23958
ANON.

[ROME] ARCH OF DRUSUS AT THE GATE OF ST. SEBASTIAN.
London, nd c.1840s. Engraving, 165 x 245 mm., uncoloured, wide margins, no marks or foxing, VG+.
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$95

23957
ANON

[ROME] MONUMENT OF CLAUDIUS AT PORTA MAGGIORE.
London, nd c. 1840s. Engraving, 165 x 235 mm., uncoloured, wide margins, no marks or foxing. VG+.
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$95

23919
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

AMPHITHEATRE DE VERONE. Amphitheatre at Verona.
Bouchard, Rome, 1775. Etching, plate size 130 x 270 mm., uncoloured, trimmed at top margin with some loss. Framed & glazed.
Now a world famous outdoor opera presentation space, this first century Roman arena has been a landmark building in Verona for two thousand years. From the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23906
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) ANCIEN TEMPLE DE LA DÉESSE DE LA TOUX AUPRES DE TIVOLI; (b) FRAGMENS ANTIQUES. (a) Ancient Temple of the Goddess de la Toux near Tivoli; (b) Antique fragments.
Bouchard, Rome, 1775. (a) Etching, plate size 225 x 175 mm., (b) Etching, plate size 100 x 170 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23914
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) PARTIE DES AQUEDUCS DE L'IMPEREUR CLAUDE QUI PORTOIENT L'EAU SUR LE PALATIN; (b) FRAGMENTS D'UN BASRELIEF ANTIQUE. Interior View of the Amphitheatre of Flavian, called the Coliseum.
Bouchard, Rome, 1775. (a) Etching, plate size 165 x 225 mm., (b) Etching, plate size 110 x 135 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23917
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

PARTIE DES AQUEDUCS DE NERON. Part of the Aqueduct of Nero.
Bouchard, Rome, 1775. Etching, plate size 250 x 285 mm., uncoloured, wide margins.
From the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23913
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) PARTIE INTERIEURE DE L' AMPHITHEATRE FLAVIEN DIT LE COLISÉE; (b) BASRELIEF ANTIQUE. Interior View of the Amphitheatre of Flavian, called the Coliseum.
Bouchard, Rome, 1775. (a) Etching, plate size 232 x 282 mm., (b) Etching, plate size 85 x 165 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23909
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) RESTES DU SEPULCRE DE LA FAMILLE METELLA; (b) D'APRES L'ANTIQUE. Sur la voie Appienne a cinq milles hors la Porte St. Sebastien.
Bouchard, Rome, 1775. (a) Etching, plate size 285 x 205 mm., (b) Etching, plate size 75 x 185 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23915
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) RESTES DU SEPULCRE DES SCIPIONS SUR LA VOIE APPIENNE; (b) UNTITLED SCULPTURAL FRAGMENT.
Bouchard, Rome, 1775. (a) Etching, plate size 200 x 240 mm., (b) Etching, plate size 88 x 165 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23918
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

RESTES D'UN ANCIEN TEMPLE OCTOGONE DÉDIÉ A JUNON AUPRES DE POZZOLE.
Bouchard, Rome, 1775. Etching, plate size 250 x 290 mm., uncoloured, wide margins.
From the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23908
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) RESTES D'UN TEMPLE QU'ON CROIT ETRE DE VENUS ET CUPIDON; (b) D'APRES L'ANTIQUE. Pres de Sainte Croix de Jerusalem.
Bouchard, Rome, 1775. (a) Etching, plate size 275 x 278 mm., (b) Etching, plate size 88 x 165 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23922
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

TITLE-PAGE - VUES DES PLUS BEAUX RESTES DES ANTIQUITES ROMAINES.
Bouchard, Rome, 1775. Engraved title-page, 530 x 375 mm., printed in red and black, including an engraved vignette of cherubs and architectural monuments (100 x 190 mm.).
From the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23921
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

UNTITLED SCULPTURAL FRAGMENT.
Bouchard, Rome, 1775. Etching, plate size 95 X 155 mm., uncoloured, trimmed at top margin with some loss.
From the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$50

23916
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) UNTITLED STATUE WITH ARTIST SKETCHING ( SELF-PORTRAIT? ); (b) UNTITLED SCULPTURAL GROUP.
Bouchard, Rome, 1775. (a) Etching, plate size 155 x 135 mm., (b) Etching, plate size 150 x 115 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23905
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

