THE NATIONAL GALLERY IMMUNITY FROM SEIZURE - VENICE: CANALETTO AND HIS RIVALS - Looted Art
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
THE NATIONAL GALLERY IMMUNITY FROM SEIZURE VENICE: CANALETTO AND HIS RIVALS 13 October 2010 – 16 January 2011 The National Gallery, London. Trafalgar Square, London WC2N 5DN
Immunity from Seizure IMMUNITY FROM SEIZURE The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact information@ng-london.org.uk Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, The Sacred Made Real: Spanish Painting and Sculpture 1600 – 1700. Copyright Notice: no images from these pages should be reproduced without permission. The National Gallery, London. Trafalgar Square, London WC2N 5DN 1
Immunity from Seizure VENICE: CANALETTO AND HIS RIVALS 13 October 2010 – 16 January 2011 Protection under the Act is sought for the objects listed below: Michele Marieschi (1710 – 1743) © The State Hermitage Museum, St Petersburg. Photo Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets X6457 The Rialto Bridge from the Riva del Vin about 1737 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 131 x 196 cm The State Hermitage Museum Lender’s name and address The State Hermitage Museum 34 Dvortsovaya nab St Petersburg 190000 Russia Accession Number GE 176 Provenance: (1) Count Andrei Italinsky (1743-1847), St. Petersburg; Received by the Hermitage, 1829 (1) Provenance as published by Vsevolozhskaya 1981, nos. 228-30, pp. 302-3. Note that this painting has a complete history of ownership from the beginning of the year The National Gallery, London. Trafalgar Square, London WC2N 5DN 2
Immunity from Seizure 1933 to the end of the year 1945. Publication History: Berto and Puppi 1968, no. 53, p. 94; Kozakiewicz 1972, vol. 2, no. Z 189, pp. 434, 437; Constable revised by Links 1976, vol. 2, no. 229, p. 297; Vsevolozhskaya 1981, nos. 228-30, pp. 302-3; Corboz 1985, vol. 2 no. P73, p. 584; Gorizia 1989, no. 27, pp. 121-5, 253; Aikema and Bakker 1990-91, no. 31, pp. 175-6, 193; Manzelli 1991, no. M.38.01, p. 90-1, pl. M.38.01; Fomichova 1992, no. 157, p.210; Pedrocco 1995a, pp. 58-9, pls. 69-70; Pedrocco 1995b, no. 65, p. 268; Pignatti 2001, no. 16, p. 189; C analetto (1697 – 1768) © The State Hermitage Museum, St Petersburg. Photo Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets X6471 The Reception of the French Ambassador in Venice at the Doge’s Palace about 1727 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 181 x 259.5 cm The State Hermitage Museum Lender’s name and address The State Hermitage Museum 34 Dvortsovaya nab St Petersburg 190000 Russia Accession Number GE 175 Provenance: (1) Catherine II (1729 – 1796) of Russia by 1774; thence to the Hermitage (1) Provenance as published by Constable revised by Links 1976, vol. 2, no. 356, pp. 369-70 The National Gallery, London. Trafalgar Square, London WC2N 5DN 3
Immunity from Seizure and Vsevolozhskaya 1981, no. 231, p. 303. Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Somof 1899, pp. 36-7; Uzanne 1906, p. 41; Haskell 1956, p. 298, notes 14-15; Berto and Puppi 1968, no. 31, p. 92; Links 1972, p. 180, pl. 132; Constable revised by Links 1976, vol. 2, no. 356, pp. 369-70; Vsevolozhskaya 1981, no. 231, p. 303; Fomichova 1992, no. 77 p. 117; Links 1995, no. 70, pp. 290-1; Pedrocco 1995a, pp. 30, 34, fig. 36; Pallucchini 1995-96, vol. 1, pp. 478, 481, fig. 753; Terpitz 1998, no. 32, p. 39, 45; Pedrocco 2001, pp. 96, 98-9; Pignatti 2001, no. 18, p. 189 Canaletto (1697 – 1768) © Colección Thyssen-Bornemisza, on loan to MNAC – Museu Nacional d’Art de Catalunya, Barcelona X6472 The Bucintoro about 1739 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 57 x 93 cm MNAC. Museu Nacional d’Art de Catalunya. On permanent loan from Colección Thyssen-Bornemisza Lender’s name and address Museu Nacional d’Art de Catalunya Palau Nacional Parc de Montjuïc 08038 Barcelona Spain The National Gallery, London. Trafalgar Square, London WC2N 5DN 4
Immunity from Seizure Accession Number MNAC 212851 Provenance: (1) Henry Reveley of Bryn y Gwyn, Wales; Hugh John Reveley (1812-1889) by 1876; Collection of Mrs A. L. Snapper, London; Her sale London, Sotheby’s, 14 June 1961, lot 52; bought Agnew’s, London; Thyssen- Bornemisza collection, Lugano, 1962; Acquired by the Museo Thyssen-Bornemisza, Madrid, 1993 (1) This provenance has been supplied by the Museo Thyssen-Bornemisza. A copy of their correspondence is on file at the National Gallery. It has been verified and cross- referenced with the provenance provided in the Sotheby’s sale of 1961 listed above. Note that this painting has incomplete provenance information for the years 1933-1945. It was searched on the Art Loss Register and is not registered as being stolen or missing. Publication History: Castagnola 1969, no. 53, p. 57, pl. 273; Constable revised by Links 1976, vol. 1, pls. 204, 340aa, vol. 2, no. 340aa, pp. 361; Links 1981, no. 115, p. 44; Corboz 1985, vol. 2, no. P206, p. 628; Links 1998, no. 340(aa), p. 34; Llorens, Borobia and Alarcó 2000, pp. 128-9; Beddington 2002, p. 34; Contini 2002, no. 55, pp. 260-3 F rancesco Guardi (1712 – 1793) © Carmen Thyssen-Bornemisza Collection, on loan to the Museo Thyssen-Bornemisza, Madrid. Photo José Loren X6488 View of the Giudecca Canal and the Zattere about 1758 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 72.2 x 119.3 cm Inscription: Signed lower left ‘Fran.co Guardi’ The National Gallery, London. Trafalgar Square, London WC2N 5DN 5
Immunity from Seizure Carmen Thyssen-Bornemisza Collection, on loan to the Thyssen-Bornemisza Museum Lender’s name and address Museo Thyssen-Bornemisza Paseo del Prado 8 28014 Madrid Spain Accession Number CTB.1995.1 Provenance: (1) Sir Brook Bridges, 3rd Bt. (1733-1791); By descent at Goodnestone Park, Kent to Henry Plumptre, 20th Baron FitzWalter (1860-1932); Sold Christie’s, London, 17 July 1931, lot 15 to Rothschild; Sir George Leon, 2nd Bt, (1875-1947), Bletchley Park, Bucks.; R. F. Heathcoat-Amory; Sold Sotheby’s, London, 27 June 1962, lot 87 to Koetser; With Leonard Koetser, London, 1962; Sold by Paul Wallraf to Francesco Genova, 1962; Sold by Genova to Miss Alice Tully, 1962; Her sale, Christie’s, New York, 11 Jan 1995, lot 50 to Carmen Thyssen-Bornemisza (1) This provenance has been supplied by the Museo Thyssen-Bornemisza. A copy of their correspondence is on file at the National Gallery. It has been verified and cross- referenced with the provenance provided in the various sale catalogues listed above. Note that this painting has incomplete provenance information for the years 1933-1945. It was searched on the Art Loss Register and is not registered as being stolen or missing. Publication History: Morassi 1959, p. 344; Zampetti 1965a, no. 115, p. 222; Morassi 1973, vol. 1, no. 622, p. 426, vol. 2, fig. 590; Rossi Bortolatto 1974, no. 142, p. 97; Morassi 1975 under, no. 400, p. 149; Succi 1987, no. 3, p. 80; Succi 1993a, p. 45; Russell 1996, pp. 4-7, fig. 2; Contini 2002, no. 62, pp. 294-9 The National Gallery, London. Trafalgar Square, London WC2N 5DN 6
