(Venice 1710–1743)
The Grand Canal with the Rialto Bridge and the Palazzo dei Camerlenghi, Venice,
oil on canvas, 61.4 x 95.6 cm, framed

Provenance:
Galleria Lorenzelli, Bergamo, 1966;
Semenzato, Venezia, 15 May 1988, lot 110;
Private collection, Cremignane d’Iseo;
Accademia Carrara, Bergamo (on loan), 2005-2012

Exhibited:
Galleria Lorenzelli, Bergamo, 1966, no. 14
The Burlington House Fair, The Royal Academy of Arts, Burlington House, Piccadilly, London, 9-20 September 1987

Literature:
Michele Marieschi : (1710–1743), catalogue of the exhibition edited by A. Morassi, Galleria Lorenzelli, Bergamo,1966, no. 14 (as Michele Marieschi);
R. Pallucchini, A proposito della mostra bergamasca del Marieschi, in “Arte veneta”, 20.1966, p. 322 (as Michele Marieschi);
“Burlington Magazine”, vol. CXXIX, no. 1014, Sept. 1987, The Burlington House Fair, The Royal Academy of Arts, Burlington House, Piccadilly, London, 9-20 September 1987, p. 34. (as Michele Marieschi)
R. Toledano, Michele Marieschi. L’opera completa, Milano, 1988, p. 77, no. V. 8.5 (as Michele Marieschi);
D. Succi, Le macchiette nei dipinti: Unicuique suum”, in Marieschi tra Canaletto e Guardi, catalogue of the exhibition, edited by D. Succi, 1989, p. 215, fig. 269 (as Francesco Albotto);
M. Manzelli 1991, Michele Marieschi e il suo alter-ego Francesco Albotto, Venezia 1991, p. 76, A.08.01 (as Francesco Albotto);
F. Montecuccoli Degli Erri, F. Pedrocco, Michele Marieschi : la vita, l’ambiente, l’opera, Milano 1999, p. 381, no. 153 (as Marieschi and collaborator);
M. Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, Venezia, 2002, p. 115, Tav. A.08.01, (as Francesco Albotto);
D. Dotti, Paesaggi, Vedute e Capricci lombardi e veneti del Sei e Settecento, catalogue of the exhibition, Cinsello Balsamo, Milano, 2007 p. 76, no. 27 (as Michele Marieschi).

We are grateful to Ralph Toledano for confirming the attribution after recently examining the painting in the original.

The present painting is linked to the set of engravings by Marieschi published under number 9 of the second phase of Marieschi´s collection called Magnificentiores Selectioresque Urbis Venetianum Prospectus, printed in Venice in 1741. There are other painted versions of the composition and this is not surprising given the antecedent of the engraving was ‘quos olim ... in plerisque tabulis dipinxit’ (painted previously on other panels/canvasses). According to Toledano this painting displays a trend that runs through Michele Marieschi’s short career. Distancing himself at times from his rococo style, dense textures, choppy waters, and with a dryer and more varied attempt at classicism, Marieschi followed the stylistic footsteps of Canaletto. Despite this distance from his own style there are passages of composition bearing the unmistakeable mark of Marieschi. The steps of the foundation in the left foreground, the house which seems to be leaning on the Rialto Bridge, the facade of the Palazzo dei Camerlenghi, are described with that intelligent textural touch that weaves depths and thickness in a delicate and poetic way according to Toledano who believes that the sails and sheets of the boats depicted with such free agility are quintessentially Marieschi. It is as characteristic as a signature adds Toledano.

After examining the present painting in the original Toledano has stated “In my second book dedicated to Marieschi (1995, Milan), I did not include this painting. This phase of the artist’s career, when his art married into that of Canaletto, had left me somewhat doubtful. Years later, while carefully re-evaluating this painting, I realised that it was very naturally part of his work. The protective influence of Caneletto over all Venetian view paintings is an undeniable phenomenon. But the exuberant artistic personality of Marieschi, though tamed, continues to shine in this painting”. The present painting has at times also been attributed to Francesco Albotto 1721–1757 (please see literature). He was a pupil of Michele Marieschi. After Marieschi‘s death, Albotto married his widow and took over his studio, and continued to produce paintings in a similar style until his own death, which has led to some problems in attributing paintings to Marieschi versus Albotto.

The present painting is also accompanied by a letter from Egidio Martini confirming the attribution to Michele Marieschi.