After Giovanni Antonio Canal, called Canaletto

With Frost and Reed, London (as Luca Carlevarijs) in the late 1950s;
From whom acquired by a private collector;
By whose estate sold, London, Sotheby's, 11 December 2003, lot 237.

In overall very good condition. The canvases are lined, the paint surfaces are clean and the varnishes are clear and even. The impasto paintwork is fresh and well-preserved in both paintings. There is a 5 x 1 cm. diagonal line of retouching to a scratch in the upper left corner of the former painting; and two pinprick losses in the latter painting, to the right of the pinnacle. Inspection under ultraviolet light reveals the aforementioned retouching in the former painting, as well as retouching along the right-hand margin, in a handful of small areas in the lower right-hand corner, and in the upper left corner around the chimney. In the latter painting, there is a 6cm. thin horizontal line of retouching to a superficial scratch, upper centre, and a handful of small spots of retouching in the sky. Offered in carved and gilt wood frames with some 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."

These paintings are copies, datable to circa 1900, after designs by Canaletto. The former is based upon the artist's painting, of similar dimensions, now in the Royal Collection at Windsor Castle,¹ which was engraved (in the same sense) by Visentini in 1735. The latter is based upon a painting of slightly smaller dimensions variously given to Canaletto or to his nephew Bernardo Bellotto, now in the Galleria dell'Accademia, Venice.²

1. Inv. no. RCIN 400519; see W.G. Constable and J.G. Links, Canaletto. Giovanni Antonio Canal (1697-1768), Oxford 1989, vol. II, pp. 262-3, cat. no. 161, reproduced vol. I, plate 36.
2. Inv. no. 494; see W.G. Constable and J.G. Links 1989, vol. II, p. 332, cat. no. 291, reproduced vol. I, plate 56.