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 PIRANESI, Giovanni Battista (1720-1788) and Francesco PIRANESI (1758-1810)
Decursio Equitum, et Peditum in Funere Imperatoris Antonini Piie [Base of marble and travertine constructed during the pontificate of Pope Benedict XIV for the pedestal of the column, Ely 715]
Rome: Gio. Batti. Piranesi, [1774-1779]. Engraving. Very good condition apart from some overall light soiling, minor foxing, and a few mild water stains in the right margin, one of which slightly extends into the lower right side of the image. Some mild discolouration along the sheet's two creases. Plate mark: 44 x 31 1/2 inches. Sheet size: 50 x 32 3/4 inches.
This remarkable etching of the base and one of the three decorative reliefs adorning the pedestal of the Antoninus Pius Column is from Piranesi's ''Trofeo o sia Magnifica'.
The adopted son of Hadrian, Antoninus Pius was the beneficent and well-loved emperor of Rome from 138-61 AD. After his death, his adopted sons and successors Lucius Verus and Marcus Aurelius, the nephew of the empress Faustina, erected this commemorative column. It originally stood in the Campus Martius and consisted of a red granite monolith supported by a white marble pedestal decorated with reliefs depicting Antoninus' and Faustina's ascent to heaven, the elaborate ceremonies performed in their honour, and a memorial inscription.
Published toward the end of Piranesi's career, 'Trofeo o sia Magnifica' is comprised of three series of plates created between 1774 and 1779 that depict the colossal relief columns of Rome: the Trajan column, the Antonine column (of Marcus Aurelius), and the column of Antoninus and Faustina. With the assistance of Francesco Piranesi, Giovanni Battista's son, and Vincenzo Dolcibene, the three groups of plates were published as a single volume.
'Colonna...di Antonio Pio', the group of plates devoted to the Antoninus Pius Column, was the last of the three series to be completed (circa 1779).
Giovanni Battista Piranesi, Venetian architect, draftsman, scholar, archaeologist, and designer, was tremendously influential in the development of neo-classicism. Patronized by both foreign tourists and Italians including Pope Clement XIII, he was internationally renowned for his etchings of the scenery and ruins of classical Rome.
Piranesi, the son of a stonemason, was born in 1720 in the village of Mogliano, near Venice. Pursuing an early ambition to become an architect, he was apprenticed to his uncle Matteo Lucchesi, a prominent architect and hydraulic engineer, and then to the Palladian architect Giovanni Scalfurotto. He later studied etching and perspective composition in the workshop of Carlo Zucchi. In 1740, he traveled to Rome where he studied set design with Domenico and Giuseppe Valeriani and engraving with Giuseppe Vasi.
Wilton-Ely, Giovanni Battista Piranesi: The Complete Etchings , 715.
#12328 $3,000.00  
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 PIRANESI, Giovanni Battista (1720-1788) and Francesco PIRANESI (1758-1810)
Trofei de Daci de Sarmati ed altri Popoli Alleati Scolpiti nella Fascia e nel Piedestallo della Colonna Trajana.. [Trophies of the Dacians, the Sarmatians and other allied peoples, carved on the surface and pedestal of Trajan's Column..., Ely 702] [Pl. XIV]
[Pl. XIV]. Rome: Gio. Batti. Piranesi, [1774-1779]. Engraving. Very good condition apart from some light foxing in the margins. Plate mark: 23 x 32 5/8 inches. Sheet size: 31 1/8 x 42 1/8 inches.
This remarkable etching of the pedestal of Trajan's Column is from Piranesi's 'Trofeo o sia Magnifica Colonna Coclide'.
The marble slab in the lower right hand side reads, "Victory's inscribing a shield between two trophies". Originally situated in the center of Trajan's Forum, a sizeable complex of buildings designed by the architect Apollodoro, the column was erected in AD1036-133 to commemorate emperor Trajan's triumph against the Dacians in two military campaigns he led in AD101-102. Measuring 100 feet tall, it is covered by spiral bas-relief sculptures depicting the two victories. After his death in 117AD, Trajan's ashes were laid to rest inside the column's pedestal.
Published toward the end of Piranesi's career, 'Trofeo o sia Magnifica' is comprised of three series of plates created between 1774 and 1779 that depict the colossal relief columns of Rome: the Trajan column, the Antonine column (of Marcus Aurelius), and the column of Antoninus and Faustina. With the assistance of Francesco Piranesi, Giovanni Battista's son, and Vincenzo Dolcibene, the three groups of plates were published as a single volume.
