Pietro Longhi and his Engravers

Author(s): Giorgio Marini

Source: Print Quarterly , DECEMBER 1994, Vol. 11, No. 4 (DECEMBER 1994), pp. 401-410
Published by: Print Quarterly Publications

Stable URL: https://www.jstor.org/stable/41824978

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 SHORTER NOTICES 401

The Doll (B.i 6, lower right).

Three Grotesque Figures (B.
17: The Peasant Settling hisThreeDebt (B.42, upper
Grotesque left).
Figures , c
Man and Woman Talking lower(B.37,
right). upper right).
Smoker Leaning on the 20: The Smoker of
Back and the Drinker
a Chair (B.24a, upper left).
(B.6, lower le
Peasant The Couple Walking (B.24,
Leaning
Doorway onupper right).lower right).
(B.9, his
Bust of a (B.39,
18: The Backgammon Players Laughing Peasantupper
(B.4, left centre). left) (see fig
Peasant in a Pointed
The Knifegrinder (B.36, upper Fur Cap (B.3, right centre).
right).
The Concert (B.30, lower left).
Peasant with his Hands behind his Back (B.21, lower
The Pater Familias (B.33, left). lower right).
19: The Smoker (B.5, upper Peasant with his Hand in (see
left) his Cloak (B.22, lower
fig. 218).
Peasant with a Crooked right).
Back (B.20, upper right).
21: The Dance
Bust of a Laughing Peasant , incopy
the Inn (B.49). (B.i, left centre).
22: The(B.2,
Bust of a Peasant , copy Breakfast (B.50).
right centre).

Pietro Longhi and his Engravers

Giorgio Marini

In the late 1740s the engraver and publisher Giuseppe
Wagner (c. 1705-86) produced four prints of paintings by
Pietro Longhi (1701-85), a project that was important for
popularizing Longhi's new interest in genre scenes of
Venetian interiors. A small group of documents related to
Wagner and Longhi help to clarify their relationship, and in
more general terms the working practice of artists and pub-
lishers engaged in the translation of paintings into prints in
mid-eighteenth-century Venice. These documents reveal
Longhi's degree of involvement in the circulation of his
paintings by means of prints, and his full awareness of the
promotional gains that such a distribution could offer.
This Notice was occasioned by an exhibition of Longhi's
work at the Correr Museum, Venice,1 which took place
during the celebration of the second centenary of Carlo
Goldoni's death - a sort of indirect homage to the great
playwright, for Longhi was considered, even by his contem-
poraries, to be Goldoni's alter ego in painting. Goldoni him-
self recognized in the realism and the psychological acumen
of Longhi's scenes from daily life the equivalent of his own
theatrical reforms.2 In fact, in the painter's first brief biogra-
phy, which is among those added by Pietro Guarienti to
Pelligrino Orlandi's Abecedario Pittorico , it was noted as early
as 1753 that 'his works command high prices and many of
them are currently copied by several engravers and pub-
lished'.3 Luckily Attilia Dorigato of the Correr Museum was
able to exhibit a small selection of prints within the large
number of paintings and approximately 30 sketches, all
grouped by subjects. Through Dorigato 's choice of particu-
larly important examples, which ranged from engravings by
Flipart and Bartolozzi and Alessandro Longhi's copies after
his father's paintings to Pitteri's celebrated series, this section
of the exhibition highlighted the successful translation of
Longhi's paintings into prints. The important emphasis here
on the complex relationship of prints to paintings pointed
the way to further investigations in this area. In the exhibi-
tion catalogue, Dorigato makes good use of letters from
Longhi to the publisher and printmaker Giovanni Battista
Remondini (1713-73), dating from November 1748 to
January 1753, which are from the rich collection preserved in
the museum of Bassano del Grappa - a veritable mine of
information regarding the history of Venetian printmaking
in the eighteenth century.
To Longhi's letters, known since A. Ravà's article of

