![]() ![]() Barbieri dit Guercino.tirèes de la Collection de S.A.R. Recueil d'Estampes d'après les desseins de Fr. Bound with 17 mounted plates by Barbieri after Guercino. Title and 16 plates only (of 26), printed in bistre and black, most by Bartolozzi after Guercino. Raccolta di alcuni disegni del Barberi da Cento detto il Guercino. Etched titles in Latin and Italian, 42 etched plates (numbered to 48, the large plan by Arnold van Westerhout after Francesco Fontana, comprising plates 5-10), 2 initials, 4 head- and tail-pieces, text in Latin and Italian within ruled borders. Cunego after Piranesi, 38 plates, several folding or double-page, 3 initials and 2 etched illustrations, text in Latin and Italian. Etched titles in Latin and Italian, engraved portrait of Pope Clement XIII by D. Della Magnificenza ed Architettura de' Romani. 2 parts in 1 volume, title to the first part only, double-page etched dedication to Pope Pius VI, 21 etched plates to the first part, 30 plates of the Pantheon for the second, many double-page. AN EARLY ISSUE with the dedications to Lord Charlemont and the absence of the final plate of volume 4. Volume 4: Etched title, double-page frontispiece with Charlemont dedication, engraved index, 53 plates (without final plate LVII Focillon 395). Volume 3: Etched title, double-page frontispiece with Charlemont dedication (detached), 52 plates. Volume 2: Etched title, double-page frontispiece with Charlemont dedication on tomb, engraved index to volumes 2 and 3, 60 plates. Volume 1: Etched portrait of Piranesi by Polanzani, double-page etched frontispiece with dedication to Lord Charlemont, printed title, 43 plates, 6 initials, 2 head and tail-pieces. etched portrait, 4 frontispieces, 208 plates, index leaves, many plates double-page or folding (occasional spotting). Wright completed a remarkable tour-de-force, and the set now forms a monument to Beriah Botfield as one of the most important English collectors of grand illustrated books of the last century. The (eclectic) ordering and binding of the collection in red morocco by J. It appears that as his final acquisition he purchased from Firmin-Didot his edition of the Antiquités de la Grande Grèce. In this he was remarkably successful, collecting fine examples of the Roman editions, mainly 1760s and 1770s issues, adding Francesco's works issued in Rome in the late 1780s and 1790s, as well as his new Paris works, published in the early 1800s, and various miscellaneous views separately published. Botfield's aim was undoubtedly to assemble one of the most complete collections of the work of the Piranesis, both father and son. (Some plates have tissue guards added, occasionally the margins or guards are very lightly browned or spotted.) The set was assembled and bound for Beriah Botfield in the 1840s. The set comprises over 1200 etched and engraved plates, in fine strong impressions on thick laid paper. Bound in mid-19th-century full morocco, it is the finest copy to appear at auction in decades. THE COMPLETE CANON OF PIRANESI'S WORK IN A TRULY MAGNIFICENT COPY. Contemporary uniform English gold-tooled red morocco, covers with roll-tool borders of stylised foliage, spines decorated with large urn and star tools, green morocco lettering-pieces, gilt inside dentelles, g.e., by J. Overall, Francesco Piranesi is regarded as one of the most important printmakers of the late 18th and early 19th centuries, and his work continues to be admired and studied by art enthusiasts and scholars today.PIRANESI, Giovanni Battista (1707-1778) and Francesco (1756-1810). His work can be found in the collections of many major museums and galleries around the world, including the British Museum and the Metropolitan Museum of Art. In addition to his work in printmaking, Piranesi also produced a number of original drawings and paintings. He was particularly interested in the ruins of ancient Rome, and many of his prints depicted these ruins in a highly realistic and detailed manner. Piranesi's prints were primarily focused on architecture, and he was known for his intricate and detailed renderings of buildings, bridges, and other structures. He inherited his father's workshop and continued to produce high-quality prints that were highly sought after by collectors and art lovers. However, he is perhaps best known for his work in printmaking. He was the son of the famous Italian artist and architect, Giovanni Battista Piranesi, and was known for his work in the fields of etching and engraving.įrancesco Piranesi initially trained as an architect under his father's tutelage and worked alongside him on several important architectural projects. Francesco Piranesi was an Italian artist and printmaker who lived from 1758 to 1810.
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