucked under left arm. One of the finest concert violinists of the 19th century, he contributed to a portion of the Messa per Rossini, a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. As a composer his most enduring work is his chamber music which has earned him a central place in the Italian instrumental renaissance of the 19th century.
[Ref: 19541] £260.00 (£312.00 incl.VAT)

Marietta Brambilla [facsimile signature.]
Gedr. bei Joh. Hofelich. Kriehuber 839.
Eigenthum und Verlag von Pietro Mechetti qm. Carlo. Kais König Hof-Kunst-und Musikalienhandlung. [n.d. c.1839.]
Lithograph. Purple-rim border, on album page. Facsimile autograph. 394 x 280mm. 15½ x 11".
Marietta Brambilla (1807-1875) was an Italian alto. She was part of the famous family of singers, well known for the many interpretations of the works of Rossini. She was the first perfomer of Maffio Orsini in Lucrezia Borgia and Pierotto in Linda in Chamounix, both by Donizetti. She performed many times at the Teatro San Carlo in Naples.
Harvard: 2.
[Ref: 23661] £190.00 (£228.00 incl.VAT)

Madame Catalani in Semiramide. her first Appearance in England, Dec.r 13th, 1806.
Drawn Etch,d & Pub,d by Dighton, 21 New Bond Street, Dec.r 1806.
Fine coloured etching. 275 x 205mm (10¾ x 8"), paper watermarked ''E & P 1805''. Small margins.
A full-length portrait of Angelica Catalani (1780-1849), as Semiramide the Assyrian, in the opera by Gioachino Rossini. a soprano with a range of nearly three octaves.
[Ref: 62799] £130.00 (£156.00 incl.VAT)

[Maria Luigi Carlo Zenobio Salvatore Cherubini.] L. Cherubini.
Se vend chez Quenedey rue Neuve-des-Petits-Champs No15 à Paris / Dép. à la Bib. Imp.
Dess: au Physionotrace et Gravé par Quenedey rue neuve des petits champs No15 à Paris 1809.
Aquatint. Sheet 240 x 155mm (9½ x 6"). Trimmed slightly into plate.
Portrait of Maria Luigi Carlo Zenobio Salvatore Cherubini (1760 -1842), Italian Classical and Romantic composer. His most significant compositions are operas and sacred music. Beethoven regarded Cherubini as the greatest living composer of his era. Cherubini's operas were heavily praised and interpreted by Rossini.
[Ref: 63315] £160.00 (£192.00 incl.VAT)

[Michael Costa.]
From a Photograph by Signori Caldesi. Engraved by George Zobel.
London, Published May 21st 1855, by J.Mitchell, Bookseller & Publisher to Her Majesty. 33 Old Bond S.t.
Mezzotint on steel. 510 x 340mm. Damp stain.
From Caldesi's 'Artists of the Italian Opera'. Sir Michael Costa (1808-1884) was the Musical Director. In 1855 Costa wrote the oratorio 'Eli'; Rossini's commented: 'The good Costa has sent me an oratorio score and a Stilton cheese. The cheese was very good'.
Ex: Collection of The Hon. C. Lennox-Boyd.
[Ref: 1138] £240.00 (£288.00 incl.VAT)

Ballo dell'Orso.
Pinelli Fece 1809 Roma.
Engraving. 215 x 305mm (8½ x 12"), large margins.
A street entertainer, playing bag pipes, with a bear dancing on its hind legs, with two small dogs in human dress also dancing. Bartolomeo Pinelli (1781-1835) was famous for his depictions of the people of Rome. He also provided staffage for Luigi Rossini's 'Veduta di Roma'.
[Ref: 63002] £130.00 (£156.00 incl.VAT)

Sigr: Giuseppe De Begnis of the Italian Opera London.
Engrav'd by C. Knight 1822 from a Miniature Painted by Titus G. Perlotti.
[British, c.1822.]
Scarce stipple, sheet 260 x 200mm. 10¼ x 8". Sheet trimmed.
Portrait of Giuseppe De Begnis (1793 - 1849), bass opera singer. In 1816 he married the noted prima-donna and famous beauty, Signorina Giuseppina Ronzi. They sang throughout Italy with great success, and in 1819 made their first appearance at the Italian opera in Paris, remaining three seasons. In 1821 they came to London, Begnis debuting there as Don Geronio opposite his wife's Fiorilla in Rossini's 'Il Turco in Italia' at the King's Theatre on May 19, 1821. They continued to appear in opera together until their separation in 1825. Begnis remained at the King's Theatre until 1827, but also served as an opera manager in Bath (1823-24) and later in Dublin (1834-37) before settling in New York.
[Ref: 19542] £130.00 (£156.00 incl.VAT)

