Lot 236
  • 236

Francesco Guardi

Estimate
80,000 - 120,000 GBP
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Description

  • Francesco Guardi
  • Venice, a view of Piazza San Marco looking east towards the basilica
  • oil on canvas

Provenance

The Rt. Hon. George Augustus Fredeick Cavendish-Bentinck (1821-1891), London;
Acquired from Galerie Heim in 1958 by the current owner.

Exhibited

Paris, Galerie Heim, Tableaux de Maîtres anciens, 1958, n° 27, reproduced.

Condition

The canvas has an effective relining. Though there are no major damages visible to the naked eye, the craquelure in the sky is quite pronounced and there has been some quite extensive retouching which has discoloured. Inspection under UV light confirms the retouching in the sky and points to a few further retouchings in the lower part of the painting. The figure and buildings are better conserved. The painting would benefit from being cleaned and the retouchings removed and reapplied. Offered in a carved wooden frame which is structurally sound but with some surface losses.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Guardi painted the Piazza San Marco looking east towards the basilica on numerous occasions and many such views include figures conceived from the same sketches.1 The same father and child in the foreground of this work, for example, recur in at least eleven other versions.2 It has much in common stylistically with the later versions, in particular with that formerly with Galerie Cailleux, Paris, which Morassi dates to 1775-85. A dating towards the end of this date range would seem appropriate for the present version.

1. See. A. Morassi, Guardi, Venice 1973, vol. I, cat. nos. 314-341.
2. Ibid., cat. nos. 321, 323-5, 327-30, 332-333, 336, all reporduced vol. IIro