'Trofeo o sia Magnifica Colonna Coclide', the part devoted to Trajan's Column, was the first of the three series to be completed (circa 1774) and was dedicated to Pope Clement XIV.
Giovanni Battista Piranesi, Venetian architect, draftsman, scholar, archaeologist, and designer, was tremendously influential in the development of neo-classicism. Patronized by both foreign tourists and Italians including Pope Clement XIII, he was internationally renowned for his etchings of the scenery and ruins of classical Rome.
Piranesi, the son of a stonemason, was born in 1720 in the village of Mogliano, near Venice. Pursuing an early ambition to become an architect, he was apprenticed to his uncle Matteo Lucchesi, a prominent architect and hydraulic engineer, and then to the Palladian architect Giovanni Scalfurotto. He later studied etching and perspective composition in the workshop of Carlo Zucchi. In 1740, he traveled to Rome where he studied set design with Domenico and Giuseppe Valeriani and engraving with Giuseppe Vasi.
Wilton-Ely, Giovanni Battista Piranesi: The Complete Etchings , 702.
#12378$1,200.00
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 PIRANESI, Giovanni Battista (1720-1788)
Al Signor Giovanni Corbet Cavaliere Inglese amarore delle belle arti, In atto d'ossequio il Cavaliere Gio Batta Piranesi D.D.D. [Two cinerary urns, one of them with trophies and arabesques resting on the other with geniuses and torches, both flanked by two views of a small group of a boy with a dolphin, Ely 915]
Rome: Gio. Batti. Piranesi, [1778]. Engraving. In excellent condition with the exception of slight discolouration at center fold as usual. Plate mark: 21 x 15 1/4 inches. Sheet size: 32 1/4 x 22 1/2 inches.
Dedicated to the Englishman Giovanni Corbet, this magnificent detailed engraving of two cinerary urns and two decorative statues is from Piranesi's 'Vasi, candelabra, cippi, sarcofagi..'
Giovanni Battista Piranesi, Venetian architect, draftsman, scholar, archaeologist, and designer, was tremendously influential in the development of neo-classicism. Patronized by both foreign tourists and Italians including Pope Clement XIII, he was internationally renowned for his etchings of the scenery and ruins of classical Rome.
Piranesi, the son of a stonemason, was born in 1720 in the village of Mogliano, near Venice. Pursuing an early ambition to become an architect, he was apprenticed to his uncle Matteo Lucchesi, a prominent architect and hydraulic engineer, and then to the Palladian architect Giovanni Scalfurotto. He later studied etching and perspective composition in the workshop of Carlo Zucchi.
In 1740, he traveled to Rome where he studied set design with Domenico and Giuseppe Valeriani and engraving with Giuseppe Vasi. After publishing Prima Parte di Architetture, e Prospettive (1743), he spent a brief period in Naples and Venice. He returned to Rome in 1745 and over the next several years issued a series of works that included Invenzioni capric di Carceri (1749-50), Archi Trionfali (1748), and Vedute di Roma (1740s-1778). During the 1750s, he became increasingly interested in archaeology and produced two scholarly works on the subject, Trofei di Ottaviano Augusto (1753) and Antichità Romane de' tempi della Republica e de' primi Imperatori (1756).
With the publication of Della Magnificenza ed Architettura de' Romani (1761), Piranesi became involved in the Graeco-Roman controversy, a theme he addressed in later works. In the 1760s, he focused on ornamental decoration and endorsed the importance of producing original interior and furniture designs inspired by antique motifs in Diverse Maniere d'adornare i Cammini (1769). His ardent interest in archaeology persisted, and he participated in several archaeological digs and issued a number of archaeological treatises. During the 1770s, his antique business thrived, and he continued to execute the plates of Vasi, candelabra, cippi, sarcofagi, tripodi, lucerne, ed ornamenti until his death on November 9, 1778.
Inspired by the interest in classical antiquities in Rome, particularly by wealthy British tourists on the Grand Tour, Piranesi began dealing, authenticating and restoring Roman antiquities in the 1760s. This venture enabled him to support his print-selling business while further pursuing his avid interest in archaeological research. In his workshop near the British quarter, he opened a showroom from which he sold a variety of antique ornamental works ranging from cinerary urns and candelabrum to vases and altars.