Immunity from Seizure C analetto (1697 – 1768) © Museo Thyssen-Bornemisza, Madrid. Photo José Loren X6450 View of the Piazza San Marco, Venice about 1723 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 141.5 x 204.5 cm Museo Thyssen-Bornemisza Lender’s name and address Museo Thyssen-Bornemisza Paseo del Prado 8 28014 Madrid Spain Accession Number 75.1956.1 Provenance: (1) Princes of Liechtenstein, Vienna, by 1927 and still with them in 1948 (2); Thyssen-Bornemisza Collection, Lugano, 1956; Acquired by the Museo Thyssen-Bornemisza, Madrid, 1993 (1) Provenance as supplied by the Museo Thyssen-Bornemisza. (2) The painting was published in the Lichtenstein collection in 1927 by Kronfeld 1927, p. 58, no. 192 and again in 1948 in Luzern 1948, p. 11, no. 44. Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: The National Gallery, London. Trafalgar Square, London WC2N 5DN 7
Immunity from Seizure Uzanne 1906, p. 25; Ferrari 1920, pp. 18, pl. 7; Kronfeld 1927, p. 11, no. 44; Luzern 1948, p. 11, no. 44; Moschini 1954, p. 14, figs. 1-2; F.J.B. Watson 1954, p. 19, fig. 14; Morassi 1956a, pp. 358-9; Gallo 1957, p. 6; Brandi 1960, p. 105, fig. 9; Pallucchini 1960, p.74-5, fig. 249; Levey 1961, p. 139; Pilo 1962, p. 7; Morassi 1963, p. 149; Constable 1964-65, no. 4, pp. 39-40; Zampetti 1967, no. 44, p. 100-1; Berto and Puppi 1968, no. 11A, p. 90; Castagnola 1969, no. 50, p. 55; Links 1972, pp. 172-4, 230, pl. 127; Constable revised by Links 1976, vol. 1, pl. 11, vol. 2, no. 1, pp. 187-8; Magugliani 1976, p. 15, fig. 1; Links 1977, pp. 21-2, figs. 15-17; Rosenbaum 1979-81, no. 4, pp. 86-7; Martini 1982 , p. 79; Venice 1982, no. 79, pp. 13, 20-1, 56-7; Puppi 1983-84, pp. 5-20, figs. 3-4; Corboz 1985, vol. 1, pp. 41-2, 178, vol. 2, no. P1, p. 559; Pedrocco 1986-87, p. 29, 31-2; Succi 1986-7, p. 27-32; Baetjer and Links 1989-90, no. 1, pp. 66-9; Pemberton-Piggott 1989-90, pp. 53-4; Aikema and Bakker 1990-91, no. 17, pp. 128, 144-5; Salerno 1991, pp. 197-8, fig. 57.4; Succi 1993c, pp. 61-3, fig. 14; Ross 1993, pp. 44-5; Links 1994a, pp. 28- 34, pl. 23; London and Washington D.C. 1994-95, under no. 134, p. 434; Pedrocco 1995a, pp. 24, 6, fig. 29; Pallucchini 1995-96, vol. 1, pp. 370-1, 376, 379, figs. 599, 601; Links 1998, no. 1, p. 5, pl. 241; Pedrocco 1998, pp. 59, 60, 63; Terpitz 1998, pp. 16-17, 19, figs. 9-10; Llorens, Borobia and Alarcó 2000, pp. 126-7; Pedrocco 2001, pp. 77-9; Venice 2001, no. 49, pp. 27-8, 134-37; Contini 2002, no. 54, pp. 256-9 Canaletto (1697 – 1768) Photo © 2010 Museum of Fine Arts, Boston, Massachusetts X6453 The Bacino di San Marco about 1738-9 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 124.5 x 204.5 cm Museum of Fine Arts, Boston. Abbott Lawrence Fund, Seth K. Sweetser Fund, and Charles Edward French Fund, 1939 Lender’s name and address Museum of Fine Arts 465 Huntington Avenue The National Gallery, London. Trafalgar Square, London WC2N 5DN 8
Immunity from Seizure Boston MA 02115 USA Accession Number 39.290 Provenance: (1) Probably acquired by Henry Howard, 4th Earl of Carlisle (1684-1758) or his son Frederick Howard, 5th Earl of Carlisle (1748-1825), Castle Howard, Yorkshire; Thence by descent to the Hon. Geoffrey William Algernon Howard (1877 – 1935), Castle Howard; Sold by his Trustees through Spink and Son, Ltd., London, to the Museum of Fine Arts, Boston, 1939 (1) Provenance as published by Constable revised by Links 1976, vol. 2, no. 131, p. 250 and by the Museum of Fine Arts, Boston, on their website at http://www.mfa.org/collections/search_art.asp?recview=true&id=32679&coll_keywords=cana letto&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&c oll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on _view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=0&coll_start=31 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Waagen 1854, vol.3, no. 64, p. 323; Moschini 1954, pp. 28, 63, fig. 127; Brandi 1960, p. 125; Pallucchini 1960, pp. 104-106, figs. 770-773; Constable 1964-65, no. 18, pp. 56-7; Links 1967, p. 454; Zampetti 1967, no. 71, p. 158-61; Berto and Puppi 1968, no. 161A, pp. 104-5, pls. 33- 4; Fredericksen and Zeri 1972, no. 39.290, p. 41; Links 1972, pp. 184-5, pl. 137; Constable revised by Links 1976, vol. 2, no. 131, p. 250; Baetjer and Links 1989-90, no. 51, pp. 192-6; Links 1994a, pp. 95, 98, 101, pl. 78; Pedrocco 1998-9, p. 58; Terpitz 1998, no. 54, pp.61-2, 65- 7; Pallucchini 1995-96, vol. 1, pp. 489, 509, figs. 770, 773; Succi 1999, pp. 50-1, fig. 30; Pedrocco 2001, pp. 106-7 The National Gallery, London. Trafalgar Square, London WC2N 5DN 9
Immunity from Seizure F rancesco Guardi (1712 – 1793) Photo: Imaging Department © President and Fellows of Harvard College, Cambridge, Massachusetts X6498 The Isola della Madonnetta on the Lagoon of Venice about 1780-90 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 35.6 x 55.2 cm Harvard Art Museum/Fogg Museum, Gift of Charles E. Dunlap Lender’s name and address Harvard Art Museum 32 Quincy Street Cambridge MA 02138 USA Accession Number 1959.185 Provenance: (1) Charles E. Dunlap (1889-1966); his gift to the Fogg Museum, 1945 (1) In the past, the provenance of this painting has been published as with Wildenstein in Paris during the war. It is included as such on the Fogg’s website at http://www.artmuseums.harvard.edu/collection/detail.dot?objectid=1959.185&startDate=&s ort=Accession+%23&objtitle=&department=&subject=¢ury=&endDate=&object=&sortIn Session=false&historicalPeriod=&viewlightbox=false&mediaTek=&relatedworks=false&creati onPlaceTerm=%28Any%29&accession=&origPage=1&artist=guardi&creationPlace=&culture =&fulltext=&pc=1&page=1 Research undertaken by the Art Loss Register has concluded: ‘In summary the Williams article [cited below] does not appear to be referring to the version of the subject currently housed in the Harvard Art Museum. This leaves little definitive information about the whereabouts of the painting prior to it being gifted to the Museum in 1959.’ (Letter on file at the National Gallery). The National Gallery, London. Trafalgar Square, London WC2N 5DN 10
