Punta della Dogana and Santa Maria della Salute, Venice by Ivan Konstantinovich Aivazovsky, 1853
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata nel nostro laboratorio di Londra dall’opera originale del 1853 e stampata in qualità museale. Descrizione completa
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Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.L’offerta del Collezionista
Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
Abbina liberamente mappe standard idonee e stampe d’arte fine art. Non è richiesto alcun codice; l’offerta viene applicata automaticamente al checkout.
Sono incluse le configurazioni standard su ordinazione. Sono esclusi formati su misura, design personalizzati e lavori su commissione.
Hai bisogno di consegne a indirizzi diversi? Contattaci prima di effettuare l’ordine.
Opera d’arte autentica
L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata dall’opera originale del 1853 e stampata in qualità museale. Descrizione completa
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If you want to add a gift message, or a finish (jigsaw, aluminium board, etc.) that is not available here, please request it in the "order note" when you check out.
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Ivan Konstantinovich Aivazovsky’s Punta della Dogana and Santa Maria della Salute, Venice, painted in 1853, sets one of the city’s best-known waterfronts...
Continua a leggereIvan Konstantinovich Aivazovsky’s Punta della Dogana and Santa Maria della Salute, Venice, painted in 1853, sets one of the city’s best-known waterfronts within an expansive play of water, architecture and glowing sky. The church’s great dome rises on the right, its pale mass warmed by low golden light, while boats, masts and small groups of figures animate the harbour edge. Across the lagoon, muted orange and cream reflections mingle with cooler blue-grey tones, making the water as visually commanding as the buildings themselves.
Aivazovsky was celebrated for marine painting, and the Venetian setting offered an ideal meeting of his principal interests: shifting light, reflective water and human activity at the boundary between sea and city. Rather than treating the view as a strictly topographical record, he gives it the atmospheric breadth associated with nineteenth-century Romantic landscape. Venice was also a particularly resonant subject for artists and travellers of the period—a city whose architecture appeared inseparable from its waterways, and whose maritime history could be suggested through little more than a sail, a distant vessel or a sunlit façade.
A closer look
The composition unfolds laterally, with the vertical accents of masts and domes rising from a predominantly horizontal landscape. At the left, a moored sailing ship carries a red flag that provides one of the scene’s sharpest colour notes. Its mast and rigging form a delicate linear framework against the pale sky, while a smaller vessel farther away helps draw the eye towards the open distance. These slender maritime forms contrast with the weight and permanence of Santa Maria della Salute, whose dome and supporting architecture dominate the right-hand side.
Closer to the water’s edge, figures in nineteenth-century dress gather, converse and attend to the boats. Their dark clothing and the earthy browns of the quay establish a firm foreground before the view opens into luminous water. On the right, a gondola cuts gently through the reflections; nearby, a blue-clad figure appears beside a small child, introducing an intimate incident within the broader panorama. Such details prevent the scene from becoming merely architectural. Venice is presented as an inhabited port, full of small exchanges and movements.
Aivazovsky’s most subtle effects occur across the lagoon and sky. Fine ripples break the reflected architecture into soft bands of beige, blue and muted orange, while darker touches beneath the boats suggest their weight upon the surface. Above, pale blue gradually gives way to warm cream near the horizon. The transition is smooth rather than theatrical, allowing the light to bind the separate elements together: flags catch it in gentle folds, sails appear almost weightless, and the church emerges through atmosphere rather than being outlined with hard precision.
Context and significance
Born in 1817 in the Crimean port of Feodosia, Aivazovsky developed a career closely associated with the sea. His marine subjects range from storms and shipwrecks to quiet harbours, but throughout them water is rarely passive scenery. It carries light, creates depth and determines the emotional temperature of the composition. In this Venetian view, the lagoon is not simply foreground; it is the medium through which the city’s stone, sky and maritime life are brought into relation.
The location itself reinforces that idea. Punta della Dogana occupies the pointed entrance where major Venetian waterways meet, beside the domed church of Santa Maria della Salute. Aivazovsky uses this recognisable prospect without allowing monumental architecture to overwhelm the smaller signs of daily life. The result balances grandeur with observation: a celebrated city seen through rigging, ripples, figures and passing craft, held together by the quiet radiance of evening light.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Ivan Konstantinovich Aivazovsky’s Punta della Dogana and Santa Maria della Salute, Venice, painted in 1853, sets one of the city’s best-known waterfronts within an expansive play of water, architecture and glowing sky. The church’s great dome rises on the right, its pale mass warmed by low golden light, while boats, masts and small groups of figures animate the harbour edge. Across the lagoon, muted orange and cream reflections mingle with cooler blue-grey tones, making the water as visually commanding as the buildings themselves.
