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Francesco Guardi.Canale Grande.Ponte Rialto.Venezia
AUCTION.LONDON
6 JULY 2011
:::
Auction
Sotheby's London : Old Master and British Paintings Evening Sale
6 July 2011
PROPERTY FROM AN ENGLISH PRIVATE COLLECTION
VENICE 1712 - 1793
VENICE, A VIEW OF THE RIALTO BRIDGE, LOOKING NORTH, FROM THE FONDAMENTA DEL CARBON
oil on canvas
120 by 203.7 cm.; 47 1/4 by 80 1/4 in.
Provenance: Chaloner Arcedeckne (1741-1809), Glevering Park, Suffolk, and 1 Grosvenor Sq., London, by whom presumably acquired in Venice in 1768;
By inheritance either through his daughter Frances Catherine (d. 1815), who married in 1810 Joshua Vanneck, later 2υnd Baron Huntingfield (1778-1844), or through his grand-daughter Louisa Arcedeckne (d. 1898), who married in 1839 Charles Andrew Vanneck (1818-1897), later 3υrd Baron Huntingfield, both of Heveningham Hall, Suffolk;
Sold by the latter in 1891, through Agnew's, to Sir Edward Guinness (1847-1927), 1υst Bt. and later 1υst Earl of Iveagh;
Thence by descent to his son Rupert Edward Cecil Lee Guinness, 2nd Earl of Iveagh (1874-1966), of Pyrford Court, Woking, Surrey;
Thence by descent to his first daughter, Honor Dorothy Mary (1909-1976), who married on 14 July 1933, Sir Henry ('Chips') Channon (1897-1958), of Kelvedon Hall, Essex;
Thence by descent to their son, (Henry) Paul Guinness Channon, later Baron Kelvedon (1935-2007);
Thence by inheritance.
Exhibited: London, Royal Academy of Arts, European Masters of the XVIII Century, 1954-55, no. 52 (exhibited with its pendant, no. 50);
(The reverse of the stretcher bears the label from the 1960 Winter exhibition at the Royal Academy. This must have been transposed in error to this work (after restoration?) as it actually belongs with the pendant);
London, Royal Academy of Arts, 15 September 1994 - 14 December 1994; Washington, National Gallery of Art, 29 January - 23 April 1995, The Glory of Venice: Art in the Eighteenth Century, no. 211;
On loan to the Iveagh Bequest, Kenwood House, 2008-present.
Published: G.A. Simonson, Francesco Guardi 1712-1793, London 1904, p. 90, no. 105;
European Masters of the XVIII Century, exhibition catalogue, London 1954-55, p. 28, cat. no. 52;
F.J.B. Watson, in Arte Veneta, 1955, pp. 259-60 (as datable around 1760);
J. Byam Shaw, "Guardi at the Royal Academy", in The Burlington Magazine, vol. XCVII, no. 622, January 1955, p. 15, a detail reproduced fig. 17;
V. Moschini, Francesco Guardi, Milan 1956, p. 26, reproduced fig. 62;
A. Morassi, "Circa gli esordi del vedutismo di Francesco Guardi con qualche cenno sul Marieschi", in Studies in the History of Art dedicated to W.E. Suida, London 1959, p. 352 (as datable to the 1750s);
R. Pallucchini, Colecçao Calouste Gulbenkian: Francesco Guardi, Lisbon 1965, under cat. no. 231;
A. Morassi, Guardi. I dipinti, Venice 1973, vol. I, pp. 407-8, cat. no. 524, reproduced vol. II, fig. 510;
L. Rossi Bortolatto, L'opera completa di Francesco Guardi, Milan 1974, p. 108, no. 318;
D. Succi, "Gli inizzi Vedutistici di Francesco Guardi, con Cenni sui Capricci", in Guardi. Metamorfosi dell'immagine, exhibition catalogue, Castello di Gorizia 1987, p. 60;
A. Bettagno, Francesco Guardi. Vedute Capricci Feste, exhibition catalogue, Venice 1993, p. 52, under cat. no. 5;
A. Morassi, Guardi. I dipinti, 2nd ed., Venice 1993, vol. I, pp. 407-8, cat. no. 524, reproduced vol. II, fig. 510;
A. Morassi, Guardi. I disegni, 2nd ed., Venice 1993, p. 117, under cat. no. 223;
D. Succi, Francesco Guardi. Itinerario dell'avventura artistica, Milan 1993, p. 47;
M. Merling in The Glory of Venice: Art in the Eighteenth Century, exhibition catalogue, London and Washington 1994-95, p.458, cat. no. 211, reproduced p. 315;
F. Russell, "Guardi and the English Tourist," in The Burlington Magazine, vol. CXXXVIII, no. 114, January 1996, p. 10;
C. Beddington, Venice. Canaletto and his Rivals, exhibition catalogue, London and Washington 2010-11, p. 134.