Immunity from Seizure Note that this painting has incomplete provenance information for the years 1933-1945. It was searched on the Art Loss Register and is not registered as being stolen or missing. Publication History: Williams 1939, no. 14 p. 272; Haskell 1960, pp. 268-70; Fredericksen and Zeri 1972, no. 43.113, p. 96; Morassi 1973, vol. 1 no. 659 p. 433, vol. 2, fig. 618; Rossi Bortolatto 1974, no. 771, p. 135; Bowron 1990, no. 788, pp. 111, 362; London and Washington D.C. 1994-95, no. 215, p. 459; Merling 1994-5, pp. 318-19; Venice 1995, no. 85, p. 336 Canaletto (1697 – 1768) © Dallas Museum of Art, Texas X6445 A View from the Fondamenta Nuove Looking Towards Murano about 1722 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 143.5 x 151.1 cm Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund Lender’s name and address Dallas Museum of Art 1717 North Harwood Dallas TX 75201 USA Accession Number 1984.51.FA Provenance: (1) The National Gallery, London. Trafalgar Square, London WC2N 5DN 11
Immunity from Seizure Probably Alejandro María de Aguado, Marqués de las Marismas del Guadalquivir (1784- 1842); Sold Paris, 20-28 March 1843, lot 269 (as Canaletto with figures by Tiepolo); J. H. Hutchinson, London, by 1877; Edward Stuart-Wortley, 1st Earl of Wharncliffe (1827-1899), Wortley Hall, Sheffield, by 1884; Thence by descent until sold Sotheby’s, 23 June 1982, lot 68; Acquired by the Dallas Museum of Art, 1984 (1) Provenance as published by Links 1998, no. 365, p. 34, pl. 236. Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Rossetti 1765, p. 312; F.J.B. Watson 1956; Baetjer and Links 1989-90, no. 30, pp. 138-9; Baetjer 1990, p. 495; Succi 1993c, p. 68, fig. 26; Kowalczyk 1998, p. 78; Links 1998, no. 365, p. 34, pl. 236; Pedrocco 2001, pp. 81-2; Venice 2001, no. 40, pp. 108-9 L uca Carlevarijs (1663 – 1730) © The J. Paul Getty Museum. Los Angeles, California X6478 Regatta on the Grand Canal in Honour of Frederick IV, King of Denmark 1711 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 134.9 x 259.7 cm Inscription: signed with initials and dated ‘MDCCXI [=1711] L.C.’ (on stern of boat lower centre) The J. Paul Getty Museum, Los Angeles Lender’s name and address The J. Paul Getty Museum 1200 Getty Center Drive Suite 1000 Los Angeles California 90049-1687 The National Gallery, London. Trafalgar Square, London WC2N 5DN 12
Immunity from Seizure USA Accession Number 86.PA.599 Provenance: (1) Baron Michele Lazzaroni (d. 1934) in Paris and Rome by 1922; thence by descent; Gina Lollobrigida (b. 1927), Rome, until 1986; with Agnew’s, London; sold to the J. Paul Getty Museum, 1986 (1) Provenance as published on The Getty’s website at http://www.getty.edu/museum/research/provenance/provResearch?handle=ppd&id=917&lett er=C&page=1 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. It does not appear on The Getty’s list of works with incomplete provenance 1933-1945 at http://www.getty.edu/museum/research/provenance/provResearch?handle=ppg&page=1&let ter=C Publication History: Lorenzetti 1937, no. 1, p. 44; Mauroner 1945, p. 57; Haskell 1963, p. 277; Rizzi 1967, pp. 51, 93, pls. 39-40; Links 1972, pp. 167-9, pl. 125; Constable revised by Links 1976, vol. 1, p. 69; Pignatti 1980-96, vol. 1, under no. 120, pp. 122-3; Getty 1987, no. 51a, pp. 186-7; Aikema 1990-91, p. 79, note 77; Padua 1994, no. 43, p. 211; Reale 1994; Succi 1994b, pp. 66-8; London and Washington D.C. 1994-95, no. 22, p. 444; Pedrocco 1995b, no. 63, pp. 264-5; Jaffé 1997, p. 21; Beddington 2001, no. 2, pp. 19-20, 26, 36, 47, pl. 2 L uca Carlevarijs (1663 – 1730) © The J. Paul Getty Museum. Los Angeles, California X6481 The Bucintoro Departing from the Bacino di San Marco 1710 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 134.8 x 259.4 cm The National Gallery, London. Trafalgar Square, London WC2N 5DN 13
Immunity from Seizure Inscription: signed with initials and dated ‘LC MDCCX [=1710]’ (on boat lower right) The J. Paul Getty Museum, Los Angeles Lender’s name and address The J. Paul Getty Museum 1200 Getty Center Drive Suite 1000 Los Angeles California 90049-1687 USA Accession Number 86.PA.600 Provenance: (1) Baron Michele Lazzaroni (d. 1934) in Paris and Rome by 1922; thence by descent; Gina Lollobrigida (b. 1927), Rome, until 1986; with Agnew’s, London; sold to the J. Paul Getty Museum, 1986 (1) Provenance as published on The Getty’s website at http://www.getty.edu/museum/research/provenance/provResearch?handle=ppd&id=916&lett er=C&page=1 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. It does not appear on The Getty’s list of works with incomplete provenance 1933-1945 at http://www.getty.edu/museum/research/provenance/provResearch?handle=ppg&page=1&let ter=C Publication History: Lorenzetti 1937, no. 2 p. 44; Mauroner 1945, p. 57 pl. 14; Pallucchini 1960, p. 33; Rizzi 1967, p. 93, pls. 43-4; Constable revised by Links 1976, vol. 1, p. 69; Getty 1987, no. 51b, pp. 186-7 The National Gallery, London. Trafalgar Square, London WC2N 5DN 14
Immunity from Seizure F rancesco Guardi (1712 – 1793) © 2009. The Metropolitan Museum of Art / Art Resource / Scala, Florence X6490 Venice from the Bacino di San Marco about 1765-7 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 122 x 152.5 cm Lent by The Metropolitan Museum of Art, Bequest of Adele L. Lehman, in memory of Arthur Lehman, 1965 (65.181.8) Lender’s name and address The Metropolitan Museum of Art 1000 Fifth Avenue New York NY 10028-0198 USA Accession Number 65.181.8 Provenance: (1) Sir Sigmund Neumann, 1st Bt. (1857-1916), London by 1904; His widow, Lady Neumann (later Newman), London (1916–d. 1951); Their son, Sir Cecil Newman, 2nd Bt., Burloes, Royston, Hertfordshire (1951–d. 1955); Knoedler, New York, until 1958; Sold to Adele Lehman, New York (d.1965); Her bequest to the Metropolitan Museum of Art, New York, 1965 (1) Provenance as published on the website of the Metropolitan Museum of Art at http://www.metmuseum.org/works_of_art/collection_database/all/venice_from_the_bacino_ The National Gallery, London. Trafalgar Square, London WC2N 5DN 15
Immunity from Seizure di_san_marco_francesco_guardi/objectview.aspx?page=3&sort=0&sortdir=asc&keyword=gua rdi&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=110001039&vT=1 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Simonson 1904, no. 117, p. 90; Byam Shaw 1955, p. 15; F.J.B. Watson 1955, p. 259; Morassi 1959-60, pp. 164-5, fig. 219; Virch 1965, pp. 52-5; Fredericksen and Zeri 1972, no. 65.181.8, p. 96; Morassi 1973, vol. 1, no. 392, p. 384, vol. 2, fig. 416; Rossi Bortolatto 1974, no. 165, p. 199; Aikema and Bakker, 1990-1991, no. 40, pp. 219-20; Succi 1993a, p. 49 Francesco Guardi (1712 – 1793) © Philadelphia Museum of Art, Pennsylvania X6487 Grand Canal with San Simeone Piccolo and Santa Lucia about 1780 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 67.3 x 91.5 cm Philadelphia Museum of Art; John G. Johnson Collection, 1917 Lender’s name and address The Philadelphia Museum of Art 26th Street and the Benjamin Franklin Parkway Philadelphia PA 19130 USA The National Gallery, London. Trafalgar Square, London WC2N 5DN 16
