Giovanni Battista Piranesi Prints and Multiples

View of the magnificent substructure is an original etching realized by the italian artist Giovanni Battista Piranesi. Very precoius and rare specimen. Roman edition. Complete tit...

Image dimensions 40.6x56.8. Belongs to the Collection "Antiquities of Cori, described and etched by Giovambat Piranesi", and printed in 1764. Beautiful first roman edition/1st state ...

G.B. Piranesi Marble Urns and Vases and Lamps Etching c.1770 Beautiful 18th century etching by Giovanni Battista Piranesi (1720-1778) Loose translation of the text: Knight Gio. Bat...

Image dimensions 40x60. Veduta degli Avanzi sopra terra dell’antico Ustrino (View of the visible remains of the ancient crematorium) is a wonderful black and white etching on thick...

Group of Caryatids with the dedication to Henry Hope Artist proof, printed on contemporary laid paper, wide margins, representing a “group of caryatids” found in Vigna Strozzi", Rome...

The Piazza della Rotonda, with the Pantheon and Obelisk. Etching on fine watermarked paper. Signed on plate on lower-left margin "Piranesi del. Sc." and with the address of Bouchard...

English Title (short version): Antique marble vase in the Gallery of the Palazzo Barberini Artist proof, printed on contemporary paper, large marg...

Ruine di Sepolcro antico Etching, 1743 Signed in the plate bottomleft in the caaption plate From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Coniditon: Excellent/Very good Image size: 14 5/8 x 9 3/4 inches Reference: Robison 17 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Well-knowned as an architect and an archaeologist, undoubtedly Giovanni Battista Piranesi, is the most important engraver of the 18th century: the leading artist in this field in the...

Camera sepolcrale Etching 1743 Signed in the bottom left corner From: Prima Parte, 1743 Second edition: 1750-1778 Watermark: R 37-39 A lifetime impression printed during Piranesi’s life, before the plates are moved to Paris by his sons in the 1790’s Condition: Excellent Image size: 14 5/8 x 9 3/4 inches Reference: Robison 20 iii/V Piranesi In Rome: Prima Parte di Architetture e Prospettive "Although Piranesi studied architecture in Venice, he never was able to find work in the field other than a few jobs involving remodeling in Rome. While Piranesi was struggling to support his architectural endeavors upon his arrival in Rome in 1740, he spent a short period of time in the studio of master painter Giovanni Battista Tiepolo (1696-1770) in addition to his apprenticeship with Giuseppe Vasi. The first production of Piranesi’s early years in Rome and a culmination of his training under Vasi, Tiepolo, and his uncle, was the Prima Parte di Architetture e Prospettive (1743). The Prima Parte was a collection of twelve etchings of imaginary temples, palaces, ruins, and a prison. During this time, Piranesi was still developing the unique style of etching he is known for today, and as such the Prima Parte differs significantly in technique compared to later works. In the Frontispiece of the Prima Parte, Piranesi’s lines are definite and exact with very little flow to them, designed in the form of traditional etching. The detail is immaculate, and yet perspective of the piece is oddly simple and familiar to the viewer. Piranesi’s technique employs miniscule markings and lines, intricately woven together to create a stippling effect. The Prima Parte, described as “rigid” by art historian Jonathan Scott, came to be seen as a stark contrast to his later sketches, which were much lighter and freer. Influenced by the style of Tiepolo, which epitomized the lightness and brightness of the Rococo period, Piranesi adopted some of the more painterly techniques of the masters he apprenticed under. Piranesi made the medium of etching appear as though it was a sketch or a painting, hence a “freer” and more fluid design in his later works. For example, the frontispiece of the Prima Parte read as an etching to Piranesi’s audience, but in his later vedute, the style of etching almost appears to be made of brushstrokes. Moreover, at the same time Piranesi was working on the Prima Parte, he aided the artist Giambattista Nolli. There is a small section of Nolli’s map...

Artist: Giovanni Battista Piranesi, Italian (1720 - 1788) Title: Veduta delle Antiche Sostruzioni Portfolio: Vedute di Roma Year: 1776 Medium: Etching ...

Ruins of an Ancient Tomb is an original etching realized by the italian artist Giovanni Battista Piranesi in 1762. Image dimensions: 41.5x56 cm Very precoius and rare lifetime spec...

