Art, Prints & Sculpture

Born in Mogliano close to Venice, Piranesi, although trained as an architect became famous as an engraver, and archaeologist. Moving in 1740 to Rome, a lack of architectural commissions led him to develop etching skills and collaborating with pupils of the French Academy in Rome he produced a series of views of the city. These early works, Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna were produced during the era of the Grand Tour; when noblemen in the 18th century, completed their education with a period of European travel. This so-called Grand Tour could last from a few months to many years. At this time most ancient monuments in Rome were abandoned in fields and gardens. Piranesi's precise observational skills allowed him to preserve them in some way with his engravings. A third of the monuments in Piranesi's engravings have now disappeared, and many had the stucco and surfacing stolen. With the publication in 1756 of Le Antichità Romane there was immediate international success and Piranesi was elected a member of the Society of Antiquaries in London in 1757. The etchings, with their combination of technical skill, historical accuracy and artistic vision, Robert Adam observed, "he alone might be said to breath the Antient Air."

Born in Mogliano close to Venice, Piranesi, although trained as an architect became famous as an engraver, and archaeologist. Moving in 1740 to Rome, a lack of architectural commissions led him to develop etching skills and collaborating with pupils of the French Academy in Rome he produced a series of views of the city. These early works, Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna were produced during the era of the Grand Tour; when noblemen in the 18th century, completed their education with a period of European travel. This so-called Grand Tour could last from a few months to many years. At this time most ancient monuments in Rome were abandoned in fields and gardens. Piranesi's precise observational skills allowed him to preserve them in some way with his engravings. A third of the monuments in Piranesi's engravings have now disappeared, and many had the stucco and surfacing stolen. With the publication in 1756 of Le Antichità Romane there was immediate international success and Piranesi was elected a member of the Society of Antiquaries in London in 1757. The etchings, with their combination of technical skill, historical accuracy and artistic vision, Robert Adam observed, "he alone might be said to breath the Antient Air."

published circa 1787.

William Hogarth produced these prints to boost public morale when an invasion from France seemed probable.

Hogarth depicts the weak and emaciated army ready to invade England. The alehouse sign reading 'Meagre Soup at the Royal Comb' points this up. There is also an officer roasting four frogs on his sword. A further soldier carries a banner which reads 'Vengeance with the good beer and good beef of England'. There is also a portly monk (obviously the church folk won't be hungry), and he carries plans for a monastery to be built at Blackfriars.

In contrast he believed the English to be always well fed and always merry, despite the evidence of widespread poverty. Here a recruitment officer is shown measuring up a volunteer. The man has to stand on tiptoe to reach the required height. A round of beef and some porter is on the table in front of some revellers, one of whom is drawing a pastiche of the French King, who is uttering the words "You take my fine ships you bede pirate you bede Teef me send my grand armies and hang you all Morbleu."

Published to illustrate Seba's 'cabinet of curiosities' Framed

Published to illustrate Seba's 'cabinet of curiosities' Framed

Published to illustrate Seba's 'cabinet of curiosities' Framed

Published to illustrate Seba's 'cabinet of curiosities' Framed

Original copper engraved prints published in Rome c1825

in original Tunbridge style frame.

These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black. Showing Marsyas.

These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black.

These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black.