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The Agora, Athens.

Dodwell, Edward. Bazar of Athens "Bazar of Athens" London Rodwell & Martin. 1821
Aquatint view of the Agora or Bazar of Athens from Dodwell's "Views in Greece". Original hand colour,
The lively scene shows the weekly market of Athens where Greeks, Turks and Albanians mingle together, along with peasants and farmers from the surrounding countryside.
Dodwell gives a full description of the prominent figures portrayed, In the coffee house where a freed slave stands leaning by a tree, the proprieter brings coffee to the Disdar or Govenor of the castle, dressed in scarlet, seateds with a Turkish Agha; standingon the step is the Vaivode or Governor of Salamis, son of Spiridon Logothetis [the late English agent], he is meeting a Greek Baratario, designated by his headgear or turban [also worn by Greek physicians]; Three turkish women stand in the centre in long white robes; to the left the Turk in green is wearing the sacred colour indicating he has performed the Hajj or pilgrimmage to Mecca.

In the background, the Acropolis with the cave of Pan and the Venetian tower near the Propylea depicted to the right of the minaret; to the left the Parthenon and Erectheion. Image bright and clean; title from verso attached below image but can be covered by mount; light foxing to surrounding card.

Edward Dodwell (1767 1832)
was an Irish painter, traveller, antiquary and a writer on archaeology. Educated at Trinity College Cambridge.

Dodwell travelled to Greece in 1801 in company with Sir William Gell touring the Ionian Islands and the Troad, In 1805-6 when he was allowed leave of absence to travel by the government of Bonaparte, in whose hands he was a prisoner, he returned to Greece accompanied by the Italian artist Simone Pomardi, touring mainland Greece and the Ionian Islands meeting again with Sir William Gell towards the end of the tour. During this second tour he and Pomardi produced around 1000 drawings which would become the basis for A Classical and Topographical Tour through Greece during the years 1801, 1805 and 1806published in 1819, the work was dedicated to
Le Chevalier who had arranged his parole.

"The Dodwell-Pomardi practice was to draw freehand on the spot if the landscape or ruin was condensed into a particular feature rather than an extensive view, often in pen in grey or sepia ink and wash if by Pomardi, and more roughly in pencil if by Dodwell; much more deliberate drawing followed, with the assistance of the camera obscura if a more detailed and complex composition was required — without it, Pomardi and Dodwell would have produced far fewer illustrations. The finished drawings were developed later, in Italy, from a compilation of outlines, sketches and precise notes; on these, both men worked together in a concerted campaign to reach a definitive publishable stage, probably with the assistance of other artists,"[ Brian Sewell ;"In Search of Classical Greece: Travel Drawings of Edward Dodwell And Simone Pomardi 1805-1806," British Museum - exhibition review]
The Classical Tour is illustrated with lithographs of the drawings as the intended aquatint illustrations proved too expensive to produce. Thirty aquatint plates were chosen to be issued separately as Views in Greece published in 1821.

Dodwell settled in Italy after his return, living chiefly in Naples and Rome. He had amassed a large collection of ancient artifacts including the well-known Dodwell Vasewith a representation of a boar-hunt; at his death the collection consisted of over 1000 pieces and even more mineral specimens; the collection of vases is now in the possession of the Munich Glyptothek

He died in Rome from the effects of an illness contracted in 1830 during a visit of exploration to the Sabine Mountains. His last work, "Views and Descriptions of Cyclopian or Pelasgic Remains in Italy and Greece", was published posthumously" in 1834.

" Dodwell and Pomardi, like many travellers, chose to go beyond the established Mediterranean regions of the Grand Tour. The understanding these travellers brought to the archaeological remains of ancient Greece encouraged the taste among British Hellenists for Greek architecture. This gave new vigour to the Greek Revival, already begun in the middle of the 18th century by the expeditions of the Society of Dilettanti. Hellenism, the love of ancient Greece, was to promote a new movement of Philhellenism, a sympathy for modern Greek people and a desire to realise the dream, as Byron put it, "that Greece might still be free."
[Catalogue British Museum "In Search of Classical Greece: Travel Drawings of Edward Dodwell And Simone Pomardi 1805-1806,"]

Simone Pomardi 1757-1830

Little is known of him — nothing between records of his birth in 1757 and his settling in an artists' neighbourhood in Rome in 1783, nothing of his training and the influences to which he may have been subject, and from a working life of more than half a century, fewer than 50 works independent of Dodwell are known, their subjects mostly the antiquities of Rome. He would publish his own work about the travel with Dodwell "Viaggio nella Grecia fatto negli anni 1804, 1805 e 1806"published in Rome in 1820 by Vincenzo Poggioli often using the same illustrations.
Blackmer/Navari: 493; Atabey:357; Abbey, Travel: 130; Colas 876; Weber I: 1110. 257 by 398mm (10 by 15¾ inches).   ref: 2591  €2500

Company: Bryan, Mary Louise. Address: 6 Alikarnassou Street, 21100 Nafplion, Greece.
Vat No: EL 119092581