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Giovanni Elia MorghenAncient Roman Fresco Herculaneum - Etching G. Morghen - 18th CenturyLate 18th Century
Late 18th Century
About the Item
Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century.
Signed on the plate.
Good conditions except for some minor stains and a cutting on the part.
The etching belongs to the print suite “Antiquities of Herculaneum Exposed” (original title: “Le Antichità di Ercolano Esposte”), an eight-volume volume of engravings of the finds from the excavation of the ruins of Herculaneum in the Kingdom of Naples (now Campania, Italy).
It was published between 1757 and 1792 by the Regia Stamperia, and copies were delivered to selected recipients across Europe.
Despite the title, the Antiquity of Herculaneum shows objects from all the excavations undertaken by the Bourbons in the Gulf of Naples. These include Pompeii, Stabia and two sites of Herculaneum: Resina and Portici.
The Bourbon King Carlo appointed fifteen scholars creating a new “Herculaneum Academy” to study the artifacts and publish the results of the archaeological excavations of the sites.
The engravings are of high quality and the accompanying text shows a large scholarship.
They were realized by 25 prominent artists involved by the King to prepare drawings and engravings on the finds, among which we can find Giovanni Elia Morghen, Carlo Nolli, Luigi Vanvitelli and Giovanni Battista Casanova.
The “Antiquities” was designed more to amaze readers with the quality of the objects in the collection of the King of Naples than to be used in research., following and increasing the interest of 18th century society for the classical culture and Art in particular.
Through the exaltation of the classical concept of proportions and harmony, the book was of inspiration to the neoclassical movement in Europe, giving artists and decorators access to a huge shop of Hellenistic motifs.
Ref.:
National Gallery (Washington), Mark J. Millard Architectural, IV (2000), no. 1;
L. Garcia y Garcia, Nova bibliotheca pompeiana (2 v., 1998);
Royal Institute of British Architects, British Architectural Library ... Early printed books, 1 (1994), no. 112.
U. Pannuti, 'Incisori e disegnatori della Stamperia Reale di Napoli nel secolo XVIII: la pubblicazione delle Antichità di Ercolano', in Xenia antiqua, 9 (2000), p. 151-178;
V. Trombetta, 'L'edizione de Le Antichità di Ercolano esposte' in Rendiconti dell'Accademia di Archeologia, lettere e belle arti di Napoli , 59 (1984), p.151-172.
- Creator:Giovanni Elia Morghen (1717 - 1789, Italian)
- Creation Year:Late 18th Century
- Dimensions:Height: 18.51 in (47 cm)Width: 13.78 in (35 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: T-1344511stDibs: LU650311021882
Giovanni Elia Morghen
Giovanni Elia Morghen came from a family of engravers in Florence. According to the testimony of Raphael, the most illustrious member of the family, his grandfather was originally from Montpellier and, after marrying a Genoese woman, he moved to Florence, where he opened a lace shop. Both their sons, Giovanni Elia and Filippo, specialized in chalcographic art. Giovanni was predominantly a draftsman, whilst Filippo mastered the art of carving. In Florence, Giovanni Elia Morghen was a pupil of Giovan Domenico Ferretti, and he probably also worked at the workshop of Carlo Bartolomeo Gregori. Indeed, he, with the other artists of the school, made 26 of the engravings present in the second Florentine edition (1766) of the Salon paintings at Riccardi Medici Palace. He then moved to Naples with his brother. From 1756, he began participating in the creation of the tables of the Antiquities of Herculaneum, a work of several volumes published in Naples with various interruptions in the late nineteenth century. In 1767, he published six tables with representations of the temples of Paestum, taken from drawings by Antonio Joli. He also took part in the editorial venture of Pietro Paolo Montagnani, aimed at reproducing the paintings of Vatican environments in Rome, contributing to the 1789 volume.
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