CANALETTO. Le Procuratie Nuove e San Giminiano.
Etching, 209x143 mm. Small margi…

Description

CANALETTO. Le Procuratie Nuove e San Giminiano. Etching, 209x143 mm. Small margins. Bottom center: 'The Procuratie niove and S. Ziminian V'. Bottom left: 'A. Canal f'. State I/II. Good condition. It is part of the splendid series of 31 views that Canaletto engraved between 1740 and 1746.Succi: "The artist's eye dwells carefully on the architectural elements, carefully captured, and on the picturesque crowd that animates the piazza."

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CANALETTO. Le Procuratie Nuove e San Giminiano. Etching, 209x143 mm. Small margins. Bottom center: 'The Procuratie niove and S. Ziminian V'. Bottom left: 'A. Canal f'. State I/II. Good condition. It is part of the splendid series of 31 views that Canaletto engraved between 1740 and 1746.Succi: "The artist's eye dwells carefully on the architectural elements, carefully captured, and on the picturesque crowd that animates the piazza."

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Valladolid School of the XVI century. "St. Peter and St. Paul. Pair of reliefs in carved wood. Measurements: 106 x 34 cm (each one). Both relief plaques, from an altarpiece, represent St. Peter and St. Paul in two niches with scallops. Spain is, at the beginning of the 16th century, the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of the plastic forms, its adaptation of those implanted by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Sculpture reflects perhaps better than other artistic fields this eagerness to return to the classical Greco-Roman world that exalts in its nudes the individuality of man, creating a new style whose vitality surpasses the mere copy. Soon the anatomy, the movement of the figures, the compositions with a sense of perspective and balance, the naturalistic play of the folds, the classical attitudes of the figures began to be valued; but the strong Gothic tradition maintains the expressiveness as a vehicle of the deep spiritualistic sense that informs our best Renaissance sculptures. This strong and healthy tradition favors the continuity of religious sculpture in polychrome wood that accepts the formal beauty offered by Italian Renaissance art with a sense of balance that avoids its predominance over the immaterial content that animates the forms. In the first years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first hand the new norms in the most progressive centers of Italian art, whether in Florence or Rome, and even in Naples. Upon their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionized Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualized and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

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BRUSTOLON, Giambattista. Prospectuum aedium, viarumque insigniorum Urbis Venetiarum nautico certamine, a nundinis adiectis. [Venice], apud L. Furlanetto, 1763. Venice, Lodovico Furlanetto, 1763. In-folio oblong; 470x360 mm. Coeval binding in half Havana leather and brown hardback, six-nerve spine von gold fillets and friezes, gold title on red morocco tassel. Engraved frontispiece and 21 Tables, approximately 280x420 mm. Each plate is titled and signed on the plate "Jo. Bap. Brustoloni sculp" in the lower right margin; below, the printer's address "Apud Ludovicum Furlanetto supra Ponteme vulgo dictum dei Baratteri C.P.E.S." The plates are not numbered. Watermarks and countermarks: 3 crescent crescents; 'W' surmounted by a floral motif; initials 'V' and 'I' surmounted by 3 stars; letter 'A'. Four engravings are added at the end: two optical views of Vienna, drawn by d'Erl, engraved by Sicerist and printed in Augsburg; two views engraved by M. Sichnit, Vienna 1774. Ex libris 'Charles d'Oultremont de Wegimont ' in the counterplate. Good condition, plates with wide margins. Very rare complete collection of Giambattista Brustolon's splendid views of Venice, etched in etching and burin. Series in Furlanetto's first state, with the plates without the progressive numbering, added in the second state. The beautiful architectural frontispiece is derived from a drawing by Visentini: the views are taken from paintings by Canaletto, Marieschi and Moretti. Alpago-Novello praises the artist's superior talents over other engravers of the time, and Pignatti points out, "Brustolon often knew how to render the transparency of Canaletto's skies, and the luminous brilliance of the architecture. He made considerable use of the burin and of repeated morsure, often approaching aquatint effects, typical moreover of the most advanced techniques in Venetian engraving at the end of the century." This copy additionally contains four 18th-century views of VIenna, added at the end of the volume.Succi, Da Carlevarijs ai Tiepolo, 1983, pp. 81-84. Oblong in-folio; 470x360 mm. Contemporary quarter brown leather and brown hardback binding, spine with six ribbs with gilt rules and friezes, gilt title on red morocco label. Engraved title page and 21 plates, approximately 280x420 mm. Each plate is titled and signed "Jo. Bap. Brustoloni sculp" on the lower right margin; below, the printer's address "Apud Ludovicum Furlanetto supra Ponteme vulgo dictum dei Baratteri C.P.E.S." The plates are not numbered. Watermarks and countermarks: 3 crescent moons; 'W' surmounted by a floral motif; initials 'V' and 'I' surmounted by 3 stars; letter to'. At the end four engravings are added: two optical views of Vienna, drawn by d'Erl, engraved by M. Sicerist and printed in Augsburg; two views engraved by M. Sichnit, Vienna 1774. Bookplate 'Charles d'Oultremont de Wegimont ' on the inside cover. Good condition, plates with wide margins. First edition. Very rare complete collection of Giambattista Brustolon's splendid views of Venice, etched and engraved. Series in the first state of Furlanetto, with the plates without progressive numbering, added in the second state. Very rare complete collection of the splendid views of Venice by Giambattista Brustolon, engraved in etching and burin. The beautiful architectural titlepage is derived from a drawing by Visentini: the views are taken from paintings by Canaletto, Marieschi and Moretti. Alpago-Novello praises the artist's superior skills compared to other engravers of the time and Pignatti underlines, "Brustolon was often able to render the transparency of Canaletto's skies, and the luminous brilliance of the architecture. He made notable use of the burin and repeated bites, often approaching aquatint effects, typical of the most advanced techniques in Venetian engraving at the end of the century." This copy also contains four 18th century views of Vienna, added at the end of the volume.

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