THE MASTER OF THE LANGMATT FOUNDATION VIEWS |  Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east
THE MASTER OF THE LANGMATT FOUNDATION VIEWS |  Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east
THE MASTER OF THE LANGMATT FOUNDATION VIEWS |  Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east
189

The Property of a Deceased Estate

THE MASTER OF THE LANGMATT FOUNDATION VIEWS | Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east

Estimate: 25,000 - 35,000 GBP

The Property of a Deceased Estate

THE MASTER OF THE LANGMATT FOUNDATION VIEWS | Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east

Estimate: 25,000 - 35,000 GBP

Lot sold:40,000GBP

Description

The Property of a Deceased Estate

THE MASTER OF THE LANGMATT FOUNDATION VIEWS

active Venice circa 1740-1770

Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east


a pair, both oil on canvas

each: 45.8 x 74.9 cm.; 18 x 29½ in.

(2)

Condition Report

Both canvases are lined, with slightly dirty paint surfaces and slightly discoloured varnishes.

The former (Rialto bridge): some areas of the sky contain discoloured retouching just visible to the naked eye, notably to the upper margin and above the roof of the right-most building. Inspection under ultraviolet light is impeded by the old, milky varnish but confirms the presence of restoration scattered throughout the sky and to small, scattered areas through the buildings on the left and that to the right of the bridge.

The latter (Grand Canal): small, discoloured retouchings are plainly visible throughout the sky. Inspection under ultraivolet light is again impeded by the old, milky varnish but confirms the campaign of retouching in the sky, but apparently little other intervention.

Both paintings are in overall fair and will respond well to cleaning. 


"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."

Catalogue Note

The wall of the façade of the Palazzo Barbarigo that flanks the Campo di San Vio on the right-hand side of the latter painting is decorated with graffito depicting a boat. This drawing is recorded in the two earliest works of at least ten versions of this popular view by Canaletto: that of circa 1722–23 in the Gemäldegalerie Alte Meister, Dresden,1 and that of circa 1723–24 in the Museo Nacional Thyssen-Bornemisza, Madrid.2 Canaletto's subsequent paintings of the campo omit both details and show alterations to the wall of the Palazzo Barbarigo, such as a balcony added to the lower round-topped window. The present pair of paintings may therefore also be dated to the early 1720s, and reflect the Master's interest in capturing the effects of light on the different textures of the Venetian architecture.


1 Inv. no. 586; see W.G. Constable, Canaletto. Giovanni Antonio Canal 1697–1768, London 1962 (and subsequent editions revised by J.G. Links), vol. II, p. 274–75, cat. no. 183, reproduced vol. I, fig. 183.

2 Inv. no. 76 (1958.8); see R. Razzall and L. Whitaker, Canaletto & the art of Venice, exh. cat., London 2017, p. 172, under cat. no. 67, reproduced in colour fig. 64.

THE MASTER OF THE LANGMATT FOUNDATION VIEWS |  Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east
The Property of a Deceased Estate
THE MASTER OF THE LANGMATT FOUNDATION VIEWS | Venice, a view of the Grand Canal with the Rialto Bridge, looking south; and Venice, a view of the Grand Canal from the Campo di San Vio, with the Palazzo Barbarigo on the right and Palazzo Correr on the left, looking east
Lot Closed