Property from the Grasset Collection
Giovanni Antonio Canal, called CanalettoVenice 1697 - 1768Venice, The Grand Canal, looking north-west, with the Palazzo Pesaro, Palazzo Foscarini, and the pinnacle of San Stae, to the left, with the Palazzo Vendramin-Calergi and San Marcuola, to the right
oil on canvas59.7 x 94 cm.; 23½ x 37 in
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格拉塞特典藏
喬瓦尼・安東尼奧・卡納爾 – 或稱卡納萊托威尼斯，1697 - 1768年《威尼斯大運河景觀，向西北方眺望，左側為佩薩羅宮、福斯卡里尼宮與聖猶士坦堂前壁尖頂，右側為溫德拉敏宮與聖茂古拉堂》
油彩畫布59.7 x 94 cm.; 23 ½ x 37 in.Condition reportThe following condition report is provided by K&S Conservation Ltd. who are external specialists and not employees of Sotheby's:
In short, the painting is in excellent condition and the structure is sound. The present restoration, which is believed to be late twentieth century, is of high quality. The picture is painted on a medium-weight, plain-weave canvas which has been relined with glue-paste onto a fine-weave linen canvas. It is tacked onto a non-original, four-window, softwood stretcher with room for one key in each corner. All keys but two keys are present and secured with gummed paper tape. Tacking edges covered with paper tape. The lining is sound and in plane. The tension is adequate. There is some emphasis of the canvas weave on the surface, also known as weave-interference, from past linings. However, this is common and, in this case, not visually distracting. The painting is close or at its original size, evidenced by slight cusping of the canvas weave at the top and bottom edges, as well as the natural stopping of the paint layers at the left. A narrow band around the perimeter of the painted surface shows a slightly different surface texture, emphasized by the odd point of retouching, which might suggest the width of the original strainer. The canvas is covered with a pale warm grey ground, onto which the paint layers are deftly and economically applied. The first stages of the build-up of the paint are applied directly on to the ground and can be clearly observed in the sky where the paint retains a sketchy quality and is a little worn. The brushwork of the subsequent layers is vividly preserved especially in the buildings and the swiftly painted figures. Overall, the paint layers are well preserved. UV light there are a few retouchings, especially in the sky which is (as is common) a little more worn that the rest of the painting. The retouchings show up as fine and generally precisely executed and can be seen across the painting, most of them no bigger than a pin head. The surface is evenly glossy although the varnish is not discoloured nor degraded to a significant degree.
"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."Saleroom NoticePlease note that this painting is displayed in a loan frame from Arnold Wiggins and Sons. Should you wish to purchase it please contact a member of the Old Masters department.ProvenancePainted for Henry Grey, 1st Duke of Kent and 2nd Baron Lucas of Crudwell (1671–1740), Wrest Park, Bedfordshire;
His granddaughter and heiress, Jemima, Marchioness Grey and Baroness Lucas (1722–1797), wife of Philip Yorke, 2nd Earl of Hardwicke;
Their daughter, Anabel, Countess de Grey and Baroness Lucas (1750–1833), 4 St. James's Square, London, recorded in the 'Back Room Below' (i.e. Ground Floor) in an inventory with hanging plans, no. 11 or 19;
Her nephew, Thomas Philip, 3rd Earl de Grey, 3rd Baron Grantham and 5th Baron Lucas (1781–1859), the reverse with a printed label from his 1834 catalogue, no. 19, 'Canaletto/View of Venice';
His eldest daughter, Anne Florence, Baroness Lucas (1806–1880), wife of George Augustus Frederick, 6th Earl Cowper;
Their son, Francis Thomas, 7th Earl Cowper, 4th Lord Dingwall, 3rd Baron Butler, and later 7th Baron Lucas of Crudwell (1834–1905);
His nephew, Auberon Thomas Herbert, 5th Lord Dingwall and 8th Baron Lucas of Crudwell (1876–1916);
By whom sold, London, Christie's, 31 March 1906, lot 19, for 340 Guineas, to Gooden and Fox (according to the Christie's 2003 sale catalogue);
Sir George Leon, 2nd Bt. (1875–1947), and by inheritance to his second wife and widow, Anne Dorothy, subsequently Mrs. Thomas Parrington (d. 1963), Chilbolton, Hampshire;
With Marlborough Fine Art, New York, stock no. 34911;
Private collection, Switzerland, by 1987;
Anonymous sale ('The Property of a European Collection'), London, Christie's, 10 December 2003, lot 51, where offered (est. £3,000,000 – 5,000,000);
Acquired privately immediately thereafter for the Grasset Collection.LiteratureCatalogue of Pictures belonging to Thomas Philip Earl de Grey, at his house in St. James's Square, London 1834, no. 19;W.G. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, Oxford 1962, vol. I, reproduced pl. 50, and vol. II, pp. 290–91 and 606, no. 244; and later editions revised by J.G. Links, Oxford 1976 and 1989, vol. I, reproduced pl. 50, and vol. II, pp. 308–09 and 665, no. 244;L. Puppi, L'opera completa del Canaletto, Milan 1968, p. 106, no. 178, reproduced (dated to 1740);A. Corboz, Canaletto, Una Venezia immaginaria, Milan 1984, vol. II, p. 647, no. P 291, reproduced;D. Succi, in Canaletto & Visentini, Venezia & Londra, exh. cat., Venice 1986, p. 241, under no. 24;A. Dorigato and D. Succi, in I Rami di Visentini per le Vedute di Venezia del Canaletto, exh. cat., Venice 1990, under no. 22;J.G. Links, A Supplement to W.G.Constable's Canaletto: Giovanni Antonio Canal, 1697–1768, London 1998, p. 26, no. 244;B.A. Kowalczyk, Canaletto. Il trionfo della veduta, exh. cat., Milan 2005, p. 274, under no. 75.23;F.G. Meijer, Brueghel to Canaletto, European Masterpieces from the Grasset Collection, exh. cat., San Diego 2016, p. 37, no. 35, reproduced in colour;S. Thomas, A Feast for the Eyes, European Masterpieces from the Grasset Collection, exh. cat., Saint Petersburg, Florida 2019, pp. 44 and 97, no. 16, reproduced in colour.