The material used in this Notice was gathered as part of my
research on Wagner, to which I dedicated my tenure as Michael
Bromberg Fellow of Worcester College, Oxford. I am grateful to
Gertrud Seidmann, Catherine Whistler and Christy Anderson for
their help. This Notice is dedicated to the memory of Gianvittorio
Dillon.
2. See, for example, the famous sonnet ('Al Signore Pietro Longhi
veneziano celebre pittore') beginning with the verses: 'Longhi,
tu che la mia musa sorella/chiami del tuo pennel che cerca
il vero. . .', in Componimenti Poetici per le felicissime Nozze di Sua
Eccelenza il Signor Giovanni Grimani e la Signora Catterina Contarmi ,

i. rietro Longhi , exhibition catalogue edited by A. Manuz, Cj. Venice 1750, p. 77.
Pavanello and G. Romanelli, Venice, Museo Correr, December 3. P. A. Orlandi, Abecedario pittorico del M. R. P. Pellegrini Antonio
1993-April 1994, Milan, Electa, 1993, 273 pp., 57 col. and 102 b. Orlandi. . . corretto e notabilmente di nuove notizie accresciuto da Pietro
& w. ills. Guarienti , Venice 1753, p. 427.

PRINT QUARTERLY, XI, 1 994, 4

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402 SHORTER NOTICES

219. Charles-Joseph Flipart after Pietro Longhi, T

(Venice, Museo Correr).

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 SHORTER NOTICES 403

191 1,4 can now be added

assure you that if a group
things do as they ought,of
you will unpub
reap
sent during those same years
great rewards, to Remondin
given Wagner's interruption.9
This passage
Wagner; I believe they add indirectly confirms that at this time in Venice
significantly to ou
the relations betweenthethe
choice of two
works to bebiggest
engraved was mainly left to the
print wor
Venetian Republic, publisher,
whose production
with his commercial interest in mind. It was comp
not
by chance
other in many ways.5 In thatthe
Giovanni Battista
workshop Remondini, while plan-
Wagn
ning the
in 1739 together with expansionpainter
the of printmaking in his Bassano enter-
Jacopo Am
return from London,prise10
he (and having seen the success of for
arranged Wagner's series
four and of
ings to be engravedtaking
by advantage
theof his enforced
young halt in production),
Charles com-
missioned
(1721-97). These were the engravings
'4 by Antonio Faldoni of further works
conversations of
that George Vertue that recorded
he had asked Longhi himself in to provide.
his On 23
notebo
Despite the attempt Novemberto 1748create
the painter informeda Remondini
chronolog that he
engravings through had taken on a pupil to make
a more preparatory drawings for
detailed the
study
artist's work,7 thereprints.
are This was
notperhaps in
Giovanni Filippo Marcaggi,
fact enough whom s
tions to establish a Longhi
firm was later to introduce to the British Consul Johnorde
chronological
Udny." On 7 December
group, also given Wagner's the first drawing for
evident the project,
supervisio
indicated by the term direxit.
which was from The
the painting Two Ladies four
in a Coffee-shop (now pri
images of the paintings lost), was completed
(fig. under219),
Longhi's careful supervision.
two of An whi
only recorded by copies,8 eloquent passage and
reveals his keen interest in thebe
should successdated
of
learn from Longhi's the venture: 'Up to nowthat
letters I have gone almost
at everythe morningend o
temporarily had to interrupt to offer the young boythe advice andproject
tell him my opinion. of I eng
works by Longhi, due dearly
to wanted
theto imprint his drawing with my picture,
difficulty ofso traci
that were to be reproduced. On
strong is my wish for it to turn 7 December
out perfectly'.12 In this letter
to Remondini: Longhi also refers to the problem of the unwillingness of his
I learn that Your Excellency wishes to discover whether or patrons, for the most part Venetian patricians, to allow copy-
ing from pictures in their possession. Longhi devotes partic-
not it is true that Wagner is continuing his work. In truth,
it was indeed of interest to him, and he wished to con- ular attention to the text accompanying the prints and
suggests 'captions as lively and sprighdy as those on
tinue, given the great success of his four prints, but note
that as regards his passion to proceed, I can vouch thatWagner's prints' which, he reveals, were enriched by the
the gentleman has been a month or more hoping to have verses of the Paduan Doctor Pinalli.13
a picture and it was answered to him that the owners do In the meantime Remondini had already endeavoured to
copy the four prints published by Wagner, thereby turning
not wish their pictures to be out of their hands for three
the policy previously adopted - with the complicity of
months, as was already known to me. The engraver
the Republic's protectionist economy - with regard to
employed, so as not to trouble himself to journey to make
contemporary Augsburg prints into a system of outright
the drawings, for now is content to bide his time. I can

