Ferdinando Albertolli Sold at Auction Prices

Engraver, b. 1780 - d. 1844

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      • Albertolli (Ferdinando) Porte di Città e Fortezze...di Michele Sammicheli, Milan, 1815
        Oct. 31, 2024

        Albertolli (Ferdinando) Porte di Città e Fortezze...di Michele Sammicheli, Milan, 1815

        Est: £2,500 - £3,500

        Albertolli (Ferdinando) Porte di Città e Fortezze depositi sepolcrali ed altre principali fabbriche pubbliche e private di Michele Sammicheli Veronese, only edition, 30 engraved plates including 21 aquatints printed in sepia, occasional marginal spotting, contemporary calf-backed marbled boards, spine ruled and titled in gilt, uncut, [BAL 60; Berlin Kat. 2737; Fowler 287], large oblong folio, Milan, 1815. *** Excellent copy of this work on the Renaissance architect Michele Sanmicheli (c.1485-1559), with fine aquatint plates of his buildings for his native Verona and other cities including gateways and palazzi.

        Forum Auctions - UK
      • FERDINANDO ALBERTOLLI, GOUACHE ON PAPER - DECORATIVE DESIGN WITH A BIRD’S NEST AND RABBITS
        Jun. 22, 2024

        FERDINANDO ALBERTOLLI, GOUACHE ON PAPER - DECORATIVE DESIGN WITH A BIRD’S NEST AND RABBITS

        Est: $8,000 - $15,000

        ALBERTOLLI, Ferdinando (Italian, 1781-1844). Decorative Design with a Bird’s Nest and Rabbits among Scrolling Foliage. Gouache on paper. Signed lower right: "Ferdinando Albertolli fece 1834". Inscribed verso: "A.S.A.I.R./ L’Arciduchessa Viceregina/ Ferdinando Albertolli Professore/ d’ornamenti nell’ S.R. Accademia/ delle Belle Arte in Milano/ Umilia in attestato di profondo esequio." 6 3/4" x 9 3/4" image, 8" x 10 5/8" sheet, 15 1/2" x 18 1/4" framed. The Albertolli family of artists originated in Switzerland but were active in northern Italy during the eighteenth and first half of the nineteenth century. They were particularly noted for their teaching abilities and between 1776 and 1844 the chair of design at the Accademia di Belle Arti di Brera in Milan, was held by successive members of the family. The Albertolli specialized in the design and depiction of architectural ornamentation. Following the discovery of Herculaneum and Pompeii during the mid-eighteenth century, interest in classical architecture and its decoration saw a resurgence. The Renaissance had already brought about its revival. The Albertolli family were among the leading artists to diseminate knowledge of classical architecture particularly in such publications as Giocondo Albertolli’s Corso elementare di ornamenti architettonici. Always championing the unity of architecture, applied decoration and furnishing, their work is believed to have inspired such architects as the Frenchmen, Charles Percier, Pierre-Francois Fontaine and Moreau. Ferdinando Albertolli was the nephew and son-in-law of Giocondo Albertolli, with whom he trained as an engraver, designer and architect. After further study at Milan’s Accademia di Belle Arti di Brera he was awarded first prize for design in 1806. Like the rest of his family he was a devoted teacher and first found employment at the high school in Verona, in1804, before becoming a professor of design at the Accademia di Belle Arti in Venice during 1807. Five years later he succeeded his uncle as professor of design at the Brera, where he remained as a teacher until his death. Ferdinando’s considerable skill is readily apparent in this beautiful work. His abilities as both a designer and an artist are magnificently displayed in the execution of the composition, attention to detail and vibrant use of color. The piece is wholly representative of the classical ideals inspired by the discovery of Herculaneum and Pompeii and championed by such famous architects and designers as the Albertolli family and the British, Robert Adam.