Aivazovsky was celebrated for marine painting, and the Venetian setting offered an ideal meeting of his principal interests: shifting light, reflective water and human activity at the boundary between sea and city. Rather than treating the view as a strictly topographical record, he gives it the atmospheric breadth associated with nineteenth-century Romantic landscape. Venice was also a particularly resonant subject for artists and travellers of the period—a city whose architecture appeared inseparable from its waterways, and whose maritime history could be suggested through little more than a sail, a distant vessel or a sunlit façade.
A closer look
The composition unfolds laterally, with the vertical accents of masts and domes rising from a predominantly horizontal landscape. At the left, a moored sailing ship carries a red flag that provides one of the scene’s sharpest colour notes. Its mast and rigging form a delicate linear framework against the pale sky, while a smaller vessel farther away helps draw the eye towards the open distance. These slender maritime forms contrast with the weight and permanence of Santa Maria della Salute, whose dome and supporting architecture dominate the right-hand side.
Closer to the water’s edge, figures in nineteenth-century dress gather, converse and attend to the boats. Their dark clothing and the earthy browns of the quay establish a firm foreground before the view opens into luminous water. On the right, a gondola cuts gently through the reflections; nearby, a blue-clad figure appears beside a small child, introducing an intimate incident within the broader panorama. Such details prevent the scene from becoming merely architectural. Venice is presented as an inhabited port, full of small exchanges and movements.
Aivazovsky’s most subtle effects occur across the lagoon and sky. Fine ripples break the reflected architecture into soft bands of beige, blue and muted orange, while darker touches beneath the boats suggest their weight upon the surface. Above, pale blue gradually gives way to warm cream near the horizon. The transition is smooth rather than theatrical, allowing the light to bind the separate elements together: flags catch it in gentle folds, sails appear almost weightless, and the church emerges through atmosphere rather than being outlined with hard precision.
Context and significance
Born in 1817 in the Crimean port of Feodosia, Aivazovsky developed a career closely associated with the sea. His marine subjects range from storms and shipwrecks to quiet harbours, but throughout them water is rarely passive scenery. It carries light, creates depth and determines the emotional temperature of the composition. In this Venetian view, the lagoon is not simply foreground; it is the medium through which the city’s stone, sky and maritime life are brought into relation.
The location itself reinforces that idea. Punta della Dogana occupies the pointed entrance where major Venetian waterways meet, beside the domed church of Santa Maria della Salute. Aivazovsky uses this recognisable prospect without allowing monumental architecture to overwhelm the smaller signs of daily life. The result balances grandeur with observation: a celebrated city seen through rigging, ripples, figures and passing craft, held together by the quiet radiance of evening light.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
Scegli un’opzione incorniciata per il regalo più semplice, pronto da appendere, oppure scegli una stampa non incorniciata se il destinatario preferisce selezionare la propria cornice.
Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.
- Possiamo consegnare direttamente al destinatario
- I pezzi incorniciati arrivano pronti da appendere
- Le stampe non incorniciate sono accuratamente imballate in un robusto tubo protettivo
- Quasi ogni ordine viene realizzato localmente, per regali più rapidi e sicuri
- Il reso entro 90 giorni dà al destinatario il tempo di decidere
Se non sei sicuro di cosa scegliere, ti invitiamo a contattarci. Possiamo aiutarti a scegliere la mappa, il formato, la finitura o l’opzione di consegna più adatti.
Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.
We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
Very large framed orders can take a little longer, as they need extra care in production and delivery.
Every order is carefully packaged: unframed prints are sent in a strong protective tube, while framed pieces are securely packed with protective materials around the frame.
If you need your order by a particular date, please contact us before ordering. We’ll check the best production route and delivery option for your location.
Express delivery is available at checkout for most countries. Next-day delivery is available in the UK, US, Singapore and the UAE.
Your order is covered by our 90-day returns policy and 10-year guarantee.
Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.
We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.
Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.
Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.
All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.
We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.
If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
- Consulenza su arte e incorniciatura da parte del nostro laboratorio
- Produzione locale per progetti in tutto il mondo
Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
