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Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 2

RIBA98057
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 3

RIBA98058
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 4

RIBA98059
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 5

RIBA98060
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 6

RIBA98061
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Letter by Giovanni Battista Piranesi, from Rome, to Robert Mylne, in London, dated 11 Nov 1760: accompanied by an incomplete English translation, page 7

RIBA98062
NOTES: In the letter Piranesi thanks Robert Mylne for making his engravings known in England; he is very interested in Blackfriars Bridge and asks for an exact copy of the design to be sent to him [and produced an engraving of the bridge in 1766, see RIBA13018]; gives news from Rome and refers to a delay in the publication of his work, "On the Magnificence and Architecture of the Romans"; he has been measuring and drawing the columns and entablatures under restoration at the Campo Vacino monument in Rome [the Temple of Jupiter in the Forum, now called Castor and Pollux]; prompted by the comments of [Jean Antionne] Morand, a French painter, he stresses the need for accuracy and observes that there is a want of accuracy in Desgodetz' work; George Dance [the younger] has been taking casts of parts of the monument; Piranesi has also been measuring and drawing the amphitheatre at Castrense which was being excavated.

Scrap attached to typescript of 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' (recto)

RIBA98645
NOTES: This is one of a series of papers relating to the translation into Englsh of Mondrian's essay 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' which was published in 1937 in Circle: International Survey of Constructivist Art (edited by Leslie Martin, Ben Nicholson and Naum Gabo).

Scrap attached to typescript of 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' (verso)

RIBA98646
NOTES: This is one of a series of papers relating to the translation into Englsh of Mondrian's essay 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' which was published in 1937 in Circle: International Survey of Constructivist Art (edited by Leslie Martin, Ben Nicholson and Naum Gabo).

Typescript in English with handwritten annotations for 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art': page 1 (recto)

RIBA98647
NOTES: This is one of a series of papers relating to the translation into Englsh of Mondrian's essay 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' which was published in 1937 in Circle: International Survey of Constructivist Art (edited by Leslie Martin, Ben Nicholson and Naum Gabo).

Typescript in English with handwritten annotations for 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art': page 1 (verso)

RIBA98648
NOTES: This is one of a series of papers relating to the translation into Englsh of Mondrian's essay 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' which was published in 1937 in Circle: International Survey of Constructivist Art (edited by Leslie Martin, Ben Nicholson and Naum Gabo).

Typescript in English with handwritten annotations for 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art': page 2 (recto)

RIBA98649
NOTES: This is one of a series of papers relating to the translation into Englsh of Mondrian's essay 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' which was published in 1937 in Circle: International Survey of Constructivist Art (edited by Leslie Martin, Ben Nicholson and Naum Gabo).

Typescript in English with handwritten annotations for 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art': page 2 (verso)

RIBA98650
NOTES: This is one of a series of papers relating to the translation into Englsh of Mondrian's essay 'Plastic Art and Pure Plastic Art: Non-Figurative and Figurative Art' which was published in 1937 in Circle: International Survey of Constructivist Art (edited by Leslie Martin, Ben Nicholson and Naum Gabo).
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