Richard Parkes Bonington

Possibly Lewis Brown (d. 1836);
his executor's sale, Paris, Place de la Bourse, 7 March 1843, lot 7 (bt. Veron)

P. Noon, Richard Parkes Bonington, The Complete Drawings, Yale 2011, p. 214, no. 231a 

We would like to thank Jane MacAusland for her help in conducting this condition report: Support The artist has used a small sheet of wove paper that may come from a sketch-book. At present the watercolour is inlaid with thin Japan paper then hinged into a mount. The condition is good. Medium The watercolour with body-colour medium is good and fairly strong, though an indigo tint in the sky has typically faded somewhat to a light buff particularly in the lower part, while the buff/pink cloud upper left may indicate that there was also a fugitive lake pigment mixed with the indigo. This loss does not particularly affect the composition. There is a small imperfection of unknown origin above the cloud, top right and a little of the surface has been lost, lower left on the edge. Note: This work was viewed outside studio conditions.
"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."

In this jewel-like work Bonington depicts a popular Venetian view looking south-west across the Grand Canal from the corner of the Palazzo Ducale. Towering above rapidly executed figures stand two columns which support statues of the winged lion of St. Mark and the figure of St. Teodoro, while to the right, the southern section of the Libreria can be seen. In the distance across the canal, gleam the sun-drenched domes of Santa Maria della Salute and the roofs and façades of the Dogana da Mar. This watercolour has been dated circa 1827-8 and is derived from a pencil drawing, executed in the spring of 1826, while the artist was staying in Venice.¹

Bonington's visit to Italy is recorded in the diary of his traveling companion Baron Charles Rivet (1800-1872). The pair left Paris on the 4^th April and were not to return for eleven weeks. They headed south to Switzerland, then crossed the Alps via Sion and Brig. Following visits to Milan, Brescia and Verona they arrived in Venice on the 20^th April. Up until this point, the weather had been grey and wet and although these climatic conditions continued for a time, they steadily improved throughout their three week stay. Entranced by the architecture and the city's magical light, Bonington produced many of his finest sketches and was reluctant to leave.

Rivet and Bonington moved on to Padua and Ferrara before parting company shortly after leaving Florence. Bonington then travelled on alone visiting Rome, Lerici, Genoa and Turin. By the end of June he had returned to Paris, laden with drawings from which he could refer back to in his studio.  Alongside the present watercolour Bonington also painted The Piazzetta, Venice (Tate Britain, London). This oil on canvas depicts the same subject and was exhibited by the artist in 1828 at the British Institution.²

1. P. Noon, Richard Parkes Bonington, The Complete Drawings, Yale 2011, p. 164, no. 304 
2. P. Noon, Richard Parkes Bonington, The Complete Paintings, Yale 2008, p. 296, no. 231