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拍品專文
This unpublished drawing is nearly identical to a composition in tempera on card in the Musée Jacquemart André, Paris which Morassi describes as an excellent example from Guardi's mature period (A. Morassi, Guardi, Venice, 1973, I, p. 452, no. 763; II, fig. 697). There is also a more highly finished and slightly larger watercolor (38 x 30 cm.) of the composition that Arslan attributed to Nicolò Guardi but which Morassi believed to be by Francesco (see A. Morassi, Guardi: tutti i disegni di Antonio, Francesco e Giacomo Guardi, Venice, 1975, p. 170, no. 522, fig. 512).
A painting formerly with Rosenberg and Stiebel, New York shows the same little campo without the columned archway and hanging lantern (Morassi, 1973, op. cit., I, p. 452, no. 764; II, fig. 700). Morassi also lists a pen and ink study, an oil sketch, and another painted version of the composition, as well as a painted copy.
A painting formerly with Rosenberg and Stiebel, New York shows the same little campo without the columned archway and hanging lantern (Morassi, 1973, op. cit., I, p. 452, no. 764; II, fig. 700). Morassi also lists a pen and ink study, an oil sketch, and another painted version of the composition, as well as a painted copy.