‡ FOLLOWER OF GIOVANNI ANTONIO CANAL, IL CANALETTO, THE ENTRANCE TO

‡ FOLLOWER OF GIOVANNI ANTONIO CANAL, IL CANALETTO THE ENTRANCE TO THE GRAND CANAL, VENICE, LOOKING EAST, WITH THE VISIT OF THE DOGE TO SANTA MARIA DELLA SALUTE Oil on canvas 93 x 153cm (36½ x 60in.) In a molded giltwood frame Provenance: The collection of The Honorable C. Boyden Gray To the right is Santa Maria della Salute, designed by Baldassare Longhena, with the Abbey of San Gregorio visible in the foreground. To the left are the Ducal Palace, the Zecca (the Venetian mint), and the towering Campanile of St Mark’s. The composition derives from an original by Canaletto, not known in an original work but in numerous copies from his school, one of which is in the Art Gallery and Museum in Glasgow (inv. no. 1156) (see W. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, Oxford, 1976, vol. 2, cat. no. 179, pp. 272–273). Santa Maria della Salute was built in thanksgiving for the deliverance of Venice from the devastating plague of 1630. Each year, on 21 November, the Feast of the Presentation of the Virgin, the Doge of Venice made a ceremonial visit to the church to renew the city’s thanks to the Virgin. He can be distinguished in the procession by his yellow tunic and distinctive corno, the traditional horn-shaped ducal hat. Condition Report: The canvas has an old relining. Vertical stretcher marks are visible in raking light at the centre. UV light reveals careful retouching in the light blue areas of the sky, most notably in the upper first quarter of the painting and in the sky around the cupolas of Santa Maria della Salute. A lighter diagonal retouch is present on the man in the gondola in the foreground, as well as a thin horizontal retouch, approximately 10 cm long, in the brown areas of the boat in the lower right corner. Otherwise, the cityscape is in excellent condition, with no evident signs of retouching or damage. Finally, a protective but slightly yellowing varnish covers the entire painting. Condition Report Disclaimer, ‡, ‡ FOLLOWER OF GIOVANNI ANTONIO CANAL, IL CANALETTO THE ENTRANCE TO THE GRAND CANAL, VENICE, LOOKING EAST, WITH THE VISIT OF THE DOGE TO SANTA MARIA DELLA SALUTE Oil on canvas 93 x 153cm (36½ x 60in.) In a molded giltwood frame Provenance: The collection of The Honorable C. Boyden Gray To the right is Santa Maria della Salute, designed by Baldassare Longhena, with the Abbey of San Gregorio visible in the foreground. To the left are the Ducal Palace, the Zecca (the Venetian mint), and the towering Campanile of St Mark’s. The composition derives from an original by Canaletto, not known in an original work but in numerous copies from his school, one of which is in the Art Gallery and Museum in Glasgow (inv. no. 1156) (see W. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, Oxford, 1976, vol. 2, cat. no. 179, pp. 272–273). Santa Maria della Salute was built in thanksgiving for the deliverance of Venice from the devastating plague of 1630. Each year, on 21 November, the Feast of the Presentation of the Virgin, the Doge of Venice made a ceremonial visit to the church to renew the city’s thanks to the Virgin. He can be distinguished in the procession by his yellow tunic and distinctive corno, the traditional horn-shaped ducal hat. FOLLOWER OF GIOVANNI ANTONIO CANAL, IL CANALETTO, THE ENTRANCE TO THE GRAND CANAL, VENICE, LOOKING EAST, WITH THE VISIT OF THE DOGE TO SANTA MARIA DELLA SALUTE, Provenance:, Canaletto: Giovanni Antonio Canal, 1697–1768, corno, Condition Report:, The canvas has an old relining. Vertical stretcher marks are visible in raking light at the centre. UV light reveals careful retouching in the light blue areas of the sky, most notably in the upper first quarter of the painting and in the sky around the cupolas of Santa Maria della Salute. A lighter diagonal retouch is present on the man in the gondola in the foreground, as well as a thin horizontal retouch, approximately 10 cm long, in the brown areas of the boat in the lower right corner. Otherwise, the cityscape is in excellent condition, with no evident signs of retouching or damage. Finally, a protective but slightly yellowing varnish covers the entire painting. Condition Report Disclaimer

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