EngravedA. Visentini, Prosepectus Magni Canalis Venetiarum addito Certamine Nautico et Nundinis Venetis: Pictis ab Antonio Canale, in Aedibus Josephi Smith Angli, Delineante atque Incidente, Antonio Visentini Elegantus recusi, Anno MDCCXLII, Venice 1742 and 1751, II.6 ('Prospectus ab Aedibus Pisanorum ad S. Jeremiam').ExhibitedLondon, Matthiesen Gallery, Exhibition of Venetian paintings and drawings held in aid of Lord Baldwin's Fund for Refugees, 23 February – 6 April 1939, no. 64;
Winchester, Winchester College, and Southampton, Southampton Art Gallery, Pictures from Hampshire Houses, 2 July – 17 August 1955, no. 5;
San Diego, The San Diego Museum of Art, Brueghel to Canaletto, European Masterpieces from the Grasset Collection, 2 April – 2 August 2016, no. 35;
San Diego, The San Diego Museum of Art, on loan 2016 – 2019 (when part of the Genre & Myth display, 2017 – 2019);
Saint Petersburg, Florida, Museum of Fine Arts, A Feast for the Eyes, European Masterpieces from the Grasset Collection, 23 March – 2 September 2019, no. 16.Catalogue note
Property from the Grasset Collection
Giovanni Antonio Canal, called CanalettoVenice 1697 - 1768Venice, The Grand Canal, looking north-west, with the Palazzo Pesaro, Palazzo Foscarini, and the pinnacle of San Stae, to the left, with the Palazzo Vendramin-Calergi and San Marcuola, to the right
oil on canvas59.7 x 94 cm.; 23½ x 37 in
---------------------------------------------------
格拉塞特典藏
喬瓦尼・安東尼奧・卡納爾 – 或稱卡納萊托威尼斯，1697 - 1768年《威尼斯大運河景觀，向西北方眺望，左側為佩薩羅宮、福斯卡里尼宮與聖猶士坦堂前壁尖頂，右側為溫德拉敏宮與聖茂古拉堂》
油彩畫布59.7 x 94 cm.; 23 ½ x 37 in.Condition reportThe following condition report is provided by K&S Conservation Ltd. who are external specialists and not employees of Sotheby's:
In short, the painting is in excellent condition and the structure is sound. The present restoration, which is believed to be late twentieth century, is of high quality. The picture is painted on a medium-weight, plain-weave canvas which has been relined with glue-paste onto a fine-weave linen canvas. It is tacked onto a non-original, four-window, softwood stretcher with room for one key in each corner. All keys but two keys are present and secured with gummed paper tape. Tacking edges covered with paper tape. The lining is sound and in plane. The tension is adequate. There is some emphasis of the canvas weave on the surface, also known as weave-interference, from past linings. However, this is common and, in this case, not visually distracting. The painting is close or at its original size, evidenced by slight cusping of the canvas weave at the top and bottom edges, as well as the natural stopping of the paint layers at the left. A narrow band around the perimeter of the painted surface shows a slightly different surface texture, emphasized by the odd point of retouching, which might suggest the width of the original strainer. The canvas is covered with a pale warm grey ground, onto which the paint layers are deftly and economically applied. The first stages of the build-up of the paint are applied directly on to the ground and can be clearly observed in the sky where the paint retains a sketchy quality and is a little worn. The brushwork of the subsequent layers is vividly preserved especially in the buildings and the swiftly painted figures. Overall, the paint layers are well preserved. UV light there are a few retouchings, especially in the sky which is (as is common) a little more worn that the rest of the painting. The retouchings show up as fine and generally precisely executed and can be seen across the painting, most of them no bigger than a pin head. The surface is evenly glossy although the varnish is not discoloured nor degraded to a significant degree.
