Ex-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi

View Similar Items

Giovanni Battista Piranesi - Veduta delle Antiche Sostruzioni, Vintage Cityscape Etching by Giovanni Piranesi

Jacques Callot - Supplicium sceleri Fraenum - Etching by Jacques Callot - 1624/34

Unknown - Shepherds with Flock - Etching - 19th Century

Giuseppe Vasi - The Temple of Peace - Etching by Giuseppe Vasi - Mid-18th Century

Max Klinger - Landslide (Bergsturz), Pre-20th Century Etching by Max Klinger

Giovanni Battista Piranesi - Ruins of an Ancient Tomb - G. B. Piranesi - 1762

Giovanni Battista Piranesi - View of the Cave known as Bergantino - Etching by G. B. Piranesi - 1762

Luigi Rossini - Veduta Generale del Tempio della Sibilla... - by L. Rossini - 1824

Giovambattista Falda - Chiesa del Gesù di Roma - Etching by Giovambattista Falda - 1665

Giovanni Battista Piranesi - Piranesi 18th C. Etching "Reliquiae Theartri Pompejani" an Ancient Roman Theater

(after) Jean-Baptiste-Camille Corot - Vue de Mantes - Etching after C. Corot by C. Pinet - 19th Century

Giuseppe Vasi - 18th Century Etching of "Chiesa di S. Lucia" in Rome by Giuseppe Vasi

1 of 5

Giuseppe Vasi
Ex-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi
1765

About the Item

Prospetto dell’Alma Citta di Roma … Giuseppe Vasi, 1765. Etching on 12 joined sheets of laid paper. Mounted within is original 18th century 9' long black painted and gilt wood frame. In 1740, a young man walked into the workshop of Giuseppe Vasi (1710-1782), then the most eminent etcher in Rome. The self-possessed 20 year old, not a stranger to the 30 year old artist, sought work in the master’s studio, and was intent on learning something of his secrets. The internship did not go well, the younger artist was frustrated by Vasi’s withholding certain critical information, especially the best methods for handling acid during the etching process. This disappointment, soon enough, turned to rage, and in a studio likely awash in sharp, pointed objects knives, etching needles, etc. The apprentice stabbed his teacher, the motive described as murder. Fortunately (for him and us), Vasi survived, and his hot-headed charge Giovanni Battista Piranesi (1720-1778) seems to have gone unpunished. For the next four decades, a robust rivalry built between the two men, one decisively influencing the work of both, a competition without which Vasi’s defining work, the Prospetto dell’Alma Citta di Roma, might never have been achieved. In the quarter century following that attack, Vasi’s artistic prominence with etchings of ancient Roman monuments increasingly waned, while Piranesi’s star burned ever more brightly, the younger man’s very much more dramatic, Romantic, highly realized views, often of identical subjects (historians suggest Piranesi made off with several of Vasi’s copper printing plates) rendering his teacher’s images timid, even naïve. In his (partial) eclipse, Vasi sought something much more magnificent than he’d previously produced, an 18th century printed blockbuster. Interestingly, he found the answer not in any novel methodology or shocking re-interpretation, but, simply enough, within the history of Roman printmaking. In 1593, Antonio Tempesta (1555-1630) published a vast view of the Eternal City – Pianta di Roma, 105 x 240 cm, printed across a dozen joined sheets. More a two-dimensional map than three-dimensional architectural perspective, it nonetheless pictured the entire city, at a size and scale encouraging examination of every street and landmark. In 1676, Giovanni Falda (1643-1678) followed suit with his own immense Nuova Pianta et Alzata della Citta di Roma, 163.5 x161 cm., also on twelve joined sheets. In 1748, Giambattista Nolli (1701-1756), an acquaintance of Vasi’s, published his monumental Pianta Grande di Roma, covering 176 x 208 cm., printed, almost of course, on twelve sheets. This especially handsome image combines an extensive plan view of the city, bordered by highly-rendered, fully-dimensional perspectives of Rome. At the top, two putti appear to be unrolling the drawing. Vasi’s 1765 Prospetto, 102.5 x 261.5 cm, on 12 joined sheets, is the concluding, surpassing accomplishment of this line of epochal Roman printmaking, a thoroughgoing architectural appreciation the ancient modern city. Unlike the earlier efforts, Vasi’s view appears laid out as an immense perspective drawing, picturing the city as it then appeared from the garden of the Villa Corsini atop the hill known as the Janiculum. Buildings and other landmarks in the foreground are larger than those to the back. Unlike the earlier pianti (maps), streets are not visible, though the gaps between blocks and rows of buildings, aided by the very extensive index to the bottom of the drawings, allows locating the larger thoroughfares. In fact, as historians have noted, in order to make the Prospetto comprehensible, Vasi invented several adjustments to the then-existing rules of perspective, including vertically stretching the lower portion of the image. The Prospetto offered here once formed part of the furnishings of Chatsworth House, Derbyshire, seat of the Dukes of Devonshire and, since 1549, home to the House of Cavendish. The etching appears in two house inventories. An 1892 list shows it adorning the Audit Rooms; while an 1859 tally has it in the House Steward’s office. It seems likely that this etching was acquired by William Cavendish, 5th Duke of Devonshire, in the course of his Grand Tour in the late 1760s. Still in the handsome black painted and gilt wood frame it occupied at Chatsworth, this Prospetto from the 1765 edition is an especially richly-provenances example of Vasi’s masterpiece. Condition After its purchase, the print underwent an expert, thoroughgoing conservation. This included demounting its twelve sheets from their deteriorated linen backing; removal of a non-original, darkened layer of varnish; making up of several losses (including two in the sky, the largest approximately 3x4”; and the face of the she-wolf to the lower left, approximately 2"x2"; re-assembly of the print on thin, neutral, japan paper and remounting within the original, conserved, black painted and giltwood frame. For safety’s sake, the original glass of the frame was replaced with Perspex. The print is set back approximately 3/8” from the rear of the Perspex glazing. The overall printed area of this Prospetto exceeds the view area of the antique frame by approximately 3/8”, all the way around, as it did originally. Because it is held back from the glazing, all portions of the print are visible.

