Sir Charles Long, later Baron Farnborough, Bromley Hill Place, Kent (?until d. 1838); Miss Norah Dawson, Little Bidlake, Bridestowe, North Devon (until 1942; sale, Christie's, London, October 2, 1942, no. 97, for £735 the pair [with 1982.60.15] to Cevat); [Daan Cevat, 1942]; [Koetser Gallery, New York, 1942–43; sold to Linsky]; Mr. and Mrs. Jack Linsky, New York (1943–his d. 1980); Mrs. Jack Linsky, New York (1980–82)
THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.
Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, pp. 401–2, 410, no. 485; vol. 2, fig. 489, as a pendant to MMA 1982.60.15 (no. 536); calls it a late work of beautiful transparency and luminosity; notes the resemblance to a work in the Museum of Fine Arts, Houston (no. 479).
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 107, 114, no. 301, calls it a very late work, of refined luminosity.
Keith Christiansen inThe Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 48–50, no. 14, ill., states that it is difficult to determine the role of Guardi's workshop in the production of such minor paintings as this one and its pendant; mentions a closely related version in the collection of M. Bissey, Paris.
Old Master Paintings: Part I. Christie's, New York. January 28, 2015, p. 68, under no. 21.
The church of Santa Maria della Salute is seen from across the Grand Canal, with the Dogana on the left and the church of San Gregorio on the right.
The picture is the pendant to Venice: The Rialto (MMA 1982.60.15).
Artist: Francesco Guardi (Italian, Venice 1712–1793 Venice) (recto)Date: 1712–1835Medium: Pen and brown ink, brush with brown and gray wash over traces of black chalk (recto); pen and brown ink, brush and gray wash (verso)Accession: 37.165.73On view in:Not on view