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Lot Essay
We are grateful to Dr. Dario Succi for confirming the attributions from photographs; he dates the pictures c. 1785, or slightly earlier.
Preparatory drawings for the former composition are recorded by Antonio Morassi as belonging to Eugene V. Thaw, New York, and in the Art Institute of Chicago (A. Morassi, Guardi, Tutti i Disegni, Venice, 1975, pp. 188-9, nos. 643-4, figs. 616-7). Painted variants are also recorded by Morassi as in a private collection, Milan, the Albertini-Carandini collection, Rome, and that formerly with Matthiesen, London and offered at Sotheby's, 7 July 1993, lot 67 (Morassi, Guardi, Venice, 1973, I, pp. 490-1, nos. 976-8; II, figs. 860-2).
Variants of the latter composition are recorded by Morassi as in the E. Hamill Collection, Chicago, and in a private collection, Bergamo (Morassi, op cit., 1973, I, pp. 492-3, nos. 987 and 990; and II, figs. 870 and 875).
Preparatory drawings for the former composition are recorded by Antonio Morassi as belonging to Eugene V. Thaw, New York, and in the Art Institute of Chicago (A. Morassi, Guardi, Tutti i Disegni, Venice, 1975, pp. 188-9, nos. 643-4, figs. 616-7). Painted variants are also recorded by Morassi as in a private collection, Milan, the Albertini-Carandini collection, Rome, and that formerly with Matthiesen, London and offered at Sotheby's, 7 July 1993, lot 67 (Morassi, Guardi, Venice, 1973, I, pp. 490-1, nos. 976-8; II, figs. 860-2).
Variants of the latter composition are recorded by Morassi as in the E. Hamill Collection, Chicago, and in a private collection, Bergamo (Morassi, op cit., 1973, I, pp. 492-3, nos. 987 and 990; and II, figs. 870 and 875).