Immunity from Seizure Accession Number Cat. 303 Provenance: (1) Possibly John Ingram (1767-1841), Matsala (or Marsala) House, England; Thence by descent probably to Ingram Fuller Godfrey (1827-1916); John G. Johnson, Philadelphia (d. 1917); His bequest to the Philadelphia Museum of Art, 1917 (1) Provenance as published by Morassi 1973, vol. 1, no. 579. Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Simonson 1904, no. 221, p. 95; Berenson and Valentiner 1913, vol. 1, no. 303, p. 193; Philadelphia 1941, no. 303, p. 8; Philadelphia 1966, no. 303, p. 47; Fredericksen and Zeri 1972, no. 303, p. 97; Morassi 1973, vol. 1, no. 579, p. 418, vol. 2, fig. 552; Toledano 1988, no. V9.e, p.80 F rancesco Guardi (1712 – 1793) © Image courtesy of the Board of Trustees, National Gallery of Art, Washington X6484 Grand Canal with the Rialto Bridge, Venice about 1780 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 68.5 x 91.5 cm National Gallery of Art, Washington, Widener Collection, 1942.9.27 The National Gallery, London. Trafalgar Square, London WC2N 5DN 17
Immunity from Seizure Lender’s name and address National Gallery of Art Sixth Street and Constitution Avenue NW Washington DC 20565 USA Accession Number 1942.9.27 Provenance: (1) Possibly John Ingram (1767-1841), Matsala (or Marsala) House, England; Thence by descent probably to Ingram Fuller Godfrey (1827-1916); John G. Johnson, Philadelphia (d. 1917); Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania, 1894; Thence by descent to Joseph E. Widener (1871/2-1943); His gift to the National Gallery of Art, Washington, 1942 (1) Provenance as published on the website of the National Gallery of Art at http://www.nga.gov/fcgi-bin/tinfo_f?object=1166&detail=prov Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Washington D.C. 1948, no. 367, p. 27; Arslan 1967, p. 18; Fredericksen and Zeri 1972, no. 623, p. 97; Morassi 1973, vol. 1, no. 529, pp. 408-9, vol. 2, fig. 512; Rossi Bortolatto 1974, no. 406, p. 114; Morassi 1975, under no. 367, pp. 143-4; Shapley 1979, vol. 1, no. 623, pp. 240-1, vol. 2, pl. 161; Bordeaux 1982, p. 448; Succi 1993a, p. 107, fig. 107; De Grazia and Garberson with Bowron, Lukehart and Merling 1996, pp. 130-133 The National Gallery, London. Trafalgar Square, London WC2N 5DN 18
Immunity from Seizure A ntonio Joli (about 1700 – 1777) © Image courtesy of the Board of Trustees, National Gallery of Art, Washington X6474 Procession of Gondolas in the Bacino di San Marco, Venice about 1742 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 160.7 x 221.6 cm National Gallery of Art, Washington, Gift of Mrs. Barbara Hutton 1945.15.2 Lender’s name and address National Gallery of Art Sixth Street and Constitution Avenue NW Washington DC 20565 USA Accession Number 1945.15.2 Provenance: (1) Possibly Cardinal Gianfrancesco Stoppani (d.1774), Rome; Bequeathed to Marchese Schiuchinelli, Cremona; Giuseppe Castagna and Felice Ponzio, 1836; Lady Mary Baillie of Polkemmet, née Stewart (d.1910); Admiral Johnston Stewart of Polkemmet, perhaps nephew of the preceding; Christie’s, London, 21 June 1912, lot 140 to C.H. Thrift; Arthur Tooth and Sons, 1912; Sold 14 July 1925 to Viscount Gabriel Chabert; Arnold Seligmann, London, early 1930s; Sold to Barbara Hutton, the Countess Haugwitz Reventlow (1912-1979); Her gift to National Gallery of Art, Washington, 1945 (1) Provenance as published on the website of the National Gallery of Art at http://www.nga.gov/fcgi-bin/tinfo_f?object=32587&detail=prov The National Gallery, London. Trafalgar Square, London WC2N 5DN 19
Immunity from Seizure Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Pignatti 1964, under no. 90, p. 64; Fredericksen and Zeri 1972, no. 875, p. 43; Pignatti 1972, pp. 156-7; Constable revised by Links 1976, vol. 2, no. 358, p. 371; Shapley 1979, vol. 1, no. 875, pp. 108-9, vol. 2, pl. 75; Succi 1994b, pp. 81-5, fig. 17; De Grazia and Garberson with Bowron, Lukehart and Merling 1996, pp. 334-40; Mantua 1996, no.27, p.146; Manzelli 1999, no. V.1, p. 99; Pedrocco 2001, pp. 176-7; Toledano 2006, no. V.IX, pp. 204-5 Johan Richter (ab out 1665 – 1745) © 2009. Wadsworth Atheneum of Art / Art Resource, NY / Scala, Florence X6475 Feast of Santa Maria della Salute before 1728 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 120.6 x 151.4 cm Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund Lender’s name and address Wadsworth Atheneum Museum of Art 600 Main Street Hartford CT 06103-2990 USA Accession Number 1939.268 The National Gallery, London. Trafalgar Square, London WC2N 5DN 20
Immunity from Seizure Provenance: (1) Unidentified private collection, Scotland; Sold London, Christie’s, 11 April 1924, lot 10 (as Marieschi); Sackville Gallery, London, 1925; Rothschild, Paris, 1925; Gonse, Paris, 1939?; D’Altri, Paris; Wildenstein & Co, New York, 1939 by whom sold to the Wadsworth Atheneum, 1939. (1) Provenance as published by Cadogan, 1991, p.98 (as Carlevarijs) Note that this painting has incomplete provenance information for the years 1933-1945. It was searched on the Art Loss Register and is not registered as being stolen or missing. Publication History: Voss 1926, pp. 6-8, fig. 1; Mauroner 1945, p. 56, pls. 22-3; Moschini 1954, p. 12; Pallucchini 1960, p. 34, fig. 86; Valcanover 1966, pp. 10-1, pl. 1; Rizzi 1967, pp. 60-2, 88-9, pls. 115-16; Zampetti 1967, no. 20, pp. 42-3; Hartford 1991, pp. 98-9; Salerno 1991, p. 194, fig. 56.6; Pallucchini 1995-96, vol. 1, pp. 189, 191-2, figs. 285, 297; Pedrocco 2001, pp. 60-1 The National Gallery, London. Trafalgar Square, London WC2N 5DN 21
Immunity from Seizure C analetto (1697 – 1768) © 2009. Wadsworth Atheneum of Art / Art Resource, NY / Scala, Florence X6452 View of Venice, Piazza and Piazzetta San Marco about 1731 Place of manufacture: Venice, Italy Painting Oil on canvas Support: 66.3 x 103.5 cm Wadsworth Atheneum Museum of Art, Hartford, CT. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, endowed by Mr and Mrs Thomas R. Cox, Jr Lender’s name and address Wadsworth Atheneum Museum of Art 600 Main Street Hartford CT 06103-2990 USA Accession Number 1947.2 Provenance: (1) Possibly Count Johann Matthias von der Schulenburg (1661 – 1747), Venice; Martin H. Colnaghi, London; Louis Costa Torro, Chateau des Iris, Lormont, Gironde, France; Sold Anderson Galleries, New York, 20 January 1927, lot 36; Bought by Knoedler & Co., New York; Gaston Neumans, Paris, 1928; Julius Böhler, Munich, 1929 (as Bellotto); Rosenbaum, Berlin (2); Mr and Mrs Hugo Moser, Berlin, Amsterdam and New York, about 1929 – 30; Sold Parke-Bernet, New York, 20 April 1946, lot 32; Bought by Schoenemann Galleries, New York; Sold to the Wadsworth Atheneum, 1947. The National Gallery, London. Trafalgar Square, London WC2N 5DN 22
