BERNARDO CANAL | ROME, A VIEW OF THE CAMPIDOGLIO
40,000 - 60,000 GBP
Venice 1674 - 1744
ROME, A VIEW OF THE CAMPIDOGLIO
oil on canvas
unframed: 89.6 x 146.8 cm.; 35¼ x 57¾ in.
framed: 113 x 168.1 cm.; 44½ x 66¼ in.
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The canvas is lined, the paint surface is dirty and the varnish is discoloured. There is a pinprick paint loss in the sky, centre right, and the canvas weave has become more visible in some of the darker areas of the painting. Inspection under ultraviolet light reveals the opaque varnish, beneath which it is difficult to discern restoration, though it is possible to see some more concentrated areas of retouching in three patches, each approx. 6 x 3 cm., in the centre and lower corner of the right margin. All four margins appear to have thin bands of retouching, and in raking light it is easier to see small areas of retouching scattered in the sky. The architecture and lower half of the composition appear to be relatively untouched, however (as far as one can tell without removing the varnish). The painting will respond extremely well to cleaning, and is in overall good condition.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
G. Fiocco, in L. Coletti and T. Spini (eds), Collezione Ottaviano Venier, Bergamo 1954, reproduced (as Bellotto).
The view is based on the drawing by the artist's son, Canaletto, in the Darmstadt Museum.1 In about 1720 Canaletto painted a large canvas of this view (148 x 200 cm.), which is one of a pair, today in the Szépmüvészeti Múzeum, Budapest.2
Further variants of the design were sold in Rome, Finarte, 15 March 1983, lot 230, (76 x 128 cm., as circle of Bernardo Bellotto), and in Milan, Sotheby's, 8 June 1994, lot 22 (70 x 108 cm., as Jacopo Fabris).3
We are grateful to Charles Beddington for endorsing the attribution on the basis of a digital image.
1 W.G. Constable and J.G. Links, Canaletto, Oxford 1989, vol. II, p. 561, cat. no. 238(19), reproduced vol. I, plate 132.
2 For a full discussion of the Budapest canvases and their dating, see C. Beddington, in A. Bettagno and B.A. Kowalczyck (eds), Canaletto prima maniera, exh. cat., Milan 2001, pp. 54–56, cat. nos 28–29.
3 See D. Succi, in A. Delneri and D. Succi (eds), Da Canaletto a Zuccarelli, il paesaggio veneto del Settecento, exh. cat. Tavagnacco 2003, p. 173.