![ZUCCHI, Francesco (engraver). Teatro delle fabriche piu' cospicue in prospettiva della città di Venezia. [Venice:] Giambatista Albrizzi [c.1750].](/lot-images/5814473/2014/CKS/2014_CKS_01584_0296_000(zucchi_francesco_teatro_delle_fabriche_piu_cospicue_in_prospettiva_del050320).jpg?maxwidth=3840)
拍品 296
ZUCCHI, Francesco (engraver). Teatro delle fabriche piu' cospicue in prospettiva della città di Venezia. [Venice:] Giambatista Albrizzi [c.1750].
已结束2014年7月16日
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GBP 3,250
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ZUCCHI, Francesco (engraver). Teatro delle fabriche piu' cospicue in prospettiva della città di Venezia. [Venice:] Giambatista Albrizzi [c.1750].
Oblong 4° (187 x 235mm). Double-page engraved plan of Venice, and 45 plates by Zucchi. (The view of Venice trimmed in the top margin and just touching the plate mark, short marginal tears some repaired, light marginal soiling.) 20th-century half morocco over marbled boards, spine lettered directly in gilt (small spot at spine head). Provenance: Samuel Prout (1783-1852, watercolour painter; title signature) -- Robert Bromley (cancelled signature on front blank) -- A.H. Bright (bookplate).
SAMUEL PROUT'S COPY OF ZUCCHI'S VENICE, including views of private residences, palaces, churches, canals and bridges. John Ruskin was a great champion of Prout, praising the artist in The Stones of Venice where he coined the term 'Proutism', and writing in Modern Painters: ‘There is no stone drawing, no vitality of architecture like Prout's’ (quoted in ODNB). Venice was a favourite subject for Prout: half of his most expensive exhibits from the 1820s to the 1840s featured the city. This copy, as Cicognara, with 45 plates; a second volume was issued separately which is sometimes found bound with this one. Cicognara 4381 ('bella pianta di Venezia in piccolo... 'molto preferibile a quella del Formaleoni').
Oblong 4° (187 x 235mm). Double-page engraved plan of Venice, and 45 plates by Zucchi. (The view of Venice trimmed in the top margin and just touching the plate mark, short marginal tears some repaired, light marginal soiling.) 20th-century half morocco over marbled boards, spine lettered directly in gilt (small spot at spine head). Provenance: Samuel Prout (1783-1852, watercolour painter; title signature) -- Robert Bromley (cancelled signature on front blank) -- A.H. Bright (bookplate).
SAMUEL PROUT'S COPY OF ZUCCHI'S VENICE, including views of private residences, palaces, churches, canals and bridges. John Ruskin was a great champion of Prout, praising the artist in The Stones of Venice where he coined the term 'Proutism', and writing in Modern Painters: ‘There is no stone drawing, no vitality of architecture like Prout's’ (quoted in ODNB). Venice was a favourite subject for Prout: half of his most expensive exhibits from the 1820s to the 1840s featured the city. This copy, as Cicognara, with 45 plates; a second volume was issued separately which is sometimes found bound with this one. Cicognara 4381 ('bella pianta di Venezia in piccolo... 'molto preferibile a quella del Formaleoni').
ZUCCHI, Francesco (engraver). Teatro delle fabriche piu' cospicue in prospettiva della città di Venezia. [Venice:] Giambatista Albrizzi [c.1750].
Oblong 4° (187 x 235mm). Double-page engraved plan of Venice, and 45 plates by Zucchi. (The view of Venice trimmed in the top margin and just touching the plate mark, short marginal tears some repaired, light marginal soiling.) 20th-century half morocco over marbled boards, spine lettered directly in gilt (small spot at spine head). Provenance: Samuel Prout (1783-1852, watercolour painter; title signature) -- Robert Bromley (cancelled signature on front blank) -- A.H. Bright (bookplate).
SAMUEL PROUT'S COPY OF ZUCCHI'S VENICE, including views of private residences, palaces, churches, canals and bridges. John Ruskin was a great champion of Prout, praising the artist in The Stones of Venice where he coined the term 'Proutism', and writing in Modern Painters: ‘There is no stone drawing, no vitality of architecture like Prout's’ (quoted in ODNB). Venice was a favourite subject for Prout: half of his most expensive exhibits from the 1820s to the 1840s featured the city. This copy, as Cicognara, with 45 plates; a second volume was issued separately which is sometimes found bound with this one. Cicognara 4381 ('bella pianta di Venezia in piccolo... 'molto preferibile a quella del Formaleoni').
Oblong 4° (187 x 235mm). Double-page engraved plan of Venice, and 45 plates by Zucchi. (The view of Venice trimmed in the top margin and just touching the plate mark, short marginal tears some repaired, light marginal soiling.) 20th-century half morocco over marbled boards, spine lettered directly in gilt (small spot at spine head). Provenance: Samuel Prout (1783-1852, watercolour painter; title signature) -- Robert Bromley (cancelled signature on front blank) -- A.H. Bright (bookplate).
SAMUEL PROUT'S COPY OF ZUCCHI'S VENICE, including views of private residences, palaces, churches, canals and bridges. John Ruskin was a great champion of Prout, praising the artist in The Stones of Venice where he coined the term 'Proutism', and writing in Modern Painters: ‘There is no stone drawing, no vitality of architecture like Prout's’ (quoted in ODNB). Venice was a favourite subject for Prout: half of his most expensive exhibits from the 1820s to the 1840s featured the city. This copy, as Cicognara, with 45 plates; a second volume was issued separately which is sometimes found bound with this one. Cicognara 4381 ('bella pianta di Venezia in piccolo... 'molto preferibile a quella del Formaleoni').
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