Giovanni Antonio Canal, called Canaletto

Duc de Talleyrand
With Durlacher Brothers, New York, 1954

W.G. Constable, Canaletto, Oxford, 1962, vol. II, no. 761, reproduced vol. I, pl. 144, fig. 761
W.G. Constable and J.G. Links, Canaletto, Oxford, vol. II, no. 761, reproduced vol. I, pl. 144, fig. 761
W.G Constable and J.G. Links, Canaletto, Oxford, 1989, vol. II, no 761, reproduced vol. I, pl. 144, fig. 761

The drawing is laid down on a thin sheet with some associated short creases mainly in the left edge. The tip of the lower left corner is repaired and there is a small, slightly rubbed area near the gate at the lower right. There is a little very pale foxing and light staining barely visible in the sky a few pinholes but the overall condition is very good and fresh.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This capriccio includes a representation of the famous Loggetta of Sansovino with the bronze gates made by Antonio Gai in 1735-7, which according to Constable establishes a terminus post quem for the execution of the drawing.  Constable and Links also point out, though, that the free handling and the style of the drawing, together with the introduction of some Gothic elements, suggest a considerable later date, possibly after Canaletto's visit to England.  Furthermore, the Loggettais shown with an extension to the attic story which was only constructed in 1750, four years after Canaletto had left Venice for England. Canaletto was probably in Venice on a visit in 1750 and again in 1753, before his final return from England.

Despite its references to real buildings, this capriccio is an elaborate imaginary composition: behind the Loggetta is a Gothic tower with pinnacles and large and detailed windows and a small cupola, while to the right a low wall leads, via a gate, to other buildings at a distance.  To the left of the Loggetta, a long building with a ruined pillared portico leads to a glimpse of the lagoon.  In the foreground to the left a fountain with classical elements is strongly lit, contrasting with the rather dark immediate foreground.

Another autograph version of the composition, with several differences, was formerly in the Dyce Collection and is now in the Victoria and Albert Museum.¹  Although similar in design, style and dating, that drawing includes fewer details, and overall appears less elaborate and not so rich in the execution and use of wash: there the Loggetta has no free-standing columns or statues in the niches and the balustrades have also been simplified; the Gothic tower has differently designed pinnacles and windows, and no cupola; the building to the left has a higher central entrance and different fenestration; the figures differ in character and arrangement.  It is interesting to note how Canaletto, in his maturity, succeeded in creating these imaginary compositions almost like stage designs, including and mixing real buildings and other known architectural elements with fantastical ones.  The present sheet demonstrates Canaletto's ability as a draftsman combined with a dramatic use of gray wash and strong variations between light and shadow. 

¹ W.G. Constable, Canaletto, Oxford, 1962, vol. II, no. 762, reproduced vol. II, pl. 144, fig. 762