Immunity from Seizure (1) Provenance as published in Sarasota, Fort Worth, Omaha, Nashville and Charlotte 2004-6, no. 22, pp. 82-3. (2) The name ‘Rosenbaum, Berlin’ appears in the provenance supplied to the Wadworth Atheneum by the seller of the painting, the Schoenemann Galleries, in 1947. It is possible – although not confirmed – that ‘Rosenbaum’ is a certain Isaak Rosenbaum, a Jewish dealer, whose stock may have been looted (see, for example, http://www.restitutiecommissie.nl/en/rc_1.14/1.20/advies_rc_1.14/1.20.html and http://www.dw-world.de/dw/article/0,,4300228,00.html). There are, however, no current claims against the painting. Moreover it seems likely that Mr and Mrs Hugo Moser acquired the painting in Berlin in or around April 1929, as their New York sale catalogue of 1946 states that they had formed their collection between 1920 and 1929, when Mr Moser was agent for the former Emperor Wilhelm II of Germany. Voss supplied a certificate for the painting on the 3 April 1929 in Berlin, which is generally an indication that the painting was being marketed for sale. It is possible that the Rosenbaum of Berlin, who appears in the documents, commissioned the certificate from Voss and then sold the painting to Moser, which would explain how the certificate came to be sold with the painting at their sale in 1946. We would like to thank Eric Zafran of the Wadsworth Atheneum and Charles Beddington for their help in researching the provenance of this painting. Note that this painting has incomplete provenance information for the years 1933-1945. It was searched on the Art Loss Register and is not registered as being stolen or missing. Publication History: Constable 1964-65, no. 25, p. 65; Berto and Puppi 1968, no. 190A, p. 107; Fredericksen and Zeri 1972, no. 47.2, p. 42; Kozakiewicz 1972, vol. 2, no. Z26, p. 400; Corboz 1985, vol. 1, pp. 80-1, fig. 69, vol. 2, no. P305, p. 650; Hartford 1991, pp.78-81; Links 1994a, no. 200, pp. 228- 9; Beddington 2001, no. 11, pp. 28, 44, 52-3, pl. 11; Sarasota, Fort Worth, Omaha, Nashville and Charlotte 2004-6, no. 22, p. 82-3 Canaletto (1697 – 1768) © The Museum of Fine Arts, Houston, Texas X6447 The Entrance to the Grand Canal, Venice about 1729 Place of manufacture: Venice, Italy Painting The National Gallery, London. Trafalgar Square, London WC2N 5DN 23
Immunity from Seizure Oil on canvas Support: 49.5 x 73.7 cm The Museum of Fine Arts, Houston. The Robert Lee Blaffer Memorial Collection, gift of Sarah Campbell Blaffer Lender’s name and address Museum of Fine Arts, Houston 1001 Bissonnet Houston TX 77005 USA Accession Number 56.2 Provenance: (1) Acquired from the artist by Hugh Howard, 1730; Thence by descent through the Earls of Wicklow (withdrawn from the Wicklow Sale 1950); With E. Speelman, London; With Knoedler, New York, 1955; Sarah Campbell Blaffer (1885-1975); Her gift to The Museum of Fine Arts, Houston, 1956 (1) Provenance as published in Constable revised by Links 1976, vol. 2, no. 166 Note that this painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945. Publication History: Constable 1964-65, no. 11, p. 48; Zampetti 1967, no. 62, pp. 138-9; Berto and Puppi 1968, no. 70B, p. 96; Fredericksen and Zeri 1972, no. 562, p. 42; Constable revised by Links 1976, vol. 1, pl. 37, vol. 2, no. 166, pp. 265-6; Links 1977, p. 34, pl. 33; Links 1981, no. 52, p. 24; Mucchi and Bertuzzi 1983, pp. 61, 68, figs. 85-6; Corboz 1985, vol. 2, no. P49, p. 578; Baetjer and Links 1989-90, no. 35, pp. 150-1; Pemberton-Piggott 1989-90, p. 57; Hartford 1991, pp. 78-81; Succi 1993c, p. 59; Links 1994a, no. 63, p. 78-9; Pallucchini 1995-96, vol. 1, pp. 481, 484, fig. 755; Venice 2001, no. 74, pp. 202-3 The National Gallery, London. Trafalgar Square, London WC2N 5DN 24
Immunity from Seizure Bibliography for Immunity from Seizure Documentation Aikema 1990-91 B. Aikema, ‘Painters of Venice’ in Aikema and Bakker 1990-91, pp. 15-82 Aikema and Bakker 1990-91 B. Aikema and B. Bakker, Painters of Venice: The Story of the Venetian ‘Veduta’, trans. A. McCormick, exh. cat., Rijksmuseum, Amsterdam, The Hague 1990-91 Arslan 1967 E. Arslan, ‘Considerazioni sul vedutismo di Francesco Guardi’, Problemi Guardeschi. Atti del Convegno di Studi promosso dulla Mostra dei Guardi, Venezia, 13-14 settembre 1965, Venice 1967, pp. 8-22 Aterido, Cuesta, Pérez Preciado with Blanca 2004 A. Aterido, J.M. Cuesta, J.J. Pérez Preciado with D. Blanca, Inventarios reales: colecciones de pinturas de Felipe V e Isabel Farnesio, 2 vols, Madrid 2004 Atlanta, Seattle and Minneapolis 1995-96 Treasures of Venice: Paintings from the Museum of Fine Arts, Budapest, eds. G. Keyes, I. Barkóczi and J. Satkowski, exh. cat., High Museum of Art, Atlanta, Art Museum, Seattle, Institute of Arts, Minneapolis, New York 1995-96 Baetjer 1990 K. Baetjer, ‘Letter’, The Burlington Magazine, CXXXII, 1048 (July 1990), p.495 Baetjer and Links 1989-90 K Baetjer and J.G. Links, Canaletto, exh. cat., Metropolitan Museum of Art, New York, 1989- 90 Bakker 1994 B. Bakker, Canaletto, London 1994 Barber 1988 G. Barber, ‘From Canaletto to the Ostrich: Parisian Popular Entertainments in 1755’, The Bodleian Library Record, XII, 6 (April 1988), pp. 453-70 Beddington 1997 C. Beddington, ‘Reviewed work(s): Italian Paintings of the Seventeenth and Eighteenth Centuries by Diane de Grazia; Eric Garberson; Edgar Peters Bowron; Peter M. Lukehart, Mitcherl Merling’, The Burlington Magazine , CXXXIX, 1128 (March 1997), pp. 203-4 Beddington 2001 C. Beddington, Luca Carlevarijs: Views of Venice, exh. cat., Timken Museum of Art, San Diego, 2001 Beddington 2002 C. Beddington, ‘[Review] Canaletto: Una Venecia imaginaria’, The Burlington Magazine, CXLIV, 1186 (January 2002), pp. 34-5 Beddington 2004 C. Beddington, ‘Bernardo Bellotto and his Circle in Italy’, Part 1: ‘Not Canaletto but Bellotto’, The Burlington Magazine, CXLVI, 1219 (October 2004), pp. 665–74 The National Gallery, London. Trafalgar Square, London WC2N 5DN 25
