Giovanni Antonio Canal, called Canaletto (1697-1768)The Portico with the Lanternetching, circa 1740, second state (of three), on laid paper, with watermark of an ornamental device (Bromberg's no.44, but lacking the letter A), an excellent well-inked impression, before the inclusion of 'FF4', with thread marginssheet: 307 x 435 mm.Literature:De Vesme, Bromberg, 10.IIOne of the most famous prints from Canaletto's series of etchings of real and imagined views, which demonstrates the mastery of the artist's refined painterly etching style.The present second state impression, which is a particularly fine and well inked example, shows to great effect the additional increased contrasts, and the efforts made to deepen the tonal variety of the print through strengthening various lines, which Canaletto re-worked into the plate. The re-working in the second state is not an attempt to alter the composition, or improve on the design, but rather to refine and strive for a more precise technical precision getting closer to Canaletto's intended vision for the print. The Portico with the Lantern is one of Canaletto's greatest displays of the tonal variety that he was able to achieve with his innovative approach to printmaking. The effects of light and space are expertly realised, and experimental new techniques are also apparent; Bromberg suggested that the artist produced the long white blades of grass, seen to the right of the left portico pillar, "with a paintbrush, probably dipped in stopping-out varnish which prevents the acid from biting". [Bromberg, p. 11] While the success in communicating the atmosphere of the location portrayed is somewhat subjective, the poet significance which Canaletto himself saw in the composition, and the effort and diligence of the artist to render his intentions is undeniable.