4. A. Rava, 'Contributo alla biografia di Pietro Longhi', Rassegna according to the French taste, used the combined techniques of
Contemporanea , iv, 191 1, pp. 297-307. The letters were published etching and engraving (not just engraving as stated in the exhi-
again, not always with accurate transcriptions, in A. Ravà, Pietro bition catalogue), as is further confirmed by proofs showing the
Longhi , Florence 1923, pp. 27-31; T. Pignatti, Pietro Longhi , preparatory etched state of the plates.
Venice 1968, pp. 64-68 and idem, Lopera completa di Pietro Longhi , 7. D. Folco Zambelli, 'Contributo a Carlo Giuseppe Flipart', Arte
Milan 1974, pp. 5-8. Antica e Moderna, v, 1962, pp. 186-99.
5. 1 he six letters related to the events we are dealing with in this 8. See T. Pignatti, Il Risveglio della dama di rie tro Longhi ,
Notice are part of a larger group by Wagner preserved in Bollettino dei Musei Civici Veneziani d'Arte e di Storia , xxxi, 1987,
Bassano (Bassano, Museo Biblioteca Archivio [cited hereafter pp. 87-90, with previous bibliography.
as MBA], Epistolario Remondini, xxiv-5-6989-6997), dated 9. Bassano, MBA, Epistolario Remondini, xiii-25-3543.
between 1751 and 1768. Given their interest, I intend to publish10. On the print production of the Bassano enterprise see
them, together with a further group of letters by his son Angelo, Remondini: Un editore del Settecento , exhibition catalogue, edited by
in a wider study in progress on the activity of the Calcographia M. Infelise and P. Marini, Milan 1990, pp. 28-30, and M.
Wagneriana. Infelise, I Remondini di Bassano: Stampa e industria nel Veneto del
6. See George Vertue, 'Note-books, in', The Walpole Society , xxn, Settecento , 2nd edn, Bassano 1990.
ï 933-34, p. 154. On the series of prints by Flipart, see E. Bouvy, 1 1 . Rovigo, Accademia dei Concordi, Biblioteca Concordiana, MS.
'Les scènes de la vie vénitienne de Pietro Longhi et Charles- KK 6-9, dated 23 September 1748. On Marcaggi, see L.
Joseph Flipart', L Amateur d'estampes* ,1930, pp. 65-75 and Moretti, Asterischi longhiani , in Pietro Lunghi, op. cit., p. 250.
112-24; L. Pognon and Y. Bruand, Inventaire du Fonds Français: 12. Bassano, MBA, Epistolario Remondini, xiii-25-3543.
Graveurs du XVIIIe siècle , vol. ix, Paris 1962, pp. 242-44. Flipart, 13. Ibid.

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404 SHORTER NOTICES

220. Francesco Bartolozzi after Pietro Longhi, The

Museo Correr).

