Venice. VISENTINI – CANALETTO. Platea S. Pauli Privatis Aedibus ornata.
Splendid…

Description

Venice. VISENTINI – CANALETTO. Platea S. Pauli Privatis Aedibus ornata. Splendid etching depicting Campo S. Polo taken from the work "Urbis Venetiarum prospectus celebriores, ex Antonii Canal tabulis XXXVIII". Venice, Joannem Baptistam Pasquali, 1742.Succi 569.

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Venice. VISENTINI – CANALETTO. Platea S. Pauli Privatis Aedibus ornata. Splendid etching depicting Campo S. Polo taken from the work "Urbis Venetiarum prospectus celebriores, ex Antonii Canal tabulis XXXVIII". Venice, Joannem Baptistam Pasquali, 1742.Succi 569.

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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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