View full screen - View 1 of Lot 26. BERNARDO BELLOTTO | VENICE, A VIEW OF THE CAMPO AND CHURCH OF SANTA MARIA FORMOSA.
26

BERNARDO BELLOTTO | VENICE, A VIEW OF THE CAMPO AND CHURCH OF SANTA MARIA FORMOSA

Estimate:

3,000,000

to
- 5,000,000 USD

BERNARDO BELLOTTO | VENICE, A VIEW OF THE CAMPO AND CHURCH OF SANTA MARIA FORMOSA

BERNARDO BELLOTTO | VENICE, A VIEW OF THE CAMPO AND CHURCH OF SANTA MARIA FORMOSA

Estimate:

3,000,000

to
- 5,000,000 USD

Lot sold:

3,408,000

USD

BERNARDO BELLOTTO

Venice 1722 - 1780 Warsaw

VENICE, A VIEW OF THE CAMPO AND CHURCH OF SANTA MARIA FORMOSA


oil on canvas

24 by 36⅜ in.; 61 by 92.4 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, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's.


This work is in particularly good condition. The canvas has an old glue lining which is maintaining an attractive surface. The texture of the paint layer is noticeably fresh. There is no weakness to any of the shadows. There are a couple of small retouches in the tiled foreground in the lower center of the work and in the group of three figures dressed in black in the lower left, but there do not appear to be any other retouches in the architecture or foreground. The upper sky is in lovely condition. A few cracks in the upper left have been retouched, and there are a few small retouches around the top of the tower and around the dome of the church in the center. The work should be hung in its current state.


"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."

One of the Venetian views acquired by Henry Howard, 4th Earl of Carlisle (1694–1758), possibly through his agent Antonio Maria Zanetti during or shortly after his stay in Venice in 1738–39;

Recorded as having arrived at Castle Howard before June 1740;

Thence by descent in the family at Castle Howard to George James Howard, 9th Earl of Carlisle (1843-1911);

By whom sold, 16 August 1895, for £150, to “G Donaldson Esq”;

With Sir George Donaldson, 106 New Bond Street, London;

From whom acquired by Sir Max Michaelis (1852-1932), London and Capetown, by April 1896, together with another painting by Bellotto from Castle Howard, possibly through Colnaghi;

Thence by descent in the family;

With Harari and Johns, London, 1991 (as Canaletto);

From whom acquired by the present owner, 1992.

J., Accounts of Travels throughout Britain, 1743 (Beinecke Library, Yale, Osborne MSc.480) p. 92: 'There are 24 views of Venice by Canaletto';

Account of the Visit of Henrietta Countess of Oxford to Castle Howard in April 1745(Ms. at Welbeck Abbey), in the Drawing Room: “several views of Venice by Canilitti lately put up there,” and “in my Lady's dressing room are several views of Venice”;

4th Earl of Carlisle, Probate Inventory, Ms. 1759, p. 20, Blue Coffoy Drawing Room: “18 Views of Venice”;

England Displayed, being a new, complete, and accurate survey and description of the Kingdom of England and Principality of Wales…By a Society of Gentlemen, 1769: “Eleven views of Venice, &c. very fine, glowing and brilliant”; “Nineteen views of Venice, &c. A capital collection, which displays the beautiful glow and brilliancy of this master's colouring in a very high manner”;

H. Walpole, “Journals of Visits to Country Seats,” 1772, ed. Paget Toynbee, in Walpole Society, XVI, 1928, pp. 72–73: “Many views of Venice by Canalletti in his very best & clearest manner”;

5th Earl of Carlisle, Probate Inventory, Ms 1825, p.2: “Six views of Venice,” Green Dressing Room; “Nine views of Venice,” Dining Room; “Thirteen different views of Venice,” Dressing Room, New Wing; “Four Different Views of Venice,” Dressing Room, New Wing;

Georgiana, Countess of Carlisle, Descriptive Catalogue of Pictures, Ms. 1837, p. 30, Dining Room, records 18 Venetian view pictures;

G. F. Waagen, Works of Art and Artists in England, London 1838, vol. III, p. 207, “Pictures by Canaletto, some of them very excellent”;

Descriptive Catalogue of the Pictures at Castle Howard, 4thedition, 1845, p. 17, cat. nos. 40–57, Dining Room: 'Canaletti, Views of Venice';

6th Earl of Carlisle, Probate Inventory, Ms. 1849, p. 125, cat. nos. 40–57, as in the Dining Room;

G. F. Waagen, Treasures of Art in Great Britain, vol. III, London 1854, p. 324, as one of the 18 paintings by Canaletto on his list among nos. 71-88;

7th Earl of Carlisle, Probate Inventory, Ms. 1865, p. 170, in the Little Breakfast Room, as one of the 18 Views of Venice;

Descriptive Catalogue of the Pictures at Castle Howard, 1874, cat. nos. 59–76, as one of the Views of Venice in the Dining Room;

J. Duthie, Manuscript Catalogue of the pictures at Castle Howard, vol. I, 1878, cat. no. 52 or 54 in the Dining Room;

J. Duthie, Manuscript Catalogue of the pictures at Castle Howard, vol. II, 1880, cat. no. 52 or 54 in the Dining Room;

B.A. Kowalczyk, “Il Bellotto veneziano nei documenti,” in Arte Veneta, vol. XLVII, 1995, p. 73, reproduced in color fig. 5;

B.A. Kowalczyk, Il Bellotto italiano, PhD. diss., Università degli Studi di Venezia 1996, vol. 2, pp. 15-16, cat. no. 15;

B.A. Kowalczyk, “Il Bellotto veneziano: ‘grande intendimento rivercasi,’” in Arte Veneta, vol. XLVIII, 1996, pp. 83-84, 89, cat. no. 54 and reproduced fig. 19;

Stevenson, Old Masters and Aspirations: the Randlords, Art and South Africa, PhD Diss., 1997, p. 232, note 43, p. 415;

B.A. Kowalczyk, “I Canaletto della National Gallery di Londra,” in Arte Veneta, vol. LIII, 1998, p. 98;

J.G. Links, A Supplement to W.G. Constable’s Canaletto. Giovanni Antonio Canal 1697 – 1768, London 1998, pp. 28-29, no. 280**, reproduced plate 266 (as Canaletto, c. 1730-35);

D. Succi, “Bernardo Bellotto nell ‘atelier’ di Canaletto e la sua produzione giovanile a Castle Howard nello Yorkshire,” in Bernardo Bellotto detto il Canaletto, exhibition catalogue, Mirano 1999, p. 62;

E.P. Bowron et al., Bernardo Bellotto and the Capitals of Europe, New Haven 2001, exhibition catalogue, pp. 46-48, cat. no. 2 (entry by B.A. Kowalczyk), reproduced in color p. 47 and detail p. 49;

B.A. Kowalczyk, Canaletto e Bellotto: L’arte della veduta, Milan 2008, exhibition catalogue, pp. 76-77, cat. no. 11, reproduced in color p. 77 (not exhibited);B. A. Kowalczyk, Bellotto e Canaletto: Lo Stupore e la Luce, Milan 2016, p. 56, under cat. no. 3, reproduced.

Venice, Museo Correr; Houston, Museum of Fine Arts, Bernardo Bellotto and The Capitals of Europe, 10 February - 21 October 2001, no. 2.