g b piranesi (192 résultats)

Hard Cover. Etat : Good. Piranesi, G.B.{engravings} (illustrateur). Good condition. The d.j. has some edge wear and the creasing. Ownership mark on the FEP. This is a large book additional shipping charges may apply outside the US. Size: 4to - over 9¾" - 12" tall.

Magazine. 50p., 6x9 inches, interview, poetry, prose, illustrations, very good literary journal, booklet in stapled glossy pictorial wraps, mild wear to spine fold. Eleven holdings located in OCLC as of 10/2022. Appears to have ceased publication after the 5th issue in 1972.

Den Kongelige Kobberstiksamling, København 2021. 4to. 178 sider. Heftet med orig. omslag. Pæn.

Den Kongelige Kobberstiksamling, København 2021. 4to. 178 sider. Heftet med orig. omslag. Pæn med få brugsspor.

Etat : Fair. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,750grams, ISBN:0486233391.

Etat : Good. Wraps; 62 items listed with 9 illustrations. 8.5x11".

In-8°,legatura in brossura editoriale, pp. 161,con tavole fuori testo.

First Thus. Profusely illustrated reminiscences and accounts of Rome, text in Italian language. Nice bright clean copy of scarce book. 10-1/2 x 12, 182 pp, b/w engravings, color photos, decorative map endpapers. Fine unmarked, in Good+ bright jacket w some small edge tears & chips. Oversize Hardcover in gray cloth w stamped arch design, in color photo jacket.

Paper Folder. Etat : Very Good. Piranesi, G. B. (illustrateur). Piranesi, G. B. Paper Folder. 4to. 6 engravings are contained in a large gray paper folder. Each engraving is matted with matching gray material. Each engraving measures 6" x 9". The front of the folder states, "WECOME TO ROME/ Brooklyn Museum Study Tour/ September - October 1966". Minor edgewear to folder and small smudge to front flap. Engravings are clean and bright. ART/092806.

200 p., ills. Stiff wrappers 27x32 cm 2000 gr.

XXVI p.; 82 plates. Stiff wrappers 38 cm (Heavy book, may require extra shipping costs) 2200 gr.

PAPERBACK. Etat : VG. First Edition. ITALIAN TEXT.

hardcover. Etat : Sehr gut. 2., Aufl. 128 S. 9783451199455 Wir verkaufen nur, was wir auch selbst lesen würden. Sprache: Deutsch Gewicht in Gramm: 615.

Unknown Binding. Etat : Used: Very Good. Libro usato, proveniente da una collezione privata. La copertina riporta gli usuali segni del tempo. Le pagine possono risultare imbrunite o opacizzante. Non sono presenti segni, annotazioni e/o sottolineature nel testo. Consegna in 24/48 h. 50-n4.

Madrid, Editorial Reverte, Instituto Juan de Herrera Fondo Antiguo de la Escuela Técnica Superior de Arquitectura, 1999. 23x32, IX+93pgs facsímil de la edición de 1701. Plenamente ilustrado grabados b/n- Rústica. Perfecto estado. ARQUITECTURA ANTIGUA,

291 S., 2 Bll., 137 Abb. nach Radierungen von Piranesi, Folio, ill. OPp.

28x21 cm. (8), 126 pp. + frontispiece + 63 plates. Publisher's cloth-backed boards, front hinge cracked., otherwise good. (Meister der Graphik, 6.).

Piacevole raccolta di 40 incisioni del piranesi formato cartolina. Formato: 40 c. di tav. protette da velina, 14,5x10 cm, cartella editoriale.

rilegato. Etat : Buono (Good). 1. Edizione del 1991. Legatura ed. oblunga. Copertina tutta tela con macchia di umidità al dorso e ai piatti. Sovraccoperta plastificata. Tagli e pagine integri. Con cofanetto lievemente sporco e scolorito. Foto parziale per grosse dimensioni esemplare cm. 31 X 42. 887198126X Buono (Good) . Book.

Hardcover. Etat : Fair. No Jacket. Pictorial grey boards, 9-1/2" X 13-1/2". 40 architectural plates plus index. Inscribed on the inside of the front cover by Reading, PA author & book collector J. Bennett Nolan, with his personalized bookplate. Hinges loose but not separated, corners worn.

