PIRANESI, Giovanni Battista (1720-1778) and Francesco PIRANESI (1748-1810). [Opera], Paris: Firmin Didot, 1835-1837. 29 works or collections in 27 volumes, folio, the many double-page plates mounted on guards, contemporary grey-and-white marbled boards (some joints weak, spines rubbed or, in a few cases, worn). Provenance: Bibliothque de Broglie (bookplate in vol. XVIII). AN EXTREMELY FINE SET OF THE WORKS, ALL UNCUT AND REMARKABLY FRESH COPIES. This comprises:
PIRANESI, G. B. Le Antichit Romane. Paris: Firmin Didot, 1835. 4 volumes, 2 (620 x 450mm). Engraved frontispiece portrait of G. B. Piranesi by F. Piranesi after Joseph Cades, 222 etched plates, including one plate on 2 sheets, each volume with a separate number sequence, volume I extra-illustrated with 3 unnumbered plates at end, approximately 118 plates double-page and 7 double-page and folding. Bound as volumes I-IV. The three additional plates in volume I are views of the Castel Sant'Angelo, the Basilica de St. Pietro, and one of the Carceri. This work, which required eight years of careful study and excavation by Piranesi, established his reputation as the leading protagonist of Roman archaeology when it first appeared in 1756. His aim, as with all his archaeological publications, was both to record the vanishing past for scholars and to inspire contemporary designers to emulate the achievements of ancient Rome. Volume I explains the urban structure of ancient Rome in terms of its walls, defences and aqueducts as well as its public monuments. Volumes II-III include the plans of the Camera Sepolcrali, and are devoted to the extensive remains of sepulchres around Rome. Volume IV concentrates on the heroic feats of Roman engineering in the form of bridges and monumental structures such as the Curia Hostilia, the substructure of the Temple of Claudius, Hadrian's mausoleum (the Castel Sant'Angelo), and the Theatre of Marcellus. As John Wilton-Ely notes, the work includes plates by or after other artists, chiefly in volumes II and III. Hind pp. 83-84; Wilton-Ely pp. 327-582.
PIRANESI, F. Monumenti degli Scipioni. Paris: Firmin Didot, 1836. 2 (605 x 440mm). 6 etched plates, engraved tail-piece. Bound as volume V. First published in 1785.
PIRANESI, F. Raccolta de'Tempi Antichi. Paris: Firmin Didot, 1836. 2 parts in one volume, 2 (445 x 608mm). 52 etched plates comprising 50 plates in three numbered series and 2 unnumbered plates, 36 double-page and one double-page and folding. (Title slightly soiled at outer margin.) Bound as volume VI. First published 1780-1790.
PIRANESI, B. Della Magnificenza ed Architettura de Romani [with: Osservazioni ... sopra la lettre de M. Mariette]. Paris: Firmin Didot, 1836. 2 works in one volume, 2 (604 x 170mm). Etched Latin and Italian titles, engraved portrait of Pope Clement XIII by D. Cunego after Piranesi and 51 etched plates in two series numbered 1-38 and 1-9 with 4 unnumbered plates in the first part, 20 plates double- page and one double-page and folding, engraved initials and culs-de-lampe. Bound as volume VII. In Della Magnificenza Piranesi made a claim for the superiority of Etruscan art to that of the Greeks, on the grounds that it was older and more gifted; he also claimed that the Etruscans were the first instructors of the Romans. However, the imaginative richness and sheer variety of late Roman ornament in many of Piranesi's illustrations were directed against Le Roy's Les ruines des plus beaux monuments de la Grce (1758) and his arguments in favour of restrained Attic detail. The second work, the Osservazioni, is a refutation of the French critic Mariette who in 1764 attacked Piranesi's theories about the Etruscans, arguing that they were Greek colonists and that most building work in Rome was carried out by Greek slaves. Hind pp. 85 & 86; Wilton-Ely pp. 820-884.
PIRANESI, G. B. Prima parte di Architetture e Prospetive. [Paris: n.d.]. 2 (600 x 425mm). Etched title and 27 plates, including 6 double-page. [Bound with:] Carceri d'invenzione. [Paris: n.d.] 2. Double-page etched title and 15 plates. (Title with 50mm. tear at blank margin, caused by paper fault.) [and:] Alcune vedute, Archi trionfali ed altri monumenti. [Paris: n.d.] 2 parts, 2. Etched title, 3pp. engraved text, and 28 etched plates, the final plate by Francesco. [and]: Troffei di Ottaviano Augusto. [Paris: n.d.] 2. Etched title and 14 plates, 10 of these double-page. The 4 works bound together as volume VIII. These four works were published together by Giovanni Bouchard in 1750 in the combination volume Opere varie di Architettura, Prospettive, Grotteschi, Antichit. This marked the first dateable appearance of the celebrated Carceri under the title Invenzioni capric di Carceri. In 1760 Piranesi reissued the plates as Carceri d'inventione, reworking many of the original plates with stronger tonal contrasts and adding further design elements. Hind, p. 81; Wilton-Ely pp. 48-78. For the Opera varie, see also Hind pp. 78-81; Wilton-Ely pp. 79-88.