VUE DES RESTES DES THERMES DE DIOCLETIEN. View of the Remains of the Baths of Diocletian.
Bouchard, Rome, 1775. Etching, plate size 190 x 330 mm., uncoloured, wide margins.
From the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23907
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) VUE DES RESTES DU CHATEAU DE L' EAU MARCIA; (b) UNTITLED. Sur le Mont Esquilin pres de St. Eusebe.
Bouchard, Rome, 1775. (a) Etching, plate size 265 x 207 mm., (b) Etching, plate size 85 x 165 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23911
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) VUE DU TEMPLE DE LA SIBYLLE A TIVOLI; (b) PORT DE MER DES ANCIENS ROMAINS.
Bouchard, Rome, 1775. (a) Etching, plate size 220 x 262 mm., (b) Etching, plate size 95 x 180 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23912
BARBAULT, Jean (1705-1766) del. & Domenico MONTAGU (fl. ca. 1750) eng.

(a) VUE EXTERNE DES TROIS CHAMBRES SEPULCRALES QU'ON CROIT ETRE DE LA FAMILLE D' AUGUSTE; (b) FIGURE ETRUSQUE TROUVÉE SUR UNE URNE SEPULCHRALE.
Bouchard, Rome, 1775. (a) Etching, plate size 220 x 260 mm., (b) Etching, plate size 98 x 190 mm., uncoloured, wide margins.
Two images on one sheet from the posthumous publication of Barbault's works 'Vues des Plus Beaux Restes des Antiquites Romaines' issued in 1775 by Piranesi's early publisher Jean Bouchard. Barbault was a French painter and engraver who studied under Jean Restout II at the Académie des Beaux-Arts in Paris. In 1747 he moved permanently to Rome where his work became influenced by Piranesi and published by Bouchard, who also published Piranesi's early editions. Jean Barbault's prints also form part of the magnificent "Speculum Romanae Magnificentiae" in the University of Chicago Library's collection.
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$350

23950
BARTOLI, Pietro Santi (1635 - 1700) and Giovanni Pietro BELLORI (1613 - 1696).

[ARCH OF CONSTANTINE] THREE ENGRAVINGS OF FRIEZE CARVINGS FROM THE ARCH OF CONSTANTINE. From Bellori's 'Veteres arcus augustorum triumphis insignes ex reliquis quae Romae supersunt cum imaginibus triumphalibus antiquis nummis notisque'.
G. P. Bellori, Rome, 1690. First edition. Three copper-plate engravings, each 100 x 430 mm., on one sheet, uncoloured, wide margins, no foxing or marks, VG+.
When the Arch of Constantine was erected 312-15 AD much of the structure was decorated with carvings taken from older monuments. The events that these engravings depict, however, show the recent triumphs of emperor Constantine himself, so can be dated to around 315 AD. They form a frieze which extends halfway around the Arch in the most prominent position.The engraving at the top shows Constantine and his soldiers entering Rome triumphantly after the victory at the Milvian Bridge (312 AD). Constantine rides a four-horsed chariot, with prisoners and his army marching in front.The centre engraving shows Constantine addressing the citizens, flanked by his generals and the seated figures of former emperors Hadrian and Marcus Aurelius.The bottom engraving shows Constantine distributing money to the people. This ceremony was held in the Forum of Caesar on January 1st, 313 AD. Nineteen of Pietro Bartoli's prints similar to this one are held in the famous collection of the University of Chicago Library as part of their "Speculum Romanae Magnificentiae".
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$350

23947
BARTOLI, Pietro Santi (1635 - 1700) and Giovanni Pietro BELLORI (1613 - 1696).

[ARCH OF CONSTANTINE] VICTORIA DACICA. From Bellori's 'Veteres arcus augustorum triumphis insignes ex reliquis quae Romae supersunt cum imaginibus triumphalibus antiquis nummis notisque'.
G. P. Bellori, Rome, 1690. First edition. Copper-plate engraving, 250 X 400 mm., uncoloured, wide margins, no foxing or marks, VG+
This vigorous engraving reproduces a carving on the eastern side of the Arch of Constantine. Originally carved for a monument to celebrate Trajan's victory over the Dacians in 106, the carving was tranferred to Constantine's Arch when it was built 312-15. Nineteen of Pietro Bartoli's prints similar to this one are held in the famous collection of the University of Chicago Library as part of their "Speculum Romanae Magnificentiae".
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$350