        Arader Galleries
      • Albertoli Decorative Watercolor
        Jan. 26, 2019

        Albertoli Decorative Watercolor

        Est: $9,000 - $12,000

        Albertolli, Ferdinando (Italian, 1781-1844). Decorative Design with a Bird’s Nest and Rabbits among Scrolling Foliage. Gouache on paper. Signed l.r. recto: Ferdinando Albertolli fece 1834. Inscribed verso: A.S.A.I.R./ L’Arciduchessa Viceregina/ Ferdinando Albertolli Professore/ d’ornamenti nell’ S.R. Accademia/ delle Belle Arte in Milano/ Umilia in attestato di profondo esequio. 1834. 6 3/4" x 9 3/4" image, 8" x 10 5/8" sheet,15 1/2" x 18 1/4" framed. The Albertolli family of artists originated in Switzerland but were active in northern Italy during the eighteenth and first half of the nineteenth century. They were particularly noted for their teaching abilities and between 1776 and 1844 the chair of design at the Accademia di Belle Arti di Brera in Milan, was held by successive members of the family. The Albertolli specialized in the design and depiction of architectural ornamentation. Following the discovery of Herculaneum and Pompeii during the mid-eighteenth century, interest in classical architecture and its decoration saw a resurgence. The Renaissance had already brought about its revival. The Albertolli family were among the leading artists to diseminate knowledge of classical architecture particularly in such publications as Giocondo Albertolli’s Corso elementare di ornamenti architettonici. Always championing the unity of architecture, applied decoration and furnishing, their work is believed to have inspired such architects as the Frenchmen, Charles Percier, Pierre-Francois Fontaine and Moreau. Ferdinando Albertolli was the nephew and son-in-law of Giocondo Albertolli, with whom he trained as an engraver, designer and architect. After further study at Milan’s Accademia di Belle Arti di Brera he was awarded first prize for design in 1806. Like the rest of his family he was a devoted teacher and first found employment at the high school in Verona, in1804, before becoming a professor of design at the Accademia di Belle Arti in Venice during 1807. Five years later he succeeded his uncle as professor of design at the Brera, where he remained as a teacher until his death. Ferdinando’s considerable skill is readily apparent in this beautiful work. His abilities as both a designer and an artist are magnificently displayed in the execution of the composition, attention to detail and vibrant use of color. The piece is wholly representative of the classical ideals inspired by the discovery of Herculaneum and Pompeii and championed by such famous architects and designers as the Albertolli family and the British, Robert Adam.

        Arader Galleries
      • Albertolli, Ferdinando.
        May. 13, 2014

        Albertolli, Ferdinando.

        Est: -

        Porte di città e fortezze depositi sepolcrali ed altre principali fabbriche pubbliche e private di Michele Sammicheli, Milano, Pietro e Giuseppe Vallardi, 1815.In 2° oblungo (390 x 565 mm); [6] carte, seguite da 1 tavola non numerata e 29 tavole numerate incise all'acquatinta (abile restauro allo strappo alla tavola 21, altre 5 tavole con strappi marginali, in parte abilmente restaurati, qualche sporadica piccola macchia ai margini bianchi). Legatura posteriore in mezza pelle con angoli con fregi al dorso liscio (abile restauro in piede al dorso).Prima edizione curata da Albertolli delle opere di Sanmicheli, che morto a Verona nel 1559 fu uno dei maggiori rappresentanti del manierismo, lavorò come architetto civile, ma si occupò prevalentemente delle costruzioni militari e in particolare alle fortificazioni delle città dell'impero veneziano.

        Aste Bolaffi
      • ALBERTOLLI, Ferdinando (1781-1844). Porte di Città e Fortezze Depositi sepolcrali ed altre
        Jul. 07, 2004

        ALBERTOLLI, Ferdinando (1781-1844). Porte di Città e Fortezze Depositi sepolcrali ed altre

        Est: £5,000 - £8,000

        ALBERTOLLI, Ferdinando (1781-1844). Porte di Città e Fortezze Depositi sepolcrali ed altre principali fabbriche pubbliche e private di Michele Sammicheli [sic]. Milan: Cesarea Regia Stamperia for the author, Pietro and Giuseppe Vallardi, and Fratelli Bettalli, 1815. Oblong 2° (400 x 540mm). Aquatint frontispiece and 29 etched or aquatint plates by and after Albertolli, some printed in sepia. (Some spotting, principally affecting margins, some slight cockling of text leaves and plates.) BINDING: contemporary Italian vellum gilt, boards with borders of fine, painted red rules within gilt bands of urn and foliate tools with star tools at the centres and corners, upper board painted in red and yellow with 'E' formed of leafy sprays within cartouche of flowers and leaves, gilt board edges and roll-tooled gilt turn-ins, spine gilt in compartments, gilt morocco lettering-piece in one, gilt edges (lightly marked and rubbed, extremities a little rubbed and bumped). PROVENANCE: Prince Eugène de Beauharnais (cipher on upper board, his second sale, Milan, Ulrico Hoepli and Braus-Riggenbach, 20-22 November 1935, lot 2, pencilled note on upper pastedown 'Library Prince Eugene de Beauharnais') -- traces of shelfmark on lettering-piece -- Sir Robert Abdy (sale, Paris, 29-30 April 1976, lot 3). FIRST EDITION. A PAINTED VELLUM BINDING FROM THE LIBRARY OF NAPOLEON'S STEPSON, PRINCE EUGèNE DE BEAUHARNAIS (1781-1824), on Albertolli's fine plates of the military, public and domestic architecture of Michele Sanmicheli (1484-1559), described by Cicognara as 'disegnate con molto diligenza' and as 'the first accurate illustrations of Sanmicheli' (RIBA). Berlin Kat. 2737; Brunet I, 136; Cicognara 394; Fowler 287; RIBA 60.

        Christie's
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