Workshop of Francesco Guardi (Italian, Venice 1712–1793 Venice)
Oil on wood
7 1/8 x 12 5/8 in. (18.1 x 32.1 cm)
The Jack and Belle Linsky Collection, 1982
On view at The Met Fifth Avenue in Gallery 541
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 1982.60.14] 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)
Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, pp. 402, 410, no. 536, as a pendant to MMA 1982.60.14 (no. 485); calls it a late work of beautiful luminosity; notes the resemblance to a work in a private collection, Geneva (no. 532).
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 107, 114, no. 414.
Keith Christiansen inThe Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 48–50, no. 15, 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; in addition to the related work in Geneva, mentions another formerly with Silvano Lodi in Munich, stating that all three paintings are based on a drawing similar to one in the Musée Départemental des Vosges, Epinal, and adding that several gondolas in the three pictures are repeated in a drawing attributed to Guardi in the Musée du Petit Palais, Paris; suggests that the ex Lodi painting (on paper laid down on wood) may be the prime version.
The Rialto Bridge is seen from the south, with the Riva del Vin and the Palazzo dei Dieci Savi on the left. Beyond the bridge is the Palazzo dei Camerlenghi on the left and the Fondaco dei Tedeschi on the right.
The picture is a pendant to "Venice: The Dogana and Santa Maria della Salute" (MMA 1982.60.14).