(Venice 1712–1793)
Capriccio with an Archway and a Cupola in the background;
Capriccio with rustic Houses and a Tower on the Shore of a Lagoon;
Capriccio with rustic Houses on the Shore of a Lagoon;
Capriccio with an Archway on the Shore of a Lagoon
oil on canvas, each 12 x 19 cm, a set of four, possibly in original frames (4)

Provenance:
purchased from Podio, Bologna 1927;
with Grecco, Genoa, 1928;
with Sambon, Paris, circa 1930;
Trabucco collection, Paris, before 1952;
Private collection, Venice, circa 1955;
anonymous sale, Christie’s, Rome, 13th December 2005, lot 614;
Private European collection

Exhibited:
Villa Comunale, Milan, Mostra del Settecento veneziano, April - May 1955, p. 21, nos. 34–37

These four canvases, executed liberally and dynamically with a delicate brush, are characteristic of Francesco Guardi’s late period. They are closely related to two other series of four capriccios that are smaller in size and which according to Morassi are examples of Guardi’s late production. One of the two series was formerly with Galerie Cramer, The Hague (see A. Morassi, Guardi. I dipinti, Milan 1984, I, p. 497, cat. 1010; II, figs. 893–896), while the other series was with the Koetser Gallery, New York (see A. Morassi, op. cit., I, p. 497, cat. 1012; II, figs. 900–903). The present paintings contain several motifs to which Guardi frequently referred for his capriccios and fantastic vedute, especially the architectural motif of the ruined archway, slight variations of which appear in two pictures of the present series. It was one of Guardi’s favourite subjects, which he incorporated in numerous compositions. The present Capriccio with an Archway and a Cupola in the Background is particularly close to a painting of the same theme (formerly in the Chiesa Collection, Milan; see Morassi, op. cit., I, p. 484, cat. 938; II, fig. 844) where Guardi resorted not only to the same repertoire of motifs, but also to the same compositional scheme. The rustic tower also represents an architectural motif that frequently recurs in Guardi’s capriccios, such as in Capriccio with a Rustic Tower on a Lakeshore (formerly Galleria Veneziani, Rome; Morassi, op. cit., p. 464, I, cat. 830; II, fig. 756), Fantastic River Landscape with a Tower and Rustic Houses (formerly Koetser Gallery, London; Morassi, op. cit., I, p. 473, cat. 879; II, fig. 790), and Fantastic River Landscape with Towers (formerly in the Stramezzi Collection, Crema; see Morassi, op. cit., I, p. 475, cat. 893, II, fig. 799). In the present series, Guardi has succeeded in conveying the impression of an atmospherically harmonious landscape with economically applied brushstrokes in brownish-silvery hues. At the same time, the compositions, regardless of their small dimensions, attest to Guardi’s masterful handling of perspective and composition and his dialectic use of light and shadow. Guardi’s extraordinary sensitivity for atmosphere and his special way of suggesting spatial depth make these four small paintings outstanding masterpieces – not only because of their superior painterly quality, but also because of their lyrical charm.

Provenance:
purchased from Podio, Bologna 1927;
with Grecco, Genoa, 1928;
with Sambon, Paris, circa 1930;
Trabucco collection, Paris, before 1952;
Private collection, Venice, circa 1955;
anonymous sale, Christie’s, Rome, 13 December 2005, lot 614;
Private European collection

Exhibited:
Villa Comunale, Milan, Mostra del Settecento veneziano, April - May 1955, p. 21, nos. 34–37

These four canvases, executed liberally and dynamically with a delicate brush, are characteristic of Francesco Guardi’s late period. They are closely related to two other series of four capriccios that are smaller in size and which according to Morassi are examples of Guardi’s late production. One of the two series was formerly with Galerie Cramer, The Hague (see A. Morassi, Guardi. I dipinti, Milan 1984, I, p. 497, cat. 1010; II, figs. 893–896), while the other series was with the Koetser Gallery, New York (see A. Morassi, op. cit., I, p. 497, cat. 1012; II, figs. 900–903). The present paintings contain several motifs to which Guardi frequently referred for his capriccios and fantastic vedute, especially the architectural motif of the ruined archway, slight variations of which appear in two pictures of the present series. It was one of Guardi’s favourite subjects, which he incorporated in numerous compositions. The present Capriccio with an Archway and a Cupola in the Background is particularly close to a painting of the same theme (formerly in the Chiesa Collection, Milan; see Morassi, op. cit., I, p. 484, cat. 938; II, fig. 844) where Guardi resorted not only to the same repertoire of motifs, but also to the same compositional scheme. The rustic tower also represents an architectural motif that frequently recurs in Guardi’s capriccios, such as in Capriccio with a Rustic Tower on a Lakeshore (formerly Galleria Veneziani, Rome; Morassi, op. cit., p. 464, I, cat. 830; II, fig. 756), Fantastic River Landscape with a Tower and Rustic Houses (formerly Koetser Gallery, London; Morassi, op. cit., I, p. 473, cat. 879; II, fig. 790), and Fantastic River Landscape with Towers (formerly in the Stramezzi Collection, Crema; see Morassi, op. cit., I, p. 475, cat. 893, II, fig. 799). In the present series, Guardi has succeeded in conveying the impression of an atmospherically harmonious landscape with economically applied brushstrokes in brownish-silvery hues. At the same time, the compositions, regardless of their small dimensions, attest to Guardi’s masterful handling of perspective and composition and his dialectic use of light and shadow. Guardi’s extraordinary sensitivity for atmosphere and his special way of suggesting spatial depth make these four small paintings outstanding masterpieces – not only because of their superior painterly quality, but also because of their lyrical charm.