Venetia

Magnificent and very rare view of Venice taken from the sea, based on the model introduced by Willelm Janszoon Blaeu's panorama, printed in 1614.

Top center, within cartouche, VENETIA. Below, within large box, alphabetical legend of 24 cross-references (A-Z) arranged in two outer columns. Also, there is a eulogy to the city in four columns, in Dutch, French, German and English. The verses, read: VENICE, a Famous Citty in Italie, in the Dominian there of Scituate on the Adriatick-Sea, an excellent Citty of Trade, Beautifyed witz illuftrions Churches and Buildings the principall Churcz S: Marke is the Seate of the Venetian Patriarks, and the whole kingdom is Gouverned by the Duke and 6 Councillors.

The work is attributed by Schulz, Cassini and Moretto to Frederick de Wit, who ignore, however, how the plate was, however, engraved and prepared for the very rare Icones praecipuarum urbium totius Europae, published in Amsterdam, 1675, by Clement de Jonghe.

“View framed by a frame with plant motifs. Recalls the view engraved by Lucas Schnitzer and published in 1666, but enriched in the foreground with original decorative elements. In the upper left corner, within a shield, the three crowns symbolizing the city; on the right similar shield with the Marcian lion, symbol of the Republic. The foreground is enlivened by an elegant, full-bodied scene consisting of numerous ships and vessels of fine workmanship and distinctly Nordic style. The entire motif would later be taken up by many illustrators, albeit in a more modest size” (cfr. Moretto, Venetia, Le immagini della Repubblica, p. 210).

De Jonghe's print, therefore, forms the model for northern views of Venice throughout the 18th century.

First state example, before Frederick de Wit's imprint in lower right corner

Clement De Jonghe (1624-1677) was a Dutch engraver, publisher, and print dealer. A friend of Rembrandt, he obtained as many as 74 of his plates and, in 1651, had an engraved portrait made. With more than 60,000 prints, Clement De Jonghe is a major player in the art market. His intaglio activity took place mainly in Amsterdam with an address 'in de Calverstraat inde gekroonde konst en kaert-winckel' (from 1658 to 1679). He died in June 1677, probably on the 25th, the same day he was buried in the Old Church in Amsterdam. The business, after 1677, was continued by his widow Jacomijntje Jacobs.

His collection of copper plates (including 74 by Rembrandt) was sold at auction in Amsterdam on June 14 and October 25, 1679. The copperplates of the Icones praecipuarum urbium totius Europae were purchased by Frederick de Wit, who reprinted them, also in Amsterdam, around 1680.

Etching, printed on contemporary laid paper, with full margins, in perfect condition. Very rare work.

Bibliografia

Schultz (1970), n. 168, I/II; Cassini (1971), n. 48; Moretto, Venetia, Le immagini della Repubblica, n. 97 I/II; C. Koeman, Atlantes Neerlandici: Bibliography of Terrestrial, Maritime and Celestial Atlases and Pilot Books Published in the Netherlands up to 18802.2, p. 1516, cat.nr. 4610; Jan van der Waals, 'Prenten in de Gouden Eeuw', Rotterdam 2006, appendix 3, pp. 206-15; Frans Laurentius, 'CdJ, Kunstverkoper in de Gouden Eeuw', Houten 2010.