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Antonio Canal Canaletto

Italy (1697 -  1768 )
CANALETTO Antonio Canal Cappricio Con Una Cappella Sulla Riva Di Una Collina Con Il Mare

Cambi /Nov 15, 2016
350,000.00 - 400,000.00
556,500.00

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Variants on Artist's name :

Canaletto Giovanni Antonio

Canal Antonio Canaletto

 

Artworks in Arcadja
895

Some works of Antonio Canal Canaletto

Extracted between 895 works in the catalog of Arcadja
Antonio Canal Canaletto - The Portico With The Lantern

Antonio Canal Canaletto - The Portico With The Lantern

Original 1740
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Lot number: 206
Other WORKS AT AUCTION
Description:
206 ANTONIO DA CANAL, IL CANALETTO The Portico with the Lantern. Etching, circa 1740. 303x435 mm; 12x17 1/8 inches, wide margins. Third state (of 3), with the letters and number lower left. Remondini, letter R watermark (Bromberg 53-54). A brilliant, richly-inked impression with strong contrasts and with crisp, partially inky plate edges. Canaletto (1697-1768), whose work embodies the city of Venice perhaps more than any other artist, was a highly fashionable painter already known primarily for his topographical views that were popular among Europeans (particularly English visitors) on the Grand Tour, when he embarked on a series of some 30 Venice-inspired etchings in the early 1740s. This project was encouraged by and mostly financed by Joseph Smith, the British consul to the Venetian Republic, who also acted as Canaletto's agent on behalf of foreign collectors. The Portico with the Lantern typifies Canaletto's approach to his Venice etchings, most of which are capricci or imaginary views, blending familiar Venetian vernacular architectural elements--the vine covered portico--with classical motifs such as the triumphal arch and temple at the right. De Vesme 10; Bromberg 10
Antonio Canal Canaletto - The Grand Canal, Venice, With San Geremia, Palazzo Labia, And The Entrance To The Cannareggio

Antonio Canal Canaletto - The Grand Canal, Venice, With San Geremia, Palazzo Labia, And The Entrance To The Cannareggio

Original
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Gross Price
Lot number: 46
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Description:
English follower of Giovanni Antonio Canal, il Canaletto The Grand Canal, Venice, with San Geremia, Palazzo Labia, and the entrance to the Cannareggio oil on canvas 29 ¾ x 49 7/8 in. (75.4 x 126.5 cm.) The Cannaregio canal was the principal northwest route into Venice from the mainland during the 18th century. The present view shows its entrance off the Grand Canal, with the church and campanile of San Geremia to the left and the Palazzo Querini detti Papozze along with the low façade of the Palazzo Emo to the right. Spanning the opening of the canal is the Ponte delle Guglie with the four obelisks (guglie) after which it was named. The church of San Geremia, shown here prior to its remodelling by Carlo Corbellini between 1753 and 1760, stands before the Palazzo Labia, which was built at the very end of the 17th century for a recently ennobled Catalan family. The Labia family launched an ambitious decorative scheme within their palazzo, employing Giovanni Battista Tiepolo to paint a scheme of large-scale frescoes between 1746 and 1747 to decorate the ballroom. Further up the canal, beyond the Ponte delle Guglie, the buildings of the former Jewish Ghetto can be seen. Canaletto’’’’’’’’s renowned depictions of Venice were hugely popular across Europe during the 18th century, especially after the painter’’’’’’’’s sojourn in England between 1746 and 1755. The present work is largely based on a view by Canaletto, painted as part of series of twelve images of the Grand Canal, now in the collection of Her Majesty the Queen of England (RCIN 400532). These works formed the basis for the fourteen engraved plates published by Visentini in his Prospectus Magni Canalis Venetiarum (Venice, 1735; fig. 1). The engravings provide a terminus post quem for the paintings, which likely date to around 1730. The pictures formed a significant part of the collection of the British Consul to Venice, Joseph Smith (c. 1682-1770), Canaletto’’’’’’’’s most important patron, and were later sold to King George III in 1762. Significantly for the present work, Canaletto added to his painting a balustrade on the left waterfront along with a statue of Saint John of Nepomuk shortly after its construction in 1742. These details do not appear in the present English version of the composition, suggesting that it was either painted from the original between c. 1730 and 1742 or that the composition was based on Visentini’’’’’’’’s engraving of Canaletto’’’’’’’’s picture.
Antonio Canal Canaletto - Title Page From Vedute Altre Prese Da I Luoghi Altre Ideate

Antonio Canal Canaletto - Title Page From Vedute Altre Prese Da I Luoghi Altre Ideate

Original
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Starting price:

Price:

Lot number: 3632
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Description:
CANALETTO, GIOVANNI ANTONIO (1697 Venice 1768) Title page from Vedute Altre prese da i Luoghi altre ideate, 1742-43. Etching. 30 x 42.8 cm (sheet size: 41.5 x 54.5 cm). De Vesme 1; Bromberg 1; Montecuccoli 1; Succi 2013, I, S.271, Nr.1, Zustand II (of II, with dedication). - Very fine strong and richly contrasting impression with broad margins. Scattered foxing in the margins. Scattered creases in the lower margin. The smoothed vertical central fold has a restored tear in the upper margin. Verso minor remains of old mount. Overall in good condition. Provenance: - Collection of Montecuccoli degli Erri. --------------- CANALETTO, GIOVANNI ANTONIO (1697 Venedig 1768) Titelblatt von Vedute Altre prese da i Luoghi altre ideate, 1742-43. Radierung. 30 x 42,8 cm (Bogengrösse: 41,5 x 54,5 cm). De Vesme 1; Bromberg 1; Montecuccoli 1; Succi 2013, I, S.271, Nr.1, Zustand II (von II, mit der Widmung). - Sehr schöner, kräftiger und kontrastreicher Druck mit breiten Rändern. Dort vereinzelte dezente Flecken. Einzelne Quetschfalten im unteren Rand. Die geglättete vertikale Mittelfalz im oberen Rand mit restauriertem Einriss. Verso wenige Reste alter Montierung. Insgesamt in schöner Erhaltung. Provenienz: - Sammlung Montecuccoli degli Erri.
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:

Price:

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
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