Giovanni Battista Piranesi

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Giovanni Battista Piranesi

Lapides Capitolini sive Fasti Consulares, Triumphalesq. Romanorum ab Urbe condita usque ad Tiberum Caesarem (F. 421-6; W.-E. 553-8, cf. 739); Delle Antichita di Cora (F. 537-50; W.-E. 671-84); Le Rovine del Castello dell'Acqua Giulia situato in Roma presso S. Eusebio, e falsamente detto dell'Acqua Marcia colla Dichiarazione di uno de' celebri Passi del Commentario frontiniano e l'Esposizione della Maniera con cui gli antichi Romani distribuivano le Acque per Uso della Città (F. 396-420; W.-E. 269, 529-554); and Alcune Vedute di Archi trionfali ed altri Monumenti inalzati da Romani parte ed quali se veggono in Roma e parte per l'Italia (F. 41-71; W.-E. cf. 103-6, 107-33)

etchings with engravings, the first series complete with text and set of seven plates, consisting of printed title, etched title, dedication, text with four vignettes and one plate, the second series complete with text and set of fourteen plates, comprising printed title, etched title, text with vignette and twelve plates, the third series complete with text and set of 25 plates, comprising printed title, etched title, two etched Initials, two vignettes, and twenty plates, the fourth series complete with text and set of 31 plates, comprising etched title, a View of the Arch of Aosta, after Sir Roger Newdigate, three plates with engraved dedication and list of plates (without the framing tablets), and 25 plates divided in two sections, with a second etched title page introducing the section of antiquities outside Rome, published in Rome, 1761-4, Alcune Vedute... (F. 41-71; W.-E. cf. 103-6, 107-33) from the second edition, published after 1778, good to fine impressions, watermarks double-encircled Fleur-de-Lys with letters CB, double-encircled Fleur-de-Lys with letter A, single-encircled Fleur-de-Lys with letter A, and single-encircled Fleur-de-Lys with letter B and a Cup, with margins, F. 427 (W.-E. 558) with a short tear beside the usual horizontal fold in the lower half of the subject, two of the usual vertical folds split at the bottom in the margin, occasional foxing and pale discolouration in the first three series, the fourth series generally in very good condition, bound in one volume, in 18th Century vellum-covered paper boards with spine gilt in compartments, titled 'PIRANES/LI FASTI/CORA/ACQUA GIU./ARCHI.' in second compartment, repaired in the upper compartment and along hinges overall S. 575 x 440mm.(album)
Provenance
presumably Sir Roger Newdigate, 5th Bt., Arbury Hall, Warwickshire, (Arbury Library bookplate on flyleaf), and by descent

Lot Essay

Sir Roger Newdigate, 5th Bt., (1719-1806) was one of the 18th century's most renowned antiquaries, and M.P. for Oxford University between 1750-80, where he endowed the Newdigate Prize for English Verse. During his Grand Tour of 1738-40 he made extensive sketches of ancient ruins, one of which was used by Piranesi as the basis for his etching 'A View of the Arch of Aosta' (F. 45; W.-E. 107). This is found in the present volume in the series 'Alcune Vedute di Archi Trionfali...'. Some thirty years later Newdigate purchased from Piranesi two candelabra excavated by Gavin Hamilton from Hadrian's Villa at Tivoli, and etched by Piranesi in his series 'Vasi, Candelabri...ed Ornamenti Antichi', published in Rome in 1778 (F. 623-5, W.-E. 910-2). These are now in the Ashmolean Museum, Oxford and provide an interesting reminder of Piranesi's activity in the 1770's as a purveyor of restored, and often fancifully enhanced classical statuary to English milordi, an occupation which provided him with a useful supplementary income with which to continue his publishing ventures.Newdigate's interest in all forms of antiquarianism led him to transform Arbury into what Sir Nikolaus Pevsner considered 'one of the finest examples of the early Gothic Revival in England'. The curious juxtaposition of Sir Roger's extensive collection of classical statues, marbles and vases against elaborate Gothic tracery forms an interesting testament to the diversity of 18th Century taste. The Library, from which this volume is removed, can be seen in the background to Arthur Devis's celebrated portrait of Sir Roger, executed in 1756-8.

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