23945
BARTOLI, Pietro Santi (1635 - 1700) and Giovanni Pietro BELLORI (1613 - 1696).

ARCH OF SEPTIMUS SEVERUS IN FORUM BOARIUM. TWO PRINTS - side and front views. From Bellori's 'Veteres arcus augustorum triumphis insignes ex reliquis quae Romae supersunt cum imaginibus triumphalibus antiquis nummis notisque'.
G. P. Bellori, Rome, 1690. First edition. Pair of copper-plate engravings, each image size 360 x 370 mm., uncoloured, wide margins, no marks or foxing, VG+
Also known as the Arch of the Argentarii (relating to businessmen and money changers nearby), this second monument to Septimus Severus still visible in Rome is not strictly an arch, but is often grouped with the other five surviving arches. Nineteen of Pietro Bartoli's prints similar to this one are held in the famous collection of the University of Chicago Library as part of their "Speculum Romanae Magnificentiae".
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$495 (set of two sheets)

23949
BARTOLI, Pietro Santi (1635 - 1700) and Giovanni Pietro BELLORI (1613 - 1696).

[ARCH OF TITUS] FOUR ENGRAVINGS OF FRIEZE CARVINGS FROM THE ARCH OF TITUS. From Bellori's 'Veteres arcus augustorum triumphis insignes ex reliquis quae Romae supersunt cum imaginibus triumphalibus antiquis nummis notisque'.
G. P. Bellori, Rome, 1690. First edition. Four copper-plate engravings, each 145 x 430 mm., on two sheets, uncoloured, wide margins, no foxing or marks, VG+.
The Arch of Titus is on the Via Sacra just to the south-east of the Forum in Rome. It was constructed by the emperor Domitian shortly after the death of Titus in 81 AD. The carved friezes on the Arch of Titus shows the Roman victors in celebratory procession after the capture and sack of Jerusalem in 70 AD by Titus and Vespasian. They depict soldiers, officials and sacrificial animals. The figure being borne on a litter represents the river god of the Jordan. Nineteen of Pietro Bartoli's prints similar to this one are held in the famous collection of the University of Chicago Library as part of their "Speculum Romanae Magnificentiae".
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$495 (set of two sheets)

23951
BARTOLI, Pietro Santi (1635 - 1700) and Giovanni Pietro BELLORI (1613 - 1696).

ENGRAVINGS OF FRIEZE CARVINGS FROM THE ARCHES OF CONSTANTINE & SEPTIMUS SEVERUS: SPRING, SUMMER, AUTUMN, WINTER. From Bellori's 'Veteres arcus augustorum triumphis insignes ex reliquis quae Romae supersunt cum imaginibus triumphalibus antiquis nummis notisque'.
G. P. Bellori, Rome, 1690. First edition. Copper-plate engraving, 380 x 460 mm., on one sheet, uncoloured, wide margins, no foxing or marks, VG+.
This composite engraving shows differing versions of harvest offerings taken from carvings on the two main surviving arches in Rome. Examples of coins from the different emperors' reigns are shown. The supposed gratitude of Rome's subjected peoples for "Pax Romana" is depicted as worship of the Goddess 'Provincia'. Nineteen of Pietro Bartoli's prints similar to this one are held in the famous collection of the University of Chicago Library as part of their "Speculum Romanae Magnificentiae".
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$350

23923
CARDON, Antoine Alexandre Joseph (1729 - 1822) eng., & Giuseppe BRACCI (del).

SEPOLCRO DI VIRGILIO. The Tomb of Virgil.
Rome, 1765. Etching, plate size 160 x 265 mm., uncoloured, trimmed to plate.
This fine etching of Virgil's supposed tomb at the Hill of Posilipo near Naples also shows the Castello St. Elmo in the backgound. There is a dedication to the late M. le comte De Caylus, an eminent archeologist who died the same year, together with a quote from Virgil's 'Bucolics', comparing Caylus's welcome to heaven with Daphnis's return to the love of his father, Hermes among the stars. Cardon was one of the premier etchers of the eighteenth century, and was much involved in the production of Sir William Hamilton's 'Etruscan Antiquities'. The Neapolitan site for Virgil's tomb remains unproven, but this image is suitably atmospheric and appropriate for the great pastoral poet.
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$250

