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拍品專文
The present work is a variant of a picture of almost identical size in a London private collection (W.G. Constable, Canaletto, Oxford, 1962, and subsequent editions, no. 301, pl. 57; A. Corboz, Canaletto. Una Venezia immaginaria, 1985, II, p. 630, no. P 216, illustrated). The viewpoint of the present painting is to the right, the shadows fall at different angles, the boats (including large boats in the distance absent in the other version) and figures are entirely different, the church door is shown open rather than closed and there are numerous other minor variations. In drawings of the church in the collection of Her Majesty the Queen and in the British Museum (Constable, op. cit., nos. 612 and 770, pls. 112 and 145; Corboz, op. cit., I, p. 100, and II, p. 691, no. D 66, and I, p. 355, and II, p. 755, no. D 150, both illustrated) the viewpoints are further to the right and to the left respectively.
In both paintings the campanile is shown with the onion-shaped steeple erected between June 1726 and 1728. Constable considered the version known to him to be similar in style (as well as size) to the series of paintings at Woburn and those formerly belonging to the Harvey Trustees; these are datable to the early-and mid-1730s. The present picture would seem to be closer in style to such works as the pair showing The Redentore and The Prisons sold at Christie's, London, 9 December 1988, lot 40 (Private collection, U.S.A.), and generally dated to shortly before the artist's departure from Venice for London in May 1746. However, the grey priming of the present canvas suggests, that it and the above mentioned pair may have been executed after Canaletto's arrival in England.
In both paintings the campanile is shown with the onion-shaped steeple erected between June 1726 and 1728. Constable considered the version known to him to be similar in style (as well as size) to the series of paintings at Woburn and those formerly belonging to the Harvey Trustees; these are datable to the early-and mid-1730s. The present picture would seem to be closer in style to such works as the pair showing The Redentore and The Prisons sold at Christie's, London, 9 December 1988, lot 40 (Private collection, U.S.A.), and generally dated to shortly before the artist's departure from Venice for London in May 1746. However, the grey priming of the present canvas suggests, that it and the above mentioned pair may have been executed after Canaletto's arrival in England.