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Antonio CANAL, known as CANALETTO (Venice 1697–1768)
See original version (French)
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)
Ruined arch spanning a canal with a pavilion
Pen and brown ink, grey and brown wash
36.5 x 52.5 cm
Inscribed ‘Canaletto’ in the lower left-hand corner
Traces of restoration, sun-faded, vertical central crease
This 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, pl. 93)
The architectural elements of this capriccio were frequently used by Canaletto in other imaginary landscapes (see the work cited above, nos. 823, 824, 825)
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 veduta painting, 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 veduta painting, 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 perspectives – 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.
We would like to thank Ms Bozena Anna Kowalczyk, who will include our sheet in her catalogue raisonné of Canaletto’s drawings, currently in preparation and due to be published in 2027.
Experts at Bayser’s office; viewable at the expert’s office by appointment
See original version (French)
Auto-translation. Refer to original language for legal validity.
Lot description modified on 09/13/2026 at 8:50 PM
Pictures credits: Contact the Auction House
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