23936
COOKE, William Bernard (1778 - 1855).

PIAZZA BARBERINI, ROME. An engraving from Dudley Costello's "Piedmont and Italy: from the Alps to the Tiber".
London, first edition 1855.. Engraving on steel, image size 120 x 180 mm., uncoloured, wide margins, some marginal foxing.
W. B. Cooke was a member of a noted family of line engravers working in London at the beginning of the rise in popularity of steel engraving for topographical scenes.
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$50

23933
COOKE, William Bernard (1778 - 1855).

TEMPLE OF CONCORD, ROME. An engraving from Dudley Costello's "Piedmont and Italy: from the Alps to the Tiber".
London, first edition 1855.. Engraving on steel, image size 125 X 180 mm., uncoloured, wide margins, no foxing or marks.
W. B. Cooke was a member of a noted family of line engravers working in London at the beginning of the rise in popularity of steel engraving for topographical scenes.
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$50

22961
DUBOURG, Matthew (fl. 1770-1836).

GROTTO OF EGERIA - ROME.
J. Taylor, London, 1820. Aquatint with some hand-colouring, 220 x 300 mm., wide margins, no foxing or tears. Plate 1 from 'Views of the Remains of Ancient Buildings in Rome and its Vicinity'.
From one of the finest colour-plate travel books of the nineteenth century.
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$295

22962
DUBOURG, Matthew (fl. 1786-1838).

ROME: FORUM OF NERVA.
J. Taylor, London, 1820. Aquatint with some hand-colouring, 220 x 300 mm., wide margins, no foxing, couple of marks in lower margin, tiny repaired tear in margin, a handsome print in very good condition.
Plate 11 from Dubourg's popular 1820 guide to sights on the Grand Tour, "Views of the Remains of Ancient Buildings in Rome and its Vicinity".
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$275

22957
DUBOURG, Matthew (fl. 1786-1838).

TEMPLE OF MINERVA MEDICA - ROME. From the series 'Views of Ancient Rome and its Vicinity'. Plate 8.
London, 1820. Aquatint with some hand-colouring, 220 x 300 mm., (image), wide margins, no foxing, small crease top right corner, excellent colour, VG+. Available with a copy of the page of text.
Evocative and decorative view of the ruins remaining for 'Grand Tourists' to enjoy in old Rome.
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$295

22958
DUBOURG, Matthew (fl.1770-1836).

TOMB OF CECILIA METELLA - ROME. From the series 'Views of the Remains of Ancient Buildings in Rome and its Vicinity'. Plate 7.
J. Taylor, London, 1820. Aquatint with some hand-colouring, 220 x 300 mm., (image), wide margins, excellent colouring,no foxing, VG+. Available with a page of the original text.
One of the finest colour print books of the nineteenth century.
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$295

23954
MACLURE, Andrew (1812 - 1885).

FOUR VIEWS IN ROME. Via Sacra, St. Peter's & Pont Angelo, Forum Romano, Civvita Veccio - Port of Rome.
Maclure & Macdonald, London, Lithographers to the Queen, no date but c.1890 - 1900. Lithograph, 280 x 370 mm., hand-coloured, four postcard-sized views on one sheet in & around Rome, no foxing or marks, Fine impression.
Prepared as souvenirs for first class passengers travelling on Orient Line ships through the Mediterranean. Finely painted views of Mediterranean ports and their attractions presented as finely hand-detailed lithographs. Andrew Maclure was a highly respected Scottish artist whose topographical paintings and lithographs are held in many public collections including the Queen's.
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$125

23930
MECHEL, Christian von (1737 - 1815).

PLAN DES BAINS ROMAINS DECOUVERTS A BADENWEILER DANS LE MARGGRAVIAT DE BADE EN 1784. Plan of the Roman Baths Discovered at Badenweiler in the Margravate of Baden in 1784.
Mechel, Basle, 1785. Engraving, plate size 265 x 385 mm., uncoloured, no marks or foxing.
The well-preserved remains of these extensive Roman Baths have become a notable tourist attraction and research centre for the town of Badenweiler on the western edge of the Black Forest near Freiburg. This engraving was the first published of the important find. The engraver Mechel was a native of Basle who studied in Germany before being accepted as a member of both the Academies of Florence and Berlin.
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$295

