From Vedute (Views), series of thirty-three etchings
Canaletto (Giovanni Antonio Canal) (Italian, Venice 1697–1768 Venice)
Sheet: 11 13/16 x 17 3/16 in. (30 x 43.7 cm)
Purchase, Gift of Mary V.T. Eberstadt and Bequest of Gertrude Moira Flanagan, by exchange, 1973
Not on view
Venice in the eighteenth century was the site of an extraordinary flourishing of print production, which reached its apogee in the years 1740–45. It was in these years that Canaletto, the great painter of views of Venice and also of England during his sojourn there, made approximately thirty etchings: thirteen large plates and seventeen smaller ones. The title plate to the series states that these are 'Views, some representing actual sites, others imaginary.' This is one of the imaginary views, reminiscent of Venice and the lagoon. For an unknown reason, Canaletto divided this plate down the middle, between the backs of the two central figures, soon after it was made. Fewer than ten impressions are known from the undivided plate. The date, 1741 in Roman numerals on the wall at the left, is the only one on any of Canaletto's prints.
Inscription: [on wall of building]: MDCCXLI. A C
Vendor: R. M. Light and Co.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," December 4, 1992–April 5, 2013.
The Metropolitan Museum of Art. "Venetian Prints and Books in the Age of Tiepolo," January 23, 1997–April 22, 1997.
Oklahoma City Museum of Art. "The Allure of La Serenissima: Eighteenth-century Venetian Art," September 9, 2010–January 2, 2011.
De Vesme 451.12, 13; Bromberg 12; Venice 1986-87, no. 31; London-Washington 1994-95, no. 145, only state
Colta Ives, Janet S. Byrne, Mary L. Myers, Suzanne Boorsch, Weston J. Naef, David W. Kiehl, The Metropolitan Museum of Art The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975: Prints, Architecture and Ornament. New York, 1975, p. 194, ill.