MARIESCHI, Michele (1696-1743)
MARIESCHI, Michele (1696-1743) Architectural Fantasy (Mauroner, Succi 1) etching, circa 1736-37, a fine impression of this very rare print, second state (of three), with the inscription printed from a separate plate, without watermark, with wide margins, the lower right sheet corner made-up, generally in good condition, framed Plates: 12 1/8 x 18 3/8 in. (307 x 467 mm.) Sheets: 17 x 23¾ in. (445 x 601 mm.) Exhibited : The Glory of Venice - Art in the Eighteenth Century , Royal Academy of Arts, London, 1994; National Gallery of Art, Washington D.C., 1995, exh. cat. Jane Martineau & Andrew Robison (eds.), New Haven and London, 1994, no. 164, p. 259 (ill.) and 468. This rare and early etching does not form part of Marieschi's published series of views of Venice (see previous lot), although it can occasionally be found in very early sets. Reminiscent of the courtyard of the Doge's Palace, it does not however record any existing buildings, but was intended as a stage design, as the inscription underneath implies. It is the only surviving record of Marieschi's work as a set designer.
MARIESCHI, Michele (1696-1743)
MARIESCHI, Michele (1696-1743) Architectural Fantasy (Mauroner, Succi 1) etching, circa 1736-37, a fine impression of this very rare print, second state (of three), with the inscription printed from a separate plate, without watermark, with wide margins, the lower right sheet corner made-up, generally in good condition, framed Plates: 12 1/8 x 18 3/8 in. (307 x 467 mm.) Sheets: 17 x 23¾ in. (445 x 601 mm.) Exhibited : The Glory of Venice - Art in the Eighteenth Century , Royal Academy of Arts, London, 1994; National Gallery of Art, Washington D.C., 1995, exh. cat. Jane Martineau & Andrew Robison (eds.), New Haven and London, 1994, no. 164, p. 259 (ill.) and 468. This rare and early etching does not form part of Marieschi's published series of views of Venice (see previous lot), although it can occasionally be found in very early sets. Reminiscent of the courtyard of the Doge's Palace, it does not however record any existing buildings, but was intended as a stage design, as the inscription underneath implies. It is the only surviving record of Marieschi's work as a set designer.
.jpg "Source: Christie's")
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