PIRANESI, G. B. Lapides Capitolini. [Paris: n.d.]. 2 (605 x 430mm). Etched title, dedication to Pope Clement III and one double-page folding plate. [Bound with:] Le Rovine del Castello dell'Acqua Giulia]. [Paris: n.d.]. 2. Etched title and 19 plates on 18 leaves. [and:] Antichit di Cora. [Paris: n.d.]. Etched title and 10 numbered plates on 11 leaves, including 8 double-page, headpiece and full-page illustration. 3 works bound together as volume IX. The second treatise belongs to a group of architectural works which, though first issued in Rome, 1761, were prepared during the previous decade as extensions of the Antichit Romane. Wilton-Ely pp. 583-605.
PIRANESI, G. B. Il Campo Marzio dell'Antica Roma. [Paris: n.d.]. 2 etched titles in Latin and Italian, index leaf, 53 plates, plans and maps on 49 leaves, 2 of the plates double-page and one folding, 6 double-page sheets forming a single large-scale map of Rome. Bound as volume X. First published in Rome, 1762, the Campo Marzio set out to examine the urban growth of the area on the left bank of the Tiber, surrounded by the Capitoline, Quirinal and Pincian Hills, and like other treatises of the 1760s it is 'a sophisticated blend of archaeology and polemic in which historical evidence is employed to defend the creative genius of Rome.' The opening sequence of maps locate the surviving remains and reveal the gradual transformation of countryside into complex townscape, while the plates that follow show 'the most important remains with later accretions dramatically stripped away'. The work originated in the second half of the 1750s when Robert Adam was studying in Rome and is dedicated to Adam who shared Piranesi's belief in the imaginative use of antiquity. Hind p. 85; Wilton-Ely pp. 613-667.
PIRANESI, G. B. Antichit d'Albano e di Castel Gandolfo. Paris: Firmin Didot, 1836. 2 (600 x 420mm). Etched frontispiece, double-page dedication to Pope Clement XIII, and 27 plates, 13 of these folding, one headpiece. [Bound with:] Descrizione e disegno dell'emissario del Lago Albano [Paris: n.d.]. 2 parts, 2. Etched title and 22 plates, 11 of these double-page and 2 double-page and folding. The 2 works bound together as volume XI. The second work was produced by Piranesi to perpetuate a major feat of Roman engineering -- the 'emissarium' or drainage outlet of Lake Albano. His archaeological studies in the area of Lake Albano were initiated by his work on the Emissario, and much encouraged by Pope Clement XIII whose summer residence at Castel Gandolfo overlooked the lake. Hind p. 86; Wilton-Ely pp. 694-727 & 668-693.
PIRANESI, G. B. Vasi, Candelabri, Cippi, Sarcofagi, Tripodi Lucerne ed ornamenti antichi. [Paris: n.d.]. 2 (610 x 455mm). Etched folding title, double-page dedication, and 124 plates on 112 leaves, including approximately 83 double-page and one double-page and folding. Bound as volumes XII-XIII. Piranesi dealt in antiquities to supplement his print selling business, having British aristocrats and gentlemen on the grand tour among his principal clients, and from about 1768 he began to issue individual plates of objects either passing through the trade or in collections. The plates were eventually assembled together and first published in Rome, 1778, as the above work. Hind p. 87; Wilton-Ely pp. 961-1089.
PIRANESI, G. B. [Trofeo o sia magnifica colonna coclide ... fatte da Traiano]. [Paris: n.d.]. 2 (605 x 446mm). 2 etched double-page titles in Latin and Italian and 44 plates, including 31 double-page and 5 double-page and folding. Bound as volume XIV. This composite publication, which combines three groups of plates executed between 1774 and 1779, meticulously records the three monumental relief columns in Rome -- those of Trajan, of Marcus Aurelius (the Antonine column) and of Antonius and Faustina. Hind pp. 86-87; Wilton-Ely pp. 743-776.
PIRANESI, G. B. Diffrentes vues de quelques restes de trois grands difices ... dans la ville de Pesto. [Paris: n.d.]. 2 (600 x 642mm). Etched title and 20 double-page plates. Bound as volume XV. It was in 1777, or possibly the spring of 1778, that Piranesi visited the three 5th-century temples at Paestum in order to record them, taking with him Francesco, his assistant Benedetto Mori and the architect Augusto Rosa. The result was this suite of 20 plates with a frontispiece and inscriptions in French, which first received an imprint on 15 September, 1778, two months before the artist's death. "Piranesi's final work is one of his most commanding statements on architecture,' writes Wilton-Ely, 'and, ironically, was to have a profound affect on the appreciation of the monumental austerity of Greek architecture as neo-classicism developed.' Hind p. 19; Wilton-Ely p. 777-800.