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 SHORTER NOTICES 405

221. Marco Alvise Pitteri after Pietro Longhi, Unlo

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 4o6 shorter notices
askedreason
plagiarism.14 For this to renounce any thelegal action against Remondini, in
enterprise ha
view of the privilege
time employed engravers from that he was to be granted the following
Germany, such
January.18 It is interesting
Balthasar Gutwein (1702-85), whose to note that
rôle prior toduring
this there
seems mainly to havehad been no competition
been between the two printmakers;
the supervision and i
the modest, low costown
engravings by the workshop's production of Bassano had made an
employees
possible a very large
engravers.15 He was himself circulation of prints of ain
responsible mediocre
May
quality, while Wagner's
engraving after the Milord's Visitoroutput in Venice
(now concentrated
in on the
Museum of Art, New the reproduction
York), of carefully
as we selected contemporary
learn paint- from
ings. Thefollow
Longhi, in which we can only catalogue oftheWagner's prints known untilmin
painter's
tive interventions to now,
the a sheet catalogue published by
design.16 ItAntony
was Griffiths in
presum
circumstances, and thisin journal,19 is therefore an illuminating
particular the document in that
crass c
Remondini, which it revealsWagner
led the taste which guided
onhis selection
30 for print-
Decem
making between
request from the Venetian the 1740s and the
Senate the1760s, concession
reproducing the
lege in defence of hisRococo of Amigoni, the classicist
production, invalues
whichof Maratta,he a
referring, if only Lazzarini and Cignaroli,
implicitly, as well as the landscapes of
to Remondini's plagia
Marco Ricci and Zuccarelli.
The care which I, Giuseppe Wagner,When no furthermost
Longhi orig- hu
vant of Your SereneinalsHighness,
were available, Wagner added
have two newtaken
plates to the sin
moved with my family series, The
toConcert
livein the Family
under and The Hairdresser.
this Both most
were engraved byprintmaking
heaven, in order to perfect Flipart after his own designs, and
on pub-
cop
lished before
I had discovered to be somewhat he joined Amigoni wanting, at the court of Madrid ma
of my fellow artistsin 1follow
750. 20 my example with n
tions and more diligent Strengthened
work, by his recent enrolment
thus in the Venice print-
increasing t
ers' guild (which his aggressive
this craft. Others, however, seek capitalism
tohad forced
profit by m
and industry, copyingthrough my despite the resistance
originalsof his Venetian competitors),
without du
ledgement, to my mostbut still obliged
evidentto suspend his copying, Remondini turned
detriment. I for
nent failure for me to Wagner to suffering
and commission him in January 175 for 1 to engravemy fam
four otherof
merciful and just hand Longhi subjects
Your for him. Wagner
Serene replied in earlyHighnes
February, politely maintaining
intervene in your authority to formalbeckon relations with hisprivileg
most distinguished inpowerful this
rival, yet seemingly
skill dragging hisand
feet: to impose
and penalties on those I am inseeking
the process of movingto home and makechanging person
the expense of others, studio, something which is causing me problems,
reducing to as you
the com
works of art, which in can well theimagine, original
but I have not neglectedcost the business money,
serious application .of .].17
the four Pietro Longhi plates and for now have
[.
The document carries on the verso an annotation in Latin
employed the engraver and the draughtsman, but it will
be difficult to find suitable paintings, nevertheless every
that can be interpreted as a confirmation that Wagner was

14. Four prints, copies in reverse of Wagner's series bearing the
inscriptions: ' Pietro Longhi pin. - Jo. Gutwein Sculp. C.RE. S. ex
Týpographia Remondini, Bassanf were found by Ravà, op. cit., 1923,
p. 28, in the print collection of Dresden Galleries. For the
Remondini production of inferior copies of contemporary for-
eign works, see Remondini , op. cit., pp. 28-30. A further group of
letters by the engraver Giovanni Cattini (MBA, Epistolario
Trivellini, vin-8), dated between August 1748 and May 1749,
reveals that Remondini's plan was for Cattini to copy Wagner's
prints. It appears that Cattini's efforts to convince Wagner were
to no avail.
15. Remondini , op. cit., p. 33 n. 29.
18. Gallo, op. cit., p. 25. In finding in favour of the concession
of the privilege, on 20 January 1750, the magistrates of
'Riformatori dello Studio di Padova' stressed also the losses
caused by the Remondini copies: '[. . .] Alcuni diedero mano a
più facile lavoro, e ponendosi avanti gli occhi le carte stesse del Wagner,
senza impiego d'industria, senza affaticarsi nell'inventore, nella dis-
posizione delle figure, nella proporùone e leggiadria delle parti, e senza
adoperare tutto l'impegno di riddurre ad essere buone copie di perfetto
originale, come si siamo assicurati coll'occhio proprio, si contentano
d'una mezzana somiglianza, e con inganno agl'imperitie sitandole a
miglior mercato tolgono il preggio all'autore Wagner et alla di lui borsa
il profitto '.

