Lot Essay
We are grateful to Dr. Dario Succi for confirming the attribution, on the basis of a transparency. He dates the picture circa 1737-9 and believes that the figures are 'dello stresso Marieschi'.
Several versions are known, all with differing figures and booths. Most of these are from a viewpoint to the right and lower than in the present work, see, for instance, the etching - plate 12 of Marieschi's Urbis Venetiarum Propectus - and to two paintings of similar size to the present lot, one in the National Gallery of Ireland (see, for instance, R. Pallucchini, La Pittura Veneziana del Settecento, 1960, fig. 487), the other exhibited Bergamo, Galleria Lorenzelli (Michele Marieschi, Sept.-Oct. 1966, no. 66, illustrated in colour; the figures attributed by Morassi to Antonio Guardi). For two versions with closely corresponding viewpoints see the catalogue of the exhibition, Views from the Grand Tour, Colnaghi, New York, 1983, no. 22, and that offered in these Rooms, 11 April 1986, lot 55.
Several versions are known, all with differing figures and booths. Most of these are from a viewpoint to the right and lower than in the present work, see, for instance, the etching - plate 12 of Marieschi's Urbis Venetiarum Propectus - and to two paintings of similar size to the present lot, one in the National Gallery of Ireland (see, for instance, R. Pallucchini, La Pittura Veneziana del Settecento, 1960, fig. 487), the other exhibited Bergamo, Galleria Lorenzelli (Michele Marieschi, Sept.-Oct. 1966, no. 66, illustrated in colour; the figures attributed by Morassi to Antonio Guardi). For two versions with closely corresponding viewpoints see the catalogue of the exhibition, Views from the Grand Tour, Colnaghi, New York, 1983, no. 22, and that offered in these Rooms, 11 April 1986, lot 55.