Immunity from Seizure Beddington 2005 C. Beddington, ‘Bernardo Bellotto and his Circle in Italy’, Part 2: ‘The Lyon Master and Pietro Bellotti’, The Burlington Magazine, CXLVII, 1222 (January 2005), pp. 16–25 Beddington 2006 C. Beddington, Canaletto in England: A Venetian Artist Abroad 1746–1755, New Haven and London 2006 Beddington 2007 C. Beddington, ‘Pietro Bellotti in England and elsewhere’, The Burlington Magazine, CXLIX, 1255 (October 2007), pp. 678–84 Belluno 1993 Marco Ricci e il paesaggio veneto del Settencento, eds. D. Succi and A. Delneri with contributions by B. Aikema, B. de Klerck and I. Reale, exh. cat., Palazzo Crepadona, Belluno, Milan 1993 Berenson 1909 B. Berenson, Venetian Painters of the Renaissance, New York and London 1909 (third edn) Berenson and Valentiner 1913 B. Berenson and W.R. Valentiner, A Catalogue of a Collection of Paintings and some Art Objects, 3 vols, Philadelphia 1913 Bergamo 1987 Marieschi: Venezia in scena, ed. D. Succi, exh. cat., Galleria Lorenzelli, Bergamo, Turin 1987 Berlin 1974 Venedig im 18. Jahrhunert. Bilder aus der Streit’schen Stiftung, ed. E. Schleier, exh. cat., Gemäldegalerie, Berlin, 1974 Berlin 1996 Gemäldegalerie Berlin: Gesamtverzeichnis, eds. B. Von Henning Bock, I. Geismeier, R. Grosshans, J. Kelch, W.H. Köhler, R. Michaelis, H. Nützmann and E. Schleier, Berlin 1996 Berto and Puppi 1968 G. Berto and L. Puppi, L’opera completa del Canaletto, Milan 1968 Bettagno 1983 A. Bettagno, ‘In margine a una Mostra’, Notizie da Palazzo Albani, XII, 1–2 (1983), pp. 222–8 Binion 1990 A. Binion, La galleria scomparsa del maresciallo von der Schulenburg: Una mecenante nella Venezia del Settecento, Milan 1990 Bolton 1920 A.T. Bolton, Description of the Residence of Sir John Soane, Oxford 1920 Bomford and Finaldi D. Bomford and G. Finaldi, Venice through Canaletto’s Eyes, exh. cat., National Gallery, London, York City Art Gallery, York, Glynn Vivian Art Gallery, Swansea, London and New Haven 1998-99 The National Gallery, London. Trafalgar Square, London WC2N 5DN 26
Immunity from Seizure Bomford and Roy 1993 D. Bomford and A. Roy, ‘Canaletto’s “Stonemason’s Yard” and “San Simeone Piccolo”’, National Gallery Technical Bulletin, 14 (1993), pp. 34-41 Bordeaux 1982 J.L. Bordeaux, ‘Baroque to Neo-Classicism’, Apollo, CXV, 244 (1982), pp. 448-57 Bowron 1990 E.P. Bowron, European Painting Before 1900 in the Fogg Art Museum, Cambridge Mass. 1990 Bowron 1994-95 E.P. Bowron, ‘Bernardo Bellotto’ in London and Washington 1994-95, pp. 361-76 Bowron 1996 E.P. Bowron in Washington 1996 Brandi 1960 C. Brandi, Canaletto, Milan 1960 Briganti 1970 G. Briganti, The View Painters of Europe, London, 1970 Briganti 1996 G. Briganti, Gaspar van Wittel, ed. L. Laureati and L. Trezzani, Milan, 1996 Browning 1905 H.E. Browning, ‘The Canaletto Collection at Castle Howard’, Art Journal, 68 (1905), pp. 340-5 Bulloz 1933 J.-E. Bulloz, Musée Jacquement-André, Paris 1933 (seventh edn) Butor 1967 M. Butor, ‘L’Oeil de Michel Butor sur Canaletto’, Réalités, 258 (1967), pp.36-43 Byam Shaw 1951 J. Byam Shaw, The Drawings of Francesco Guardi, London 1951 Byam Shaw 1955 J. Byam Shaw, ‘Guardi at the Royal Academy’, The Burlington Magazine, XCVII, 622 (January 1955), pp. 12-17, 19 Byam Shaw 1997 J. Byam Shaw, ‘Some Guardi Drawings Rediscovered’, Master Drawings, XV, 1 (1977), pp. 3- 15 Camesasca 1974 E. Camesasca, L’opera completa del Bellotto, Milan 1974 Castagnola 1969 The Thyssen-Bornemisza Collection, ed. R. Heinemann, 2 vols, Castagnola 1969 Chambers and Pullan 1992 D. Chambers and B. Pullan eds, Venice: A Documentary History 1450–1630, Oxford and The National Gallery, London. Trafalgar Square, London WC2N 5DN 27
Immunity from Seizure Cambridge, 1992 (reprint, Renaissance Society of America, 2001) Cicogna 1842 E. Cicogna, Della Inscrizioni Veneziane, 6 vols, Venice 1824–53 Clayton 2005 M. Clayton, Canaletto in Venice, London 2005 Collins Baker 1937 C.H. Collins Baker, Catalogue of the Principal Pictures in the Royal Collection at Windsor Castle, London 1937 Constable 1923 W.G. Constable, ‘Some Unpublished Canalettos’, The Burlington Magazine, XLII, 243 (June 1923), pp. 278–88 Constable 1927 W.G. Constable, ‘Canaletto in England: Some Further Works, The Burlington Magazine, I, 286 (January 1927), pp. 17–23 Constable 1929 W. G. Constable, ‘Canaletto at the Magnasco Society’, The Burlington Magazine for Connoisseurs, LV, 316 (July 1929), pp. 46-50 Constable 1962 W.G. Constable, Canaletto, London 1962 Constable 1964-65 W.G. Constable, Canaletto: Giovanni Antonio Canal 1697-1768, exh. cat., Art Gallery, Toronto, Galerie Nationale du Canada, Ottawa, Musée des Beaux-Arts, Montréal, 1964-65 Constable 1976 W.G. Constable, Canaletto, revised by J.G. Links, Oxford 1976 (second edn) Constable 1989 W.G. Constable, Canaletto, revised by J.G. Links, Oxford 1989 (second edn reissued with supplement and additional plates) Contini 2002 R. Contini, The Thyssen-Bornemisza Collection: Seventeenth and Eighteenth Century Italian Painting, London 2002 Corboz 1974 A. Corboz, ‘Sur la prétendue objectivité de Canaletto’, Arte Veneta, 28 (1974), pp. 205-218 Corboz 1985 A. Corboz, Canaletto Una Venezia immaginaria, 2 vols, Milan 1985 Crema 2002 Officina Veneziana: Maestri e botteghe nella Venezia del Settecento, eds. F. Magani and F. Pedrocco, exh. cat., Centro Culturale Sant’Agostino, Crema, Milan 2002 De Grazia and Garberson with Bowron, Lukehart and Merling 1996 D. De Grazia and E. Garberson with E.P.Bowron, P.M. Lukehart and M. Merling, Italian The National Gallery, London. Trafalgar Square, London WC2N 5DN 28
Immunity from Seizure Paintings of the Seventeenth and Eighteenth Centuries, Washington 1996 Delogu 1930 G. Delogu, Pittori veneti minori del Settecento, Venice 1930 Demus 1960 O. Demus, The Church of San Marco in Venice: History, Architecture, Sculpture, Harvard 1960 Dodsley 1761 R. and J. Dodsley, London and Its Environs Described. Containing an Account of Whatever is Most Remarkable for Grandeur, elegance, Curiosity or Use, in the City and in the Country Twenty Miles round it, 6 vols, London 1761 Earp 1902 F.R. Earp, A Descriptive Catalogue of the Pictures in the Fitzwilliam Museum, Cambridge 1902 Eglin 2001 J. Eglin, Venice Transfigured: The Myth of Venice in British Culture, 1660–1797, New York 2001 Fenlon 2009 I. Fenlon, Piazza San Marco, London 2009 Ferrari 1920 G. Ferrari, I due Canaletto: Antonio Canal, Bernardo Bellotto, pittori, Turin 1920 (second edn) Fiocco 1929 G. Fiocco, La pittura veneziana del Seicento e del Settecento, Verona 1929 Forseman 1986 E. Forseman, Quattro secoli di vedutismo veneziano ed Europeo, Venice 1986 Fortini Brown 1988 P. Fortini Brown, Venetian Narrative Painting in the Age of Carpaccio, New Haven 1988 Fomichova 1992 T.D. Fomichova, The Hermitage Catalogue of Western European Painting: Venetian Painting, Fourteenth to Eighteenth Centuries, Moscow 1992 Franzoi, Pignatti and Wolters 1990 U. Franzoi, T. Pignatti and W. Wolters, Il Palazzo Ducale di Venezia, Treviso 1990 Fredericksen and Zeri 1972 B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge Mass. 1972 Gallo 1957 R. Gallo, Canaletto, Guardi, Brustolon, Venice 1957 Gentleman’s Magazine 1838 ‘Obituary of Lord Farnborough’, Gentleman’s Magazine, 9 (1838), p. 426 The National Gallery, London. Trafalgar Square, London WC2N 5DN 29