PIRANESI, G. B. Vedute di Roma. [Paris: n.d.]. 2 volumes, 2 (600 x 450mm.) Double-page etched title to volume I, index map of Rome on three double-page sheets, double-page frontispiece to volume II and 135 double-page plates. Bound as volumes XVI-XVII. First published 1745-1778, the plates 'represent almost every phase in Piranesi's stylistic evolution, and reflect his changing intellectual concerns,' comments Wilton-Ely. 'Through these particular works, which were spread all over the Continent by means of the Grand Tour, Piranesi was not only to revolutionise the conventional form of the "veduta" but was to transform the Euopean vision of classical antiquity.' Two plates were added by Francesco Piranesi. Hind pp. 30-38; Wilton-Ely pp. 176-312.
PIRANESI, F. Choix des meilleures statues antiques. [Paris: n.d.]. 2 (600 x 442mm). Engraved title and 41 etched plates, 4 double-page. Bound as volume XVIII.
PIRANESI, F. Teatro di Ercolano. Paris: Firmin Didot, 1836. 2 (600 x 440mm.) Double-page etched frontispiece and 9 double-page plates. Bound as volume XIX.
PIRANESI, G. B. and F. Diverse maniere d'adornare i cammini ed ogni altra parte degli edifizi desunte dall'architettura Egizia, Etrusca, Greca. Paris: Firmin Didot, 1836. 2 parts in one volume, 2 (600 x 430mm). Double-page etched frontispiece, engraved sectional title and 82 etched plates, head- and tailpiece. Bound as volume XX. First published in 1769, Piranesi's celebrated chimneypiece designs very effectively demonstrate the imaginative application of the past to the present since this interior feature had no precedent in antiquity. The present edition includes the 12 plates forming F. Piranesi's Diversi ornati delle pareti, volte e pavimenti di musaico, esistenti nelle cammere della Casa di Campagnia di Pompeia of 1808. Hind p. 86; Wilton-Ely pp. 886-960.
PIRANESI, G. B. (publisher) Raccolta di alcuni disegni del Barberi da Cento detto il Guercino. [issued with: A. BARTSCH and F. PIRANESI. Recueil d'estampes d'aprs les desseins de Fr. Barbieri dit Guercino qui n'ont pas encore t graves, tires de la collection de le Prince Albert de Pologne Duc de Saxe Teschen ... et autres] [Paris: n.d.]. 2 parts in one volume, 2 (600 x 440mm). Etched title to the first work, engraved title to the second, 83 etched plates after Guercino, P. L. Ghezzi and others, comprising 43 plates in the first part by Piranesi, Bartolozzi, Ottaviani, Piroli, Buratto and Aureliano Milani, and 40 plates in the second part by Bartsch and F. Piranesi. Bound as volume XXI. Originally published in 1764 and 1808 respectively. In the first part, no plate 1 was issued, the title is plate 2, and the remaining plates follow in sequence. Piranesi himself produced and signed only the frontispiece and 3 works. The originals belonged either to him or his friends. Hind p. 86; Wilton-Ely pp. 1108-1112.
PIRANESI, F. (publisher) Schola italica picturae. [Paris: n.d.]. 2 (585 x 430mm). Etched title and 39 plates after the Italian masters by Domenico Cunego, Antonio Capellan, Camillo Tinti and others. Bound as volume XXII. Originally published in 1773.
PIRANESI, G. B. and F. [Diverse tavole, fra cui la Girandola incisa da Francesco; una pianta e uno spaccato del circo di Caracalla, e la pianta della villa Adriani, iniziati dal padre]. [Paris: n.d.]. 24 etched plates numbered to 26, including 20 double-page and 2 double-page and folding, most after F. Piranesi. Bound as volume XXIII. Apparently issued without title. Focillon p. 365 does not record any earlier edition.
PIRANESI, F. Peintures de la salle Borgia, au Vatican, de l'invention de Raphael et de la Villa Lante Rome, de l'invention de Jules Romain, recueillies par les Piranesi et dessines par Thomas Piroli. Paris: Firmin Didot, 1836. 2 parts in one, 2 (585 x 422mm). 28 engraved plates on 14 leaves. [Bound with:] Peintures du Cabinet de Jules II de la Farnesine, par Raphael et des Bacchantes d'Herculanum, recueilles par les Piranesi, et dessines par Thomas Piroli. Paris: Firmin Didot, 1836. 2. 31 engraved plates on 24 leaves.[and:] Peintures de la Villa Altoviti, Rome, inventes par Michelange, peintes par Giorgio Vasari et graves par Thomas Piroli, faisant partie de la Calcographie Piranesi. [Paris: n.d.]. Engraved title and 13 plates on 8 leaves. Together 3 works in one volume, labelled as volumes XXIV-XXVI. Originally issued 1803-1807.
PIRANESI, F. Antiquits de la Grande-Grce, aujourd'hui Royaume de Naples. Paris: Firmin Didot, 1837. 3 volumes, 2 (688 x 505mm). Double-page etched frontispiece in volumes I and II, engraved index leaf in each volume, and 105 etched plates, approximately 44 double-page and one folding. Bound as volumes XXVII-XXIX. First published 1804-1807. A fourth volume, Vues de Pompeia, not present in this set, first appeared in 1819.