Veduta del Colle Viminale, presa dalle falde de Quirinale from Sette Colli, 1825. Pinelli, Bartolomeo. 1825 This copy of the suite was shown in the 1956 exhibition Mostra di Bartolomeo Pinelli. See the Itinerario, which accompanies, Incisa della Rochetta, Giovanni. Bartolomeo Pinelli. Roma: Amici dei Musei di Roma, 1956. Title from: Itinerario. The Veduta del Colle Capitolino, presa dalle falde del Colle Aventino displays Alessandro Castignari's collector's mark on the verso (Lugt 86a). Ref.: Pacini, Renato. Bartolomeo Pinelli e la Roma del tempo suo. Milano: S.A. Fratelli Treves Editori, 1935

• Contributor: piemags/GB24 / Alamy Stock Photo
• Image ID: 2WT0XFE
• File size: 17.5 MB (1 MB Compressed download)
• Releases: Model - no | Property - no
• Dimensions: 3000 x 2039 px | 25.4 x 17.3 cm | 10 x 6.8 inches | 300dpi
• Date taken: 20 September 2016

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This image could have imperfections as it’s either historical or reportage.

Veduta del Colle Viminale, presa dalle falde de Quirinale from Sette Colli, 1825. Pinelli, Bartolomeo. 1825 This copy of the suite was shown in the 1956 exhibition Mostra di Bartolomeo Pinelli. See the Itinerario, which accompanies, Incisa della Rochetta, Giovanni. Bartolomeo Pinelli. Roma: Amici dei Musei di Roma, 1956. Title from: Itinerario. The Veduta del Colle Capitolino, presa dalle falde del Colle Aventino displays Alessandro Castignari's collector's mark on the verso (Lugt 86a). Ref.: Pacini, Renato. Bartolomeo Pinelli e la Roma del tempo suo. Milano: S.A. Fratelli Treves Editori, 1935, p. 115, 134-135. Imprint: [Rome]. The suite consists of views of the seven hills of Rome, both drawn and etched by Pinelli in 1825, according to the inscriptions. Anna Laetitia Pecci-Blunt collected prints, published works, drawings and paintings thematically focused upon the city of Rome. Her collection included views, plans, maps of Rome and depictions of the inhabitants of the city in popular costume. As intense urban development under Mussolini transformed Rome in the 1930's, interest in the city's past grew among certain circles in Rome. Pecci-Blunt's collection came to be known as "Roma Sparita" because of its nostalgic focus on the Rome of a bygone era. Pecci-Blunt marked many of the prints in her collection with her collector's marks. Small, circular marks found on the recto of the prints, typically in the lower right corner, display Pecci-Blunt's family coat of arms, a comet, encircled with the text: "Coll. C.ssa A. L. Pecci Blunt." Circular marks on the verso of the prints, typically in the lower center, denote Pecci-Blunt's name for her collection, "Roma Sparita." The stamps contain the text; "Roma Sparita, N...., " (with space for adding an inventory number), encircled with additional text "Collezione Contessa Anna Laetitia Pecci-Blunt."