23903
PIRANESI, Giovanni Battista (1720 - 1778).

AVANZI DEGL' AQUEDOTTI NERONIANI. Remains of the Aqueduct of Nero.
Piranesi, Rome, 1775. Intermediate Paris edition. Etching, 490 x 708 mm., uncoloured, margins trimmed, surface abrasion and tears repaired at lower margin and title (sold with all faults), o/w a nice impression of an important image. Framed and glazed.
The aqueduct of Nero (54-68 AD) was a modification and extension of the aqueduct of Claudius, who had completed it in 52 AD, fourteen years after Caligula had started its construction. Nero's extension drew water from Claudius's arches and carried it to the imperial palace on the Palatine hill. This was possible as the arches were the second-highest to enter the city. Parts of the structure are still visible in 21st century Rome near via di S. Croce in Gerusalemme and Villa Wolkonsky.
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$2,500 'waf'.

23904
PIRANESI, Giovanni Battista (1720 - 1778).

PIANTA DEL MONTE CAPITOLINO E SUA ROCCA & PROSPETTIVA DEI DUE CORNI O SASSI CHE SORGEVANO NEI LATI CAPITOLINI. Plan of the Capitoline Mount and its Fortress, together with a view of the two peaks of the Capitoline.
Bouchard, Rome, 1756. Etching, 402 x 257 mm., uncoloured, wide margins, VG+
This etching is from Piranesi's 'Le Antichita Romane' (The Antiquities of Rome 1756) and the two images show a plan of the ancient fortified temple together with a view of the twin-peaked Capitoline Hill as it would have looked before Michelangelo's extensive building works gave Rome the Piazza del Campidoglio on the site in the 1540s.From the earliest times, the Capitoline hill (Campidoglio in Italian) was the centre of the political,social and religious life of Rome. Access to the Capitoline was only by means of a narrow path leading up the southern side of the hill. This was easy to defend in the event of an attack. Even at the height of Rome's power, the Capitoline was still considered the citadel of the city, and it also housed the magnificent Temple of Jupiter, built to rival the Parthenon in Athens.Today, only pieces of the foundations remain, now buried under the Renaissance structures of the Piazza del Campidoglio.
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$1,250

23902
PIRANESI, Giovanni Battista (1720 - 1778).

SPACCATO INTERNO DELLA BASILICA DI S. PAOLO FUORI DELLE MURA.
From the Press of the Author (Piranesi) Rome, 1749. First Paris edition (reference, Hind 7- V). Etching, 410 x 605 mm., uncoloured, good margins.
The Basilica of St. Paul outside the Walls was founded by Constantine (308-337) over the Apostle Paul's tomb. It was partially destroyed by fire in 1823. This early view by Piranesi in 1749 before the fire can thus be compared with the view made after the fire in 1823 by his follower Rossini. In 1854 the church was restored by Pope Pius IX, but little remains of the original structure. This fine impression of the etching shows Piranesi's mastery in depicting space and light.
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$2,500

23895
ROSSINI, Luigi (1790 - 1857).

AVANZO DEL TEMPIO DI MINERVA MEDICA, DA ALTRI UN SEPOLCRO.
Rome, 1823. Engraving, plate size 498 x 616 mm., uncoloured.
It is now accepted that this is not a Temple of Minerva, but a 'Nymphaeum' (fountain and watergarden) of the Horti Linciniani (gardens of the Lincinii family). Five years after Rossini's engraving the centre part of the dome collapsed, but the remains are still visible today, making them some of the earliest cultivated garden features extant.
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$1150