Donizetti.
C. Deblois.
[n.d., c.1800.]
Stipple engraving. Sheet 150 x 235mm (6 x 9¼"). Slight staining on left margin. Trimmed.
Portrait of Domenico Gaetano Maria Donizetti (1798 - 1848), an Italian composer, best known for his 70 operas. Along with Gioachino Rossini and Vincenzo Bellini, he was a leading composer of the bel canto opera style during the first half of the nineteenth century and a probable influence on other composers such as Giuseppe Verdi.
[Ref: 63235] £80.00 (£96.00 incl.VAT)

Giulia Grisi. Desdemona. "Nè più ripeta l'aura [/] Dé misi lamenti it suin." [/] Otello. Atto.3.Sc.1
A.E. Chalon R.A. R.J. Lane A.R.A.
London, Published Jan.y 1.st 1836 by J.Mitchell, Library 33, Old Bond Street._ a Paris, chez Rittner & Goupil, Boulevard Montmatre.
Coloured lithograph. Framed, sight size 380 x 265mm (15 x 10½"). Paper toned, unexamined out of frame.
A portrait of the famous Italian opera singer Giulia Grisi (1811-1869) in the role of Desdemona from Rossini's opera Otello, playing the harp and singing. Grisi was one of the leading sopranos of the 19th Century and performed all over the world. From A. E. Chalon's 'Recollections of the Italian Opera 1835'.
[Ref: 68229] £280.00 (£336.00 incl.VAT)

Giulia Grisi. Desdemona. "Nè più ripeta l'aura [/] Dé misi lamenti it suin." [/] Otello. Atto.3.Sc.1
A.E.Chalon R.A. R.J.Lane A.R.A.
London, Published Jan.y. 1.st.1836 by J.Mitchell, Library 33, Old Bond Street._ a Paris, chez Rittner & Goupil, Boulevard Montmatre.
Lithograph. Proof. Sheet: 330 x 460mm (13 x 18"). Some slight foxing in lower left side.
A portrait of the famous Italian opera singer Giulia Grisi (1811-1869) in the role of Desdemona from Rossini's opera Otello, playing the harp and singing. Grisi was one of the leading sopranos of the 19th Century and performed all over the world. From A. E. Chalon's 'Recollections of the Italian Opera 1835'.
[Ref: 35331] £360.00

Guilia Grisi [signature facsimile].
[after Joseph Mathias Negelen?] Imp Lemercier a Paris.
Paris chez Cuhaut freres, 3 Boulevard des Italiens [n.d. c.1840].
Lithograph on india laid paper. India 439 x 330mm. Foxing to wove paper outside india. Faint traces of foxing to image.
Portrait of Giulia Grisi [1811 - 1869], dramatic soprano, probably after Swiss artist Joseph Matthias Negelen and playing the role of Desdemona in Rossini's 'Otello'.
Not in Harvard.
[Ref: 3842] £420.00

[Hannibal] Vision misteriosa di Annibale, avanti il suo famoso passagio sull Apli. per scenndere nell'Italia. Rollin 1st. Rom. T.V.
Pinelli inve inc. in Roma 1818.
Etching. 320 x 430mm (12½ x 17"). Tear in top margin.
In Hannibal's vision he sees a giant serpent as a winged Mercury leading him to Italy. Mercury tells Hannibal that in the same way the serpent lays waste to mountians, Hannibal will lay waste to Italy. Bartolomeo Pinelli (1781-1835) is best known for his images of contemporary Romans, many of which were incorporated into Luigi Rossini's Views of Rome. He has taken inspiration from 'Storia Antica E Romana Di Carlo Rollin'.
[Ref: 60241] £180.00 (£216.00 incl.VAT)