"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."Saleroom NoticePlease note that this painting is displayed in a loan frame from Arnold Wiggins and Sons. Should you wish to purchase it please contact a member of the Old Masters department.ProvenancePainted for Henry Grey, 1st Duke of Kent and 2nd Baron Lucas of Crudwell (1671–1740), Wrest Park, Bedfordshire;
His granddaughter and heiress, Jemima, Marchioness Grey and Baroness Lucas (1722–1797), wife of Philip Yorke, 2nd Earl of Hardwicke;
Their daughter, Anabel, Countess de Grey and Baroness Lucas (1750–1833), 4 St. James's Square, London, recorded in the 'Back Room Below' (i.e. Ground Floor) in an inventory with hanging plans, no. 11 or 19;
Her nephew, Thomas Philip, 3rd Earl de Grey, 3rd Baron Grantham and 5th Baron Lucas (1781–1859), the reverse with a printed label from his 1834 catalogue, no. 19, 'Canaletto/View of Venice';
His eldest daughter, Anne Florence, Baroness Lucas (1806–1880), wife of George Augustus Frederick, 6th Earl Cowper;
Their son, Francis Thomas, 7th Earl Cowper, 4th Lord Dingwall, 3rd Baron Butler, and later 7th Baron Lucas of Crudwell (1834–1905);
His nephew, Auberon Thomas Herbert, 5th Lord Dingwall and 8th Baron Lucas of Crudwell (1876–1916);
By whom sold, London, Christie's, 31 March 1906, lot 19, for 340 Guineas, to Gooden and Fox (according to the Christie's 2003 sale catalogue);
Sir George Leon, 2nd Bt. (1875–1947), and by inheritance to his second wife and widow, Anne Dorothy, subsequently Mrs. Thomas Parrington (d. 1963), Chilbolton, Hampshire;
With Marlborough Fine Art, New York, stock no. 34911;
Private collection, Switzerland, by 1987;
Anonymous sale ('The Property of a European Collection'), London, Christie's, 10 December 2003, lot 51, where offered (est. £3,000,000 – 5,000,000);
Acquired privately immediately thereafter for the Grasset Collection.LiteratureCatalogue of Pictures belonging to Thomas Philip Earl de Grey, at his house in St. James's Square, London 1834, no. 19;W.G. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, Oxford 1962, vol. I, reproduced pl. 50, and vol. II, pp. 290–91 and 606, no. 244; and later editions revised by J.G. Links, Oxford 1976 and 1989, vol. I, reproduced pl. 50, and vol. II, pp. 308–09 and 665, no. 244;L. Puppi, L'opera completa del Canaletto, Milan 1968, p. 106, no. 178, reproduced (dated to 1740);A. Corboz, Canaletto, Una Venezia immaginaria, Milan 1984, vol. II, p. 647, no. P 291, reproduced;D. Succi, in Canaletto & Visentini, Venezia & Londra, exh. cat., Venice 1986, p. 241, under no. 24;A. Dorigato and D. Succi, in I Rami di Visentini per le Vedute di Venezia del Canaletto, exh. cat., Venice 1990, under no. 22;J.G. Links, A Supplement to W.G.Constable's Canaletto: Giovanni Antonio Canal, 1697–1768, London 1998, p. 26, no. 244;B.A. Kowalczyk, Canaletto. Il trionfo della veduta, exh. cat., Milan 2005, p. 274, under no. 75.23;F.G. Meijer, Brueghel to Canaletto, European Masterpieces from the Grasset Collection, exh. cat., San Diego 2016, p. 37, no. 35, reproduced in colour;S. Thomas, A Feast for the Eyes, European Masterpieces from the Grasset Collection, exh. cat., Saint Petersburg, Florida 2019, pp. 44 and 97, no. 16, reproduced in colour.
EngravedA. Visentini, Prosepectus Magni Canalis Venetiarum addito Certamine Nautico et Nundinis Venetis: Pictis ab Antonio Canale, in Aedibus Josephi Smith Angli, Delineante atque Incidente, Antonio Visentini Elegantus recusi, Anno MDCCXLII, Venice 1742 and 1751, II.6 ('Prospectus ab Aedibus Pisanorum ad S. Jeremiam').ExhibitedLondon, Matthiesen Gallery, Exhibition of Venetian paintings and drawings held in aid of Lord Baldwin's Fund for Refugees, 23 February – 6 April 1939, no. 64;
Winchester, Winchester College, and Southampton, Southampton Art Gallery, Pictures from Hampshire Houses, 2 July – 17 August 1955, no. 5;
San Diego, The San Diego Museum of Art, Brueghel to Canaletto, European Masterpieces from the Grasset Collection, 2 April – 2 August 2016, no. 35;
San Diego, The San Diego Museum of Art, on loan 2016 – 2019 (when part of the Genre & Myth display, 2017 – 2019);
Saint Petersburg, Florida, Museum of Fine Arts, A Feast for the Eyes, European Masterpieces from the Grasset Collection, 23 March – 2 September 2019, no. 16.Catalogue note
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