Giovanni Antonio Canal, il Canaletto (1697-1767)

THE PROPERTY OF A GENTLEMAN

细节

Giovanni Antonio Canal, il Canaletto (1697-1767)

San Marco and the Doge's Palace, Venice, from the Piazza San Marco

23 x 40½in. (58.5 x 103cm.)

来源

Acquired by Col. the Hon. Edward Gordon Douglas Pennant, 1st Lord Penrhyn (1800-1886) and hung in his London house.
His grandson, Edward, 3rd Lord Penrhyn; Sotheby's, 3 Dec. 1924, lot 60 (#360 to Ellis and Smith).
with Arthur Tooth and Sons, London, 1925.
with Knoedler.
John Levy, New York, 1926.
George C. Booth, Bloomfield Hills, Michigan.
The Cranbrook Academy of Art, Bloomfield Hills, Michigan, to whom presented by the above in 1942; Sotheby's, New York, 18 May 1972 (= 2nd day), lot 71 ($135,000).

出版

K.T. Parker, The Drawings of Antonio Canaletto in the Collection of His Majesty the King at Windsor Castle, Oxford and London, 1948, p. 34, under no. 26
W.G. Constable, Canaletto, Oxford, 1962, I, pl. 14; II, p. 190, no. 17, erroneously repeated as no. 51 on p. 203
L. Puppi, L'opera completa del Canaletto, Milan, 1968, no. 183, illustrated
W.G. Constable, Canaletto, 2nd ed., revised by J.G. Links, Oxford, 1976, I, pl. 14; II, p. 193, no. 17
J.G. Links, Canaletto. The Complete Paintings, St. Albans, 1981, p. 16, under no. 23
A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, II, p. 649, no. P 300, illustrated

展览

Toronto, Art Gallery of Toronto, 17 Oct.-15 Nov. 1964, Ottawa, National Gallery of Canada, 4 Dec. 1964 - 10 Jan. 1965, and Montreal, Museum of Fine Arts, 29 Jan.-28 Feb. 1965, Canaletto, p. 60, no. 21, illustrated

拍品专文

Dated by Constable, loc. cit., to the 1740s. As Parker observed, some of the figures (and dogs) correspond with those in a drawing at Windsor (Parker, op. cit., no. 26, pl. 14; Constable, op. cit., no. 535, pl. 97; included in the exhibition, Canaletto, Disegni-Dipinti-Incisioni, Fondazione Giorgio Cini, Venice, 1982, pp. 41-2, no. 26, illustrated, where erroneously associated with a painting of a slightly different view in the National Gallery of Art, Washington). The similarities extend well beyond the figures and their grouping, much of the architecture corresponding with some precision and only the positions of the three flagpoles being changed for dramatic effect