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Antonio CANAL, known as CANALETTO (Venice 1697–1768)
See original version (French)
32
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Antonio CANAL, known as CANALETTO (Venice 1697–1768)
See original version (French)
Estimate €75,000 - €100,000
Voluntary lot
Description
Antonio CANAL, known as CANALETTO (Venice 1697–1768)
Caprice of the Lagoon with a ruined arch spanning a canal to reach a pavilion
Pen and brown ink, grey and brown wash
36.5 x 52.5 cm
Inscribed ‘Canaletto’ in the lower left-hand corner
On the reverse, a perspective view of a colonnade drawn in black pencil
Traces of restoration, sun-faded, vertical central crease; two tears (5 cm) and a small loss (0.5 cm) restored at the bottom centre
Related works:
Our drawing can be compared with a similar painting featuring minor variations (see: W.E. Constable and J.E. Links, *Canaletto*, Oxford, 1989, 2 volumes, no. 511, reprinted in plate 93, formerly in the Davies collection)
A drawing with the same architectural composition is noted by Links (op. cit., no. 823, plate 155). The pavilion on the right is derived from the Portello Gate, whilst the arches appear to be inspired by the layout of an aqueduct flanking the Udine Gate in Palmanova (see André Corboz, Canaletto, Una Venezia immaginaria, Milan, 1985, published by Alfieri Electa, 2 volumes, p. 323).
The success of this *Caprice* led to several other painted versions with slight variations (work cited above, nos. 511a and 512). A drawing with variations corresponding to the horizontal version (no. 512) in certain details has recently resurfaced in England.
Canaletto did not hesitate to reuse motifs when they proved successful. This series of Caprices was undoubtedly produced during his stay in Great Britain or shortly afterwards (they are dated to a period of activity between 1747 and 1755 by André Corboz (see Canaletto, *Una Venezia immaginaria*, Milan, 1985, published by Alfieri Electa, 2 volumes, pp. 724–725). Mr Charles Beddington, who confirmed the attribution of our drawing, believes that the artist provided a drawn version to the patron and produced a second one to retain a record of the composition and reuse it.
Giovanni Antonio Canal, known as Canaletto, left his mark on the 18th century by becoming one of the most famous exponents of Italian veduta painting. The veduta, meaning ‘view’ in Italian, is a painting of an urban landscape or panorama characterised by its topographical accuracy and expert use of perspective. In the 18th century, Venice was recognised as the capital of vedutism, spearheaded by its leading artist, Canaletto. The son of a Venetian artist who painted theatre sets, he learnt to paint in his father’s studio. In 1720, whilst on a trip to Rome, the young Canaletto met artists who were pioneers of the veduta style, such as Giovanni Paolo Panini and Caspar van Wittel, who were to influence him greatly. On his return to Venice, he devoted himself to vedute. His incredibly detailed works combine a mastery of the play of light with geometric precision, whilst retaining a surprising topographical freedom. They were particularly popular with foreign art lovers, notably young English aristocrats who had visited Venice during their Grand Tour. Having gained international recognition, in 1746 Canaletto settled in London for four years, where his vedute of the English capital were greatly admired. Consequently, the richest collection of Canaletto’s works is that of the British Royal Collection, which alone holds more than 54 paintings and 143 drawings by the artist. Based on realistic depictions of urban landscapes derived from outdoor observation and the use of the camera obscura—an optical box enabling the creation of multiple viewpoints—Canaletto’s paintings required numerous preparatory drawings before being executed in his studio.
Moving on from the realistic chiaroscuro of his early years, characterised by cold, stormy skies, Canaletto gradually idealised the Venetian scenes he depicted, infusing them with light and colour. His ‘caprici’ – imaginary landscapes combining ruins with often fantastical architectural elements – blend real monuments, such as the Rialto Bridge, with ruins or other architectural views of Venice. Canaletto’s success earned him numerous famous successors and followers, such as Francesco Guardi and Bernardo Bellotto.
Bayser’s expert’s office; viewable at the expert’s office by appointment
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures modified on 10/14/2026 at 7:29 PM
Lot description modified on 10/14/2026 at 7:29 PM
Pictures credits: Contact the Auction House
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