Item #1069 All’ Ill.mo Fran.co Bandini. Humilissimo servitor Giovan Batista Paganelli DD. Agost.o Mitelli In Ventor. Agosto Mitelli.
All’ Ill.mo Fran.co Bandini. Humilissimo servitor Giovan Batista Paganelli DD. Agost.o Mitelli In Ventor.
All’ Ill.mo Fran.co Bandini. Humilissimo servitor Giovan Batista Paganelli DD. Agost.o Mitelli In Ventor.
All’ Ill.mo Fran.co Bandini. Humilissimo servitor Giovan Batista Paganelli DD. Agost.o Mitelli In Ventor.
All’ Ill.mo Fran.co Bandini. Humilissimo servitor Giovan Batista Paganelli DD. Agost.o Mitelli In Ventor.
Mitelli’s Designs Stylistically dominated the field for more than a quarter of a Century

All’ Ill.mo Fran.co Bandini. Humilissimo servitor Giovan Batista Paganelli DD. Agost.o Mitelli In Ventor.

(Milan: Giovanni Battista Paganelli, ca. 1650). Item #1069

4to. Sheet size 267 x 195 mm., [10 ½ x 7 ½ inches];  Plate size 241/246 x 166/168 mm., [ca. 9 ½ 6 ½ inches].  Printed in brown ink on six star  watermark paper.  First plate slightly soiled with small repaired patch at top and short repaired tear at bottom, 7th plate torn and repaired along inner platemark just affecting top of image, small stain at top of final pate 22, plate 15 shaved at lower platemark.  Plates numbered 210-233 in early ink.


Rare suite of twenty-four etchings designed by Agostino Mitelli (1609-1666), the noted painter, draughtsman and engraver working during the middle years of the 17th century.  These plates, thought to be one of Mitelli’s most stylized series of etchings, demonstrate his skill at rendering ornamental designs to be used as elements of architectural expression.  These full-page images of cartouches or so-called frames incorporate the mannerists tendencies for exaggerated ornamentation and Mitelli’s masterly grasp of perspective.  He uses traditional elements of putti, fruit, shells, grotesques, and the leaf and vine motif to ornament these image.  Each is beautifully etched, with a combination of detail and open space, giving the etching a finished appearance with a minimum of line. It is thought that Mitelli produced only three suites of cartouches, his most famous being the 48 etchings which appeared in his Freggi ell’Architettura Dedicati, (or Friezes) printed in 1645.  This series of twenty four etchings constitutes about twenty five percent of his known etchings. Although unsigned, it is thought that these etchings were probably executed by Mitelli himself.    


Mitelli was the father of Giuseppe Maria Mitelli (1634-1718), who learned the trade from his father and produced a great variety of engravings, especially known his suite on the street life or ‘cries’ of Bologna” (Di Bologna. L’Arti per Via).  Agostino was educated at the Carracci Academy in Bologna where he studied perspective, architecture, and painting and where he met his longtime partner Michelangelo Colonna.  Together they produced paintings of note for palaces, churches, and chapels in Bologna, Parma, Modena, and Genoa.  Mitelli’s last commission was from Phillip IV of Spain where they created paintings of the story of Pandora for the Grand Salon of the Palacio Reale in Madrid.  Mitelli died in Madrid in 1666. 


Berlin Katalog, 562. Benezit, Dictionary of Artists (2006), Vol. 5, p. 1061. Thieme-Becker, Allgemeines Lexicon, Vol. 33, pp. 444-5.  See Milliard Architectural Collection Vol. 4, Italian and Spanish Books, pp. 227-229 for a short biography of Mitelli’s work and influence on the field of architectural decoration.

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Price: $4,500.00

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