Details
Antonio CANAL, dit 'CANALETTO'. Vedute [Venice: vers 1741 - après le 6 Juin 1744].
Série complète des gravures à l'eau-forte de Canaletto, dédiées et probablement publiées pour Joseph Smith, Consul de Venise.ANAL, Antonio (1697-1768, called 'Il Canaletto'). Vedute Altre prese da i Luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva umiliate All' Ill.mo Signor Giuseppe Smith Console di S. M. Britanica appresso la Ser.ma Repubblica di Venezia. In segno di stima ed ossequia. [Venice: ca. 1741-after 6 June 1744].
Etched title and 30 plates by Canaletto (Bromberg nos. 1-11, 13-16, 18-33) on 24 leaves, each leaf tipped onto a background leaf and window-mounted (mounts: 490 x 600mm.). Contained within a modern cloth-and-card box.
The set comprises:
1. Title. No recognisable watermark. (S. 390 x 530mm; P. 296 x 431mm). (Light surface soiling to margins, light surface abrasions to verso borders.) Bromberg 1 ii of ii states.
2. La Torre di Malghera. Watermark: three crescents with 'B' countermark. (S. 319 x 466mm; P. 298 x 432mm). (Light surface abrasions along old fold.) Br. 2 ii/iii.
3. Mestre. Watermark: three crescents with 'B' countermark. (S. 305 x 435mm; P. 300 x 436mm). (Sheet cut-down to edge of plate mark, light surface abrasion verso top right.) Br. 3 i, early impression/ii.
4. Al Dolo. Watermark: crescents(?). (S. 400 x 534mm; P. 301 x 432mm). Br. 4 ii/iii.
5. Ale Porte del Dolo. Watermark: 'R'. (S. 303 x 435mm; P. 300 x 431mm). (Sheet cut down to edge of plate mark.) Br. 5 iii/iii.
6. Le Porte del Dolo. Watermark: 'R'. (S. 342 x 478mm; P. 300 x 432mm). (Light surface abrasions along old fold, a few small stains to upper half of image.) Br. 6 ii/iii.
7. Sa. Giustina in prà della Vale. Watermark: three crescents with 'B' countermark. (S. 302 x 430mm). (Sheet cut to within plate-mark but outside border line, three small tears to right margin not affecting image, small area torn with loss to sky upper left corner.) Br. 7 i/ii.
8. Prà della Valle. Watermark: three crescents with 'B' countermark. (S. 302 x 435mm; P. 300 x 432mm). (Sheet cut to edge and occasionally within edge of plate-mark not affecting image.) Br. 8 i/ii.
9. [View of a town on a riverbank]. Watermark: 'R'. (S. 373 x 600mm; P. 301 x 432mm). Br. 9 ii/ii.
10. The portico with a lantern. Watermark: 'R'. (S. 310 x 441mm; P. 301 x 430mm). (Sheet cut close to plate-mark.) Br. 10 iii/iii.
11. Imaginary view of Padua. Watermark: 'R'. (S. 344 x 480mm; P. 300 x 436mm). (Some light spotting, small 7mm. tear to lower blank margin.) Br. 11 ii/iii.
12. The house with the inscription (P. 298 x 214mm). Br. 13, one state only; with, on same sheet: The house with the peristyle. (P. 298 x 214mm). Br. 14 ii/ii. No recognisable watermark. (S. 308 x 443mm). (Sheet cut close to plate-marks, very light surface abrasion top left corner just affecting image.)
13. A bishop's tomb. (P. 221 x 130mm). Br. 15, one state only; with, on the same sheet: A wagon passing over a bridge. (P. 144 x 125mm). Br. 32 ii/ii; The little monument. (P. 118 x 84mm). Br. 33 ii/ii. Watermark: 'R'. (S. 267 x 430mm).
14. View of a town with a bishop's tomb. Watermark: 'R'. (S. 382 x 512mm; P. 300 x 302mm). Br. 16 ii/ii.
15. La Libreria. V. No watermark. (S. 142 x 209mm). (Sheet cut to within plate-mark but outside border line). Br. 18 ii/iii.
16. La Piera del Bando. V. No watermark. (S. 144 x 210mm). (Sheet cut to within plate-mark but outside border line.) Br. 19 ii/iii.
17. The market on the Molo. No watermark. (S. 151 x 215mm; P. 144 x 210mm). (Sheet cut close to plate-mark, general light browning to paper.) Br. 20 iii/iv.
18. Le Preson. V. No watermark. (S. 149 x 213mm) (Sheet cut to within plate-mark but outside border line.) Br. 21 ii/iii.
19. Mountain landscape with five bridges. (P. 143 x 212mm). Br. 22 iiA/iiB; with, on the same sheet: The equestrian monument. (P. 144 x 210mm). Br. 23, one state only; Landscape with a pilgrim at prayer. (P. 142 x 211mm). Br. 27 iii/iii; Landscape with a woman at a well. (P. 133 x 208mm). Br. 29 iiA/iii. Watermark: 'R'. (S. 415 x 549mm). (Two small holes to left margin, slight discolouration to top right corner.)
