Verlag: NCROL, 1982
ISBN 10: 0801415322 ISBN 13: 9780801415326
Anbieter: Books From California, Simi Valley, CA, USA
Hardcover. Zustand: Very Good.
Verlag: Dover Publications, Incorporated, 1971
ISBN 10: 0486227057 ISBN 13: 9780486227054
Anbieter: Better World Books, Mishawaka, IN, USA
Zustand: Good. Revised. Used book that is in clean, average condition without any missing pages.
Verlag: Dover Pubns, 1991
ISBN 10: 0486266478 ISBN 13: 9780486266473
Zustand: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.
Verlag: Phaidon, Oxford, 1948
Anbieter: Argosy Book Store, ABAA, ILAB, New York, NY, USA
hardcover. Zustand: UNSPECIFIED. Canaletto, Antonio (illustrator). Illustrated in black and white. 63, 96 pages. 4to, red cloth with gold lettering (spine sunned, lightly dust soiled). Oxford: Phaidon, (1948). Internally clean and tight. Very good(+) lacking dust wrapper.
Verlag: Bergisch Gladbach : Bastei-Verl. Lübbe
Anbieter: Antiquariat Artemis Lorenz & Lorenz GbR, Leipzig, Deutschland
Zustand: USED_VERYGOOD. Umfang/Format: 4 Bl. : XVI Seiten Abb.,Nr. 21. Erscheinungsjahr: 1967 Antonio Canal, genannt Canaletto, (1697-1768) italienischer Veduten- un. Landschaftsmaler gepflegtes Exemplar, minimale Gebrauchsspuren, Buchblock altersgemäß gebräunt, SEHR SCHÖN Gern können sie Ihr Buch per Rechnung bestellen. Hardcover.
Verlag: Berlin, Kunstamt Reinickendorf, 1958., 1958
Anbieter: Antiquariat Carl Wegner, Berlin, B, Deutschland
Verbandsmitglied: GIAQ
Erstausgabe
Softcover. 16 x 19 cm. Originalbroschur im Querformat, im weißen originalen Schutzumschlag mit farbig illustriertem Vorderdeckel. Der Einband ist etwas angestaubt und an den Rändern bestoßen. 14 nicht numerierte Textseiten sowie 8 Seiten einfarbige Tafelabbildungen. Guter Zustand. -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! -- Genießen Sie den Sommer und bestellen Sie was zum Lesen! K07202-423948.
Verlag: Venezia,, Neri Pozza Editore,, 1982
Anbieter: erlesenes · Antiquariat & Buchhandlung, Wien, Österreich
0. 4°. 104 Textseiten, 174 Abbildungen auf Tafeln. Orig.-Kart. Good copy. Italienisch Band: 0.
Verlag: Wien Schroll, 1930
Anbieter: Müller & Gräff e.K., Stuttgart, Deutschland
4°. 46 S. Mit 72 Tafn. Original-Leinenband Einband verblaßt. Rückdeckel gestaucht (unteres Eck mit Knickspur). Exlibris. Textblätter angegilbt. Gewicht (Gramm): 1780.
Verlag: Dresden und Leipzig: A H Payne um, 1850
Anbieter: historicArt Antiquariat & Kunsthandlung, Wiesbaden-Breckenheim, Deutschland
Kunst / Grafik / Poster Signiert
Original-Stahlstich von A. Carse (in der Platte signiert), nach einem Gemälde von Canaletto auf rückseitig unbedrucktem Karton, bildliche Darstellung ca. 11 x 17 cm, Kartongröße ca. 19 x 27 cm, im breiten Rand außerhalb der bildlichen Darstellung minimal gebräunt, ansonsten sauber und sehr gut erhalten 1100 gr.
Quer-Groß-Folio. 2 Bl. u. 18 Tafeln m. 30 Radierungen. 20 lose Bl. m. ca. 50 x 65 cm in Originalmappe aus Pappe. Kapitale leicht beschabt. Ecken leicht geknickt.
Verlag: Pennsylvania State University Press 06.1970., 1970
ISBN 10: 0271001054 ISBN 13: 9780271001050
Anbieter: PlanetderBuecher, Hamburg, Deutschland
2° , Gebundene Ausgabe. Zustand: Gut. 185 Seiten Oben leicht angestaubter verlagsseitiger Klarsichteinschlag. Sprache: Englisch Gewicht in Gramm: 3984.
