Results: 1
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View: Detail
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- Works of Art
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- Massimiliano Soldani Benzi (1656 - 1740)
- Bacchus
- Doccia, Italy
- c. 1750-60
- S473
- West Gallery I
- Bookmarkable URL
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- Massimiliano Soldani Benzi (1656 - 1740)
- Executioner with the head of Saint John the Baptist
- Doccia, Italy
- c. 1760-70
- S472
- West Gallery I
- Bookmarkable URL
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- Pedestal
- Workshop of Louis-Auguste-Alfred Beurdeley (1808–1882)
- France
- c. 1870
- F289
- West Gallery I
- Bookmarkable URLAlthough these columns (F289 and F290) have in the past been catalogued as being late eighteenth-century, they are more likely to be late nineteenth-century because of the rather free interpretation of the Corinthian order with their cylindrical rather than square pedestals and with acanthus scrolls applied to the base of the columns. They are listed on a bill to Sir Richard Wallace from Alfred 1er Beurdeley dated 5 March 1872 and are thus likely to have been made in the Beurdeley workshop. They were displayed in Lady Wallace’s Boudoir in Hertford House.
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- Pedestal
- Workshop of Louis-Auguste-Alfred Beurdeley (1808–1882)
- France
- c. 1870
- F290
- West Gallery I
- Bookmarkable URLAlthough these columns (F289 and F290) have in the past been catalogued as being late eighteenth-century, they are more likely to be late nineteenth-century because of the rather free interpretation of the Corinthian order with their cylindrical rather than square pedestals and with acanthus scrolls applied to the base of the columns. They are listed on a bill to Sir Richard Wallace from the dealer Alfred 1er Beurdeley dated 5 March 1872 and are thus likely to have been made in the Beurdeley workshop. They were displayed in Lady Wallace’s Boudoir in Hertford House.
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- Workshop of Severo Calzetta da Ravenna (c. 1465/75 - before 1538)
- Pacing horse
- Northern Italy
- early 16th century
- S70
- West Gallery I
- Bookmarkable URL
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- Canaletto (1697 - 1768)
- Venice: the Grand Canal from the Palazzo Flangini to San Marcuola
- Italy
- c. 1740 - 1750
- P506
- West Gallery I
- Bookmarkable URLP506 depicts the upper reaches of the Grand Canal, looking east, with the Palazzo Flangini on the extreme left. On the opposite side of the canal is the Riva di Biasio with the Palazzo Zen and the Palazzo Bembo. The view was popular and exists in a number of versions by Canaletto and his studio: the prime version, engraved by Visentini in 1742, is in the Getty Museum (acquired in 2003). This painting is of almost the same dimensions as the Getty painting, although the boats and figures are different.
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- Canaletto (1697 - 1768)
- Venice: the Canale di Santa Chiara
- Italy
- c. 1740–50
- P507
- West Gallery I
- Bookmarkable URLThe first picture in the pair with P511 shows the Canale di Santa Chiara looking towards the south-east with the wall of the convent of Corpus Domini on the left, which was destroyed in 1861 to make way for the railway station. On the opposite side, towards the right edge of the canvas, a large first-floor balcony and an armorial cartouche distinguish the house of the British Secretary Resident. Both views survive in numerous versions and were engraved with minor variations by Visentini in 1742. At first glance, the view of the Canale di Santa Chiara may seem a rather modest composition, yet the subtle tonal modulations and draughtsmanship of the painting of the buildings are of high quality.
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- Canaletto (1697 - 1768)
- Venice: the Riva degli Schiavoni
- Italy
- c. 1740–5
- P509
- West Gallery I
- Bookmarkable URLThe promenade or Riva degli Schiavoni depicts a view still familiar today, with its gondolas bobbing on the water before the Doge’s Palace, one of the best-known buildings in Venice, on the left. The columns of San Todaro and of the Lion of Saint Mark stand on the Piazzetta in front of the Palace, with the Ponte della Paglia and the Prison beyond. This view, along with its pendant (P516), were very popular with Canaletto’s patrons: they were engraved in 1742 by Visentini, and at least five other sets are known.
The conservation of P509 and P516 has been funded thanks to the 136 donors who gave through Art Happens, Art Fund’s crowd-funding platform. Artfund.org/arthappens
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- Canaletto (1697 - 1768)
- Venice: the Grand Canal from the Palazzo Foscari to the Carità
- Italy
- c. 1740 - 1750
- P510
- West Gallery I
- Bookmarkable URLP510 looks south down the Grand Canal towards the gabled façade and bell-tower of the church of Santa Maria della Carità in the distance.
When the picture, together with its pendant P506, appeared in the sale of Sir Thomas Bernard at Christie’s in 1855, Lord Hertford described them as ‘very pretty and appear to me to be in a very good state. They are neither of them very good views of Venice but nevertheless I must say I should rather like to have one of them – no.70 [now P510]. The other I have no fancy for….I shd. Think 250 to 300 at most for no. 70, certainly the best of the two, wd. be a good price.’ Keen as ever to effect a successful purchase, he reminded his agent Samuel Mawson with his customary urgency ‘They are sold tomorrow Saturday’, despite the fact that it was Mawson who had initiated discussion of the sale in the first place.
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- Canaletto (1697 - 1768)
- Venice: the Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge
- Italy
- c. 1740–50
- P511
- West Gallery I
- Bookmarkable URLThe second picture in the pair with P507 depicts q popular view of the Grand Canal looking north to the Rialto Bridge, with, on the left, the Fondamenta del Vin, and on the right, the Palazzo Dolfin-Manin. This area served as the commercial heart of Venice. Both views survive in numerous versions. For an alternative handling of the view, cf. Guardi P508.
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- Canaletto (1697 - 1768)
- Venice: the Molo with Santa Maria della Salute
- Italy
- c. 1740 - 1745
- P516
- West Gallery I
- Bookmarkable URLThis view, framed by the Doge’s Palace on the right, looks across the Piazzetta, past the columns of San Todaro and the library, towards the mouth of the Grand Canal with the church of Santa Maria della Salute and the Dogana (or Customs House) on the opposite bank. The Giudecca with the church of the Redentore are just visible on the left. Together with its pendant (P509), this view was very popular with Canaletto’s patrons and was engraved in 1742 by Visentini for wider dissemination. At least five other sets are known.
The conservation of P509 and P516 has been funded thanks to the 136 donors who gave through Art Happens, Art Fund’s crowd-funding platform. Artfund.org/arthappens
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- After Canaletto (1697 - 1768)
- Venice: the Bacino di San Marco on Ascension Day
- Italy
- c. 1763 - 1783
- P513
- West Gallery I
- Bookmarkable URLThe Bucintoro, the Doge’s ceremonial barge, is seen in the centre of the picture setting out for the Lido, where the Doge performed the Sposalizio del Mare, the marriage of Venice with the Adriatic Sea, by casting a ring into the water. The ceremony marked the anniversary of the Venetian victory over the Dalmatians on Ascension Day 1000. The composition, which is known in many versions, is based on Brustoloni’s engraving from the series of the Solennità Dogali (cf. Studio of Canaletto P500). The Wallace Collection’s picture was thought to be by Guardi (q.v.) when bought by Sir Richard Wallace.