Immunity from Seizure Getty 1987 ‘Acquisitions 1986’, The J. Paul Getty Museum Journal, 15 (1987) Goering 1944 M. Goering, Francesco Guardi, Vienna 1944 Goldner 1978 G. Goldner, Niccolò and Piero Lamberti, New York 1978 Goodison and Robertson 1967 J.W. Goodison and G.H. Robertson, Catalogue of Paintings in the Fitzwilliam Museum, Cambridge. Volume Two: Italian Schools, Cambridge 1967 Gorizia 1989 Marieschi tra Canaletto e Guardi, eds. D. Succi, exh. cat., Castello di Gorizia, Gorizia, Turin 1989 Haskell 1956 F. Haskell, ‘Stefano Conti, Patron of Canaletto and others’, The Burlington Magazine, XCVIII, 642 (August 1956), pp.296-301 Haskell 1960 F. Haskell, ‘Francesco Guardi as a Vedutista and Some of his Patrons’, Journal of the Warburg and Courtauld Institutes, XXIII, 3-4 (July-December 1960), pp.256-76 Haskell 1963 F. Haskell, Patrons and Painters: a study in the relations between Italian art and society in the age of the baroque, London 1963 Hannover and Düsseldorf 1991-92 Venedigs Ruhm im Norden. Die großen venezianischen Maler des 18 Jahrhunderts, ihre Auftraggeber und ihre Sammler, exh. cat., Forum des Landesmuseums, Hannover, Kunstmuseum, Düsseldorf, 1991-92 Hartford 1991 Wadsworth Atheneum Paintings II: Italy and Spain, ed. L. Cadogan, Hartford 1991 Helston 1982 M. Helston, Second Sight. Canaletto: The Stonemason’s Yard, Guardi: The Piazza San Marco, exh. cat., National Gallery, London 1982 Hopkins 2000 A. Hopkins, Santa Maria della Salute: Architecture and Ceremony in Baroque Venice, Cambridge 2000 Howard 1980 D. Howard, The Architectural History of Venice, New Haven and London 1980 (reprint 2002) Ingamells 1997 J. Ingamells, A Dictionary of British and Irish Travellers in Italy 1701–1800 compiled from the Brinsley Ford Archive, New Haven and London 1997 Jaffé 1997 The National Gallery, London. Trafalgar Square, London WC2N 5DN 30
Immunity from Seizure D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty Museum, Malibu 1997 Kowalczyk 1995a B.A. Kowalczyk, ‘Bernardo Bellotto’ in Venice 1995, pp. 299-320 Kowalczyk 1995b B.A. Kowalczyk, ‘Il Bellotto veneziano nei documenti’, Arte Veneta, 47 (1995), p. 68-77 Kowalczyk 1996a B.A. Kowalczyk, Il Bellotto italiano [tesi di dottorato di ricerca], 2 vols, Università degli Studi di Venezia, VIII cycle 1996 Kowalczyk 1996b B.A. Kowalczyk, ‘Il Bellotto veneziano: grande intendimento ricercasi’, Arte Veneta, 48 (1996), pp. 71-89 Kowalczyk 1998 B.A. Kowalczyk, ‘I Canaletto della National Gallery di Londra’, Arte Veneta, 53 (1998), pp. 73-100 Kowalczyk 1999 B. A. Kowalczyk ‘I primi sostenitori Veneziani di Bernardo Bellotto’, Saggi e Memorie di Storia dell’Arte, 23, Fondazione Giorgio Cini (1999) Kowalczyk 2001 B.A. Kowalczyk, ‘Il Canaletto “veneziano”’ in Venice 2001, pp. 13-34 Kozakiewicz 1972 S. Kozakiewicz, Bernardo Bellotto, trans. M. Whittall, 2 vols, London 1972 Krellig 2002 H. Krellig, Menschen in der Stadt. Darstellungen Städtischen Lebens auf venezianischen Veduten [dissertation, Technische Universität, Berlin], Berlin 2002 Krellig 2005 H. Krellig, ‘“Die Streitsche Stiftung”, Un tardo riflesso del mito di Venezia nella Berlino settecentesca’ in Presenze tedesche a venezia [Conference held at the Centro Tedeschi di Studi Veneziani 3rd June 2003], Rome 2005, pp. 49-86 Kronfeld 1927 A. Kronfeld, Führer durch die Fürstlich Liechtensteinsche Gemäldegalerie in Wien, Vienna 1927 (second edn) Lane 1973 F. Lane, Venice: A Maritime Republic, Baltimore and London 1973 Laven 2002 M. Laven, The Virgins of Venice, London 2002 Levey 1953 M. Levey, ‘Canaletto’s Regatta Paintings’, The Burlington Magazine, XCV, 608 (November 1953), pp. 364-6 The National Gallery, London. Trafalgar Square, London WC2N 5DN 31
Immunity from Seizure Levey 1959 M. Levey, Painting in Eighteenth Century Venice, London 1959 Levey 1961 M. Levey, ‘The Eighteenth Century Italian Painting Exhibition at Paris: Some Corrections and Suggestions’, The Burlington Magazine,CIII, 697 (April 1961), pp. 134, 139-141, 143 Levey 1962 M. Levey, ‘Canaletto’s Fourteen Paintings and Visentini’s Prospectus Magni Canalis’, The Burlington Magazine, CIV, 713 (August 1962), pp. 333-339, 341 Levey 1971 M. Levey, National Gallery Catalogues: The Seventeenth and Eighteenth-Century Italian Schools, London, 1971 Levey 1973 M. Levey, ‘Bernardo Bellotto by Stefan Kozakiewicz [review]’, The Burlington Magazine, CXV, 846 (September 1973), pp. 612, 615-16 Levey 1978 M. Levey, The Venetian Scene, London 1978 Levey 1986 M. Levey, National Gallery Catalogues: The Seventeenth and Eighteenth Italian Schools, London 1986 (second edn) Levey 1989-90 M. Levey, ‘Canaletto as Artist of the Urban Scene’ in Baetjer and Links 1989-90, pp. 17-30 Levey 1991 M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, Cambridge 1991 (second edn) Levey 1994 M. Levey, Painting in Eighteenth-Century Venice, New Haven and London 1994 (third edn) Lewis 1967 D. Lewis, ‘Notes on XVIII Century Venetian Architecture: a Drawing, Some Dates and an Architect Rediscovered (Part 2)’, Bollettino dei Musei Civici Veneziani, 3 (1967), pp.17-51 Lhote 1948 A. Lhote, Traité du paysage, Paris 1948 Links 1967 J.G. Links, ‘The View Paintings Return to Venice’, The Burlington Magazine, CIX, 773 (August 1967), pp. 452-8 Links 1969 J.G. Links, ‘Some notes on Visentini’s drawings for the “Prospectus Magni Canalis Venetiarum” in the Correr Library’, Bollettino dei Musei Civici Veneziani, (1969), pp. 3-19 Links 1971 J.G. Links, Views of Venice by Canaletto Engraved by Visentini, New York 1971 The National Gallery, London. Trafalgar Square, London WC2N 5DN 32