Verlag: Venice. Giuseppe Battaggia. 1836, 1836
Anbieter: Charles Russell, ABA, ILAB, est 1978, Cirencester, Vereinigtes Königreich
Large oblong folio 14 1/2 x 20 1/2 inches, calf backed boards a bit worn, upper board detached. Title, (viii), general index- text in French, plate with a portrait of Canaletto and Visentini and 38 FINE ENGRAVED VIEWS OF VENICE, complete. Title with a light crease and only very minor and occasional marginal spotting, mainly to the text - basically internally a good copy on thick wove paper. Battaggia (active Venice 1817-1845) acquired the original plates and changed the title page and the titles from Latin to Italian and French. He apparently reworked the plates so they were clearer and stronger than the original eighteenth century edition, which had become somewhat worn. He changed the order of the plates and added the letterpress. There is a detailed description available online in Italian by Salamon Fine Art. A very rare issue of Canaletto/Visentini fabulous views of Venice- with none found at auction (rarebookhub) and none found in institutional libraries via COPAC.
Verlag: XVIII secolo XVIII secolo
Anbieter: Libreria Antiquaria Pregliasco, Torino, Italien
Zustand: UNSPECIFIED. Acquaforte originale, 294 x 425 mm e ampi margini, firmata in lastra in basso al centro, a destra siglata E 6 (nella catalogazione delle stampe Remondini). Nel 1773 Giuseppe Remondini fece apporre su dieci grandi tavole delle Vedute le lettere E e F seguite da un numero progressivo.Tratta dalla celebre serie di 33 ''Vedute altre prese dai luoghi, altre ideate da Antonio Canal e da esso intagliate.all'illustr. Signore Giuseppe Smith console di Grande Bretagna''.Questa veduta di piena fantasia è considerata una delle prove più alte dell'arte incisoria di Canaletto. Succi: ?Il motivo, di evidente derivazione riccesca, è impostato sullo splendido contrasto tra il muro assolato della casa e i neri vellutati delle arcate in primo piano?. La città è raffigurata cinta da mura, in primo piano sulla sinistra un albero e sulla destra una casetta rurale e un mulino. Gruppetti di persone, carri e carrozze si avviano verso il ponte a tre archi che conduce alla porta, dietro la quale si scorgono la cupola della basilica e il campanile. Bell'esemplare, margine oltre la linea di inquadramento. Impressa su carta con la filigrana della ?lettera R? databile al 1772 (al tempo delle prime edizioni Remondini). Magnifica prova ricca di contrasto nel terzo stato su tre. Conservata in cornice noce. Bromberg n.11, III stato. (D. SUCCI,CANALETTO E VISENTINI, VENEZIA E LONDRA, PG. 192-93, N.13, 1986) . Book.
Verlag: Joannem Baptistam Pasquali,, Venice,, 1742
Anbieter: Antiquariaat FORUM BV, Houten, Niederlande
3 parts in 1 volume. First complete edition of a series of engraved views of Venice by Visentini after Canaletto's paintings, which were in the collection of the book collector, patron of the arts and British Consul of Venice Joseph Smith (ca. 1673/4-1770). Canaletto, also known as Giovanni Antonio Canal (1697-1768) was an Italian painter renowned for his paintings depicting Venice and its canals. Visentini's plates are not only the best known among the many engravings made after Canaletto's famous views of Venice, but also the best and most influential: "crucial to forming the image of Venice in the mind of its visitors" (Millard). The British Consul Smith commissioned the painter, engraver and architect Antonio Visentini (1688-1782), connected to the Academia and to the artistic and publishing circle around Smith, to engrave the plates after Canaletto's paintings.The series of 38 plates is divided into three suites of respectively XIV, XII and XII numbered prints, each suite with its own letterpress title-page. The first set of plates is entirely focussed on the Grand Canal, as is promised by the original title-page, the Prospectus Magni Canali. The prints of the second suite particularly show the banks of the Grand Canal. The third suite shows views of campi and the Piazza San Marco. Besides