16. Bassano, MBA, Epistolario Remondini, xiii-25-3544, dated 19.

13 A. Griffiths, 'The Rogers Collection in the Cottonian Library,
May 1749. Plymouth', Print Quarterly, x, 1993, pp. 33-34.
17. Venice, Archivio di Stato, Avogaria di Común, Miscellanea 20. The series is listed in Wagner s catalogue under the letter X,
Civile', c. 78, no. 12. The document was referred to by R. Gallo, consisting of eight prints after the addition of the two more
L'Incisione del 'y 00 a Venezia e a Bassano , Venice, 1941, pp. 24- sheets engraved by Bartolozzi in about 1751. At an
25, and only briefly mentioned in L. Hennessey, 'Notes on undetermined date after 1760 - but probably by 1766 - the
the Formation of Giuseppe Wagner's "Bella Maniera" and whole of Wagner's output was rearranged in a different order.
his Venetian Printshop', Anteneo Veneto, n.s., xxvin, 1990, This newly ordered series is now marked with the number
p. 213. 19 in the lower left-hand corner of the sheets.

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 SHORTER NOTICES 407

222. Marco Alvise Pitteri after Pietro Longhi, Dra

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 4o8 shorter notices

effort will be made the

to drawings'.28
ensure Wagner, they
trying to act are
as an intermediary,
accordin
wishes.21 told Remondini on 1 May that he was prepared to carry
On 17 April, after moving home and workshop, Wagner out the corrections on the engraved plate, suggesting that
wrote again to Remondini: it would be useful to involve 'the creator of the pictures,
I feel I should inform you that, regarding the four who will certainly be as careful as possible, given that he
Longhi plates, as agreed when you left, Sig. Pietro has his reputation to consider, and that he maintains that
Longhi has had one copied, and it is now being engraved he does not wish to be associated with any print he has
by that young fellow from Leghorn, as you are well not personally approved of'.29 In the face of Remondini's
aware, and will soon be finished. As for the other three, protest, he clarified his position on 13 May:
I have taken it upon myself to have them copied for you, As far as the plate is concerned, I certainly cannot take
as agreed, and to this end I have obtained a small paint- on the task of correcting it, as I do not have the time, nor
ing, and the work is already well in hand and will be has my apprentice, but in order to serve Your Excellency,
ready when needed for use.22 I will endeavour to have the young Leghorn engraver
Although it is not possible to identify the 'young complete it himself when he returns to Venice, even
Livornese', we learn from the exchange of letters that the though you say this is impossible. I hope to persuade
print in question reproduced a painting, The Coffee- him, and in order to serve you, I will be delighted to
shop, , then the property of Cecilia Emo Morosini.23 How- take him under my roof and supervise his work as long
ever, I believe one can identify a second painting with a as is needed to complete it.30
version of The Sleeper Tickled , now in the Thyssen collection Wagner's letters stop at this point, and the project did not
- perhaps the painting then mentioned by Longhi as at go ahead. A joint effort of the two greatest Venetian print
G a' Zen - thanks to another anonymous print known to workshops of the time was therefore to remain incomplete,
us and evidendy a pair to the first, for reasons of style and the only result being two anonymously published engrav-
technique.24 On 23 April 1751 the Livornese turned up ings over Longhi's name as inventor. Their poor graphic
unannounced in Bassano with an unfinished and uncorrec-quality did not prevent Longhi from taking this opportun-
ity to promote his own paintings, revealing his part as the
ted plate, to Remondini's great dissatisfaction.25 Looking
for alternative, better qualified engravers to carry onexclusive
the intermediary with the owners of the pictures,
and, more generally, his role as an artist in the complicated
series, Remondini wanted to contact the 'Florentine work-
ing for Wagner' - the young Bartolozzi26 - and even system of relationships in the Venetian publishing world
Giuliano Giampiccoli, who was not willing to moveduring
to the extraordinary expansion of the 1740s and
Venice to carry out the work but replied on 7 May from1750S. Proud of his fame, he asked Remondini more than
a year later, in December 1752, to send him impressions
Belluno: 'If I should have to go to Venice once the plates
are finished, to adapt them to Mr Longhi's and Mr
of the two prints,
to be delivered to whomsoever possesses the originals, as
Wagner's specification, then I shall put myself out to please
you.'27 Longhi, determined to inspect the various phases it is customary, though I have been somewhat unfortu-
of the engravers' work and to make sure they remained nate with regard to these two engravers [. . .] Neverthe-
less it will be well to let the world know that these same
faithful to the originals, declared openly that 'if one of the
engravers is not prepared to be completely open with me are the inventions of Signor Longhi and, though badly
by showing me his first attempts and making them as best drawn and engraved, with my name printed on them,
he can with my advice, I shall never dare to let him have will sell far moré successfully.31

