FRANCESCO GUARDI (VENICE 1712-1793)
FRANCESCO GUARDI (VENICE 1712-1793)
FRANCESCO GUARDI (VENICE 1712-1793)
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FRANCESCO GUARDI (VENICE 1712-1793)

The interior courtyard of a Venetian palazzo, with two figures

Details
FRANCESCO GUARDI (VENICE 1712-1793)
The interior courtyard of a Venetian palazzo, with two figures
oil on canvas
14 ¼ x 11 1⁄8 in. (36.1 x 28.2 cm.)
Provenance
Anonymous sale [Property of a Gentleman]; Christie's, London, 30 November 1973, lot 44.
Anonymous sale; Sotheby's, London, 13 July 1977, lot 36.
Art market, Milan, before 1994 (according to Zeri online Research Files).
Literature
E. Martini, La Pittura del Settecento Veneto, Udine, 1982, p. 551, n. 345, fig. 297.
A. Delnieri, 'Francesco Guardi e la Memoria del Vedutismo Veneziano del Settecento' in D. Succi, ed., Guardi: metamorfosi dell'imagine, exhibition catalogue, Venice, 1987, pp. 125 and 129, fig. 113.
D. Succi, 'Francesco Guardi. 1712-1793', in D. Succi, ed., Capricci Veneziani del Settecento, exhibition catalogue, Milan, 1988, pp. 347 and 349-350, fig. 27.
D. Succi, Francesco Guardi. Itinerario dell'avventura artistica, Milan, 1993, pp. 15 and 16, fig. 4.
D. Succi, Francesco Guardi: Catalogo dei Dipinti e Disegni Inediti, II, Milan, 2021, pp. 206 and 209, no. 287, illustrated.

Brought to you by

Lucy Speelman
Lucy Speelman Junior Specialist, Head of Part II

Lot Essay


Dated to around 1775-1780, the present work is described by Succi as 'la più affascinante delle versioni note sul tema del Capriccio architettonico con interno di palazzo' ['the most enchanting of the known versions on the theme of architectural capricci with a palace interior'] (2021, op. cit., p. 209). This beautifully preserved canvas conveys the freedom and vibrancy of brushwork for which Guardi is so admired. Set within the bare entrance of a palazzo decorated solely by an ornate lantern and overlooking the lagoon, two doors are flung wide open letting bright sunlight shine in, and illuminating two figures. The whole scene seems to invite the viewer to reflect on the decaying, picturesque beauty of Venice. Given its small scale and subject matter, it is likely that this painting was intended for a domestic, rather than foreign, audience.

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