Saint Mark's Basilica itself and the Piazza we see for example the campo of Santi Giovanni e Paolo, the Piazza San Polo and San Niccolo on the Lido. All prints are captioned in Italian.The present 1742 edition is the first to include all 38 prints of the complete three suites, but Visentini had completed and published the first suite of views already in 1735. The present complete series proved very succesfull, with further editions in 1751, 1754 and 1773. Even in the 19th century it ran through new editions: an 1833 edition with French and Italian captions was reprinted in 1838. The present first edition of the complete series is quite rare: we have traced only 6 copies worldwide in WorldCat and it rarely appears on the market.Binding a little rubbed: spine a little damaged, paper sides frayed around the edges and chipped in the right lower corner of the front board, boards a little stained. Bookblock slightly loose in the binding. Some marginal tears professionally repaired. Prints only slightly browned along the edges of the margins, but otherwise in very good condition. The rare complete first edition of one of the most influential print series in shaping the image of Venice.l Kat. Ornamentstichsammlung Berlin 2695; Millard, Italian 153; WorldCat (6 copies in 5 entries); for Canaletto: Thieme & Becker V, pp. 455-486; for Visentini: Thieme & Becker XXIX, p. 419. Contemporary half morocco, brown paper sides, manuscript title (?) and two old shelfmarks on the spine. With 3 letterpress title-pages printed in red and black with engraved vignettes by Visentini, the original engraved title-page for the first series (Prospectus Magni Canali), a double portrait of Canaletto and Visentini by Visentini after Giovanni Battista Piazetta and and XIV, XII and XII numbered engraved prints with familiar views based upon 38 paintings by Canaletto, engraved by Visentini, showing the Grand Canal, public buildings, renowned places in Venice and regatta scenes. Pages: [8]; [1]; [1] ll. plus the part-title, double portrait and XIV, XII, XII prints.
Verlag: Milano, Il Polifilo, 1964
Anbieter: Gabriele Maspero Libri Antichi, Como, Italien
In-folio atlantico (cm. 47,5), legatura editoriale in cartonato rigido in blu acciaio con titolo in blu notte al dorso; pp. 49 [3] su carta appositamente fabbricata dalla cartiera Ventura, in barbe, in ottimo stato; 21 tavole fuori testo a doppia pagina ripiegate su cui sono riprodotte incisioni degli artisti Carlevarijs, Marieschi, Canaletto, Visentini, Brustolon e Valesi. A cura di Rodolfo Pallucchini, introduzione di Guido Piovene. Edizione di mille esemplari composta a mano e impressa da Luigi Maestri, tavole riprodotte da Annibale Belli e stampate da L'Industriale Grafica. In ottimo stato, conservato in custodia editoriale cartonata blu, tracce d'usura alla sola fascetta illustrata in nero. (SM5).
Verlag: Venice c., 1790
Anbieter: Shapero Rare Books, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Engraving by Visentini after Canaletto, 40.5 x 55.5 cm. Plate VIII from Urbis Venetiarum Prospectus Celebriores. The most widely known and the best of the many engravings after Canalatto's views of Venice. They were originally commissioned by Consul Smith and based on paintings by Canaletto. "Self-styled as painter, architect, and engraver, Visentini enjoyed a long career in Venice where he was connected to the Academia and to the artistic and publishing circle centred around Consul Joseph Smith. Visentini's etchings are distinguished in the confidence and authority of their perspectival projection and etched line. Visentini's buildings seldom sag and never "sink" under their own weight into the water of the canals as they occasionally might in the work of Carlevaris and Mariechi. Canaletto's compositions are quite various and are refreshingly dramatic in the contrast between the large foreground buildings and the smaller ones in the receding perspective. These views were crucial to forming the image of Venice in the mind of its visitors" (Millard).
