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Antonio Canal Canaletto

Italy (1697 -  1768 )
CANALETTO Antonio Canal View On A River, Padua

Christie's /Jul 7, 2016
886,547.02 - 1,266,495.75
Not Sold

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Variants on Artist's name :

Canaletto Giovanni Antonio

Canal Antonio Canaletto

 

Artworks in Arcadja
877

Some works of Antonio Canal Canaletto

Extracted between 877 works in the catalog of Arcadja
Antonio Canal Canaletto - Cappricio Con Una Cappella Sulla Riva Di Una Collina Con Il Mare

Antonio Canal Canaletto - Cappricio Con Una Cappella Sulla Riva Di Una Collina Con Il Mare

Original 1768
Estimate:

Price:

Gross Price
Lot number: 283
Other WORKS AT AUCTION
Description:
Giovanni Antonio Canal, detto il Canaletto (Venezia 1697 – 1768) - Cappricio con una cappella sulla riva di una collina con il mare Capriccio di rovine classiche - Dipinti Antichi - Cambi Casa d'Aste Lotto 283 Giovanni Antonio Canal, detto il Canaletto (Venezia 1697 – 1768) coppia di tempere su carta, cm 37,5x54,5, in cornice dorata I due dipinti illustrati fanno parte di una ristrettissima cerchia di lavori di Canaletto nei quali, intorno al 1740, il maestro si dedicò alla tecnica della tempera su carta, intorno al 1740 circa. Si tratta di una serie di sole sei opere conosciute di dimensioni molto simile raffiguranti paesaggi di terraferma con rovine classiche e architetture con figure. Il primo dei due rappresenta una cappella su di una collina in prossimità della costa, fiancheggiata da una strada che scende verso il primo piano dove sono presenti rovine. Sul fondo un ponte ad arco che collega gli edifici del lato sinistro della composizione mentre figurette schizzate velocemente animano la scena. Questa composizione può essere messa in relazione a disegni noti del pittore, uno schizzo conservato nello Schlossmuseum di Weimar (JG Links, un integratore a Canaletto di WG Constable, London, 1998 , pag. 53, n. 805 *, pl. 240), un altro, molto più rifinito, nel Victoria and Albert Museum di Londra (Constable I, pl.152, II, n. 805). La seconda composizione, dai toni più luminosi mostra invece rovine architettoniche con un grande arco sulla sinistra che sfonda prospetticamente verso un paesaggio con architetture che compare sullo sfondo.Anche in questo caso alcune figure animano la scena in primo piano. Questa composizione è a tutt’oggi inedita anche se ricorda i primi disegni romani, in particolare le rovine di un’edificio a cupola e un arco riprodotti in un disegno conservato a Windsor (Constable I, pl.153, II, n 815;. Kozakiewicz I, p illustrata 0,226), mentre la parte inferiore del lato destro è ripresa in controparte in un disegno di Bellotto (Hessischen Landesmuseum, Darmstadt) derivato probabilmente da Canaletto e da un’incisione (Kozakiewicz nn. 114-115, entrambi illustrati) Esposizioni: Barcellona, Centro di Cultura Contemporanea, Canaletto: Una Vanècia Imaginaria, 20 Febbraio - 13 maggio 2001 Madrid, Museo Thyssen-Bornemisza, Canaletto: Una Venecia Imaginaria, 29 maggio - 2 SETTEMBRE 2001 Passariano (Udine), Villa Manin, Da Canaletto a Zuccarelli: il paesaggio veneto del Settecento, 8 agosto - 16 novembre 2003 Bibliografia Canaletto: Una Vanècia Imaginaria, 2001 Catalogo della mostra di Barcellona, pp.172-7, n. 67-70 Canaletto: Una Venecia Imaginaria, 2001 Catalogo della mostra di Madrid, Museo Thyssen-Bornemisza, pp. 222-7, n .77-80 Da Canaletto a Zuccarelli: il paesaggio veneto del Settecento, 2003 Catalogo della mostra di Pasarino, pp.384-9, n.105-8 Scheda del Prof. Charles Beddington At several stages in his career, Canaletto displayed an interest in technical experimentation which enhances even further his stature as an artist over that of any of this contemporaries. In the late 1720s he briefly used copper as a support, and nine paintings on copperplates are known. Similarly, when occupying a studio over a cabinet-maker's during his years in London, on four occasions he painted views on ungrounded mahogany panels. Also during his English period Canaletto replaced his normal use of a russet coloured ground with one of light grey. This desire for new challenges is particularly evident in the 1740s, when, as well as expanding