Beginning in 1768, he began etching individual plates of the wide assortment of object d'art in his showroom as well as significant works in various Italian and British collections. These etchings, many of which Piranesi inscribed with a descriptive text explaining where the items depicted were found and currently located, were published collectively in 1778 as the Vasi, candelabra, cippi, sarcofagi, tripodi, lucerne, ed ornamenti.
Piranesi's expansive grasp of the vocabulary of antique decorative elements and keen interest in ancient materials is apparent in these finely detailed renderings, some of which provide multiple views of the more intricate relics.
Wilton-Ely, Giovanni Battista Piranesi: The Complete Etchings , 915.
#9806$1,200.00
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 PIRANESI, Giovanni Battista (1720-1788)
[Another face of the pedestal of Trajan's Column, Ely 700] [Pl. XII]
[Pl. XII]. Rome: Gio. Batti. Piranesi, [1774-1779]. Engraving. Very good condition. Plate mark: 23 3/8 x 33 inches. Sheet size: 26 3/4 x 37 1/8 inches.
This remarkable etching of the pedestal of Trajan's Column is from Piranesi's 'Trofeo o sia Magnifica Colonna Coclide'.
Originally situated in the center of Trajan's Forum, a sizeable complex of buildings designed by the architect Apollodoro, the column was erected in AD1036-133 to commemorate emperor Trajan's triumph against the Dacians in two military campaigns he led in AD101-102. Measuring 100 feet tall, it is covered by spiral bas-relief sculptures depicting the two victories. After his death in 117AD, Trajan's ashes were laid to rest inside the column's pedestal.
Published toward the end of Piranesi's career, 'Trofeo o sia Magnifica' is comprised of three series of plates created between 1774 and 1779 that depict the colossal relief columns of Rome: the Trajan column, the Antonine column (of Marcus Aurelius), and the column of Antoninus and Faustina. With the assistance of Francesco Piranesi, Giovanni Battista's son, and Vincenzo Dolcibene, the three groups of plates were published as a single volume.
'Trofeo o sia Magnifica Colonna Coclide', the part devoted to Trajan's Column, was the first of the three series to be completed (circa 1774) and was dedicated to Pope Clement XIV.
Giovanni Battista Piranesi, Venetian architect, draftsman, scholar, archaeologist, and designer, was tremendously influential in the development of neo-classicism. Patronized by both foreign tourists and Italians including Pope Clement XIII, he was internationally renowned for his etchings of the scenery and ruins of classical Rome.
Piranesi, the son of a stonemason, was born in 1720 in the village of Mogliano, near Venice. Pursuing an early ambition to become an architect, he was apprenticed to his uncle Matteo Lucchesi, a prominent architect and hydraulic engineer, and then to the Palladian architect Giovanni Scalfurotto. He later studied etching and perspective composition in the workshop of Carlo Zucchi. In 1740, he traveled to Rome where he studied set design with Domenico and Giuseppe Valeriani and engraving with Giuseppe Vasi.
Wilton-Ely, Giovanni Battista Piranesi: The Complete Etchings, 700.
#8312$1,000.00
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 PIRANESI, Giovanni Battista (1720-1788)
Dedicated Al Nobile Uomo il Sig. Giambattista Collicola Montioni Foriere Maggiore dei Sagri Palazzi Apostolici... [Large basalt vase with masks, Ely 945] [Pl. 60]
[Pl. 60]. Rome: Gio. Batti. Piranesi, [1778]. Engraving. Very good condition apart from a 1 7/8" tear in the far right side of the center fold. Plate mark: 23 5/8 x 17 7/8 inches. Sheet size: 31 3/8 x 23 1/4 inches.
This magnificent detailed engraving of a monumental vase from the Vatican is from Piranesi's 'Vasi, candelabra, cippi, sarcofagi...'
Giovanni Battista Piranesi, Venetian architect, draftsman, scholar, archaeologist, and designer, was tremendously influential in the development of neo-classicism. Patronized by both foreign tourists and Italians including Pope Clement XIII, he was internationally renowned for his etchings of the scenery and ruins of classical Rome.
Piranesi, the son of a stonemason, was born in 1720 in the village of Mogliano, near Venice. Pursuing an early ambition to become an architect, he was apprenticed to his uncle Matteo Lucchesi, a prominent architect and hydraulic engineer, and then to the Palladian architect Giovanni Scalfurotto. He later studied etching and perspective composition in the workshop of Carlo Zucchi.