Verlag: Venice c, 1790
Anbieter: Shapero Rare Books, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Engraving by Visentini after Canaletto, 40.5 x 55.5 cm. Plate VII from Urbis Venetiarum Prospectus Celebriores. The most widely known and the best of the many engravings after Canalatto's views of Venice. They were originally commissioned by Consul Smith and based on paintings by Canaletto. "Self-styled as painter, architect, and engraver, Visentini enjoyed a long career in Venice where he was connected to the Academia and to the artistic and publishing circle centred around Consul Joseph Smith. Visentini's etchings are distinguished in the confidence and authority of their perspectival projection and etched line. Visentini's buildings seldom sag and never "sink" under their own weight into the water of the canals as they occasionally might in the work of Carlevaris and Mariechi. Canaletto's compositions are quite various and are refreshingly dramatic in the contrast between the large foreground buildings and the smaller ones in the receding perspective. These views were crucial to forming the image of Venice in the mind of its visitors" (Millard).
Verlag: Venice c., 1790
Anbieter: Shapero Rare Books, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Engraving by Visentini after Canaletto, 40.5 x 55.5 cm. Plate V from Urbis Venetiarum Prospectus Celebriores. The most widely known and the best of the many engravings after Canalatto's views of Venice. They were originally commissioned by Consul Smith and based on paintings by Canaletto. "Self-styled as painter, architect, and engraver, Visentini enjoyed a long career in Venice where he was connected to the Academia and to the artistic and publishing circle centred around Consul Joseph Smith. Visentini's etchings are distinguished in the confidence and authority of their perspectival projection and etched line. Visentini's buildings seldom sag and never "sink" under their own weight into the water of the canals as they occasionally might in the work of Carlevaris and Mariechi. Canaletto's compositions are quite various and are refreshingly dramatic in the contrast between the large foreground buildings and the smaller ones in the receding perspective. These views were crucial to forming the image of Venice in the mind of its visitors" (Millard).
Verlag: Venice c, 1790
Anbieter: Shapero Rare Books, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Engraving by Visentini after Canaletto, 40.5 x 55.5 cm. Plate IX from Urbis Venetiarum Prospectus Celebriores. The most widely known and the best of the many engravings after Canalatto's views of Venice. They were originally commissioned by Consul Smith and based on paintings by Canaletto. "Self-styled as painter, architect, and engraver, Visentini enjoyed a long career in Venice where he was connected to the Academia and to the artistic and publishing circle centred around Consul Joseph Smith. Visentini's etchings are distinguished in the confidence and authority of their perspectival projection and etched line. Visentini's buildings seldom sag and never "sink" under their own weight into the water of the canals as they occasionally might in the work of Carlevaris and Mariechi. Canaletto's compositions are quite various and are refreshingly dramatic in the contrast between the large foreground buildings and the smaller ones in the receding perspective. These views were crucial to forming the image of Venice in the mind of its visitors" (Millard).
Verlag: Venice c, 1790
Anbieter: Shapero Rare Books, London, Vereinigtes Königreich
Kunst / Grafik / Poster
Engraving by Visentini after Canaletto, 40.5 x 55.5 cm. Plate II from Urbis Venetiarum Prospectus Celebriores. The most widely known and the best of the many engravings after Canalatto's views of Venice. They were originally commissioned by Consul Smith and based on paintings by Canaletto. "Self-styled as painter, architect, and engraver, Visentini enjoyed a long career in Venice where he was connected to the Academia and to the artistic and publishing circle centred around Consul Joseph Smith. Visentini's etchings are distinguished in the confidence and authority of their perspectival projection and etched line. Visentini's buildings seldom sag and never "sink" under their own weight into the water of the canals as they occasionally might in the work of Carlevaris and Mariechi. Canaletto's compositions are quite various and are refreshingly dramatic in the contrast between the large foreground buildings and the smaller ones in the receding perspective. These views were crucial to forming the image of Venice in the mind of its visitors" (Millard).
[Bassano], [Remondini], [dopo il 1778], incisione all'acquaforte, mm. 297x429 (l'immagine). Rifilata all'immagine: persi i margini bianchi, compreso quello inferiore che recava la firma in lastra del Canaletto. Sigla FF4 alla base della colonna di sinistra. 3° stato su 3 secondo Montecuccoli degli Erri, "Canaletto incisore", Venezia 2002, p. 245; 3° stato su 3 per R. Bromberg "Canaletto's Etchings", London 1974. Fioriture. Per il resto l'inchiostratura è buona e l'acquaforte non ha alcun tono giallastro segnalato da Montecuccoli degli Erri per le prove più tarde. Montata entro passe-partout in elegante cornice con vetro di protezione.