Maria F. Malibran [facsimile signature.]
A.E. Chalon R.A. R.J. Lane A.R.A. Proof.
Printed by J. Graf. London, J. Mitchell _ Library, 33 Old Bond Street. á Paris, chez Ritner et Goupil, Boulevard Montmartre. Deposè. [n.d. c.1836.]
Lithograph on india. Sheet 380 x 274mm. 15 x 10¾". Foxing to edges; label for original vendor lower right ('J. Dean, music seller & publisher, 148 New Bond Street').
María Felicia García Sitches (Malibran) (1808-1836), seen holding opera glass, she was one of the most famous singers of the 19th century. She was born in Paris, into a famous Spanish musical family. Malibran sung first in Italy, then in New York (where her father introduced Italian opera to the New World) before returning to France in 1827. The most charismatic singer of her epoch, Malibran sung frequently in England, and it was in Manchester that she died aged 28 (the cause of death was unclear).
Harvard: Pg 144-2
[Ref: 35487] £230.00 (£276.00 incl.VAT)

[Untitled Medley print.]
[n.d., c.1825.]
Pen lithograph. Trimmed around image, so irregular, at most 190 x 180mm (7½ x 7"). Trimmed and laid on album paper.
A medley print, with a trompe l'oeil of eight cards: an illustration of Wellington kissing the hand of George IV, both on horseback; a ship beached for repairs; a map; a floorplan; a romanesque bust; the music to 'La Gazza Ladra' (Rossini's 'Thieving Magpie') arranged by T.W. Lloyd; and the trade card of 'James Bell, Printer, Bookseller & Stationer, 23, Lord Street'. It is probably that the print was published to demonstrate Bell's abilities.
[Ref: 40259] £75.00 (£90.00 incl.VAT)

[Jeu de Morra à Rome.]
[n.d., c.1825.]
Coloured etching, title in pencil. Sheet 240 x 170mm, 9½ x 6¾". Trimmed within plate.
Men playing "Morra": each contestant throws up a hand with some fingers out-stretched and calls a guess as to the total number of fingers shown. Known in the U.S. as "Choosies" it is often used to make a decision. Based on a print by Bartolomeo Pinelli (1781-1835), who provided the figures for Luigi Rossini's "Veduta di Roma".
[Ref: 17499] £140.00 (£168.00 incl.VAT)

Persiani. Rosina
Published by David Bogue, Fleet Street Dec. 1844.
Steel engraving. Sheet: 175 x 260mm (7 x 10¼").
Fanny Tacchinardi Persiani (1812-67), a soprano, in Rossini's 'The Barber of Seville'. From 'The Beauties of Opera and Ballet'.
[Ref: 49515] £75.00 (£90.00 incl.VAT)

[Veduta degl'avanzi della Curia Ostilia sul Monte Celio.]
Rossini fece Roma 1817.
Etching, proof before letters. 205 x 300mm (8 x 11¾"), with very large margins. Some rubbing.
According to Rossini these are the remains of the Curia Hostilia, an early Senate House built by Tullius Hostilius, the third king of Rome, on Monte Caelio. However it is more likely to be a substructure of the Temple of Claudius. Published as the frontispiece to Luigi Rossini's 'Antichita di Roma divise in 40 vedute'.
See BM: 1935,0520.68 [lettered].
[Ref: 17100] £160.00 (£192.00 incl.VAT)

Veduta del Condotto dell'Acqua Vergine situato alla Chiavica del Bufalo.
Rossini dis. e inc.
Roma 1822.
Etching. 370 x 455mm (14½ x 18"), with large margins, uncut.
The Acqua Vergine aquaduct was built by Marcus Agrippa in 19 BC, primarily to supply Agrippa's Baths. Said to have the purest water in Rome, it supplies the Trevi Fountain, fountains in Piazza Navona and di Spagna.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51544] £400.00

[Aqua Julia] Veduta del Castello dell' Acqua Giulia. secondi lo scavo fatto in quest'anno 1822 nella Via Tiburtina.
Rossini dis. e inc.
Roma 1822.
Etching. 350 x 450mm (13¾ x 17¾"), with large margins, uncut.
The ruins of a castle, probably built to protect the Aqua Julia, Rome's water supply. According to the title the building was being excavated at the time of the view.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51560] £400.00

