Francesco Guardi

Christie’s, London, 30 November 1973, lot 45 (as ‘Francesco Guardi. A view of the Scuola di San Marco);
Christie’s, London, 27 June 1975, lot 30 (as ‘Francesco Guardi. Campo SS.Giovanni Paolo);
Private English Collection.

Le tableau apparaît dans un état de conservation satisfaisant. Il a fait l'objet d'un réentoilage ancien réalisé dans la première moitié du XXe siècle correctement réalisé. Il est sous un vernis ancien. On remarque un réseau de petites craquelures légèrement visibles mais absolument stable dans le coin inférieur droit. A la lampe UV : le tableau apparaît sous un vernis vert très épais, uniforme, on remarque quelques très légères et fines reprises dans les architectures. The painting is in a satisfying condition. It has been recanvassed in the first half of the XXth century in a good way. It is under an old varnish. We can see a network of thin cracks very stable in the lower right corner. Under the UV light : the painting is under a green thick varnish. We can see few very light restoration in the architectures.
"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."

During the 1750s, Francesco Guardi sought to diversify his art and move away from Canaletto's classic views, by taking an interest in untapped places in the city. Thirty-two years later, Pietro Edwards, the superintendent of Fine Arts in Venice, brought the ideal opportunity as he commissioned four canvases depicting the main events from Pope Pius VI's visit to the Serenissima between May 15th and 19th, 1782.
These four paintings and their variants, representing The Meeting of Pope Pius VI and Doge Paolo Renier at San Giorgio in Alga, Pontifical Ceremony in the SS Giovanni e Paolo, Pope Pius VI Descending the Throne to Take Leave of the Doge in the Hall of SS, and Pope Pius VI Blessing the Crowd in the Campo di San Zanipolo, are currently housed at the Museum of Art in Philadelphia, the Milanese collections at the Cleveland Museum of Fine Art, and the Ashmolean Museum in Oxford.
Our painting is a version of Ashmolean's, entitled Pope Pius VI Blessing the Crowd in the Campo SS Giovanni e Paolo, Venice. The exalted audience was set aside by the painter for the benefit of scattered passers-by in a golden palette, typical of the artist during the 1780s. The viewpoint is identical, but similar to the Scuala Grande di San Marco, on which one can see the stairwell and balcony erected on the occasion of the Pope's arrival. This composition preserved the spirit in pen and ink of the two preparatory drawings for this oil on canvas, in the collections of Pierre Decourcelle and of Korner in London.
The existence of four other examples of the same subject, found at the National Gallery of Art in Washington, Modiano Collection in Bologna, and a private collection in Bergamo, proves the popularity of this subject in its time.