In 1740, he traveled to Rome where he studied set design with Domenico and Giuseppe Valeriani and engraving with Giuseppe Vasi. After publishing Prima Parte di Architetture, e Prospettive (1743), he spent a brief period in Naples and Venice. He returned to Rome in 1745 and over the next several years issued a series of works that included Invenzioni capric di Carceri (1749-50), Archi Trionfali (1748), and Vedute di Roma (1740s-1778). During the 1750s, he became increasingly interested in archaeology and produced two scholarly works on the subject, Trofei di Ottaviano Augusto (1753) and Antichità Romane de' tempi della Republica e de' primi Imperatori (1756).
With the publication of Della Magnificenza ed Architettura de' Romani (1761), Piranesi became involved in the Graeco-Roman controversy, a theme he addressed in later works. In the 1760s, he focused on ornamental decoration and endorsed the importance of producing original interior and furniture designs inspired by antique motifs in Diverse Maniere d'adornare i Cammini (1769). His ardent interest in archaeology persisted, and he participated in several archaeological digs and issued a number of archaeological treatises. During the 1770s, his antique business thrived, and he continued to execute the plates of Vasi, candelabra, cippi, sarcofagi, tripodi, lucerne, ed ornamenti until his death on November 9, 1778.
Inspired by the interest in classical antiquities in Rome, particularly by wealthy British tourists on the Grand Tour, Piranesi began dealing, authenticating and restoring Roman antiquities in the 1760s. This venture enabled him to support his print-selling business while further pursuing his avid interest in archaeological research. In his workshop near the British quarter, he opened a showroom from which he sold a variety of antique ornamental works ranging from cinerary urns and candelabrum to vases and altars.
Beginning in 1768, he began etching individual plates of the wide assortment of object d'art in his showroom as well as significant works in various Italian and British collections. These etchings, many of which Piranesi inscribed with a descriptive text explaining where the items depicted were found and currently located, were published collectively in 1778 as the Vasi, candelabra, cippi, sarcofagi, tripodi, lucerne, ed ornamenti.
Piranesi's expansive grasp of the vocabulary of antique decorative elements and keen interest in ancient materials is apparent in these finely detailed renderings, some of which provide multiple views of the more intricate relics.
Wilton-Ely, Giovanni Battista Piranesi: The Complete Etchings , 945.
#8315$1,200.00
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 PIRANESI, Giovanni Battista (1720-1788)
Le Anitchità Romane...divisa in quattro tomi
Rome: Stamperia Salomoni, 1784. 4 volumes, folio (20 5/8 x 15 3/4 inches). Letterpress title to vol.I. 1 etched portrait frontispiece of Piranesi by Francisco Piranesi; 3 etched titles; 2 engraved index leaves; 1 double-page etched dedication to Gustavius III of Sweden; 247 etched plates on 214 leaves (2 double-page by Francisco Piranesi, 245 by G.B. Piranesi [10 folding, 118 double-page; 6 single-page plates printed on three double-page leaves; 53 single-page plates, 60 half-page plates printed on thirty single-page leaves]), 1 etched headpiece, 1 etched illustration, 6 etched initials. Contemporary diced russia, covers with triple fillet borders, expertly rebacked to style using 18th-century russia, spines in seven compartments with double raised bands, the bands highlighted by gilt fillets and roll tools, lettered in gilt in the second and third compartments, gilt turn-ins, marbled endpapers, the four volumes in two modern half-morocco boxes with title labels on upper covers. Provenance: Sir Henry Goodricke (6th Baronet, of Ribstone, Yorkshire,1765-1802, engraved armorial bookplates).
A beautiful, fresh and complete copy of the second edition of this important and highly influential work. Through an unparalleled series of evocative views Piranesi captures the essence of the ancient city of Rome: from the spectacular large-scale images of the great buildings to the minutiae of the lettering in the catacombs.
This second edition includes the portrait of Piranesi by Francesco Piranesi in place of the Polanzani portrait, and a dedication plate to Gustavus III of Sweden replacing the former dedication "to posterity."