L'esemplare Ë costituito da due capitoli introduttivi di Valerio Mariani (datato 1939) e Giulio Ansaldi e da 47 tavole indipendenti (mm. 410x295) che riproducono alcune incisioni romane del Piranesi. Manca un indice di riferimento per verificarne la completezza. Introduzione e tavole sono conservate in un cofanetto in percallina rossa con titolo e fregi in oro. Buone condizioni.

hardcover. Etat : Good. Limited Edition. No dust jacket. Folio-sized, 11.125x13.375, bound in light brown cloth, all four corners bumped, lower two have tears, spine shows wear, tears head/tail. 1 of 1000 printed, 19 of 19 plates, foxing first and last few pages. All orders packed with care, independent bookseller since 2011.

Etat : Bueno. 70360 Piranesi, G.B 2005 Instituto Juan de Herrera Fondo antiguo de la escuela Tecnica superior de arquitectura de Madrid Facsimil . Grabado,Arquitectura.

Etat : Muy Bueno / Very Good.

Etat : UsatoBuono. Magnif. ril. in cart., dorso in sky rosso, tit. in oro, cm 54x41, 50 splend. tavv, di cui alcune ripiegate, con riproduzione delle incisioni su carta speciale. Edizione numerata di 500 esempl., la ns. è il n° 494.

Etat : Excellent. John Wilton-Ely 304There is a watermark present in the shape of a fleur-de-lis but presicely which one is unknown due to the heavy ink1760-1790This print is from the series \"Le Antichita Romane\" \"After over eight years of careful study and excavation Piranesi produced this four-volume work which swiftly established his reputation in Europe as the leading protagonist of Roman archaeology. More than other such antiquarian works, the 250 plates of the Antichita played a dominant role in conveying information, and Piranesi was to develop a whole new range of specialized illustarions 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 emilate the achievements of the past.\" (John Wilton Ely pg 327)Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and \"like Callot makes great use of the swelling line\" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi\'s own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etchings. San Francisco: Alan Wofsy Fine Arts, 1994. 2 volumes. Chapter F.II. Volume II. pp. 961-62. \"The Bulfinch Guide to Art History\"Hind : Giovanni Battista Piranesi A critical study, Image Size : 120x195 (mm), 4.75x7.625 (Inches), Platemark Size : 135x197 (mm), 5.25x7.75 (Inches), Paper Size : 245x380 (mm), 9.625x15 (Inches), Black & White, Copper Engraving.

Etat : Excellent. John Wilton-Ely plate 650Piranesi\'s magnificent rendering of ancient Roman vases. This print was published between 1806-1833. Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and \"like Callot makes great use of the swelling line\" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi\'s own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etchings. San Francisco: Alan Wofsy Fine Arts, 1994. 2 volumes. Chapter F.II. Volume II. pp. 961-62. \"The Bulfinch Guide to Art History\"Hind : Giovanni Battista Piranesi A critical study, Image Size : , Platemark Size : 437x236 (mm), 17.25x9.25 (Inches), Paper Size : 605x445 (mm), 23.75x17.5 (Inches), Black & White, Copper Engraving.

Etat : Excellent. John Wilton-Ely 667This print was published between 1806-1833. Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and "like Callot makes great use of the swelling line" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi's own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etchings. San Francisco: Alan Wofsy Fine Arts, 1994. 2 volumes. Chapter F.II. Volume II. pp. 961-62. "The Bulfinch Guide to Art History"Hind : Giovanni Battista Piranesi A critical study, Image Size : 310x235 (mm), 12.25x9.25 (Inches), Platemark Size : 340x240 (mm), 13.375x9.5 (Inches), Paper Size : 600x440 (mm), 23.625x17.25 (Inches), Black & White, Copper Engraving.

Etat : Excellent. This print was published between 1806-1833. John Wilton-Ely 659No watermark is present. From the series "Antichita d'Albano e di Castel Gandolfo"Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and "like Callot makes great use of the swelling line" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi's own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etchings. San Francisco: Alan Wofsy Fine Arts, 1994. 2 volumes. Chapter F.II. Volume II. pp. 961-62. "The Bulfinch Guide to Art History"Hind : Giovanni Battista Piranesi A critical study, Image Size : 469x275 (mm), 18.5x10.875 (Inches), Platemark Size : 475x280 (mm), 18.75x11 (Inches), Paper Size : 605x435 (mm), 23.75x17.125 (Inches), Black & White, Copper Engraving.