10263
ROSSINI, Luigi (1790 - 1857).

[CASTEL ST. ANGELO - ROME] VEDUTA DELLA GRAN MOLE ADRIANA & PONTE ELIO
Scudellari, Rome, 1821. Engraving, plate size, 440 x 550 mm., uncoloured, wide margins, no marks or flaws, framed & glazed.
The dark bulk of Castel St.Angelo (scene of Tosca's death leap) is well caught by Rossini, Piranesi's follower.The 'Mole Adriana' was built by the Emperor Hadrian as a mausoleum for himself and his successors. It was finished the year after his death (he ruled AD 117-138, during which time he built Hadrian's Wall in britain, as well as he Pantheon and many other buildings in rome). Inside were buried Hadrian and his wife Sabina, as well as Lucius Verus, and the emperors Antonius, Marcus Aurelius, Commodus, Septimus Severus (who died in York in AD 211) and his son Caracalla. However, the mausoleum soon became more important as a fortress. As it was originally ouside the city walls it was rather a liability, for when the barbarian invasions began in the 3rd century, this fortress-like building so close to the walls would have given the invaders an ideal defensive structure against any counter-attack. By the time of Belisarius, who retook Rome from the Goths in 535, the mausoleum had become an outpost of the city's defences, linked to the walls by the Aelian Bridge (the Ponte Elio) across the Tiber. In the Middle Ages this tomb had become the main citadel of the city, the Castle of St. Angelo, and was used later as a papal residence and stronghold.
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$1250 framed.

23899
ROSSINI, Luigi (1790 - 1857).

ROVINA DELLA GRAN BASILICA DI S. PAOLO FUORI LE MURA ACCADUTA LI 15 LUGLIO 1823. Remains of the Church of St. Paul outside the walls - destroyed by fire in July 1823.
Rome, 1823. Engraving, plate size 468 x 648 mm., uncoloured.
The Basilica of St. Paul outside the Walls was founded by Constantine (308-337) over the Apostle Paul's tomb. Additions were made to it frequently through the years, until it was burnt down in July 1823. Rossini visited the church in the same year, and it was the damage from this fire that he drew. In 1854 it was restored by Pope Pius IX, although little remains of the original structure.
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$950

23901
ROSSINI, Luigi (1790 - 1857).

VEDUTA DEL GRAN SEPOLCRO DI CECILIA METELLA.
Rome, 1822. Engraving, plate size 461 x 631 mm., uncoloured, wide margins.
This tomb, standing three miles outside Rome on the Via Appia, is that of Cecilia Metella, the daughter of the famous general, Quintus Metellus Creticus, who had been awarded a triumph for conquering Crete. She was also the daughter-in-law of the Triumvir Crassus, the richest man in Rome at the time. Crassus is remembered as the Roman who defeated Spartacus and put down the revolt of the slaves.
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$950

23896
ROSSINI, Luigi (1790 - 1857).

VEDUTA DEL GRAN SEPOLCRO VOLGARMENTE DETTO DI NERONE.
Rome, 1822. Engraving, plate size 566 X 411 mm., uncoloured, wide margins.
This large sepulchre was known commonly as that of the Emperor Nero, probably because the name 'Nero' appears on its inscription. However, the name is not the emperor's, whose proper name was Lucius Domitius Ahenobarbus. The Roman historian Suetonius tells us that Nero's ashes were interred in the Domitii family crypt on the Pincian Hill.
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$950

10272
ROSSINI, Luigi (1790 - 1857).

VEDUTA DEL TEMPIO DELLA FORTUNA VIRILE.
Rome, 1822. Engraving, plate size 400 x 543 mm., uncoloured, wide margins.
The Temple of Fortune in the Forum Boarum was built in the second century BC. In this image it is seen surrounded by medieval additions which were removed when the temple was restored in 1923.
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$950

23898
ROSSINI, Luigi (1790 - 1857).

VEDUTA DELL'ANTICO TEMPIO DEDICATO ALLE NOVE MUSE DA M. FULVIO NOBILIORE.
Rome, 1823. Engraving, plate size 395 x 534 mm., uncoloured, wide margins.
Roman citizen M. Fulvius Nobiliore was a patron of the arts, who is credited with the introduction of professional Greek athletic competitions to Rome in 186 BC. Rossini also attributes the dedication of this 'Temple of the Nine Muses' to him. Now it is the Church of St. Urban, and needs the brick buttresses to keep it standing.
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$950

23893
ROSSINI, Luigi (1790 - 1857).

VEDUTA DELL'ARCO DI SETTIMIO SEVERO NEL FORO BOARIO.
Rome, 1821. Engraving, plate size 405 x 485 mm., uncoloured, wide margins.
Although most of the fora in Rome were used for state business, the Forum Boarium was a cattle market. This did not stop the erection of public monuments such as this arch, built by Severus in AD 204, and known as the 'Arch of the Money-changers', after the businessmen who gathered there.
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$950