Veduta della Spelonca, detta il Bergantino is an original etching realized by G. B. Piranesi in 1762. Image Dimensions: 43 x 63 cm Very good condition. Ref. Ficacci., p.442

Image dimensions 45x65.6. Veduta del Ponte Lugano su l'Anione is a superb black and white etching on laid paper realized by Giovan Battista Piranesi....

Sepolcro Regio, o Consolare , inciso nella rupe del Monte Albano (Royal or Consular Tomb in the Alban Hills) is an original etching realized by Giovan Battista Piranesi in 1764. Ed...

Three candelabra, a vase and two cinerary urns. Artist proof, printed on contemporary laid paper, wide margins, from the serie “Vases and Candelabras...

Antique monument found in a tomb on the Via Appia Artist proof, printed on contemporary laid paper, wide margins, representing an “antique monument found in ...

Etching of the serie “Vases, candelabras, gravestones, sarcophagi, tripods, lamps, and ornaments”, made and etched by Piranesi, published in the year 1778 by his son Francesco. Very fine etching, “Profile of the curial chair...

View of the Cave known as Bergantino is an etching realized by the italian artist Giovanni Battista Piranesi in 1762. Very precious and rare lifetime impression. Roman edition. C...

Candelabrum base ornamented with various arabesques Artist proof, printed on contemporary watermarked paper, wide margins, representing a “candelabrum base ornamented with various arabesques” in P.ce Lanti, Roma. Etching with good contrasts and sharp details.Signed on plate “Cavalier Piranesi F..” on lower-left margin. Good conditions, with usual fold, some foxing and little holes in higher margin due to the binding of the volume “Vases and Candelabras...

Another view of the same Candelabrum Artist proof, printed on contemporary laid paper, wide margins, showing a precious candelabrum. Etching with good contrasts and sharp details. In...

Artist's proof, printed on antique laid paper, large margins, representing an “antique marble vase in the gallery of the palazzo Barberini” as he r...

Two cinerary Urns Artist proof, printed on contemporary laid paper, wide margins, representing “two cinerary urns”. Etching with good contrasts and sharp details, with a dedication to “Signor Giovanni Corbet, Cavaliere inglese”. Signed on plate “Cavalier Piranesi F..” in lower left margin. Very good conditions, with normal fold, left margin lightly damaged, and little holes in higher margin due to the binding of the volume “Vases and Candelabras...

Complete name : Altra veduta del medesimo in prospettiva, fra una lampada e un piccolo vaso in bronzo Artist proof, with a good contrast and sharp details, printed on contemporary la...

Section for the place of the boat. Wonderful proof, printed on contemporary laid paper, wide margins, representing a “section for the place of the boat”. Etching with good contrasts ...

Artist's proof, printed on antique laid paper, large margins, representing an antique marble vase, whose details are described in the ending note....

Palace of the Chancellery is an original etching realized by the italian artist Giovanni Battista Piranesi in 18th century. Signed on the plate on the lower. Very good conditions ...

Another front view of the same chair + Cinerary urn in marble Artist proof, printed on contemporary laid paper, wide margins. Two Piranesi’s Etching on the same sheet, with good cont...

Another front view of the same chair / Rear view of the same chair. Artist proof, printed on contemporary watermarkedpaper, wide margins, representing the same chair in front and re...

The same urn, in perspective Beautiful artist proof, printed on antique laid paper, large margins, showing a precious urn. Etching with good contrasts and sharp details, signed on pl...

Title : Altra veduta del medesimo in prospettiva, fra una lampada e un piccolo vaso in bronzo Artist proof, with a good contrast and sharp details, printed on antique laid paper, lar...

Image dimensions 40.5x60.5 cm. Ancient Baths in Albano called Cello Majo is an etching, drypoint and burin on laid and watermarked paper (lily in a double cercle). Wonderful Specimen of a Roman antique edition. From the series of Piranesi’s etchings “Antichità di Albano e di Castel Gandolfo...

Large antique marble vase in S. Cecilia in Trastevere Artist proof, printed on contemporary laid paper, wide margins, representing an antique marbl...

G.B. Piranesi, Dimostrazioni dell’Emissario del Lago Albano, Illustrations of the Emissarium of Lake Albano Etching, Drypoint, Burin on laid paper. Signed on...