20. The terrace. No watermark. (S. 190 x 263mm; P. 145 x 215mm). (Surface abrasion to verso of sheet at upper corners.) Br. 24 iii/iii.
21. Le Procuratie niovè e S. Ziminian V. Watermark: partial three crescent mark. (S. 190 x 240mm; P. 145 x 212mm). Br. 25 i/ii.
22. The market at Dolo. No discernible watermark. (S. 190 x 250mm; P. 144 x 211mm). (Small tears to left margin, upper margin strengthened on verso.) Br. 26 iii/iv.
23. Landscape with a tower and two ruined pillars. Watermark: 'F.C.'. (S. 200 x 250mm; P. 144x 208mm). (Very light soiling to margins.) Br. 28 ii/ii.
24. Imaginary view of S. Giacomo di Rialto. No watermark. (S. 226 x 305mm; P. 144 x 216mm). Br. 30 ii/ii.
25. Landscape with ruined monuments. No watermark. (S. 174 x 239mm; 145 x 214mm). Br. 31, one state only.
A COMPLETE SET OF CANALETTO'S ETCHINGS. Canaletto turned to engraving at the height of his career, when his paintings had been commissioned by Stefano Conti of Lucca, by Owen McSwiney for several English noblemen, and, most notably, by his greatest patron, the collector and Consul of Venice, Joseph Smith. The relationship between Smith and Canaletto was well-established by the time Canaletto turned to etching, and Smith, to whom the Vedute is dedicated, may have commissioned the work. Smith had commissioned the Swiss artist J.M. Liotard to make engravings after the paintings of Sebastiano Ricci (Bromberg 2) in 1724, and in 1735 he had also had Antonio Visentini engrave plates after the Canaletto paintings then owned by Smith. The dating of the Vedute is uncertain, since only plate 12 is dated (1741), but they were clearly published after June 6 1744, the day Smith was appointed Consul to Venice.
As Bromberg observes, etching was perfectly suited to Canaletto's painterly style and his early plates are 'more like etched drawings' (p.7). The etchings are 'the more remarkable since Canaletto's painting and drawing in the 1740s was often mechanical, and the result of skilful application of recipes' (W. Constable and J.G. Links, Canaletto, 1976, p.650). Canaletto took great pains over the plates and issued most of them in up to four states, reworking them until he achieved the desired effect. In the present copy most of the plates are in the second (usually final) state, four are in the first state, six in the third state and four in the only state recorded. All are present in fine, strong impressions. Bromberg lists 4 additional plates (12, 17, 34, 35), which were not published as part of the work. RARE. LITERATURE: R. Bromberg, Canaletto's Etchings, 1974.
Série complète des gravures à l'eau-forte de Canaletto, dédiées et probablement publiées pour Joseph Smith, Consul de Venise.ANAL, Antonio (1697-1768, called 'Il Canaletto'). Vedute Altre prese da i Luoghi altre ideate da Antonio Canal e da esso intagliate poste in prospetiva umiliate All' Ill.mo Signor Giuseppe Smith Console di S. M. Britanica appresso la Ser.ma Repubblica di Venezia. In segno di stima ed ossequia. [Venice: ca. 1741-after 6 June 1744].
Etched title and 30 plates by Canaletto (Bromberg nos. 1-11, 13-16, 18-33) on 24 leaves, each leaf tipped onto a background leaf and window-mounted (mounts: 490 x 600mm.). Contained within a modern cloth-and-card box.
The set comprises:
1. Title. No recognisable watermark. (S. 390 x 530mm; P. 296 x 431mm). (Light surface soiling to margins, light surface abrasions to verso borders.) Bromberg 1 ii of ii states.
2. La Torre di Malghera. Watermark: three crescents with 'B' countermark. (S. 319 x 466mm; P. 298 x 432mm). (Light surface abrasions along old fold.) Br. 2 ii/iii.
3. Mestre. Watermark: three crescents with 'B' countermark. (S. 305 x 435mm; P. 300 x 436mm). (Sheet cut-down to edge of plate mark, light surface abrasion verso top right.) Br. 3 i, early impression/ii.
4. Al Dolo. Watermark: crescents(?). (S. 400 x 534mm; P. 301 x 432mm). Br. 4 ii/iii.
5. Ale Porte del Dolo. Watermark: 'R'. (S. 303 x 435mm; P. 300 x 431mm). (Sheet cut down to edge of plate mark.) Br. 5 iii/iii.
6. Le Porte del Dolo. Watermark: 'R'. (S. 342 x 478mm; P. 300 x 432mm). (Light surface abrasions along old fold, a few small stains to upper half of image.) Br. 6 ii/iii.
7. Sa. Giustina in prà della Vale. Watermark: three crescents with 'B' countermark. (S. 302 x 430mm). (Sheet cut to within plate-mark but outside border line, three small tears to right margin not affecting image, small area torn with loss to sky upper left corner.) Br. 7 i/ii.
8. Prà della Valle. Watermark: three crescents with 'B' countermark. (S. 302 x 435mm; P. 300 x 432mm). (Sheet cut to edge and occasionally within edge of plate-mark not affecting image.) Br. 8 i/ii.
