Antonio Visentini (1688-1782)Livre Rare Book
355 résultats
1735est218t4Dimension extérieure 35,9 x 50,5 cm, cuvette 27 x 43. Magnifique eau-forte de Venise, réalisée par Antonio Visentini, d’après Canaletto (1697-1768). Gravure en excellent état, déchirures comblées. Planche 12. Dimensioni esterne 35,9 x 50,5 cm, ciotola 27 x 43. Bella acquaforte di Venezia di Antonio Visentini, da Canaletto (1697-1768). Incisione in ottime condizioni, lacrime riempite. External dimension 35,9 x 50,5 cm, bowl 27 x 43. Beautiful etching of Venice by Antonio Visentini, after Canaletto (1697-1768). Engraving in excellent condition, tears filled.
1735est215t4Dimension extérieure 35,9 x 50,5 cm, cuvette 27 x 43. Magnifique eau-forte de Venise, réalisée par Antonio Visentini, d’après Canaletto (1697-1768). Gravure en excellent état, déchirures comblées. Planche numéro 8. Dimensioni esterne 35,9 x 50,5 cm, ciotola 27 x 43. Bella acquaforte di Venezia di Antonio Visentini, da Canaletto (1697-1768). Incisione in ottime condizioni, lacrime riempite. External dimension 35,9 x 50,5 cm, bowl 27 x 43. Beautiful etching of Venice by Antonio Visentini, after Canaletto (1697-1768). Engraving in excellent condition, tears filled.
1735est217t4Dimension extérieure 35,9 x 50,5 cm, cuvette 27 x 43. Magnifique eau-forte de Venise, réalisée par Antonio Visentini, d’après Canaletto (1697-1768). Gravure en excellent état, déchirures comblées. Planche 11. Dimensioni esterne 35,9 x 50,5 cm, ciotola 27 x 43. Bella acquaforte di Venezia di Antonio Visentini, da Canaletto (1697-1768). Incisione in ottime condizioni, lacrime riempite. External dimension 35,9 x 50,5 cm, bowl 27 x 43. Beautiful etching of Venice by Antonio Visentini, after Canaletto (1697-1768). Engraving in excellent condition, tears filled.
1735est212t4Dimension extérieure 35,9 x 50,5 cm, cuvette 27 x 43. Ab Aedibus hinc Foscarorum, illinc Linorum, usque ad Templum Charitatis. Magnifique eau-forte de Venise, réalisée par Antonio Visentini, d’après Canaletto (1697-1768). Gravure en excellent état, déchirures comblées. Planche numéro 2. Dimensioni esterne 35,9 x 50,5 cm, ciotola 27 x 43. Bella acquaforte di Venezia di Antonio Visentini, da Canaletto (1697-1768). Incisione in ottime condizioni, lacrime riempite. External dimension 35,9 x 50,5 cm, bowl 27 x 43. Beautiful etching of Venice by Antonio Visentini, after Canaletto (1697-1768). Engraving in excellent condition, tears filled.
1735est213t4Dimension extérieure 35,9 x 50,5 cm, cuvette 27 x 43. Magnifique eau-forte de Venise, réalisée par Antonio Visentini, d’après Canaletto (1697-1768), numéro 4. Gravure en excellent état, déchirures comblées. Dimensioni esterne 35,9 x 50,5 cm, ciotola 27 x 43. Bella acquaforte di Venezia di Antonio Visentini, da Canaletto (1697-1768). Incisione in ottime condizioni, lacrime riempite. External dimension 35,9 x 50,5 cm, bowl 27 x 43. Beautiful etching of Venice by Antonio Visentini, after Canaletto (1697-1768). Engraving in excellent condition, tears filled.
1735est216t4Dimension extérieure 35,9 x 50,5 cm, cuvette 27 x 43. Magnifique eau-forte de Venise, réalisée par Antonio Visentini, d’après Canaletto (1697-1768). Planche 9. Gravure en excellent état, déchirures comblées. Dimensioni esterne 35,9 x 50,5 cm, ciotola 27 x 43. Bella acquaforte di Venezia di Antonio Visentini, da Canaletto (1697-1768). Incisione in ottime condizioni, lacrime riempite. External dimension 35,9 x 50,5 cm, bowl 27 x 43. Beautiful etching of Venice by Antonio Visentini, after Canaletto (1697-1768). Engraving in excellent condition, tears filled.
1964SPNE-328Paris : Éditions du Chêne, 1964. 140 pages illustrées de planches en noir et bistre in-texto, biographies, bibliographie, nomenclature des artistes et des planches. Relié toile 24x23.
