View full screen - View 1 of Lot 56. Venice, a view of the Grand Canal with the Rialto bridge and the Palazzo dei Camerlenghi.
56

Michele Marieschi

Venice, a view of the Grand Canal with the Rialto bridge and the Palazzo dei Camerlenghi

Estimate:

400,000 - 600,000 USD

Property of a Private Collector

Michele Marieschi

Michele Marieschi

Venice, a view of the Grand Canal with the Rialto bridge and the Palazzo dei Camerlenghi

Venice, a view of the Grand Canal with the Rialto bridge and the Palazzo dei Camerlenghi

Estimate:

400,000 - 600,000 USD

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Property of a Private Collector

Michele Marieschi

Venice 1710 - 1743

Venice, a view of the Grand Canal with the Rialto bridge and the Palazzo dei Camerlenghi


possibly signed in monogram on the barrel at right: MM

oil on canvas

canvas: 20 1/2 by 32 in.; 52 by 81.2 cm.

framed: 26 1/2 by 37 1/4 in.; 67.3 by 94.6 cm. 


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私人收藏

米契爾・馬里斯齊

1710 - 1743年,威尼斯

《威尼斯:大運河上的里亞托橋與財政宮》


款識:可能由藝術家於右下角酒桶上簽姓名縮寫 MM

油彩畫布

畫布:20 1/2 x 32 英寸;52 x 81.2 公分

連框:26 1/2 x 37 1/4 英寸;67.3 x 94.6 公分

To request a condition report, please contact Alison MacQueen (Alison.MacQueen@Sothebys.com)

With Julius Böhler, Munich, until 1910;
Private collection, Great Britain;
Anonymous sale, London, Christie's, 7 July 1972, lot 29;
With the Leger Galleries, London, 1973;
Anonymous sale, London, Christie's, 3 December 1977, lot 86;
Private collection, United States. 
A. Morassi, "Circa gli vedutsimo di Francesco Guardi, con qualche cenno sul Marieschi," in Studies in the History of Art dedicated to W.E. Suida, London 1959, p. 344, reproduced fig. 7;
M. Precerutti Garberi, "Michele Marieschi ed i "capricci" del Castello Sforzesco di Milano," in Pantheon, vol. XXVI, 1968, p. 38;
E. Young, "Another signed view of Venice and his capricci of Palace or Prison interiors," in The Connoisseur, CXCVI, September 1977, p. 3, reproduced figs. 3-4;
M. Manzelli, "Proposta per l'identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto," in Arte Veneta, vol. XLI, 1987, pp. 112-13, no. M 2, reproduced, fig. 2;
R. Toledano, Michele Marieschi. L'opera completa, Milan 1988, p. 76, cat. no. V.8.3, reproduced;
D. Succi, in Marieschi, tra Canaletto e Guardi, exhibition catalogue, Castello di Gorzia 1989, pp. 160-161, reproduced, fig. 187;
R. Toledano, Michele Marieschi. Catalogo ragionato, 2nd ed., Milan 1995, p. 68, cat. no. V10.c, reproduced;
R. Pallucchini, La pittura nel Veneto: Il Settecento, vol. II, Milan 1996, p. 308, reproduced fig. 460;
F. Montecuccoli degli Erri and F. Pedrocco, Michele Marieschi. La vita, l'ambiente, l'opera, Milan 1999, p. 379, cat. no. 151, reproduced;
M. Manzelli, Michele Marieschi e el suo alter-ego Francesco Albotto, 2nd ed., Venice 2002, p. 78, cat. no. M.08.02, reproduced;
D. Succi, Michele Marieschi. Opera Completa, Pordenone 2016, p. 268, cat. no. 89, pp. 270-271, reproduced in color.

The view is taken from a quay where the nineteenth-century Casa Sernagiotto now stands, its position being shown clearly in paintings by Francesco Guardi.1  While the viewpoint is similar to that used by Canaletto for his depictions of the subject,2 the result is very different. With the Palazzo dei Camarlenghi seen almost frontally and the Fabbriche Vecchie di Rialto receding towards the right, Marieschi has created a composition which is very much his own. It is, indeed, one of the best demonstrations of the artist's characteristic wide-angled vision. The composition was popular from its inception,3 and it reached a wide audience through Marieschi's own etching of it, plate 6 in his set of 21 plates published in 1741-1742 as Magnificentiores Selectioresque Urbis Venetianum Prospectus, and numerous derivations are known.4 


The present picture is dated by Dario Succi to 1740-1741, towards the end of the artist's brief career. Its quality was particularly noted by Antonio Morassi, who described it as "stupenda," and by Mario Manzelli, for whom it is "certainly the best of the four catalogued editions."5 The large and especially vivacious figures are given by Young and Toledno to Giovanni Antonio Guardi. Possibly the most singular distinction of the painting is that the monogram on the second barrel from the right, first noted by Morsassi, has often been accepted as a signature. The picture is regarded as signed by Manzelli, Toledano (with reservations),6 Pallucchini and Young (the latter regarding the 'M' on the far right barrel as the signature). Only three other paintings by Marieschi have been considered signed, The Rialto Bridge and the Riva del Ferro in the Hermitage; The Rialto Bridge from the South in the Bristol City Art Gallery; and The Rialto Bridge from the North with the Arrival of the Patriarch Antonio Correr in the collection of the National Trust at Osterley Park. 


1. A. Morassi, Guardi, Venice 1973, vol. I, p. 412, cat. nos. 549 and 551, reproduced, vol. II, figs. 523 and 525. 

2. W.G. Constable, Canaletto, 2nd. ed., Oxford 1976, vol. I, plates 49 and 200.

3.  For variants, see Toledano 1995, pp. 66-7 and 69, cat. nos. V. 10. a, b and f, and the picture sold London Christie's, 8 December 1989, lot 115. 

4.  Constable, 1976, vol. II, pp. 304-5, under cat. no. 239. 

5. As translated: "certamente la migliore delle quattro redazioni catalogate."

6. Manzelli 2002.