Giovanni Antonio Canal, called Canaletto

Probably acquired directly from the artist in London in the late 1740s by Sir Richard Neave, 1st Bt (1731–1814), Dagnam Park, Essex; 

By descent in the Neave family until sold before 1891 (presumably the paintings entered for sale by Sheffield H.M. Neave of 39 Bryanston Square, London, at Christie’s, London, 27 June 1885, lots 25 and 26, the first described as The Doge’s Palace but both withdrawn before the sale);

G.A.F. Cavendish Bentinck (1821–1891), M.P., P.C., 3 Grafton Street, London, and Brownsea Island;

His posthumous sale, London, Christie’s, 11 July 1891, lots 625 and 626 (as The Church of Santa Maria della Salute and The Bridge of Sighs), sold together for 115 guineas, to Lesser;

With Lesser, Bond Street, London;

By whom sold to Willson Bros., Pall Mall, London;

By whom sold to Mr, later Sir, George Leon, Bt (1875–1947), 48 Brompton Square, London;

With Savile Gallery, London, 1928;

By whom sold to Mark Oliver;

With Arthur Tooth & Sons, 31 Bruton Street, London;

Private collection, by 1952;

Anonymous sale, London, Christie’s, 9 December 1988, lot 40, for £620,000;

With the Walpole Gallery, London, 1989;

Whence purchased by a private collector, USA;

With Lampronti Gallery;

From whom acquired by a private collector in 2007;

By whom sold (‘Property from a European Private Collection’), New York, Sotheby’s, 1 February 2018, lot 54;

Where acquired by the present owner.   

K.T. Parker, The Drawings of Antonio Canaletto in the Collection of His Majesty the King at Windsor Castle, London 1948, p. 35, under no. 34 (The Redentore);

W.G. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, Oxford 1962 , vol. I, reproduced pl. 26 (The Prisons), vol. II, pp. 216–17 and 324, nos 84 and 318, and pp. 324 and 541, under nos 317 and 775;

L. Puppi, L’opera completa del Canaletto, Milan 1968, nos 257 (The Prisons) reproduced and 258 (The Redentore);

J.G. Links, Canaletto, The Complete Paintings, London 1981, p. 80, nos 275 (The Prisons) reproduced and 276 (The Redentore);

A. Corboz, Canaletto. Una Venezia immaginaria, Milan 1985, vol. II, p. 662, nos P 357 and P 358, both reproduced;

W.G. Constable, Canaletto, rev. by J.G. Links, Oxford 1976 and 1989, vol. I, reproduced pl. 26 (The Prisons), vol. II, pp. 225 and 347, nos 84 and 318 and pp. 346–47 and 590, under nos 317 and 775;

C. Crawley in K.T. Parker, The Drawings of Antonio Canaletto in the Collection of Her Majesty the Queen at Windsor Castle, with an Appendix to the Catalogue by Charlotte Crawley, Bologna 1990, p. 169, under no. 34 (The Redentore);

J.G. Links, A Supplement to W.G. Constable’s Canaletto: Giovanni Antonio Canal 1697–1768, London 1998, pp. 9 and 31–32, nos 84 and 318, reproduced pl. 269 (The Redentore);

C. Beddington in Christie’s, New York, 25 January 2002, lot 78, both reproduced in colour;

C. Beddington in Canaletto in England. A Venetian Artist Abroad, 1746–1755, C. Beddington (ed.), exh. cat., New Haven and London 2006, p. 169, both reproduced;

F. Fruttero in Canaletto à Venise, A. Scarpa Sonino (ed.), exh. cat., Paris 2012, p. 138, under no. 39.

London, Savile Gallery, Canaletto, January 1930, no. 9 (The Redentore);

London, Arthur Tooth and Son, November–December 1952, nos 2 and 4;

London, Walpole Gallery, Italian Landscapes and Vedute, 14 June – 28 July 1989, nos 26 and 27, both reproduced in colour.