his repertoire to mainland subjects, for a period he showed a notable interest in - and aptitude for - etching. Thus it shoud come as no surprise to find him trying his hand at tempera, a medium in which sush notable results had been achieved by Marco Rici, an artist who had such a strong formative influence on his style. The re-emergence of these two gouaches, which I have studied in the original, brings to six the number of known works in this medium by Canaletto. They are entirely onsistent in handling with the only four works by Canaletto in this medium known hitherto, a group in a private collection, said to be in Milan. All are datable to the 1740s. Those are of very similar dimensions (36.5 x 53.5 cm.), and were similarly unknown until their inclusion in the following exhibitions (on each occasion the entry or entries was by Annalia Delneri): Barcellona, Centre de Cultura Contemporània, Canaletto: Una Vanècia Imaginària, 20 February - 13 May 2001, pp.172-7, nos.67-70, all illustrated in colour. Madrid, Museo Thyssen-Bornemisza, Canaletto: Una Venecia Imaginaria, 29 May - 2 September 2001, pp.222-7, nos.77-80, all illustrated in colour. Passariano (Udine), Villa Manin, Da Canaletto a Zuccarelli: il paesaggio veneto del Settecento, 8 August - 16 November 2003, pp.384-9, nos.105-8, al illustrated in colour (the illustrations for nos.106-7 switched). Variants of the compositions of three of those were already knoen:of the Tomb by the Lagoon, a closely corresponding painting in the Berlin Gemäldegalerie (W. G. Constable, Canaletto, London, 1962, II, no. 486(b); S. Kozakiewicz, Bernardo Bellotto, Recklinghausen/London, 1972, II, pp.484-5, no. Z391, illustrated) and a varinat in the Uffizzi (Constable no. 486; Kozakiewicz no. Z 390, illustrated); of the Cylindrical Tower near a Bridge by the Lagoon a variant drawing (Constable I, pl.152; II, no. 806); and of the Castle on a Bridge by the Lagoon a closely related painting (Constable I, pl.89, II, no.481). PRints by Fabio Berardi (1728-1788) show the first two compositions, in reverse, the second with variantions. The fourth composition was, however, previously completely unknown. It shows A Ruined Demi-Dome with a Lantern by the Lagoon and suggests, as Delneri has pointed out, That Canaletto here again,as often in the early 1740s, revisited the drawings which he had made in Rome in his youthin 1719-1720, all but one of which were retained in the studio throughout his career. Of the present two gouaches, one, the Chapel on the Side of a Hill, has similarly already been known in variant drawings, one, a compositional sketch in the Schlossmuseum, Weimar (J.G. Links, A Supplement to W.G. Constable's Canaletto, London, 1998, p. 53, no. 805*, pl. 240), the other, far more finished, in the Victoria and Albert Museum, London (Constable I, pl.152, II, no. 805). Those, and a related engraving by Berardi in reverse (Constable I, pl. 152), all show entirely different figures, and part of a carriage at lower left. They do not show the prominent classical architectural fragments in the foreground, and a church and other buildings close the view to the Langoon on the right. There are numerous other minor variations, and none show the pink flag on the belfry of the chapel. A desire to avoid axact exact repetition is characteristic of Canaletto's practise at all stages in his carrer. The other composition, that of the Capriccio of Clasical Ruins with a Man before a Crucifix, is, like the Ruined DEmi-Dome with a Lantern by the Lagoon from the other group, hitherto completely unknown. This too, recalls the early Roman drawings, in this case particularly that of Ruins of a domed Building and a Triumphal Arch recorded in a later drawing at Windsor (Constable I, pl.153, II, no. 815; Kozakiewicz I, illustrated p.226). The lower part of the right side of the composition is the reflected in a drawing by Bellotto in the Hessischen Landesmuseum, Darmstadt, presumably derived from Canaletto, and in an etching (Kozakiewicz nos. 114-115, both illustrated). The attribution has been independently confirmed by Dario Succi from photographs. 25 October 2011
Antonio Canal Canaletto - Al Dolo

Antonio Canal Canaletto - Al Dolo

Original 1740
Estimate:

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Gross Price
Lot number: 206
Other WORKS AT AUCTION
Description:
Sale 2429 Lot 206 ANTONIO DA CANAL, IL CANALETTO Al Dolo. Etching, circa 1740. 298x427 mm; 11 3/4x17 inches, wide margins. Third state (of 3). Letter L watermark. Ex-collection Prince Soutzo (Lugt 2340, verso); and unidentified collector, ink stamp verso (not in Lugt). A very good impression with strong contrasts. DeVesme 4; Bromberg 4
Antonio Canal Canaletto - La Libreria. V

Antonio Canal Canaletto - La Libreria. V

Original
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Price:

Lot number: 81
Other WORKS AT AUCTION
Description:
Prints +44 20 72 93 5609 kirsteen.davidson@sothebys.com Giovanni Antonio Canal, called Canaletto 1697 - 1768 LA LIBRERIA. V.; LANDSCAPE WITH TOWER AND TWO RUINED PILLARS; IMAGINARY VIEW OF S. GIACOMO DI RIALTO; AND LANDSCAPE WITH RUINED MONUMENTS (BROMBERG 18, 28, 30, 31) Four etchings, B. 18 second state (of three), B. 28 second (final) state, B. 30 first state (of two), B. 31 only state, B. 18 on paper with part of a Coat-of-Arms with V F watermark (Briquet 24) each plate: approx. 144 by 210mm 5 5/8 by 8 1/4 in
Antonio Canal Canaletto - View On A River, Padua

Antonio Canal Canaletto - View On A River, Padua

Original
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Price:

Lot number: 44
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Description:
Lot Description Giovanni Antonio Canal, il Canaletto (Venice 1697-1768) View on a River, Padua (?) oil on canvas 12 x 17¾ in. (30.5 x 45 cm.) Provenance Marchesa Feltrinelli, Milan, by 1930. with Harari and Johns, London, 1988. Anonymous sale; Semenzato, Venice, 28 May 1989, where acquired by the present owner. Pre-Lot Text PROPERTY OF A PRIVATE EUROPEAN COLLECTOR Literature S. Kozakiewicz, Bernardo Bellotto, London, 1972, II, no. Z295, as ‘View on the Brenta (?)’’’’’’’’. J.G. Links, A Supplement to W.G. Constable’’’’’’’’s Canaletto, Giovanni Antonio Canal, 1697-1768, London, 1998, pp. 35 and 37, no. 377*. View Lot Notes >
Antonio Canal Canaletto - View Of Padua From Outside The City

Antonio Canal Canaletto - View Of Padua From Outside The City

Original
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Price:

Gross Price
Lot number: 28A
Other WORKS AT AUCTION
Description:
Lot Description Giovanni Antonio Canal, called Canaletto (Venice 1697-1768) View of Padua from outside the city walls with the Church of San Francesco and the Palazzo della Salone (recto and verso) traces of black chalk, pen and brown ink, grey wash, brown ink framing lines (recto), grey wash (verso) 7¼ x 10 7/8 in. (18.5 x 27.7 cm.) Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance W. Benoni White (L. 2592). with Edward Speelman, London (according to Constable and Links). Anonymous sale; Sotheby's, 2 July 1958, lot 10 (the collector's mark misidentified as Benjamin West) (£1550 to Agnew). with M. Knoedler & Co., New York, no. 11 (according to a label on the back of the frame). Pre-Lot Text PROPERTY FROM A DISTINGUISHED NEW YORK COLLECTION Literature T. Pignatti, '"Sei villaggi campestri" dal Canaletto' in Bollettino dei musei civici Veneziani, 1969, XIV, no. 3, p. 26, under no. 5. W.G. Constable and J.G. Links, Canaletto, Giovanni Antonio Canal, 1687-1768, Oxford, 1976, 2nd ed., I, p. 548, no. 681, II, pl. 124. A. Corboz, Canaletto: Una Venezia immaginaria, Milan, 1985, no. D249. Exhibited Wellesley, Wellesley College, Jewett Arts Center, and New York, Charles E. Slatkin Galleries, Eighteenth Century Italian Drawings, 1960, no. 11, pl. 4. New York, Metropolitan Museum of Art and The Morgan Library, Drawings from New York Collections III: The Eighteenth Century in Italy, 1971, no. 158. Engraved in reverse by Fabio Berardi (1728-1788), Sei Villeggi Campestri, published by Joseph Wagner (1706-1780), no. 52.5. View Lot Notes >
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