Immunity from Seizure Links 1972 J.G. Links, Townscape Painting and Drawing, London 1972 Links 1977 J.G. Links, Canaletto and his Patrons, London 1977 Links 1981 J.G. Links, Canaletto: The Complete Paintings, London 1981 Links 1982 J.G. Links, Canaletto, Oxford 1982 Links 1994a J.G. Links, Canaletto, London 1994 (revised edn) Links 1994b J.G. Links, ‘Modern architecture and the view painters: how the view painters viewed the changes’, Apollo, CXL, 391 (1994), pp. 7-12 Links 1994-95 J.G. Links, ‘Canaletto’ in London and Washington D.C. 1994-5, pp. 219-246 Links 1995 J.G. Links, ‘Il Canaletto’ in Venice 1995, pp. 273-98 Links 1998a J.G. Links, A Supplement to W.G. Constable’s Canaletto. Giovanni Antonio Canal 1697-1768, London 1998 Links 1998b J.G. Links, The Soane Canalettos, London 1998 Lisbon 1961 Pinturas da Colecção da Fundação Gulbenkian, Lisbon 1961 London 1849 Catalogue of the Marquess of Westminster’s Collection of Pictures at Grosvenor House, London 1849 London 1937 Pictures from the Gulbenkian Collection lent to the National Gallery, exh. cat., National Gallery, London, 1937 London 1954-55 European Masters of the Eighteenth Century, exh. cat., Royal Academy of Art, London, 1954-55 London 1960 Italian Art and Britain, exh. cat., Royal Academy of Art, London, 1960 London 1988-89 Treasures from the Royal Collection, exh. cat., The Queen’s Gallery, London, 1988-89 London 2004 The National Gallery, London. Trafalgar Square, London WC2N 5DN 33
Immunity from Seizure George III and Queen Charlotte: patronage, collecting and court taste, ed. J. Roberts, exh. cat., The Queen’s Gallery, London, 2004 London and Washington 1994-95 The Glory of Venice: Art in the Eighteenth Century, eds. J. Martineau and A. Robison, exh. cat., Royal Academy of Arts, London, National Gallery of Art, Washington, New Haven and London 1994-5 Llorens, Borobia and Alarcó 2000 T. Llorens, M. del M. Borobia and P. Alarcó, Masterworks. Museo Thyssen-Bornemisza, Madrid 2000 Lorenzetti 1937 G. Lorenzetti, Le feste e le maschere veneziane, exh. cat., Ca’Rezzonico, Venice, 1937 Lorenzetti 1975 G. Lorenzetti, Venice and its Lagoon, Trieste 1975 (reprint 1994) Lugt 1921 F. Lugt, Marques de Collections, Amsterdam 1921 Luzern 1948 Meisterwerke aus den Saamlungen des Fürstlich von Liechtenstein, exh. cat., Kunstmuseum, Luzern, 1948 Magugliani 1976 L. Magugliani, La pittura del giovane Canaletto (fino al 1728), Milan 1976 Mantua 1996 Per una storia del collezionismo: raccolte d’arte delle Banche Lombarde, ed. C. Bertelli, exh. cat., Palazzo Te, Mantua, Milan 1996 Manzelli 1991 M. Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venice 1991 Manzelli 1999 M. Manzelli, Antonio Joli: Opera Pittorica, Venice 1999 Marini 1993 G. Marini, ‘“Con la propria industria e sua professione”. Nuove documenti sulla giovinezza di Bellotto’, Verona illustrata, 6 (1993) Martin and Romano 2000 J. Martin and D. Romano, Venice Reconsidered, Baltimore 2000 Martini 1982 E. Martini, La pittura del Settecento veneto, Udine 1982 Martyn 1766 T Martyn, The English Connoisseur: Containing an Account of Whatever is Curious in Painting, Sculpture, etc., in the Palaces and Seats of the Nobility and Principal Gentry of England, both in Town and Country, 2 vols, Dublin 1766 Mauroner 1945 The National Gallery, London. Trafalgar Square, London WC2N 5DN 34
Immunity from Seizure F. Mauroner, Luca Carlevarijs, Padua 1945 Mazzarotto 1961 B. Tamassia Mazzarotto, Le Feste Veneziane: i giochi popolari, le cerimonie religiose e di governo, Florence, 1961 (second edn 1980) Merling 1994-95 M. Merling, ‘The Brothers Guardi’ in London and Washington 1994-95, pp. 293-328 Mesuret 1952 R. Mesuret, ‘Pietro Bellotti un veneziano di Tolosa’, Arte Veneta, 6 (1952), pp. 170–2 Michiel 1829 Giustina Renier Michiel, Le origine delle feste veneziane, 6 vols, Milan 1829 Millar 1980-81 O. Millar, Canaletto: Paintings and Drawings, exh. cat., London (The Queen’s Gallery), 1980- 81 Morassi 1956a A. Morassi, ‘Considerazioni sugli inizi del Canaletto’, Venezia e L’Europa: atti del XVIII congresso internazionale di storia dell’arte, Venezia 12-18 settembre 1955, Venice 1956, pp. 357-60 Morassi 1956b A. Morassi, ‘Fasti e nefasti del Settecento veneziano’, Emporium, 123 (1956), pp. 3-29 Morassi 1959 A. Morassi, ‘Circa gli esordi del vedutismo di Francesco Guardi con qualche cenno sul Marieschi’ in Studies in the History of Art dedicated to W.E. Suida, London 1959, pp. 338-52 Morassi 1959-60 A. Morassi, ‘Novità su Francesco Guardi’, Arte Veneta, 13-14 (1959-60), pp. 162-73 Morassi 1963 A. Morassi, ‘Settecento inedito’, Arte Veneta, 17 (1963), pp. 143-55 Morassi 1973 A. Morassi, Guardi. L’Opera Completa di Antonio e Francesco Guardi, 2 vols, Venice 1973 Morassi 1975 A. Morassi, Guardi: Tutti i disegni di Antonio, Francesco e Giacomo Guardi, Venice 1975 Moschini 1954 V. Moschini, Canaletto, Milan 1954 Moschini 1956 V. Moschini, Francesco Guardi, Milan 1956 (second edn) Mucchi and Bertuzzi 1983 L. Mucchi and A. Bertuzzi, Nella profondità dei dipinti: La radiografia nell’indagine pittorica, Milan 1983 Muir 1981 The National Gallery, London. Trafalgar Square, London WC2N 5DN 35
Immunity from Seizure E. Muir, Civic Ritual in Renaissance Venice, Princeton 1981 National Gallery 1993 ‘Pictures cleaned and restored in the Conservation Department of the National Gallery, January 1989-October 1992’, National Gallery Technical Bulletin, 14 (1993), pp. 95-6 New Haven and London 1982 The Diary of Joseph Farington, Volume IX, January 1808-June 1809, ed. K. Cave, New Haven and London 1982 New Haven and London 2006-7 Canaletto in England: A Venetian Artist Abroad, 1746-1755, exh. cat., ed. C. Beddington, Yale Center for British Art, New Haven, Dulwich Picture Gallery, London, 2006-7 New York 1966 A Pageant of Painting from the National Gallery of Art, eds. H. Cairns and J. Walker, 2 vols, New York 1966 Nisser 1937 W. Nisser, ‘Lord Manchester’s reception at Venice’, The Burlington Magazine for Connoisseurs, LXX, 406 (January 1937), pp .30-34 Norwich 1977 J.J. Norwich, A History of Venice, London, 1977 (reprint 1982) Ottawa 1987 Catalogue of the National Gallery of Canada, Ottawa: European and American Painting, Sculpture, and Decorative Arts, eds. M. Laskin Jr. and M. Pantazzi, 2 vols, Ottawa 1987 Ottawa and Toronto 1961 Catalogue of Paintings and sculpture, vol. 1: Older Schools (The National Gallery of Canada), ed. R.H. Hubbard, Ottawa and Toronto 1961 Oxford and London 1990 Italia al chiaro di luna: la notte nella pittura italiana 1550-1850, trans. M. Letts and F. Maraschi, exh. cat., Ashmolean Museum, Oxford, Accademia Italiana delle arte e delle arti applicate, London, Rome 1990 Padua 1994 Luca Carlevarijs e la veduta veneziana del Settecento, eds. I. Reale and D. Succi with contributions by B. Aikema, exh. cat., Palazzo della Ragione, Padua, Milan 1994 Pallucchini 1953 R. Pallucchini, ‘Una mostra di pittura veneziana a Londra’, Arte Veneta, 7 (1953), pp.209-10 Pallucchini 1960 R. Pallucchini, La pittura veneziana del Settecento, Venice 1960 Pallucchini 1965a R. Pallucchini, ‘Les “Vedute” de Guardi à la Fondation Gulbenkian’, L’Oeil, 124 (1965), pp. 2- 13 Pallucchini 1956b R. Pallucchini, ‘Note sulla Mostra dei Guardi’, Arte Veneta, 19 (1965), pp. 215-37 The National Gallery, London. Trafalgar Square, London WC2N 5DN 36
You can also read