'More than any other antiquarian work, the plates of the Antichità played a dominant role in conveying information [about the ancient city], and Piranesi was to develop a whole new range of specialized illustrations in order to reveal aspects of antiquity which had hitherto been largely neglected. His aim, as with all his archaeological publications, was two-fold: to record the vanishing past for scholars and to inspire contemporary designers to emulate the achievements of the past. ... In the Antichità Piranesi consciously sets out to apply a completely new system of archaeological inquiry to the study of the remains of antiquity. The first volume explains the urban structure of ancient Rome in terms of its walls, defenses and aqueducts as well as its civic and religious monuments. The next two volumes ... are devoted to the extensive remains of tombs and funerary monuments around Rome. The final volume expounds the heroic feats of Roman engineering represented by the bridges and monumental structures like the Curia Hostilia (the substructure of the Temple of Claudio), Hadrian's Mausoleum (the Castel Sant' Angelo), and the Theater of Marcellus .. [In this work there are also signs of] Piranesi's attempts to counteract the increasing claims for the superiority of Greek art and architecture being made by Winckelmann and Laugier' (Wilton-Ely I, pp.327-328).
The son of a stonemason, Piranesi trained in the architectural studio of his maternal uncle, Matteo Lucchesi, and possibly with the artist and stage designer Ferdinando Bibiena at Venice before travelling to Rome as part of the Venetian delegation to honour the newly elected Pope Benedict XIV. Piranesi's early enthusiasm for antiquity was further excited at Rome, and the discoveries at Herculaneaum, which Piranesi visited, heightened his own and others' fascination with ancient ruins. After eight years of careful study and excavation Piranesi published this four-volume work in Rome in 1756. Its popularity was such that it swiftly established his reputation in Europe as the leading expert on Roman archaeology.
Ficacci Giovanni Battista Piranesi: The Complete Etchings pp.166-319; Focillon 145-661; Hind, p.84; Wilton-Ely Giovanni Battista Piranesi: The Complete Etchings I, pp.327-582.
#19171$100,000.00
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 PIRANESI, Giovanni Battista (1720-1788)
[Plate of an neo-Classical fireplace, from "Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi". [31]
[31]. [Rome: mid-1770s - 1790]. Etched plate, on laid paper, by Piranesi. In good condition with large margins. Sheet size: 14 7/8 x 20 7/8 inches.
A fine example of Priranesi's work on a more domestic scale. Fifty-six of the sixty-nine plates in Piranesi's Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi... are devoted to fire-place designs, with Piranesi drawing inspiration from Greek, Etruscan and Egyptian architecture.
Ficacci 655; Focillon 891; Wilton-Ely 843; Hind p. 86
#20509$750.00
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 PIRANESI, Giovanni Battista (1720-1788)
[Plate of an neo-Classical fireplace, from "Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi". [33]
[33]. {Rome]: [mid 1770s-1790]. Etched plate, on laid paper, by Piranesi. In good condition with large margins. Watermarked. Sheet size: 15 x 20 7/8 inches.
A fine example of Priranesi's work on a more domestic scale. Fifty-six of the sixty-nine plates in Piranesi's Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi... are devoted to fire-place designs, with Piranesi drawing inspiration from Greek, Etruscan and Egyptian architecture.
Ficacci 656; Focillon 893; Wilton-Ely 844; Hind p. 86
#20510$750.00
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 PIRANESI, Giovanni Battista (1720-1788)
[Plate of an neo-Classical fireplace, from "Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi". [20]
[20]. [Rome: mid-1770s - 1790]. Etched plate, on laid paper, by Piranesi. In good condition with large margins. Sheet size: 14 3/4 x 20 7/8 inches.
A fine example of Priranesi's work on a more domestic scale. Fifty-six of the sixty-nine plates in Piranesi's Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi... are devoted to fire-place designs, with Piranesi drawing inspiration from Greek, Etruscan and Egyptian architecture.
Ficacci 648; Focillon 880; Wilton-Ely 836; Hind p. 86
#20512$750.00
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 PIRANESI, Giovanni Battista (1720-1788)
[Plate of an neo-Classical fireplace, from "Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi". [29]
[29]. [Rome: mid- 1770s - 1790]. Etched plate, on laid paper, by Piranesi. In good condition with large margins. Sheet size: 15 x 20 7/8 inches.
A fine example of Priranesi's work on a more domestic scale. Fifty-six of the sixty-nine plates in Piranesi's Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi... are devoted to fire-place designs, with Piranesi drawing inspiration from Greek, Etruscan and Egyptian architecture.
Ficacci 653; Focillon 889; Wilton-Ely 841; Hind p. 86
#20513$750.00
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Copyright © 2002-2010 Donald A. Heald
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