21. Bassano, MBA, Epistolario Remondini, xxiv-5-6989, dated Flipart's departure for Spain, Bartolozzi engraved in fact two
6 February 1751. more of Longhi's subjects, The Singing Lesson (fig. 220) and
22. Bassano, MBA, Epistolario Remondini, xxiv-5-6990, dated The Pharmacist , bringing to eight the number of the prints in the
17 April 1751. series. The suggested existence of a further print (The Music
23. aee tne letter 01 12 January 1753 (Bassano, MM, Epistolario Lesson ) bearing both Flipart and Bartolozzi's names as
Remondini, xiii-25-3548). The engraving is therefore not to engravers (see Folco Zambelli, op. cit., p. 190), is due to a
be attributed to Wagner, as asserted in Pignatti, op. cit., 1968, mistaken reading of Wagner's œuvre listed by Nagler.
p. 143, ill. 490 and idem , Disegni antichi del Museo Correr di 27. Bassano, MBA, Epistolario Kemondini, xi-ib, dated 7 May
Venezia, Venice 1987, no. 1023. An impression of the print 1 75 1. Giampiccoli did work on the plate, which was sent back to
is in Rome, Istituto nazionale per la Grafica, Gabinetto delle Bassano in March 1752.
Stampe, Fondo Corsini 72800. The painting was sold at28. Bassano, MBA, Epistolario Remondini, xiii-25-3546, dated
Sotheby's, London, 11 December 1991, no. 19. 23 April 1751.
24. Ibid. For the pnnt, beanng the Latin verse: Juvat somno, juvat29. Bassano, MBA, Epistolario Remondini, xxiv-5-6991, dated
indulgere sopori , see G. Buzzanca, Il Settecento Veneto nelle i May 1751.
Stampe , Padua, n.d. [1986], no. 44. 30. Bassano, MBA, Epistolario Remondini, xxiv-5-6992, dated
25. Bassano, MBA, Epistolario Kemondini, xni-25-3540. 13 May 1751.
20. Another passage m the same letter reveals that Bartolozzi was 31. Bassano, MBA, Epistolario Remondini, xxrv-25-3550, dated
engaged in April 1751 in the reproduction of a further paint- 5 December 1752.
ing by Longhi, to be added later to Wagner's series. After

