LOT DETAILS
Materials:
oil on canvas
Size Notes:
52.50 x 92.50 in. (133.3 x 234.8 cm.)
Description:
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Exhibited:
London, British Institution, Pictures of the Italian, Spanish, Flemish, Dutch and French Masters, June 1838, no. 141, as 'Canaletto, Bridge at Verona' (lent by Lady Dover). London, Royal Academy, The Winter Exhibition, 1877, no. 239, as 'Canaletto, Bridge at Verona' (lent by Viscountess Clifden). London, The Magnasco Society, at Agnews, Loan Exhibition of Pictures of the XVII & XVIII Centuries, October 1926, no. 17. Edinburgh, National Gallery of Scotland, on long-term loan, 1973-2021.
Literature:
M. Chamot, Baroque Paintings, Country Life, LX, 6 November 1926, p. 708. A. Oswald, North Mymms Park, II, Country Life, LXXV, 20 January 1934, pp. 70-1, fig. 13. S. Kozakiewicz, in Bernardo Bellotto 1720-1780, Paintings and Drawings from the National Museum of Warsaw, exhibition catalogue, London, Whitechapel Art Gallery, Liverpool, York and Rotterdam (catalogue in Dutch), 1957, p. 25, under no. 32. W. Schumann and S. Kozakiewicz, in Bernardo Bellotto, genannt Canaletto in Dresden und Warschau, exhibition catalogue, Dresden, 1963, respectively under nos. 3 and 71. W. Schumann and S. Kozakiewicz, Drezno i Warswawa w twrczosci Bernarda Bellotta Canaletta, exhibition catalogue, Warsaw, Muzeum Narodowe, 1964, p. 58, under nos. 3 and 71. W. Schumann and S. Kozakiewicz, Bernardo Bellotto genannt Canaletto, exhibition catalogue, Vienna, 1965, pp. 15 and 47, under no 8. S. Kozakiewicz, in Europische Veduten des Bernardo Bellotto genannt Canaletto, exhibition catalogue, Essen, Villa Hgel, 1966, pp. 19 and 99, under no. 65. W.S. Lewis, ed., The Yale Edition of Horace Walpoles Correspondence, London and New Haven, 1967, pp. 298-9, note 10. S. Kozakiewicz, Bernardo Bellotto, genannt Canaletto, Recklinghausen, 1972, I, p. 45; II, pp. 80-3, no. 101, illustrated; English edition, translated by M. Whittall, Bernardo Bellotto, London, 1972, I, p. 44; II, pp. 80-1, no. 101. E. Camesasca, Lopera completa del Bellotto, Milan, 1974, p. 95, no. 67. D. Sutton, in Souvenirs of the Grand Tour: A Loan Exhibition from National Trust Collections in Aid of the Trusts Conservation Fund, exhibition catalogue, London, Wildenstein, 1982, p. 22, under no. 6. St. J. Gore, in The Treasure Houses of Britain; Five Hundred Years of Private Patronage and Art Collecting, exhibition catalogue, Washington, National Gallery of Art, 1985, p. 273, under no. 193, as a strikingly original composition. S. Marinelli, Bernardo Bellotto: Verona e le citt europee, Milan, 1990, pp. 124-9. G. Marini, in Art in the Eighteenth Century: The Glory of Venice, exhibition catalogue, London, Royal Academy, and Washington, National Gallery of Art, 1994, p. 429, under no. 255. A. Laing, In Trust for the Nation: Paintings from National Trust Houses, London, 1995, pp. 86-87, under no. 30, fig. 13. E.P. Bowron and G.J.M. Weber, in Bernardo Bellotto 1722-1780, exhibition catalogue, Venice, Museo Correr and Houston, Museum of Fine Arts, 2001, p. 142, under no. 37; English edition, Bernardo Bellotto and the Capitals of Europe, p. 144, under no. 38. K. Zaleski, in Bernardo Bellotto genannt Canaletto, Europische Veduten, exhibition catalogue, Vienna, Kunsthistorisches Museum, 2005, pp. 219-20, under no. 56, fig. 56.1. A. Henning, Gemldegalerie Alte Meister Dresden: Die Augestellten Werke, Cologne, 2005, I, p. 55. B.A. Kowalczyk, in Bellotto and Canaletto, Wonder and Light, exhibition catalogue, Milan, Gallerie dItalia, 2016, p. 168, under no. 54. B.A. Kowalczyk, in Bernardo Bellotto 1740, Viaggio in Toscana, exhibition catalogue, Lucca, Fondazione Ragghianti, 2019, p. 113.
Provenance:
Anonymous sale lately consigned from abroad; Christies, 30 March [=2nd day] 1771, lot 55, as 'Canaletti', 'its companion [lot 54; A large and most capital picture, being a remarkable view of the city of Verona, on the banks of the Adige. This picture is finely coloured, the perspective, its light and shadow fine and uncommonly high finishd; 250 guineas to Grey] exhibiting another view of the same city, equally fine, clear and transparent, the measurements recorded as 53 by 90 inches (250 guineas to Fleming, ie. the following). Gilbert Fane Fleming (1724-1776), Marylebone; Christies, London, 22 May 1777, as Canaletti. A view of the city of Verona, esteemed the chef duvre of the master (205 guineas to Ld Cadogan, i.e. the following). Charles Sloane Cadogan, 3rd Baron, from 1800 1st Earl, Cadogan (1728-1807), and presumably by inheritance to his son, Charles Henry Sloane, 2nd Earl Cadogan (1749-1832). (Probably) acquired by the Hon. George James Welbore Agar Ellis, from 1831 1st Baron Dover (1797-1833), Dover House, Whitehall, and by inheritance through his widow, Lady Georgina Dover (1804-1860), by whom lent to the British Institution in 1838, and apparently their daughter-in-law, Eliza Horatia Frederica (1833-1896), widow of Henry George, 2nd Baron Dover and 3rd Viscount Clifden (1825-1866), in whose name lent to the Royal Academy in 1877, to their son, Henry George, 4th Viscount Clifden (1863-1895); his sale (+), Robinson & Foster, London, 25 May [=5th day] 1895, lot 784, as 'Canaletto' (2,000 guineas to Agnews for the following). Walter Hays Burns (1838-1897), North Mymms Park, Hertfordshire, and by inheritance at North Mymms through his son, Walter Spencer Morgan Burns (1872-1929), to the latters son, Major-General Sir George Burns, K.C.V.O., G.B., D.S.O., O.B.E., M.C. (1911-1997); Christies, London, 26 November 1971, lot 30 (300,000). Acquired by Cyril Humphris, London; to the previous owner, thence by descent.