23900
ROSSINI, Luigi (1790 - 1857).

VEDUTA DELL'AVANZO DELL'ANFITEATRO CASTRENSE.
Rome, 1822. Engraving, plate size 334 X 458 mm., uncoloured, wide margins.
This rather modest amphitheatre is believed to have been built by Emperor Trajan (98-117) to stage games for the soldiers of the nearby barracks. In the third century it became incorporated into the defensive walls of the city built by Aurelian in 272, and the arches on the outside of the walls were filled in. Aurelian's walls were not sufficient to prevent the Goths under Alaric capturing and sacking Rome in 410. However, enough of the walls and this amphitheatre remain today to give a visitor a sense of the old Roman glories.
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$950

22835
ROSSINI, Luigi (1790-1857).

ANTICHITA DI CORA. Antiquities found at Cori
Rome, 1825. Engraving, plate size 490 x 590 mm., uncoloured, wide margins. Framed and glazed.
This engraving is from one of Rossini's major works produced in 4 parts 1824-6, "Le antichita dei contorni di Roma ossia le piu famose citta del Lazio, Tivoli, Albano, Castelgandolfo, Palestrina, Tuscolo, Cora e Ferentino" (Engravings of antiquities surrounding Rome and the famous cities of Latium). Cori is south east of Rome and a fine topographical view of the town provides background for some of the relics. Rossini was acknowledged as the finest of the followers of G. B. Piranesi.
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$1250

23960
SANSON, Nicolas.

EUROPA VETUS MAP OF EUROPE & NORTH AFRICA AT THE TIME OF THE ROMAN EMPIRE.
Sanson, Paris, 1650. Hand-coloured engraved map, 380 x 540 mm., original traditional colour underlining and outlines, elaborate cartouche, good margins ( small piece missing lower left corner not affecting image), no foxing or marks.
A mid-seventeenth century map made to show the world known to the ancients at the height of the Roman Empire before the founding of Constantinople.
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$750

20795
[SDUK] CLARKE , W B , for STANFORD , Edward.

1850s PLAN of MODERN ROME MAP.
Published under the superintendence of the Society for the Diffusion of Useful Knowledge by Edward Stanford, London, nd c.1850s. Hand-coloured steel-engraved map, 33 x 42, showing a 2.5 square kilometer area of Rome, mostly detailing the east bank of the Tiber, but including the Vatican, St. Peters and the Castello St. Anjelo on the north-west bank. Very detailed, and including large key table of important historical buildings - churches, baths, houses of Roman authors, etc. Also includes a series of engravings of many of these buildings at base. An early edition with no sign of railways. Wide margins, no foxing or tears, paper pleasantly creamy with age, VG+. framed and glazed ... other cities available - enquires.
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$350

10501
SENEX, John ( after G. de l'Isle ).

REGIONUM ITALIAE MEDIARUM TABULA GEOGRAPHICA ( MAP of ANCIENT ROME AND ITS REGION )
John SENEX , London, 1712. Engraved map, 470 x 600 mm., hand coloured outlines, centrefold, no foxing or marks, VG+.
A depiction of western and central Italy at the height of Imperial Rome's power. Includes an inset plan of Rome at the time of the Caesars showing the hills, walls, gates and roads at the time.
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$395

23926
SILVESTRE, Israel (1621 - 1691).

ALTRA VEDUTA DI INTERNO ROMA. A View of the Environs of Rome.
Paris, nd c. 1660. Etching, image size 125 x 205 mm., uncoloured, trimmed to image and laid on old paper. Five of Israel Silvestre's prints are included in the famous collection "Speculum Romanae Magnificentiae" held by the University of Chicago Library.
This Parisian based etcher was appointed 'dessinateur et graveure du Roi' in 1662, and later was granted studio space in the Louvre by Louis XIV. He travelled three times to Italy, producing two sets of 'Vues de Italie' which were particularly appreciated and adapted for paintings by Canaletto in the eighteenth century. He produced more than a thousand etchings, which are highly regarded for their architectural accuracy, and form the basis of much of our knowledge of French and Italian buildings in the seventeenth century. An illustrated catalogue raisonne of his architectural etchings produced by L. E. Faucheux is an invaluable tool for researchers of style in the seventeenth century.
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$250

