The Grand Canal looking east, with the Church of Santa Maria della Salute, Venice,
oil on canvas, 72.5 x 115.5 cm, framed

Inscribed on a label on the reverse: Thirlestaine House, Cheltenham/A. Canal

Provenance:
Collection of John Rushout, 2nd Baron Northwick (1769–1859), Thirlestane House, Cheltenham (according to a label on the reverse);
possibly his sale, Phillips Son & Neale, London, 27 July 1859, probably lot 170, not illustrated (as Antonio Canaletto, sold for 400 Guineas);
possibly acquired by Mr Pearce, High Holborn;
Private European collection, since circa 1980

The present painting is registered in the Fototeca Zeri under no. 68698 (as Anonymous painter, 18th Century, whereabouts unknown).

According to a label on the reverse the present painting comes from the celebrated collection of John Rushout, 2nd Baron Northwick who amassed a large collection of art during the ten years in spent on the Grand Tour where he visited Rome, Vienna, Prague and Dresden from 1790-1800. He acquired many works including masterpieces such as Raphael’s Saint Catherine, now in the National Gallery, London.

Lord Northwick left no will at his death and his immense property was divided between his sisters, Lady Cockerell and Mrs Grieve, and his nephew, George Rushout (1811-1887), who succeeded to the Barony. His collection was sold through Phillips and took place at Thirlestaine House over twenty-one days between 26 July and 30 August 1859, and also included works sent from Northwick Park.

On 27 July 1859 a painting was sold as lot 170 and described as
Antonio Canaletto ‘The Grand Canal at Venice – A Scene during the Gala della Spolializza, animated by fancifully decorated Gondolas and numerous figures of every description. An important work’. This may be the present painting.

The Sposalizio del Doge con il Mare, was a traditional celebration held in Venice, which used to symbolised the maritime dominion of the city. The celebration consisted of a solemn procession of boats, led by the doge’s vessel, the bucintoro, out to sea where the doge would bless and disperse holy water.

The present composition is related to a work in the Art Gallery and Museum of Glasgow (inv. no. 1156) believed to be the copy of a lost original by Canaletto (see W. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, Oxford 1976, vol. 2, cat. no. 179, pp. 272-273).
The present painting is characterised by a cool clear light and reveals
certain differences compared to the Glasgow painting. For example,
the bell tower and the dome of San Giorgio Maggiore are omitted from the Glasgow painting; the figures and gondolas are fewer than those in the present painting and arranged a little differently. Finally, in the Glasgow painting the view to the left is a little cropped when
compared to the work under discussion here.