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Venice: The Rialto Bridge With The Palazzo Dei Camerlenghi by FRANCESCO GUARDI

FRANCESCO GUARDI

(ITALIAN, 1712 - 1793)

Venice: The Rialto Bridge With The Palazzo Dei Camerlenghi ,

Price Sold

ORIGINAL CURRENCY OF SALE

LOT DETAILS


Materials:

oil on canvas

Measurements:

47.13 in. (119.70 cm.) (height) by 80.43 in. (204.30 cm.) (width)

Markings:

signed 'GUARDI' (lower left)

Exhibited:

London, British Institution, 1831, no. 14 or 20 (lent by Andrew Arcedeckne). London, Royal Academy, European Masters of the XVIII Century, 1954-5, no. 52. London, Royal Academy, Italian Art and Britain, 1960, no. 555. London, Royal Academy, and Washington, National Gallery of Art, The Glory of Venice, Art in the Eighteenth Century, 1994-5, no. 210 (catalogue entry by Mitchell Merling). London, Kenwood House, Iveagh Bequest, on loan, 2008-10. London, National Gallery, and Washington, National Gallery of Art, Canaletto and His Rivals, 2010-1, no. 56. London, Somerset House, Courtauld Institute, on loan, 2011-5. Waddesdon Manor, Buckinghamshire, on loan, 2015-6.

Literature:

G. A. Simonson, Francesco Guardi (1712-1793), London, 1904, no. 105. J. Byam Shaw, ‘Guardi at the Royal Academy’, The Burlington Magazine, XCVII, January 1955, p. 14, figs. 18 and 15. F. J. B. Watson, ‘Venetian Painting at the Royal Academy’, Arte Veneta, 1955, pp. 259-60 (dated to about 1760). V. Moschini, Francesco Guardi, Milan, (2nd edition), 1956, p. 26, figs. 61 and 63. A. Morassi, ‘Circa gli esordi del vedutismo di Francesco Guardi con qualche cenno sul Marieschi’, Studies in the History of Art dedicated to W. E. Suida, London, 1959, p. 352 (dated to circa 1750-60). R. Pallucchini, ‘Nota sulla Mostra dei Guardi’, Arte Veneta, 1965, p. 231. A. Morassi, Guardi, I Dipinti, Venice, 1971, I, pp. 234, 407-8, nos. 524, 555 and 413; II, pls. 510 and 529, reissued 1987. L. Rossi Bortolatto, L’opera completa di Francesco Guardi, Milan, 1974, p. 104, nos. 108, 234 and 318. A. Morassi, Guardi, Tutti i disegni di Antonio, Francesco e Giacomo Guardi, Venice, 1975, p. 144, under no. 371, and 145, under no. 376; reissued 1984. D. Succi, Francesco Guardi, Itinerario dell’Avventura Artistica, Milan, 1993, pp. 47-8 and 52, fig. 42 (dating picture to 1763-4). A. Bettagno, Francesco Guardi, Vedute, Capricci, Festa, exhibition catalogue, Venice, Isola di San Giorgio Maggiore, 1993, p. 110. M. Merling, ‘The Brothers Guardi’, The Glory of Venice: Art in the Eighteenth Century, exhibition catalogue, London and Washington, 1994, p. 311 (dating picture circa 1760-3). F. Russell, ‘Guardi and the English tourist’, The Burlington Magazine, CXXXVIII, 1996, p. 10. J. Bryant, Kenwood, Painting in the Iveagh Bequest, New Haven and London, 2003, p. 419. C. Beddington, ‘Francesco Guardi, Venice, Canaletto and his Rivals, exhibition catalogue, London and Washington, 2010, p. 134 (accepting terminus post quem of 1768).

Provenance:

Probably acquired in Venice in 1768 by Chaloner Arcedeckne, M. P. (1741-1804) of Glevering Hall, Suffolk and 1 Grosvenor Square, London, and by descent through his son, Andrew Arcedeckne, of Glevering Hall, and his daughter Louisa (d. 1898), wife of Charles Andrew Vanneck, 3rd Lord Huntingfield (1818-1897), by whom sold privately through Christie’s and Agnew’s to the following, Sir Edward Cecil Guinness, 1st Bt., later 1st Lord, and 1st Earl of, Iveagh (1847-1927), 24 July 1891, for £3,850, and by descent through Rupert, 2nd Earl of Iveagh (1874-1966) at Pyrford Court and his daughter Lady Honor Channon (1909-1976), to her son Paul Channon, Lord Kelvedon of Ongar (1935-2007).

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