Lot 261: *Lieven Cruyl (circa 1640-1720) a view of the rialto bridge, venice, with a large boat in the

*Lieven Cruyl (circa 1640-1720) a view of the rialto bridge, venice, with a large boat in the foreground. Signed (indistinct, lower right): L CRUYL. Pen and brown and black ink and gray wash, on vellum. 152 by 219mm. This, and the following lot, are examples of the intricate drawings Cruyl made during his various journeys to Italy from the 1660s to the 1680s, many of which were used for etchings and published (see Barbara Jatta, Lieven Cruyl e la Sua Opera Grafica, Un artisto Fiammingo nell'Italia del Seicento, Brussels 1992). These two drawings are notable for their aerial perspective, giving a birdseye view over the cities. A variant of the present drawing was sold, New York, Sotheby's, 14 January 1987, lot 14. In place of the splendid galleon seen here, that dr

*Lieven Cruyl (circa 1640-1720)
a view of the rialto bridge, venice, with a large boat in the foreground.
Signed (indistinct, lower right): L CRUYL.
Pen and brown and black ink and gray wash, on vellum.
152 by 219mm.
This, and the following lot, are examples of the intricate drawings Cruyl made during his various journeys to Italy from the 1660s to the 1680s, many of which were used for etchings and published (see Barbara Jatta, Lieven Cruyl e la Sua Opera Grafica, Un artisto Fiammingo nell'Italia del Seicento, Brussels 1992). These two drawings are notable for their aerial perspective, giving a birdseye view over the cities. A variant of the present drawing was sold, New York, Sotheby's, 14 January 1987, lot 14. In place of the splendid galleon seen here, that drawing has numerous gondolas (see Babara Jatta, op. cit., cat.103, fig.123). *Lieven Cruyl (circa 1640-1720)
a view of the rialto bridge, venice, with a large boat in the foreground.
Signed (indistinct, lower right): L CRUYL.
Pen and brown and black ink and gray wash, on vellum.
152 by 219mm.
This, and the following lot, are examples of the intricate drawings Cruyl made during his various journeys to Italy from the 1660s to the 1680s, many of which were used for etchings and published (see Barbara Jatta, Lieven Cruyl e la Sua Opera Grafica, Un artisto Fiammingo nell'Italia del Seicento, Brussels 1992). These two drawings are notable for their aerial perspective, giving a birdseye view over the cities. A variant of the present drawing was sold, New York, Sotheby's, 14 January 1987, lot 14. In place of the splendid galleon seen here, that drawing has numerous gondolas (see Babara Jatta, op. cit., cat.103, fig.123).