9. [View of a town on a riverbank]. Watermark: 'R'. (S. 373 x 600mm; P. 301 x 432mm). Br. 9 ii/ii.
10. The portico with a lantern. Watermark: 'R'. (S. 310 x 441mm; P. 301 x 430mm). (Sheet cut close to plate-mark.) Br. 10 iii/iii.
11. Imaginary view of Padua. Watermark: 'R'. (S. 344 x 480mm; P. 300 x 436mm). (Some light spotting, small 7mm. tear to lower blank margin.) Br. 11 ii/iii.
12. The house with the inscription (P. 298 x 214mm). Br. 13, one state only; with, on same sheet: The house with the peristyle. (P. 298 x 214mm). Br. 14 ii/ii. No recognisable watermark. (S. 308 x 443mm). (Sheet cut close to plate-marks, very light surface abrasion top left corner just affecting image.)
13. A bishop's tomb. (P. 221 x 130mm). Br. 15, one state only; with, on the same sheet: A wagon passing over a bridge. (P. 144 x 125mm). Br. 32 ii/ii; The little monument. (P. 118 x 84mm). Br. 33 ii/ii. Watermark: 'R'. (S. 267 x 430mm).
14. View of a town with a bishop's tomb. Watermark: 'R'. (S. 382 x 512mm; P. 300 x 302mm). Br. 16 ii/ii.
15. La Libreria. V. No watermark. (S. 142 x 209mm). (Sheet cut to within plate-mark but outside border line). Br. 18 ii/iii.
16. La Piera del Bando. V. No watermark. (S. 144 x 210mm). (Sheet cut to within plate-mark but outside border line.) Br. 19 ii/iii.
17. The market on the Molo. No watermark. (S. 151 x 215mm; P. 144 x 210mm). (Sheet cut close to plate-mark, general light browning to paper.) Br. 20 iii/iv.
18. Le Preson. V. No watermark. (S. 149 x 213mm) (Sheet cut to within plate-mark but outside border line.) Br. 21 ii/iii.
19. Mountain landscape with five bridges. (P. 143 x 212mm). Br. 22 iiA/iiB; with, on the same sheet: The equestrian monument. (P. 144 x 210mm). Br. 23, one state only; Landscape with a pilgrim at prayer. (P. 142 x 211mm). Br. 27 iii/iii; Landscape with a woman at a well. (P. 133 x 208mm). Br. 29 iiA/iii. Watermark: 'R'. (S. 415 x 549mm). (Two small holes to left margin, slight discolouration to top right corner.)
20. The terrace. No watermark. (S. 190 x 263mm; P. 145 x 215mm). (Surface abrasion to verso of sheet at upper corners.) Br. 24 iii/iii.
21. Le Procuratie niovè e S. Ziminian V. Watermark: partial three crescent mark. (S. 190 x 240mm; P. 145 x 212mm). Br. 25 i/ii.
22. The market at Dolo. No discernible watermark. (S. 190 x 250mm; P. 144 x 211mm). (Small tears to left margin, upper margin strengthened on verso.) Br. 26 iii/iv.
23. Landscape with a tower and two ruined pillars. Watermark: 'F.C.'. (S. 200 x 250mm; P. 144x 208mm). (Very light soiling to margins.) Br. 28 ii/ii.
24. Imaginary view of S. Giacomo di Rialto. No watermark. (S. 226 x 305mm; P. 144 x 216mm). Br. 30 ii/ii.
25. Landscape with ruined monuments. No watermark. (S. 174 x 239mm; 145 x 214mm). Br. 31, one state only.
A COMPLETE SET OF CANALETTO'S ETCHINGS. Canaletto turned to engraving at the height of his career, when his paintings had been commissioned by Stefano Conti of Lucca, by Owen McSwiney for several English noblemen, and, most notably, by his greatest patron, the collector and Consul of Venice, Joseph Smith. The relationship between Smith and Canaletto was well-established by the time Canaletto turned to etching, and Smith, to whom the Vedute is dedicated, may have commissioned the work. Smith had commissioned the Swiss artist J.M. Liotard to make engravings after the paintings of Sebastiano Ricci (Bromberg 2) in 1724, and in 1735 he had also had Antonio Visentini engrave plates after the Canaletto paintings then owned by Smith. The dating of the Vedute is uncertain, since only plate 12 is dated (1741), but they were clearly published after June 6 1744, the day Smith was appointed Consul to Venice.
As Bromberg observes, etching was perfectly suited to Canaletto's painterly style and his early plates are 'more like etched drawings' (p.7). The etchings are 'the more remarkable since Canaletto's painting and drawing in the 1740s was often mechanical, and the result of skilful application of recipes' (W. Constable and J.G. Links, Canaletto, 1976, p.650). Canaletto took great pains over the plates and issued most of them in up to four states, reworking them until he achieved the desired effect. In the present copy most of the plates are in the second (usually final) state, four are in the first state, six in the third state and four in the only state recorded. All are present in fine, strong impressions. Bromberg lists 4 additional plates (12, 17, 34, 35), which were not published as part of the work. RARE. LITERATURE: R. Bromberg, Canaletto's Etchings, 1974.