"Racolta delle piu belle vedute antiche, e moderne di Roma. Volume Primo. " - Titel tile

Sehr seltener original Kupferstich von Giuseppe Vasi aus dem 18. Jahrhundert. -- Blattmasse: ca. 30 x 42 cm. Plattenmasse: ca. 20, 5 x 30 cm. -- im unteren Außenrand mit kleiner Wurmspur, sonst gut erhalten. || Rare original copper engraving by Giuseppe Vasi from the 18th century. -- with a small worm hole on the lower outer margin, otherwise in good condition. || Rara incisione su rame originale di Giuseppe Vasi del XVIII secolo. || || Giuseppe Vasi (27 August 1710 – 16 April 1782) was an Italian engraver and architect. He was born in Corleone, Sicily and later, around 1736, moved to Rome. After a period of intense visits and studies, Vasi started to work as an engraver in the Calcografia Camerale, the main public institution of Rome devoted to engraving and etching. Later on Vasi started to work on his own, producing and selling series of his views to a public made principally of grand tourists. The first series of akin consists in the Vedute di Roma sul Tevere, i.e. Views of the Tiber, circa 1743 and later adapted to become part of the Magnificenze di Roma antica e moderna. In these years Vasi also hosted in his workshop for a limited period of time the young Giovanni Battista Piranesi, his major pupil, who shaped here his technique as an engraver. From 1747 to 1761 Vasi published a series of ten volumes including circa 240 engravings of vedute of Rome. Vasi was a famous man and artist up to the 1760s, when Piranesi took definitively his place, making his master's style old and outdated. For over 200 years Vasi was artistically forgotten and his views taken into account only for their topographical and documentary qualities. Things changed in 1981, thanks to the monograph by Luisa Scalabroni and even more in the nineties, mainly thanks to the contributions by Paolo Coen on his catalogue and by Allan Ceen on the maps. Today Giuseppe Vasi is no longer considered Piranesi's defeated rival, but an artist with his own personality and technique. Though far from being a revolutionary, he gave a significant contribution to the Roman school of engraving applied to the "veduta", with a role quite similar to Giovanni Panini's in painting. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint!