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拍品專文
This album presents a magnificient collection of prints including superb impressions of Zanetti's woodcuts and etchings, his published works by contemporary printmakers after leading Italian artists, and the FIRST PUBLISHED EDITION of G. B. Tiepolo's Capricci.
Antonio Maria Zanetti the Elder (1679-1767), connoisseur, collector, patron, publisher and artist, ranks amongst a few "great men who encouraged the revival of Venetian painting during the first half of the (eighteenth) century" (F. Haskell, Patrons and Painters, London, 1963, p 361)
Zanetti was a leading figure in the cultural circles of Venice and was a close friend of many of the leading artists of the day - in particular of the Tiepolo and the Ricci families and of Rosalba Carriera who painted his portrait etched by Faldoni in this volume. Zanetti studied painting in Venice and Bologna and made his own etchings at the early age of fourteen. On a visit to Paris in 1720 he developed a close friendship with the leading dealer Pierre-Jean Mariette with whom he corresponded until the end of his life; and it was during a visit to London that he re-discovered the 'lost' art of the making of woodcuts.
As a collector, Zanetti assembled a large collection of paintings and drawings (he bought Lord Arundel's Parmigianino drawings on his visit to England); and his print collection was a source of great pride to him. "With the greatest effort and expense, I have assembled a collection of prints in Italy and on my travels which exceeds anything that might be expected of a private citizen" (letter to A.F. Gori, quoted in F. Haskell, op.cit., p. 342). He also had a magnificent collection of gems.
As a publisher he was known best for his relationship with the Tiepolos. The Capricci were published for the first time in this edition of Zanetti's Raccolta di Chiaroscuri (the title plate Vari Capricci was only issued for the later edition in 1785).
Such volumes of Zanetti's Raccolta di Chiaroscuri are rare. The present example is particularly remarkable for bearing the coat of arms of Antonio Maria Zanetti himself (Zanetti added the Habsburg Eagle to his coat of arms after 1761 when he was made a count by the Empress Maria Theresa).
The binding can be compared with that of the magnificient collection of Canaletto etchings which belonged to Zanetti, now in the Kupferstichkabinett, Berlin (see Ruth Bromberg, Canaletto's Etchings, London and New York, 1974, p. 19) and it is particularly similar to the Zanetti-Rosenwald Tiepolo Albums in the National Gallery of Art, Washington (see H. Diane Russel, Rare Etchings by Giovanni Battista and Giovanni Domenico Tiepolo, Washington, 1972).
A note on the leaf with the first title page notes that the present album was a gift from Zanetti to the Swedish Count Carl Gustav Tessin (1695-1770).
Tessin was the son of the architect of the Royal Palace in Stockholm, who himself was an influential, widely travelled and highly cultivated member of the Swedish Court. He was at various times, Swedish ambassador to France, Superintendant of the Royal Buildings in Sweden, and Prime Minister. Lugt remarks that 'ses rapports avec l'étranger firent de lui le trait d'union entre l'art national de Suède et l'art des autres Nations; l'appui qu'il apporta à la fondation de l'Académie des Beaux-Arts est une des preuves du zèle avec lequel il chercha à développer la vie artistique en Suède'. Whilst Swedish minister in Vienna he travelled in 1736 to Venice in search of a painter to decorate the Royal Palace in Stockolm. He selected Giovanni Battista Tiepolo as the ideal artist, but the Swedish King refused to meet the artist's financial demands.
Tessin made many close friends in the cultured circles in Venice. During his lifetime he built up a large collection of paintings, drawings and prints, many of which he sold to the Swedish King Adolph Fredrik in 1750 and which later formed the nucleus of the collection of the Nationalmuseum in Stockholm.
Antonio Maria Zanetti the Elder (1679-1767), connoisseur, collector, patron, publisher and artist, ranks amongst a few "great men who encouraged the revival of Venetian painting during the first half of the (eighteenth) century" (F. Haskell, Patrons and Painters, London, 1963, p 361)
Zanetti was a leading figure in the cultural circles of Venice and was a close friend of many of the leading artists of the day - in particular of the Tiepolo and the Ricci families and of Rosalba Carriera who painted his portrait etched by Faldoni in this volume. Zanetti studied painting in Venice and Bologna and made his own etchings at the early age of fourteen. On a visit to Paris in 1720 he developed a close friendship with the leading dealer Pierre-Jean Mariette with whom he corresponded until the end of his life; and it was during a visit to London that he re-discovered the 'lost' art of the making of woodcuts.
As a collector, Zanetti assembled a large collection of paintings and drawings (he bought Lord Arundel's Parmigianino drawings on his visit to England); and his print collection was a source of great pride to him. "With the greatest effort and expense, I have assembled a collection of prints in Italy and on my travels which exceeds anything that might be expected of a private citizen" (letter to A.F. Gori, quoted in F. Haskell, op.cit., p. 342). He also had a magnificent collection of gems.
As a publisher he was known best for his relationship with the Tiepolos. The Capricci were published for the first time in this edition of Zanetti's Raccolta di Chiaroscuri (the title plate Vari Capricci was only issued for the later edition in 1785).
Such volumes of Zanetti's Raccolta di Chiaroscuri are rare. The present example is particularly remarkable for bearing the coat of arms of Antonio Maria Zanetti himself (Zanetti added the Habsburg Eagle to his coat of arms after 1761 when he was made a count by the Empress Maria Theresa).
The binding can be compared with that of the magnificient collection of Canaletto etchings which belonged to Zanetti, now in the Kupferstichkabinett, Berlin (see Ruth Bromberg, Canaletto's Etchings, London and New York, 1974, p. 19) and it is particularly similar to the Zanetti-Rosenwald Tiepolo Albums in the National Gallery of Art, Washington (see H. Diane Russel, Rare Etchings by Giovanni Battista and Giovanni Domenico Tiepolo, Washington, 1972).
A note on the leaf with the first title page notes that the present album was a gift from Zanetti to the Swedish Count Carl Gustav Tessin (1695-1770).
Tessin was the son of the architect of the Royal Palace in Stockholm, who himself was an influential, widely travelled and highly cultivated member of the Swedish Court. He was at various times, Swedish ambassador to France, Superintendant of the Royal Buildings in Sweden, and Prime Minister. Lugt remarks that 'ses rapports avec l'étranger firent de lui le trait d'union entre l'art national de Suède et l'art des autres Nations; l'appui qu'il apporta à la fondation de l'Académie des Beaux-Arts est une des preuves du zèle avec lequel il chercha à développer la vie artistique en Suède'. Whilst Swedish minister in Vienna he travelled in 1736 to Venice in search of a painter to decorate the Royal Palace in Stockolm. He selected Giovanni Battista Tiepolo as the ideal artist, but the Swedish King refused to meet the artist's financial demands.
Tessin made many close friends in the cultured circles in Venice. During his lifetime he built up a large collection of paintings, drawings and prints, many of which he sold to the Swedish King Adolph Fredrik in 1750 and which later formed the nucleus of the collection of the Nationalmuseum in Stockholm.