[Arch of Dolabella] Veduta della Fornice de Consoli Dolabella, e Silano, investila dagli Archi Neroniani provenienti dal Condotto dell'Aqua Claudia.~
Rossini dis. e inc.
Roma 1821.
Etching. 460 x 390mm (18 x 15½"), with large margins, uncut. Crease at the top.
The Arch of Dolabella and Silanus, a rebuilding of one of the gates of the Servian Walls in 10 AD by the consuls P. Cornelius Dolabella and C. Junius Silanus. Nero's extension of the Acqua Claudia was built over the top of the arch.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51551] £400.00

[Arch of Drusus] Arco di Druso, e Porta Capena.
Rossini dis. e inc.
Roma 1820.
Etching. 390 x 460mm (15¼ x 18"), with large margins, uncut. Printer's creases just entering image.
A view of an arch at the beginning of the Appian Way known as the Arch of Drusus (for Nero Claudius Drusus, the conqueror of the Germans) but probably built later. Some years after construction the arch was utilised by the builders of the Aqua Antoniniana, a branch of the Aqua Marcia. Through the arch is the Porta Capena, a gate in the Servian wall.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51566] £300.00

[Arch of Drusus] Arco di Druso su del quale passava il Condotto Antoniano.
Rossini dis. e inc.
Roma 1819.
Etching. 455 x 355mm (18 x 14"), with large margins, uncut.
A view of an arch at the beginning of the Appian Way known as the Arch of Drusus (for Nero Claudius Drusus, the conqueror of the Germans) but probably built later. Some years after construction the arch was utilised by the builders of the Aqua Antoniniana, a branch of the Aqua Marcia.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51529] £400.00

Veduta dell' Interno dell'Araco du Giano.
Rossini dis. e inc.
Roma 1820.
Etching. 475 x 375mm (18¾ x 14¾"), with large margins, uncut.
A view from under the so-called Arch of Janus, the only quadrifrons triumphal arch remaining in Rome, at the edge of the Forum Boarium (cattle market). The church is the seventh century San Giorgio in Velabro, founded on the spot that Romulus and Remus were found by the she-wolf.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51531] £400.00

[Arch of Septimius Severus] Veduta dell' Arco di Settimio.
Rossini dis. e inc.
Roma 1820.
Etching. 370 x 570mm (14½ x 22½"), with very large, uncut margins.
A view of the Arch of Septimius Severus from the Forum, with the steps of the Capitoline Hill in the background. It is shown before the original street level was excavated by Carlo Fea in 1803, removing sediement washed into the Forum by floodwater.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51485] £750.00

[Arcus Argentariorum] Veduta dell'Arco di Settimio Severo nel Foro Boario.
Rossini dis. e inc.
Roma 1821.
Etching. 405 x 485mm (15¾ x 19"), with large margins, uncut.
A view of the Arcus Argentariorum (Arch of the Moneychangers), a small arch in the Forum Boarium (the cattle Market). According to the inscription it was commissioned by the local money-changers and merchants in honour of emperor Septimus Severus and his family. It is now joined to the western wall of the seventh century church of San Giorgio al Velabro. This plate has one of the more dramatic scenes drawn by Bartolomeo Pinelli to add life to Rossini's architecture, a knife-fight.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51564] £600.00

[Arcus Neroniani.] Veduta dei Grandi Avanzi degli Aquedotti di Nerone _ vicino a Porte S. Giovanni.
Rossini dis. e inc.
Roma 1823.
Etching. 435 x 540mm (17 x 21¼"), with large margins, uncut.
The Arcus Neroniani, an extension of the Acqua Claudia built by Nero to supply water to the Caelian Hill.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51545] £400.00

[The Aurelian Walls] Veduta della Mura di Roma, dalla parte interna della Città, vicino alla Porta Celimontana.
Rossini dis. e inc.
Roma 1823.
Etching. 425 x 660mm (16¾ x 26"), with large, uncut margins.
A view of part of the Aurelian walls, which made use of the existing Aqua Claudia. This section is now in the Giardini di via Carlo Felice. The walls point towards the minor basilica Santa Croce in Gerusalemme.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51496] £600.00

