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拍品专文
Like the preceding lot this picture formed part of the remarkable assemblage of views of Venice by Canaletto, Bellotto and Marieschi which was acquired by the 4th Earl of Carlisle for Castle Howard. The picture is identifiable, as Charles Beddington recognised from a photograph, with one listed in considerable detail in the schedule of eighteen pictures supplied to the 4th Earl (Castle Howard Mss, J14/31/2):
'13 Altra veduta della Piazza di S. Marco in Lontanezza con buona parte della riva de Schiavoni et L; Acqua agitate dal vento per il mal tempo, che si Leva con Barche, che vanno a Vello'
This picture is related to one of Marieschi's absolute masterpieces, the much larger (120 by 200 cm.) picture which the merchant William Hayter left--as by Canaletto--to James Harris, M.P.(1709-1780), ancestor of the Earls of Malmesbury (R. Toledano, Michele Marieschi, Milan, 1995, no. V.45). The architecture corresponds very closely with that in the central half of the Malmesbury picture, showing, from the left, the buildings behind the Procuratie Nuove, the Zecca, the Libreria the Piazzetta with the Campanile and the Basilica di San Marco, the Palazzo Ducale, the Bridge of Sighs caught in silhouette, the Prigioni and the buildings to the east of this, with the church of San Zaccaria seen through the masts on the right. The light as in the Malmesbury picture is from the west, but the sun has moved as the columns of the Piazzetta are no longer caught by this. The water is indeed agitated, the sails caught in an east wind from the Adriatic. The boat with three sails on the right has moved forward from the position of its counterpart in the larger picture, but as in the variants of the companion picture Marieschi did not repeat any of his boats directly: indeed the group of men on the barge on the right who seem so determined to make headway against the waves were clearly conceived expressly for this composition. The positioning of the boats is devised with particular care to imply the scale of the Bacino, and the two gondolas nearest to the spectator are set diagonally to draw the eye towards the Molo. Lord Carlisle would no doubt have been aware that Marieschi's viewpoint intersected with that selected by Canaletto for his majestic panorama of the Bacino, now at Boston, which was the largest of the views of Venice that he acquired for Castle Howard.
'13 Altra veduta della Piazza di S. Marco in Lontanezza con buona parte della riva de Schiavoni et L; Acqua agitate dal vento per il mal tempo, che si Leva con Barche, che vanno a Vello'
This picture is related to one of Marieschi's absolute masterpieces, the much larger (120 by 200 cm.) picture which the merchant William Hayter left--as by Canaletto--to James Harris, M.P.(1709-1780), ancestor of the Earls of Malmesbury (R. Toledano, Michele Marieschi, Milan, 1995, no. V.45). The architecture corresponds very closely with that in the central half of the Malmesbury picture, showing, from the left, the buildings behind the Procuratie Nuove, the Zecca, the Libreria the Piazzetta with the Campanile and the Basilica di San Marco, the Palazzo Ducale, the Bridge of Sighs caught in silhouette, the Prigioni and the buildings to the east of this, with the church of San Zaccaria seen through the masts on the right. The light as in the Malmesbury picture is from the west, but the sun has moved as the columns of the Piazzetta are no longer caught by this. The water is indeed agitated, the sails caught in an east wind from the Adriatic. The boat with three sails on the right has moved forward from the position of its counterpart in the larger picture, but as in the variants of the companion picture Marieschi did not repeat any of his boats directly: indeed the group of men on the barge on the right who seem so determined to make headway against the waves were clearly conceived expressly for this composition. The positioning of the boats is devised with particular care to imply the scale of the Bacino, and the two gondolas nearest to the spectator are set diagonally to draw the eye towards the Molo. Lord Carlisle would no doubt have been aware that Marieschi's viewpoint intersected with that selected by Canaletto for his majestic panorama of the Bacino, now at Boston, which was the largest of the views of Venice that he acquired for Castle Howard.