Lot Essay
This exceptional drawing is one of three sheets by Canaletto which belonged to the English 18th Century collector John Barnard (d. 1784). His collection was highly regarded by his contemporaries and his taste was praised by Frits Lugt in the most flattering terms 'John Barnard's mark is of all the English collectors' marks the most revered. His taste as a collector is almost never found to be at fault and his mark is an excellent warrant of authenticity. Its presence on a drawing means that one could not find a more characteristic example of an artist's hand', F. Lugt, Les marques de collections de dessins et d'estampes, Amsterdam, 1921, p. 256. The other two drawings by Canaletto which Barnard owned, one bearing the inventory number 'No 793' is a Capriccio with Reminiscences of Richmond House, now in the Victoria and Albert Museum (P. Ward-Jackson, Italian Drawings, II, 17-18th Century, London, 1980, no. 949, illustrated), and the other, View of the Piazza San Marco looking West, numbered 'No 1086' on the mount, now at the Louvre, W.G. Constable, Canaletto, 2nd edition revised by J.G. Links, Oxford, 1989, I, pl. 215, no. 531, illustrated. Interestingly the highest recorded inventory number in John Barnard's collection was 'N° 1100'. John Barnard was a keen admirer of Venetian art, and it is known that he bought some landscape drawings directly from Zuccarelli when the latter lived in London.
Canaletto executed a painting of the present composition, now in the John and Mable Ringling Museum, Sarasota (fig. 1). The view is actually depicted from further back, reducing the dramatic perspective of the column of Saint Theodore. That picture has a pendant, View of the Campo San Basso, in which the Torre dell'Orologio is shown with its third storey added in 1755, and this dates the pictures to a later period.
The steep perspective of the upright composition offered Canaletto the opportunity to create an unusual image in which the Ducal palace seen receding is dominated by the column of Saint Theodore, the statue of which is depicted so much di sotto in su as to recall a figure from a ceiling by Tiepolo. Another technical achievement is the use of the white paper left untouched with wash to express the effect of morning sunshine on the façade of the Doge's palace. Its decoration is indicated by a simple grid of interacting diagonals. It contrasts with the menacing sky and the shadows of two imposing columns.
To be inscluded in J.G. Links forthcoming addenda to W.G. Constable Canaletto as no. 574*.
Canaletto executed a painting of the present composition, now in the John and Mable Ringling Museum, Sarasota (fig. 1). The view is actually depicted from further back, reducing the dramatic perspective of the column of Saint Theodore. That picture has a pendant, View of the Campo San Basso, in which the Torre dell'Orologio is shown with its third storey added in 1755, and this dates the pictures to a later period.
The steep perspective of the upright composition offered Canaletto the opportunity to create an unusual image in which the Ducal palace seen receding is dominated by the column of Saint Theodore, the statue of which is depicted so much di sotto in su as to recall a figure from a ceiling by Tiepolo. Another technical achievement is the use of the white paper left untouched with wash to express the effect of morning sunshine on the façade of the Doge's palace. Its decoration is indicated by a simple grid of interacting diagonals. It contrasts with the menacing sky and the shadows of two imposing columns.
To be inscluded in J.G. Links forthcoming addenda to W.G. Constable Canaletto as no. 574*.