[Basilica of Maxentius] Veduta Generale del gran Tempio della Pace.
Rossini dis. e inc.
Roma 1822.
Etching. 440 x 660mm (17¼ x 26"), with large margins, uncut.
A view showing the octagonal ceiling coffers of the concrete barrel vaults of the Basilica of Maxentius and Constantine, the largest building in the Forum of Rome. Begun by Maxentius in 308 AD the building was completed in 312 by Constantine after he defeated Maxentius at Milvian Bridge.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51520] £400.00

[Basilica of Maxentius] Veduta D'una delle navate minori, della Tempio Pace.
Rossini dis. e inc.
Roma 1819.
Etching. 560 x 455mm (22 x 18"), with large margins, uncut.
The interior of the Basilica of Maxentius and Constantine, showing the remaining north aisle with its brick walls and arches supporting the concrete vaults, with the octagonal ceiling coffers. Begun by Maxentius in 308 AD, the building was completed in 312 by Constantine after he defeated Maxentius at Milvian Bridge. It was the largest building in the Forum Romanum.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51555] £600.00

[Baths of Diocletian] Veduta degl' Avanzi del secondo piano delle Terme Diocleziane.
Rossini dis. e inc.
Roma 1823.
Etching. 540 x 390mm (23¾ x 15¼"), trimmed to the image.
The Baths of Diocletian were the largest of the public baths and were capable of accommodating 3,000 bathers at the same time. The tepidarium and the central hall are now the church of S. Maria degli Angeli, a side hall is the church of S. Bernardo.
[Ref: 5181] £240.00 (£288.00 incl.VAT)

[Baths of Diocletian] Veduta degl' Avanzi del secondo piano delle Terme Diocleziane.
Rossini dis. e inc.
Roma 1823.
Etching. 540 x 390mm (23¾ x 15¼"), with large margins, uncut. Crease.
The Baths of Diocletian were the largest of the public baths and were capable of accommodating 3,000 bathers at the same time. The tepidarium and the central hall are now the church of S. Maria degli Angeli; a side hall is the church of S. Bernardo.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51567] £300.00

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[Capitoline Hill] Veduta di Fianco del Campidoglio di Roma.
Rossini dis & inc.
Roma 1819.
Etching. 440 x 550mm (17¼ x 21¾"), with very large, uncut margins.
A side view of the Piazza del Campidoglio, designed by Michaelangelo in the 16th century, with one of the Dioscuri (Castor & Pollux), the two stone horsemen guarding the cordonata.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51484] £900.00

[Capitoline Hill] Veduta del Campidoglio Romano.
Rossini dis. e inc.
Roma 1823.
Etching. 365 x 450mm (14½ x 17¾"), with very large uncut margins.
A view of the Capitoline Hill leading from Via del Teatro di Marcello to Piazza del Campidoglio, as designed by Michelangelo Buonarroti in 1536-46. At the top of the cordonata are the statues of the Dioscuri (Castor & Pollux, the Horse Tamers), with the façade of Palazzo Senatorio behind.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51491] £900.00

Avanzo della Casa di Cola di Rienzo.
Rossini dis. e inc.
Roma 1820.
Etching. 370 x 465mm (17½ x 18¼"), with large margins, uncut. Some loss of margin top right.
The so-called 'Casa di Cola di Rienzo', a tower in the Piazza Trilussa erected between 1040-65 by a powerful Crescenzi family in the 10th century to control the wharves of Rome, built using material scavenged from classical ruins. There is no direct connection with Cola di Rienzi, a populist politician (1313-54) eventually murdered by a mob, merely that he was born in the area.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51553] £600.00

[Castel Sant'Angelo] Veduta della Gran Mole Adriana, e Ponte Elio, in oggi Ponte, e Castel S.t Angelo.
Rossini dis. e inc.
Roma 1821.
Etching. 445 x 555mm (17¾ x 21¾"), with very large, uncut margins. Wear to edge of left margin.
A view from the banks of the Tiber looking up at the Aelian Bridge and the Mausoleum of Hadrian, both built by the emperor Hadrian between 134 - 139, and now known as the Ponte Sant'Angelo and Castel Sant'Angelo.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51499] £900.00