Alessandro Bettagno Canaletto. Disegni - Dipinti - Incisioni. , Neri Pozza 1982, Condizioni critiche: brossura, sovraccoperta perfettamente integra, tagli e pagine in ottimo stato e perfettamente fruibili (ad eccezione delle ultime 15/20 pagine che risultano incollate tra loro causa umidità). Misure in cm: 31x24x2 Mediocre (Poor) . <br> in quarto <br> <br> 160<br>
Pockets Electa <BR>ISBN 8843543679<BR>3 copie
Mm 215x305 Volume cartonato con sovraccoperta editoriale illustrata a colori, circa 100 pagine non numerate con 60 splendide tavole a colori fuori testo. Opera in ottime condizioni. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
Mm 215x305 Volume cartonato con sovraccoperta editoriale illustrata a colori, circa 100 pagine non numerate con 58 splendide tavole a colori fuori testo. Opera in ottime condizioni. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
Mm 215x275 Brossura editoriale di pp. 111, con disegni in bianco e nero, leggere fioriture alla copertina, buono stato complessivo. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
86936Venice c.1790 . Engraving by Visentini after Canaletto 40.5 x 55.5 cm. Plate IX from Urbis Venetiarum Prospectus Celebriores.<br /> 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.<br /><br />"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.<br /><br />These views were crucial to forming the image of Venice in the mind of its visitors" Millard.<br /> Venice, c.1790 unknown
86938Venice c.1790 . Engraving by Visentini after Canaletto 40.5 x 55.5 cm. Plate II from Urbis Venetiarum Prospectus Celebriores.<br /> 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.<br /><br />"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.<br /><br />These views were crucial to forming the image of Venice in the mind of its visitors" Millard.<br /> Venice, c.1790 unknown
86934Venice c.1790. . Engraving by Visentini after Canaletto 40.5 x 55.5 cm. Plate V from Urbis Venetiarum Prospectus Celebriores.<br /> 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.<br /><br />"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.<br /><br />These views were crucial to forming the image of Venice in the mind of its visitors" Millard.<br /> Venice, c.1790. unknown
86937Venice c.1790. . Engraving by Visentini after Canaletto 40.5 x 55.5 cm. Plate VIII from Urbis Venetiarum Prospectus Celebriores.<br /> 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.<br /><br />"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.<br /><br />These views were crucial to forming the image of Venice in the mind of its visitors" Millard.<br /> Venice, c.1790. unknown
86935Venice <br /><br /> c. 1790 . Engraving by Visentini after Canaletto 40.5 x 55.5 cm. Plate VII from Urbis Venetiarum Prospectus Celebriores.<br /> 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.<br /><br />"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.<br /><br />These views were crucial to forming the image of Venice in the mind of its visitors" Millard.<br /><br /><br /> Venice <br /><br /> c. 1790 unknown
1742ABC_46068Venice 1742. Oblong folio ca. 36.5 x 52.5 cm. Joannem Baptistam Pasquali 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. 3 parts in 1 volume. 8; 1; 1 ll. plus the part-title double portrait and XIV XII XII prints. 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 Canalettos 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. Book block 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. hardcover
54091P., Nilsson (Collection "Maitres Anciens et Modernes"), 1925, petit in 8° broché, 135 pages ; illustrations hors-texte ; couverture illustrée ; quelque rares rousseurs.
24383Paris, Flammarion (coll. "Les classiques de l'art"), (1975). In-4°, 128p. Reliure cartonnée d'éditeur, sous jaquette illustrée.
38302Paris, Flammarion (coll. "Les classiques de l'art"), 1975. In-4°, 128p. Reliure pleine toile d'éditeur, sous jaquette illustrée.
196518433Wien, Österreichische Kulturvereinigung, 1965. 131 S., 2 Bll. Zahlr. teils farb. Abb. auf Tafeln. Kl.-4°. OKart. (Gebrssprn.).
Milano, Elemond Arte, 1992, 8vo brossura con copertina illustrata a colori, pp. 63 con illustrazioni in nero e 34 tavole a colori nel testo (supplemento a "L'Unità") .
100023Canal & Stamperia Editrice Venice. 1997. Canal & Stamperia Editrice Venice. 1997. Two vols. in slipcase - hardback facsimile reproduction of the original sketchbook together with a handsome paperback which reproduces the sketches each with accompanying commentary. Very clean and sound in slipcase which has a few sl. signs of wear. paperback
2015ABE-1625769811992164 PAGES-22 CM X 28,5 CM-MANQUE COIN INF DR DE COUVERTURE-EDOTORIAL: STREET ART: LE MOUVEMENT ARTISTIQUE DU XXIe SIECLE?-PIERRE BOULEZ DONNE TOUJOURS LE TEMPO, 1P, PHOTO-DE NEW YORK A TEHERAN LE TOUR DU MONDE DU STREET ART, 14 PAGES-EST-CE UN CARAVAGE? ENQUETE SUR LA MANIERE D'IDENTIFIER DES CHEFS-D'OEUVRE INCONNUS, 8P-LE CORBUSIER ARCHITECTE MYTHIQUE, PEINTRE MECONNU, 8P-SINGAPOUR A LA CONQUETE DE L'HEXAGONE, 4P-VAN DER WEYDEN LE FLAMAND EMOTIF, 8P-MARCEL BROODTHAERS L'ARTISTE QUI N'ENTRAIT DANS AUCUN MOULE, 4P-EXPOSITION MUSEE GUIMET, L'ASIE SE DONNE EN SPECTACLE, 6P-56e BIENNALE DE VENISE LE GRAND SAUT DANS LE FUTUR, 14P-ET CANALETTO FIT DE LONDRES UN THEATRE VENITIEN, 6P
