All public sale artworks will be dropped by 13 May and the primary sales window will close on 30 June after this point no further sales of these artworks will be made by the British Museum. Three preview artworks will be available to purchase from 25 April with the main drop starting on 2 May. Super Rare and Open Edition artworks will be sold at fixed price, selling for 2,000 and 499 respectively. Ultra Rare artworks will be sold by auction, with a starting price of 4,000. five will be Open Edition (a maximum of 50 editions will be sold with the final edition number set at the end of the primary sales window one edition will be retained by the British Museum). nine will be Super Rare (ten editions, one of which will be retained by the British Museum) and six will be Ultra Rare (two editions, one of which will be retained by the British Museum) The 20 artworks will be sold across three scarcity levels: One such example is Architectural fantasy with monuments, sculpture and ruins (1760-1765) a fantasy scene bringing together a creative selection of different Roman monuments interspersed with figures drawn in miniature to accentuate the grandeur of the landscape. Piranesis drawings were investigative tools for experimentation that explore complex exercises in perspective and spatial representation as well as compelling fantasies. Showcasing a mastery of craft, Piranesi deconstructed classical architecture language and reinvented it through dynamic compositions that animate and exaggerate the space the use of red chalk combined with brown ink is unique in the Museums collection. The selection includes some of the earliest drawings in the British Museums collection relating to his Prima Parte (1743) series of etchings of imaginary temples, palaces and the ruins of Rome.Ī monumental staircase in a vaulted interior with column (1750-1755) is one of the most impressive Piranesi drawings in technique and scale found at the British Museum. Works included in this drop chart the evolution of the artist from early scenographic drawings to his more elaborate fantasy interiors. His exceptional work as a draughtsman is less well known, yet his drawings reveal the evolution of his practice and the relentless experimentation and innovation that underpinned his virtuoso ability with the etching needle. Piranesi is regarded as one of the greatest Italian printmakers of the 18th century, best known for his atmospheric representations of Roman antiquity, and in later years, his celebrated series of fictional prisons, La Carceri. For its latest collaboration with the British Museum, LaCollection has announced a new NFT drop drawn from a selection of 20 pen and chalk drawings from the British Museums collection by the Venetian-born artist Giovanni Battista Piranesi (1720-1778). A squaring in black chalk lines helped the artist transfer his design to the etching plate.LONDON. Varying tones of wash and rapid, squiggly lines evoke atmospheric conditions. Small figures in boats are indicated with broad strokes of wash. Piranesi first drew the main outlines of the architecture in chalk, then added brown and red wash for shading and details. These speaking ruins have filled my spirit with images that accurate drawings, even such as those of the immortal Palladio, could never have succeeded in conveying, though I always kept them before my eyes. Piranesi took a creative approach when he made architectural fantasies like this one, using antique ruins as his point of departure. He combined arches, pedestals, columns, bridges, and sculptures in an imaginative reconstruction of monumental and complex classical architecture. The etching was published as part of a series of architectural and perspective images. When he was twenty-three, Piranesi made this preparatory study for an etching.
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