[Castel Sant'Angelo] Veduta Generale della gran Mole Adriana, e Ponte Elio _ in oggi Ponte e Castel S.Angelo.
Rossini dis. e inc.
Roma 1823.
Etching. 355 x 535mm (14 x 21"), with very large, uncut margins.
A general view looking along the Tiber to the Aelian Bridge and the Mausoleum of Hadrian, both built by the emperor Hadrian between 134 - 139, and now known as the Ponte Sant'Angelo and Castel Sant'Angelo. Behind the bridge is the dome of St Peter's Basilica in the Vatican.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51490] £900.00

[Colosseum] Veduta degl'avanzi d'uno de principali ingressi del Colosseo.
Rossini dis. e inc.
Roma 1819.
Etching. 455 x 360mm (18 x 14¼"), with large margins, uncut.
An archway looking into the arena of the Colosseum.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51510] £600.00

[Colosseum] Veduta dell'altro principale Ingresso, del Colosseo.
Rossini dis. e inc.
Roma 1821.
Etching. 540 x 385mm (21¼") x 15¼"), with large margins, uncut. Repaired tear in image.
One of the principal vomitoria of the Colosseum, looking out towards Temple of Venus and Roma, the largest temple in Rome, designed by Hadrian.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51512] £600.00

[Colosseum] Veduta del grande' interno dell'Anfiteatro Flavio, detto il Colosseo.
Rossini dis. e inc.
Roma 1823.
Etching. 460 x 665mm (18 x 26¼"), with very large, uncut margins. Some wear to the top margin.
A general view of the vast interior of the Colosseum. Among the figures, drawn by Bartolomeo Pinelli to add life to Rossini's architecture, is a procession of monks.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51495] £700.00

[Colosseum] Veduta di porzione degli avanzi dell'Ambularco del piano terra nel Colosseo.
Rossini dis. e inc.
Roma 1821.
Etching. 465 x 395mm (18¼ x 15½"), with large margins, uncut.
A view of the interior spectator passageway with the vomitoria, the doors into the seating areas and out of the building.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51511] £600.00

[Column of Marcus Aurelius] Veduta della Colonna Antonina, o sia Piazza Colonna.
Rossini dis. e inc.
Roma 1823.
Etching. 565 x 455mm (22¼ x 18"), with very large, uncut margins.
The Column of Marcus Aurelius Antoninus (emperor from 161 to 180) in Piazza Colonna, which has a spiral frieze depicting the emperor's wars on the Danube. In 1589 pope Sixtus V placed a bronze statue of the apostle St. Paul on top.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51481] £750.00

['Curia Hostilia'] Avanzi della Curia Ostilius sul Monte Celio.
Rossini dis. e inc.
Roma 1823.
Etching. 390 x 540mm (15½ x 21¼"), with large margins, uncut.
According to Rossini's title (one of the few in the image rather than underneath), these are the remains of the Curia Hostilia, an early Senate House built by Tullius Hostilius, the third king of Rome, on Monte Caelio. However it is more likely to be a substructure of the Temple of Claudius on the Caelian Hill. Through the gateway to the left is the Arch of Constantine.
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51521] £600.00

[Domus Severiana] Veduta degli Avanzi della Casa Aurea di Nerone, sul Monte Palatino, Della porte riguardante il Circo Massimo.
Rossini dis. e inc.
Roma 1823.
Etching. 390 x 540mm (15¼ x 21¼"), with large margins, uncut. Crease lower right.
The arches built to extend the Palatine Hill out for the construction of the Domus Severiana by Septimus Severus, which included a palace and baths. Rossini equates the building to the Domus Aurea ('Golden House'), the palace of entertainment built by Nero in AD 64 after the famous fire that destroyed much of Rome (when he 'fiddled').
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51557] £400.00

[Forum] Veduta dello Scavo della Colonna di Foca.
Rossini dis. e inc.
Roma 1822.
Etching. 375 x 575mm (14¾ x 22½"), with very large, uncut margins. Old repaired tear in the bottom margin.
A view of the north-west end of the Roman Forum, centred on the Arch of Septimus Severus, with the Church of Santi Luca e Martina behind. On the left are the three columns of the pronaos of the Temple of Vespasian and Titus; on the right is the column of Phocas, the last monument erected in the Forum, dedicated to the Eastern Roman Emperor Phocas (ruled 602 - 610).
The first state, before the plate number, issued unbound. From an early 19th century folder titled 'Roman Engravings. The Property of Major E.G.G. Rugdon[?]'.
[Ref: 51489] £900.00

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