William James

Reyre;
By whom (anonymously) sold, New York, Parke-Bernet Galleries, 21 February 1946, lot 170 (as by Antonio Canaletto);
There purchased by G.C. McGhee.

The canvas is relined and in very good condition though the impasto is very slightly pressed. The paint surface is healthy under a fresh varnish. Inspection under UV reveals scattered minor retouched losses, particularly in the lower section of the sky and some more extensive patches of strengthening, notably to the upmost cloud, the brick pattern on the corner of the building upper left and the paving lower left. The figures and vessels remain largely untouched. Offered in an elaborate carved wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A considerable body of work, for the most part Venetian views and English landscapes, has been ascribed to this somewhat illusive, British artist, though only one painting, after an engraving of Canaletto's London: the Monument, is signed and dated by William James.¹ 

The enigmatic James appears to have adhered to Canaletto's tradition of vedutism, producing topographically precise arrangements, often drawing heavily from existing compositions by the Venetian master.  Canaletto himself painted several versions of this view of the Riva degli Schiavone, looking East, indeed from a very similar viewpoint; the present picture, however, differs slightly from each of the Venetian versions, patricularly in its arrangement of the vessels and the positioning of the figures on the shore.²  James returned to this view several times, repeating the motif of the boat with a red, striped canopy, the circular tents and the performer dancing on a stage.³ 

The eighteenth-century artist skillfully reconstructs the Venetian scene in meticulous perspective, faithfully depicting the Doge's Palace and utilizing the stark light typical of Canaletto's style.  He conveys daily episodes in miniature through his beautifully rendered figures, most notably the characters inspecting barrels on a boat on the lower right of the canvas, and the crowd gathered to watch the performer on the shore, lower left.

 

1.  J.G. Links, Canaletto London 1982, pp. 186 and 192, reprod. fig. 163.
2.  W.G. Constable, Canaletto, Giovanni Antonio Canal 1697 – 1768, vol I, Oxford 1962, p. 229 -232, cat. nos. 111 – 115,  reprod. plate 29, figs. 111 – 115.
3.  For examples see sale catalogues, Sotheby's New York, April 12, 1996, lot 30 and Christie's London, April 15, 1994, lot 56.