THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
The Villa Albani
Etching, 1769, from Vedute di Roma, 442 x 695 mm., Hind 89 i/iii. A fine impression on laid paper with good margins, from the first Paris edition (which was also the first edition); a few soft creases and a tear into the image from the bottom, neatly repaired but visible. The Villa Albani, located on the Via Salaria to the East of the Villa Borghese, was constructed between 1746 and 1767, completed just two years before Piranesi’s etching of it. It was designed and built by Carlo Marchionni for Cardinal Alessandro Albani, to house his vast collection of ancient sculptures. Despite its lack of historical associations, it was obviously impressive enough, both for its buildings and its very formal gardens, to be included in Piranesi’s views of Rome. Because of the formal, geometric design of the grounds, the perspective view presented considerable problems of draughtsmanship, partially solved here by using figures of different sizes to indicate proximity and distance.