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The Piazza San Marco, Venice, looking towards the Procuratie Nuove and the Church of San Geminiano from the Campo di San Basso oil on canvas 185/8 x 301/2 in. (47.5 x 77.5 cm.) PROVENANCE See previous lot. LITERATURE W.G. Constable, Canaletto, Oxford, 1962 (and subsequent editions, revised by J.G. Links), I, pl. 18 (erroneously captioned as the Castle Howard version); II, under nos. 40, 69, 193(a) and 306. D. Succi, in the catalogue of the exhibition, Luca Carlevarijs e la veduta veneziana del Settecento, Palazzo della Ragione, Padua, 25 September-26 December 1994, pp. 266-7, under nos. 83 and 85-6. J.G. Links, A Supplement to W. G. Constable's Canaletto, London, 1998, p. 7, under no. 40*. NOTES For a discussion of dating and of the provenance, see the previous entry. A preparatory drawing, with mostly different figures and omitting one of the flagpoles, is at Windsor (K.T. Parker, The Drawings of Antonio Canaletto in the Collection of His Majesty the King at Windsor Castle, Oxford and London, 1948, pp. 37-8, no. 42, pl. 13; Constable, op. cit., I, pl. 96; II, no. 533). The only other painting of the subject accepted by Constable as the work of Canaletto was a much larger canvas (45 x 60 in.) seen by him at Castle Howard, but destroyed in the fire there in November 1940 and only known from a photograph in the Castle Howard archives (Constable, op. cit., II, no. 40). That had a higher viewpoint, was taken from a point slightly to the left and showed less of the basilica. It was presumably commissioned by Henry Howard, 4th Earl of Carlisle (1684-1758), who was in Venice in November 1738, almost exactly - if not exactly - the same time as Brand. Despite that picture's imposing size, it was the present work rather than that or Canaletto's etching of the subject (R. Bromberg, Canaletto's Etchings, London and New York, 1974, pp. 138-40, no. 25, illustrated) which was to exert the greatest influence. A closely corresponding but larger and weaker version was sold in these Rooms, 10 July 1992, lot 27 (offered unsuccessfully, Sotheby's, New York, 19 May 1994, lot 114, and subsequently exhibited Padua, Palazzo della Ragione, Luca Carlevarijs e la veduta veneziana del Settecento, 25 September-26 December 1994, p. 266, no. 83, illustrated in colour p. 268, and by the Walpole Gallery at Atlanta, Oglethorpe University Museum, The Grand Tour, 29 April-5 October 1997, pp. 54-5, no. 11, illustrated in colour; Links, loc. cit. ). Other versions are often associated with Bellotto, who executed a version of the Windsor drawing now in the Museum Boijmans Van Beuningen, Rotterdam (S. Kozakiewicz, Bernardo Bellotto, London, 1972, II, p. 7, no. 1, illustrated p. 9), and to whom the casting of the whole of the foreground into shadow must have held a particular appeal. Bellottesque painted versions with different figures include those in the Staatsgalerie, Stuttgart ( ibid., II, pp. 398-9, no. Z 18, illustrated), in the collection of Rosathea Barberis Canonico ( ibid., II, p. 399, no. Z 19), and in the Museo Civico Amedeo Lia, La Spezia ( La Spezia. Museo Civico Amedeo Lia: Dipinti, Cinisello Balsamo, 1997, pp. 52-3, no. 14, illustrated in colour). Charles Beddington SALESROOM NOTICE For the avoidance of any doubt, lot 105 is the picture mentioned by Constable (1962) in the note to 'no. 40' in his Catalogue Raisonn‚ (1962). The version included in Links's Supplement (1998) as 'No. 40 *' and in D. Succi's catalogue of the exhibition Luca Carlevarijs e la veduta veneziana del Settecento (Palazzo della Ragione, Padua, 25 September - 26 December 1994, in the notes to nos. 83 and 85-6, pp. 266-7) is a different picture which is currently with the Walpole Gallery.