![]() ![]() Around 1761 there was a second issue of the second edition, where the ‘The Tomb of Nero’ is revised again. His first issue of the revised, second edition of the Grotteschi was printed on a distinctive paper, not that used for either the previous first edition or for any later issue of the second edition. For ten years, until 1761, he worked only on three plates, making no change whatsoever to ‘The Triumphal Arch’. About 1750, Piranesi began to revise the plates, adding or darkening or evening the shadows of the objects in the foreground, and otherwise increasing the distinctness of the forms, and the sense of depth in the prints. The etchings were made by Piranesi in Rome and first published there circa 1747-1749 as an independent work. ![]() Plate 395 × 555 mm, second state of five (Robison) The prints belong to a long and complex visual tradition devised to appeal to the erudite connoisseur, but never before had capricci suggested any intentional coherence of meaning, never before had they been endowed with such profundity, and been susceptible to so many romantic and psychological interpretations. The four Grotteschi are among the most important and inventive of Piranesi’s prints, combining elements of human, cultural, and architectural decay in contexts of deliberate ambiguity, both as to the nature of the objects in each image and their spatial relationships. 359-362 (impressions of Robison state iv, circa 1790) Andrew Robison, Early Architectural Fantasies: A Catalogue Raisonné of the etchings (Chicago & London 1986), pp.115-122 nos. 24-27 John Wilton-Ely, The Mind and Art of Giovanni Battista Piranesi (London 1978), pp.18-20 Dario Succi, Da Carlevarijs ai Tiepolo: incisori veneti e friulani del Settecento, catalogue of an exhibition held at Palazzo Attems, Gorizia, and Museo Correr, Venice, in 1983 (Venice 1983), pp.294-297 nos. Hind, Giovanni Battista Piranesi: a critical study, with a list of his published works and detailed catalogues of the prisons and the views of Rome (London 1922), pp.80-81 nos. Agnew and Sons Ltd., exhibited at the London Original Print Fair, Royal Academy, 11-14 January 1991 - Private collection, Dublin Daumier en très belles impressions de Charivari pièces relatives aux Ballons collection d’estampes révolutionnaires’, auction conducted by Ader Picard Tajan, with the expertise of Denise Rousseau, Hôtel Drouot, Paris, 13 October 1989, lot 20 (FF 190,000 + premium) - Thos. Piranèse Carceri, vues de Rome importante réunion de lithographies d’H. Breughel… Exceptionnel et rare ensemble de suites de J.B. Provenance anonymous consignor, ‘Estampes des XVIIe au XXe siècle par ou d’après F. In a set of gilt frames by Paul Levi (each 50 × 80 cm). Plate 396 × 547 mm, state 2 of four (Robison 24). Plate 392 × 554 mm, state 2 of six (Robison 23). Plate 394 × 553 mm, state 1 of five (Robison 22). ![]() Plate 395 × 555 mm, state 2 of five (Robison 21). Matching impressions from the second edition, first issue. Set of four prints in etching, engraving, drypoint, scratching, burnishing. Grotteschi: ‘The Skeletons’, ‘The Triumphal Arch’, ‘The Tomb of Nero’, ‘The Monumental Tablet’ ![]()
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