CIRCLE OF GIOVANNI ANTONIO CANAL, CALLED CANALETTO | VIEW OF THE MOLO FROM THE BACINO DI SAN MARCO, THE ZECCA AT LEFT AND PALAZZO DUCALE AT RIGHT
CIRCLE OF GIOVANNI ANTONIO CANAL, CALLED CANALETTO
VIEW OF THE MOLO FROM THE BACINO DI SAN MARCO, THE ZECCA AT LEFT AND PALAZZO DUCALE AT RIGHT
oil on canvas
20¼ by 32½ in.; 51.4 by 82.6 cm.
The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, firstname.lastname@example.org, an independent restorer who is not an employee of Sotheby's.
This work is in very good condition. The canvas is unlined and stretched on its original stretcher. There is one small reinforcement on the reverse attending to a small puncture in the lower center between the two gondolas. The canvas is noticeably relaxed in the upper right, and the cracking in the sky has become raised over time. While the work certainly does not need to be lined, the surface could be greatly improved. No retouches are visible under ultraviolet light. The work may have never been cleaned. No abrasion is visible. Carefully cleaning the work would reveal a beautifully preserved paint layer that would require very few retouches.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
This is a period derivation of Canaletto's view from the same position, formerly in the Medici collection at Poggio Imperiale, today in the Galleria degli Uffizi, Florence (inv. no. 1334). Canaletto's painting was likely based on a drawing at Windsor Castle, dateable to 1755 due to the stage of construction of the Torre d'Orologico (7451: no. 642). This particular viewpoint was a popular one as it allows the artist to include several of the important buildings surrounding Piazza San Marco.
The present lot includes an extra bay and arch on the Zecca in the left background as well as more of the houses to the far right on the Riva degli Schiavoni than does Canaletto's version. Most noticeable are 2 additional figures: the woman in blue facing toward the right in the lower left gondola, and the man standing in the prow of the boat at far right holding onto the cask. The brushwork on these figures appears different than the rest of the painting, suggesting they may have been later additions, and that the original composition was even closer to Canaletto's original.