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 SHORTER NOTICES 409

Apart from documenting

but also this close relatio
an unprecedented
Wagner, there still exact dimensions
remains of
the question the
- or
whic
have approached The project
different wayswas
- initiate
in
of how
advertised
prints influenced Longhi.32 It wasby means
not only of
Fli
lauded by
atmosphere of the Wagner Goldoni establi
printing in the
whole, imbued as it was with
facing the II
his play internation
Frappatore
Jacopo Amigoni, which contributed
Equally fortunate to the
will in
be
Pietro Longhi. In factebrated Pietro Longhi,
the influence of con[
French fashion in etchings
prints based on
was already his famo
noticeable
1 730s in their jointpaintings
London workshop, wh
wondrous inven
expression
Baron, who had previously thaton
worked they
thecer
Re
honour
and for Jean de Julienne, and our Amigoni'
engraved glory. Ev
Thomas Reeve in 1736, the same
leaflet, year
in which in sug
you wh
was brought over to reproduce
work, with the other pa
addition
Amigoni.33 Flipart, in fact,
Holy is more
Family , bylikely
the samto
the Wagner-Amigoniprodigious number
establishment of sub
in Londo
moved to Venice early in 1739,
advance of 3supplying
paoli , and th
6
more fashionable stylistic
be ableideas.34 Once
to provide ther
a most
published prints, The notable
reflecting success trends
the French of the
impressions
work, must have influenced in various
Longhi, who d
unrecorded
same years was so close state38
to Amigoni to - expla
becom
later in
to his son Giacomo Andrea for the
1746. Remondin
35
Further work on the absorbed into Longhi
prints after the firm's
coul
duction.39
account the wide-ranging public The intrinsic
they addressn
ings,of
purely decorative values for
the the most
genre part g
scenes
intelligent renderingsnaturally
of his son lent itself to rec
Alessandro,36
answered,
some ways to the specific however, are
interpretations by qu
G
Tiepolo of his father public for which
Giambattista's they w
paintings d
same years. In this context, the motivation
original setting for the Hunf
was to reproduced
with which Marco Pitteri have been a in priva
17
of The Sacraments and,devoted
later to
on, the
the subject,
Hunting whP
Lagoon (figs. 221-22) and the surrounding
- with not only anfresco
etchi
that reflects very ting the
closely for pictorial
the series of print
values of

32. Contemporary French researched and

painting is of
was great
well kno
through printmaking, asunrecorded
is shown state without
in a letter byinR
per dated
riera to Jean de Julienne, la Grafica,
NovemberGabinet
1728
Biblioteca Medicea Laurenziana, MS.
Alessandro's Ashburnha
etching after h
c. 21), in which the The Art
painter Institute,
thanks Worceste
him for send
first volume of his 37. See
Recueil Le Commedie
, via Anton Mariadel Zanett
Dottor
fact, 1757],
letter by Julienne to Rosalba, p. 300
dated ff. refers
1734,
38. To the
in and IV. See B. Sani, Rosalba three Lettere,
Carriera. states descri
diari
veneziano
Florence 1985, 11, nos. 412 , Florence, n.d. [19
and 498.
33. On Baron's prints should
after be added,
Amigoni, see the plates
M. Roux,
Fonds Français. Graveursfour sides to
du XVIIIe about
siècle 430
, 11, x 35
Paris,
rate
nos. 33-34. For Edelink in plates,
London,about
see 10
G.mm h
Vert
Baptism)
books, Volume III', The Walpolecredits Longhi
Society an
, xxi
are in
[î736] ; 'in Summer Sig,,r- the British
Amiconi wentMuseum,
over to
Contrary
Sig. Farinelli, the Opera to what
Singer and returnis with
genera
h
October & brought over, Longhi are etchings.
en Engraver . . . Edelin
project to set gravers 39.
to See Catalogo
work. delle prints
& sell their Stampe- In
&
34. The suggestion that Flipart
drati went
in piedi to Venice
di mezzo s
foglio Im
France arises probablysame
fromset,J.coloured,
A. Cean L. 14.-.
Bermu
Diccionario Histórico de 40. más
los aee A. Manuz,
ilustres in ťietrode
profesores Lon
la
en España . . .,11, were
Madrid intended
for private
1800, p. 120.
35. Venice, Archivio Storico 'Sagredo
della Inventory' of 17
Curia Patriarcale
Pantalon, 'Lib. Bapt.', 28 Correr, MS. P.D. C.275obi
April 1746.
paintings
36. The list supplied by Pignatti, op.ascit.,
hanging
1968, in
p. th
14
limited. There is still a Sagredo.
need for a detailed study of
Longhi as an etcher, an area which has not b