23924
SILVESTRE, Israel (1621 - 1691).

VEDUTA DEL TEMPIO DI BACCO A ST. AGNESA FUOR DI ROMA. View of a Temple of Bacchus at St. Agnes outside the walls of Rome.
Paris, nd c. 1660. Etching, image size 125 x 205 mm., uncoloured, trimmed to image and laid on old paper. Five of Israel Silvestre's prints are included in the famous collection "Speculum Romanae Magnificentiae" held by the University of Chicago Library.
This Parisian based etcher was appointed 'dessinateur et graveure du Roi' in 1662, and later was granted studio space in the Louvre by Louis XIV. He travelled three times to Italy, producing two sets of 'Vues de Italie' which were particularly appreciated and adapted for paintings by Canaletto in the eighteenth century. He produced more than a thousand etchings, which are highly regarded for their architectural accuracy, and form the basis of much of our knowledge of French and Italian buildings in the seventeenth century. An illustrated catalogue raisonne of his architectural etchings produced by L. E. Faucheux is an invaluable tool for researchers of style in the seventeenth century. Palladio wrongly attributed this Roman mausoleum to Bacchus. In fact, the fourth century mausoleum (now converted to a church) was erected by Constantia, the daughter of Constantine, in 342 to honour the Christian martyr St. Agnes.
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$295

23928
SILVESTRE, Israel (1621 - 1691).

VIEW OF A CHURCH, COLONNADE AND STAIRS.
Paris, nd c. 1660. Etching, image size 95 X 165 mm., uncoloured, margins trimmed. Five of Israel Silvestre's prints are included in the famous collection "Speculum Romanae Magnificentiae" held by the University of Chicago Library.
This Parisian based etcher was appointed 'dessinateur et graveure du Roi' in 1662, and later was granted studio space in the Louvre by Louis XIV. He travelled three times to Italy, producing two sets of 'Vues de Italie' which were particularly appreciated and adapted for paintings by Canaletto in the eighteenth century. He produced more than a thousand etchings, which are highly regarded for their architectural accuracy, and form the basis of much of our knowledge of French and Italian buildings in the seventeenth century. An illustrated catalogue raisonne of his architectural etchings produced by L. E. Faucheux is an invaluable tool for researchers of style in the seventeenth century.
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$250

23925
SILVESTRE, Israel (1621 - 1691).

VUE DU TOMBEAU DE CESTIUS, ET DE L'EGLISE DE SAINCT PIERRE MONTORE DE ROME. View of the Pyramid of Caius Cestius in Rome.
Paris, nd c. 1660. Etching, image size 85 x 155 mm., uncoloured, trimmed to image and laid on old paper.
This Parisian based etcher was appointed 'dessinateur et graveure du Roi' in 1662, and later was granted studio space in the Louvre by Louis XIV. He travelled three times to Italy, producing two sets of 'Vues de Italie' which were particularly appreciated and adapted for paintings by Canaletto in the eighteenth century. He produced more than a thousand etchings, which are highly regarded for their architectural accuracy, and form the basis of much of our knowledge of French and Italian buildings in the seventeenth century. An illustrated catalogue raisonne of his architectural etchings produced by L. E. Faucheux is an invaluable tool for researchers of style in the seventeenth century. Five examples of his works are held in the University of Chicago Library's collection as part of their famous "Speculum Romanae Magnificentiae". The Pyramid of Cestius was built in 12 BC as the funeral monument of Caius Cestius, a Roman politician. Originally outside the city walls, it took 330 days to build, and was eventually incorporated into the Walls of Aurelian.
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$250

23937
SMITH, Frederick (fl. 1836-63).

THE THREE COLUMNS OF JUPITER TONANS, ROME. An engraving from Dudley Costello's "Piedmont and Italy: from the Alps to the Tiber".
London, first edition 1855.. Engraving on steel, image size 170 x 120 mm., uncoloured, wide margins, no foxing or marks.
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$50

23938
SMITH, Frederick (fl. 1836-63).

VIA SCELERATA, ROME. An engraving from Dudley Costello's "Piedmont and Italy: from the Alps to the Tiber".
London, first edition 1855.. Engraving on steel, image size 160 x 110 mm., uncoloured, wide margins, slight foxing in margin.
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$50