Creator:
Giuseppe Vasi (1710 - 1782, Italian)
Creation Year:
1765
Dimensions:
Height: 40 in (101.6 cm)Width: 104 in (264.16 cm)Depth: 2 in (5.08 cm)
Medium:
Etching
Movement & Style:
Old Masters
Period:
18th Century and Earlier
Condition:
Gallery Location:
Lafayette, CA
Reference Number:
1stDibs: LU2722710472

More Ways To Browse

Roman Wolf

Antique Garden Plan Prints

Antique Linen Sheets

Antique Sky Map

Japanese Sake Glasses

Sets Of Vertical Architectural Prints

Japanese Sake Set Antique

Antique Paper Knives

Roman She Wolf

18th Century Japanese Wood Block

Falda Etching

Derbyshire Antique Map

Antique Japanese Knives

Nolli Map

Nolli Map Of Rome

Nolli Map Rome

David Lee Spring Bamboo

Doug Danz

Ex-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi

View Similar Items

Giuseppe Vasi
Ex-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi
1765

About the Item

Giuseppe Vasi

1770s Old Masters Landscape Prints

Giovanni Battista Piranesi
Veduta delle Antiche Sostruzioni, Vintage Cityscape Etching by Giovanni Piranesi, 1776

1660s Old Masters Figurative Prints

Jacques Callot
Supplicium sceleri Fraenum - Etching by Jacques Callot - 1624/34, 1624/34

19th Century Old Masters Landscape Prints

Shepherds with Flock - Etching - 19th Century, 19th Century

Mid-18th Century Old Masters Figurative Prints

Giuseppe Vasi
The Temple of Peace - Etching by Giuseppe Vasi - Mid-18th Century, Mid-18th Century

1880s Old Masters Landscape Prints

Max Klinger
Landslide (Bergsturz), Pre-20th Century Etching by Max Klinger, Originally Published 1881

1760s Old Masters Figurative Prints

Giovanni Battista Piranesi
Ruins of an Ancient Tomb - G. B. Piranesi - 1762, 1762

Recently Viewed

More Ways To Browse

Ex-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi

View Similar Items

Giuseppe VasiEx-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi1765

About the Item

Giuseppe Vasi

1770s Old Masters Landscape Prints

Giovanni Battista PiranesiVeduta delle Antiche Sostruzioni, Vintage Cityscape Etching by Giovanni Piranesi, 1776

1660s Old Masters Figurative Prints

Jacques CallotSupplicium sceleri Fraenum - Etching by Jacques Callot - 1624/34, 1624/34

19th Century Old Masters Landscape Prints

Shepherds with Flock - Etching - 19th Century, 19th Century

Mid-18th Century Old Masters Figurative Prints

Giuseppe VasiThe Temple of Peace - Etching by Giuseppe Vasi - Mid-18th Century, Mid-18th Century

1880s Old Masters Landscape Prints

Max KlingerLandslide (Bergsturz), Pre-20th Century Etching by Max Klinger, Originally Published 1881

1760s Old Masters Figurative Prints

Giovanni Battista PiranesiRuins of an Ancient Tomb - G. B. Piranesi - 1762, 1762

Recently Viewed

More Ways To Browse

Giuseppe Vasi
Ex-Chatsworth House, Monumental, 9 Foot Long, 1765 View of Rome, Etching by Vasi
1765

Giovanni Battista Piranesi
Veduta delle Antiche Sostruzioni, Vintage Cityscape Etching by Giovanni Piranesi, 1776

Jacques Callot
Supplicium sceleri Fraenum - Etching by Jacques Callot - 1624/34, 1624/34

Giuseppe Vasi
The Temple of Peace - Etching by Giuseppe Vasi - Mid-18th Century, Mid-18th Century

Max Klinger
Landslide (Bergsturz), Pre-20th Century Etching by Max Klinger, Originally Published 1881

Giovanni Battista Piranesi
Ruins of an Ancient Tomb - G. B. Piranesi - 1762, 1762