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 410 SHORTER NOTICES

Goldoni, who speaks ofLonghi's

Pitteri'spaintings, often P
etchings after c
'the most beautiful ornaments of a study,
diction between of a r
conformity
retreat'.41 Among Teodoro Correr's
apparendy picture
satirical attitudc
assembled towards the racy,43
end of the century,
in fact as ambig
have an we k
the drawings showing pretation
the layout onofvarious leve
the collecti
appear alongside Longhi's canvases
translated a dozen 'pai
into multiples for
mirror', that is a group ing prints were
of coloured accompanie
prints applied to
Flipart, Bartolozzi, Faldoni, Cattini and
the flirtatious Gutwein
gallantry of
an equal appreciation for all.42 at erotic overtones,
hinting

41. See above, note 35. cit., pp. 225-41.

42. Venice, Biblioteca del Museo
44. Correr,
The prints MS. better
were Corrersu1
Longhi's
see Romanelli, in Pietro Longhi pictures
, op. cit., rather th
pp. 18-19.
noted of
43. ror the social implications in Longhi
L. Sohm, 'Pietro
s painting
Haskell, Patrons and Painters , New
Relations Haven and
between Lond
Painting
edn, 1980, pp. 323-24, and P. Del Negro ,in
Kunstgeschichte Pietro
xlv, 1982, Lon
pp.

A Sèvres Plate and

Oliver Fairclough

article
The royal porcelain factory atconsiders
Sèvres on whethe
the outs
Paris enjoyed a European pre-eminence
presentation during
of a Paris pri
nineteenth century, in and occupied
which an importan
French lithograp
it relates
French artistic life. Although to
about the descriptio
ninety staff and
practice
artists worked for the factory in the
during writings
the of
course of
Engelmann
it owed its reputation for decorationand Hullmande
of the highest
a group of some two dozen Although Sèvres enamelle
outstanding had to
work ranged from copies Bourbon
of OldRestoration and
Master painting
graphical views, flower paintings,
through its sentimental
showrooms, alleg
the
illustrations of everyday tureslife. Most
royales had a forma
funded by the
training and some artistic independence
expected to produce from the
porcelai
and a number of them by alsothe
madeCrown in the royal
lithographs. It is
of particular interest that one
These of the plates
included vases, in the d
déjeune
vice des arts industriels even
is painted withfurniture,
porcelain a view of a lit
but
workshop (fig. 223). tive Thisof great
theseservice, made
'state' porcelai
between 1820 and 1835, Thesedepicts a wideyears
took several range too
crafts and manufactures of the theme
unifying early nineteenth
reflected in
and the scene on the plate, completed
iconographique in Januar
italien used
one of the earliest depictions of lithographers
from 1814, at d
or the service w

i. For this service see P. original German

Ennès, 'Fourby AS.,plates
London 1819; from
A. Raucourt de
the Sèv
des arts industriels', JournalCharleville,
of the A Manual of Lithography: Memoir
Museum ofonFine
the Lithographic
Arts, Bos
1990, pp. 89-106, of which I have
Experiments made
Made in Paris by extensive
the Royal School of Roads and Bridges ..., use. I
most grateful for help and trans. C. Hullmandel,
advice London
from 1820; F. Mairet
Mme Notice surTamara
la
Librarian and Archivist of the Manufacture de Sèvres. Lithographie, 2nd edn., Châtillon-sur-Seine 1824; G. Engelmann,
2. 1 ne standard account 01 tne development 01 lithography is M. Manuel du dessinateur lithographe ..., Paris 1822; C. Hullmandel,
Twyman, Lithography 1800-1850, Oxford 1970. The Art of Drawing on Stone ..., London 1824.
3. A. Senefelder, A Complete Course of Lithography . . . translated from the

PRINT QUARTERLY, XI, 1 994, 4

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