Bernardo Canal

The Landesmuseum, Darmstadt, no. 138 (as School of Bellotto), until 1936.

W. G. Constable, Canaletto, vol. II, Oxford 1976, p. 286, under cat. no. 203 (as 'school version' C).

The canvas is lined, the paint surface is clean and the varnish clear and even. Inspection under ultraviolet light reveals thin bands of retouching along all four margins and minimal spot retouching scattered in the sky, a slightly larger area, no bigger than approx. 2 cm. squared, in the centre. In overall very good condition without a need for further intervention. Offered in a thin wooden slip frame.
"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."

This, and the opposite vedute are enlarged and free interpretations of Canaletto's originals now in the Royal Collection.¹ The original paintings are two of twelve views by Canaletto of the Grand Canal which are all the same format, completed around 1730. The pictures form the basis of the fourteen engraved plates in Visentini’s 1735 ‘Prospectus Magni Canalis Venetiarum’.

1. See Constable 1976, vol. I, pl. 44, fig. 203 and pl. 46, fig. 219.