Giovanni Antonio Canal, called Canaletto

Anonymous sale, London, Christie's, 1 March 1920, lot 79 (as B. Canaletto – An Island near Venice, with bridge, buildings and figures; unsold);
Reoffered, 24 February 1922, lot 141, for 21 guineas, to Maynard (as Belotto – An Island near Venice);
Dr. J. Seymour Maynard, 16 Prince Edward Mansions, Pembridge Square, London;
His deceased sale, London, Christie's, 29 January 1954, lot 46, for 320 guineas, to Speelman;
With Francesco Genova, Venice;
With Alice Tully, New York;
Her sale, New York, Christie’s, 11 January 1995, lot 48, unsold, and subsequently acquired by the present owner.

W.G. Constable, Canaletto, Oxford 1962 revised by J.G. Links, 1967 and 1989, vol. I , no. 481, reproduced plate 89, vol. II, p. 450, cat. no. 481;
L. Puppi, L'opera completa del Canaletto, Milan 1968, no. 327, reproduced;
C.M. Kauffmann, Victoria and Albert Museum. Catalogue of Foreign Paintings, vol. I, Before 1800, London 1973, p. 53;
J.G. Links, Canaletto. The Complete Paintings, St. Albans 1981, p. 84, no. 282, reproduced;
A. Corboz, Canaletto. Una Venezia immaginaria, Milan 1985, vol. II, p. 741, no. P 455, reproduced;
J.G. Links,  A Supplement to W.G. Constable’s Canaletto, London 1997, p. 44, no. 481.

 

The canvas has an old relining which has not flattened paint surface; indeed, the impasto is very well-preserved. The paint surface is stable and dirty with a discoloured varnish, and the painting is in overall good condition. The varnish fluoresces opaquely under ultraviolet light, making it difficult to discern previous restoration, but there would appear to be a small area of retouching in the clouds on the margin, upper left, and another by the figure in the corner, lower right. There is a more recent area of retouching, approx. 1 by 1 cm., below the pediment of the building, upper right. Offered in a carved gilt wood frame in good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Towards the end of his life Canaletto painted a number of small, imaginary views, often featuring small classical buildings somewhat incongruously placed in semi-rustic settings. Like some of his small topographical pictures from this time, such as the canvas of the same dimensions as this representing the Fondamenta Nuove and Santa Maria del Pianto, they are all characterised by a deep-blue sky and cool grey shadows.¹ Other examples of capricci similar to the present work are the pair depicting a farmhouse and a villa in the Springfield Museum of Fine Arts, Massachussetts.² The concept of the capriccio fascinated the mature Canaletto and both during his sojourn in England and after, he painted many examples, often on a grand scale such as those in the collection of the Duke of Norfolk at Arundel.³

A preparatory drawing by Canaletto for this composition was formerly with Schaeffer Galleries, New York.⁴

1. See W. G. Constable, under Literature, vol. I, reproduced plate 60, and vol. II, p. 348, cat. no. 321. 
2. Ibid., vol. I, plate 94, vol. II, pp. 468–69, cat. nos. 513 and 514.
3. See for example, Ibid., vol. I, all reproduced plate 92, vol. II., pp. 464–65, cat. nos. 505–07. 
4. Ibid., vol. I, reproduced plate 149, vol. II, p. 598, cat. no. 793.