Etat : Excellent. John Wilton-Ely plate 852the watermark that is present is number 35 in John Wilton-Ely on page 1161 and is dated between 1761 and the mid 1760sThis plate is from the series "Diverse Maniere d'adornare I cammini ed ogni altra parte degli edifizi desunte dall' architettura Egizia?" (John Wilton-Ely)Giovanni Battista Piranesi was one of the leading figures in the development of the neoclassical style in the late 18th Century. As architect, archaeologist, artist, designer, collector, and antiquities dealer, he produced a series of etchings and engravings depicting the glories of ancient Rome. These fine prints served as source material for other architects and designers. He was born in Venice on the 4th October 1720. The son of a stone-mason, he was educated as an architect under his maternal uncle Matto Lucchesi and under Carlo Zucchi. In 1740 Piranesi left Venice for Rome, there he studied etching under Giuseppe Vasi. He appears to have had little success in these early years in Rome and as his father was unable to continue his allowance returned to Venice in 1744. He was soon, however, encouraged to return to Rome by Giuseppe Wagner, a successful engraver and publisher of Venice. This time he achieved success, and a constant series of works, illustrating architecture and antiquities, issued from his studio until his death in 1778. His output in etched plates is enormous (about 1000 numbers in all). While he achieved a work of magnitude in pictorial records of Roman monuments of antiquity and of the Renaissance, and gave immense archæological, antiquarian, and topographical value to this work, the artistic quality always predominates. He was fond of peopling his ruins with Callot-like figures, and "like Callot makes great use of the swelling line" (Hind). He had two sons and a daughter, all of whom helped him in his work and after his death carried on his publications in Rome and Paris. They were Francesco (born 1748 or 1756; died 1810), Pietro (who lived till after 1807) and Laura (born 1750). His position in Rome and in Europe after 1760 was a prominent one. He was well-known figure to the wealthy English visitors in Rome and was elected a Fellow of the Society of Antiquaries in 1757. Most of his life was passed in Rome, etching, writing, publishing, and directing a workshop in which the restoration and sale of antiques played a considerable part.He was famous for his poetic views of Rome and also his fantastic imaginary interiors. His skills, allied to his deep knowledge of archaeology, provided the substance for his Vedute (Views), a series of 135 etchings of ancient and contemporary Rome, published from 1745 onwards, which established the popular mental image of the city. Vasi.et Ornamenti Antichi was a collection of 110 etchings documenting large sculptural vases, together with other antiquities excavated (and in some cases created) in Italy in the 18th century. The prints were initially separately issued and sold by Piranesi over a period of several years and subsequently collected in two folio volumes, each with its own title page, in 1778. They illustrate a wide range of genuine antiquities, as well as Piranesi's own collections, from utilitarian objects such as cinerary urns, lamps, and sarcophagi to monumental vases. The plates in Vasi often included text by Piranesi with information about where the objects were discovered and their contemporary location, and the prints bore dedications to his patrons, colleagues, visitors and influential people. He believed absolutely in the supremacy of Roman over Greek architecture, an argument he expounded most forcefully in his Della magnificenza ed architettura dei Romani (On the Magnificence of Roman Architecture, 1761). his romanticized views and imaginary interiors had a profound effect on stage designers, painters of capricci such as Hubert Robert, and even writers: William Beckford, the author of the Gothic novel and Vathek . In the 20th century his imaginary interiors have been admired by the Surrealists . Reference: John Wilton-Ely. Giovanni Battista Piranesi: The Complete Etchings. San Francisco: Alan Wofsy Fine Arts, 1994. 2 volumes. Chapter F.II. Volume II. pp. 961-62. "The Bulfinch Guide to Art History"Hind : Giovanni Battista Piranesi A critical study, Image Size : 190x320 (mm), 7.5x12.625 (Inches), Platemark Size : 195x325 (mm), 7.625x12.75 (Inches), Paper Size : 380x530 (mm), 15x20.875 (Inches), Black & White, Copper Engraving.