34 Paintings of the Canals of Venice in the 18 & 19th Century, by the artists of the time, with foot notes #1

Erhardum Reüwich de Trajecto and Bernhard von Breydenbach
Detail; Map of Venice in the 15th century
I have no further description, at this time

Venice, the capital of northern Italy’s Veneto region, is built on more than 100 small islands in a lagoon in the Adriatic Sea. It has no roads, just canals – including the Grand Canal thoroughfare – lined with Renaissance and Gothic palaces. The central square, Piazza San Marco, contains St. Mark’s Basilica, which is tiled with Byzantine mosaics...

Ludwig Mecklenburg (German, 1820-1882)
View of Venice
Oil on canvas 
19 x 24cm (7 1/2 x 9 7/16in)
Private Collection

Sold for £1,625  in October 2016

Ludwig Mecklenburg, German 1820 - 1882, was a painter of architectural scenes, who was born in Hamburg on 15 September 1820 and who died in Munich on 11 June 1882. He was a pupil of J.J. Faber in Hamburg, Mecklenburg worked in Germany and in Italy. More on Ludwig Mecklenburg

Claude Monet, 1840 - 1926
Oil on canvas
73 by 92 cm., 28 1/4 by 36 1/8 in.
Private Collection

Sold for USD 4,237,500 in Dec 1969

Monet and his wife Alice travelled to Venice for the first time in the autumn of 1908 at the invitation of Mary Young Hunter, a wealthy American who had been introduced to the Monets by John Singer Sargent. They arrived on 1st October and spent two weeks as her guest at the Palazzo Barbaro, which belonged to a relation of Sargent - Mrs Daniel Sargent Curtis, before moving to the Grand Hotel Britannia on the Grand Canal where they stayed until their departure on 7th December. From the balcony of the Palazzo Barbaro, they could see three of the great palaces Monet was to paint during his time in Venice: Palazzo da Mula, Palazzo Dario and the subject of this painting, the Palazzo Contarini (fig. 1). Initially reluctant to leave his house and garden at Giverny, Monet must have sensed that the architectural splendours of Venice in their watery environment would present new and formidable challenges. His first days in Venice seemed only to confirm his initial fears but after several days of his customary discouragement, he commenced work on 7th October. More on this painting

The Palazzo Contarini is one of the most important early renaissance buildings in Venice, also known as Contarini dal Zaffo. Located in the Dorsoduro district to the north of the city, its celebrated façade is faced by marble and derives its style from Etruscan sources. Although little is known of the early history of the building, the various names bestowed upon it over the past five hundred years have featured some various patronymics, including that of the Manzoni and Polignac families. At the beginning of the 20th century, it housed the salon of the Princess Winnaretta de Polignac, née Singer, who counted amongst her guests Ethel Smyth and Igor Stravinsky. It was the Princess de Polignac who acquired the two outstanding frescoes by Domenico Tiepolo, executed in 1784, from the Palazzo Correr a Santa Fosca, and installed them in the Palazzo Contarini. More on The Palazzo Contarini

Monet, Claude, French, 1840 - 1926
Palazzo da Mula, Venice, c. 1908
Oil on canvas
61.4 x 80.5 cm (24 3/16 x 31 11/16 in.)
National Gallery of Art

Palazzo da Mula has a notable artistic and historical interest. The building, in gothic style, was the ancient residence of Torcello bishops. The bishop Marco Giustinian made of it his residence in 1659 and some years later he gave it to the Torcello diocese.

In 1805 the Torcello diocese was abolished and the palace became property of the patriarchate of Venice that sold it in 1840 to the Murano municipality that made of it its city hall.

During the years it became the site of the museum and archive of the Island (from 1861), first limited to the main hall of the noble floor and then extended to the whole palace.
In 1923 it became part of the civic museums of Venice (it is now the glass museum). More on Palazzo da Mula

Monet, Claude, French, 1840 - 1926
Palazzo Dario, c. 1908
Oil on canvas
66.2 × 81.8 cm (26 1/16 × 32 3/16 in.)
The Art Institute of Chicago

The Palazzi Barbaro — also known as Palazzo Barbaro, Ca' Barbaro, and Palazzo Barbaro-Curtis — are a pair of adjoining palaces, in the San Marco district of Venice, northern Italy. They were formerly one of the homes of the patrician Barbaro family. The Palazzi are located on the Grand Canal of Venice, next to the Palazzo Cavalli-Franchetti and not far from the Ponte dell'Accademia. It is one of the least altered of the Gothic palaces of Venice. More on The Palazzi Barbaro

Oscar-Claude Monet (14 November 1840 – 5 December 1926) was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting.[1][2] The term "Impressionism" is derived from the title of his painting Impression, soleil levant (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.

Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, and began a vast landscaping project which included lily ponds that would become the subjects of his best-known works. In 1899 he began painting the water lilies, first in vertical views with a Japanese bridge as a central feature, and later in the series of large-scale paintings that was to occupy him continuously for the next 20 years of his life. More on Claude Monet

William Logsdail, (British, 1859-1944)
A corner of the Palazzo Camello, Venice
Oil on canvas 
41 x 21cm (16 1/8 x 8 1/4in)
Private Collection

Sold for £6,000 in September 2016

The Mastelli Palace or Mastelli del Cammello is a palace in Venice, in the sestiere of Cannaregio, in Italy , the Campo dei Mori and the Rio Madonna dell'Orto.

This property would have formerly belonged to three merchant brothers (Rioba, Sandi and 'Afani) Revenue Peloponnese in Venice in 1112, which then adopted the name Mastelli. They are traditionally associated with 4 statues of three Moors and their servant on Campo dei Mori '. The initial construction of this palace dates back to the twelfth century.

William Logsdail (25 May 1859 – 3 September 1944) was a prolific English landscape, portrait, and genre painter. He exhibited at the Royal Academy, the Royal Society of British Artists, the Grosvenor Gallery, the New Gallery (London), and others. He is notable for his realistic London and Venice scenes and his plein air style.

In the autumn of 1880, Logsdail visited Venice where he was to remain, with occasional visits to England, the Balkans, Egypt and the Middle East, until 1900. During this early period in his career, he gravitated towards architectural and subject paintings. His The Piazza of St. Mark's, Venice, painted in 1883, was judged by the Royal Academy to be the 'picture of the year' when it was exhibited in London although he appears to have been dissatisfied by it, and seriously considered cutting the painting up during its composition.

He also painted some sixty-nine small paintings for the Fine Art Society on the subject of the French and Italian Riviera. Seven of these were sold to the Duke of Westminster. In 1893, Logsdail was awarded a medal for oil painting at the World's Columbian Exposition (also known as the Chicago World's Fair).

After spending two years in Taormina and Sicily, he and his family returned to England, settling in West Kensington, London, where his The Early Victorian (1906) (a costume portrait of his daughter Mary) was well received. This marked the beginning of a period of portrait painting for Logsdail, who was offered so many commissions that he was able to pick and choose his sitter at will.

In 1912, he was elected as a member of the Royal Society of Portrait Painters. As his career progressed, he turned to flower studies. More on William Logsdail

Oil on board
15.75 in. (40.00 cm.) (height) by 19.69 in. (50.00 cm.) (width)
Private Collection

On the facade overlooking the Rio de la Madona of the Orto , one can see a low-Relief representing a camel. It is this which gives its name to the palace del cammello. At the bottom right, there is a fountain designed for boat passengers. More on the front facadeMore

Angelo Brombo (Chioggia 1893 - Venice 1962). Angelo's vocation to become a painter comes from his  father Eugenio, who kept his shop under the arcades in Vena fondamenta in the district of Santa Maria where he worked until 1940.

From 1925 to 1929 Angelo taught design at the School of Applied Art in Chioggia. His debut was in a exhibition was in 1922 when he participates in a collective in Chioggia. In 1926/27 he was invited to the maritime art exhibition in Rome.

Since 1927 he took part in numerous solo and group exhibitions in Italy and abroad. Among these are the Opera Bevilacqua La Masa, 1930, 31, 32 and an exhibition at the Napoleon hall of the Palazzo Reale in Venice with over fifty works in 1945. 

In 1944 he moved with his family to Venice where he continued painting until his death in 1962. More on Angelo Brombo

Federico Del Campo,  (1837 - 1927)
Palazzo Cavalli-Franchetti, Venice
The Grand Canal, Venice
Oil on Canvas 
18 x 27¾ inches – 45.8 x 70.5 cms
Private collection

Palazzo Cavalli-Franchetti is a palace in Venice. The palace was erected in 1565. In the 19th century it was internally modernised and externally enriched in Venetian Gothic style, with rich window framing, by a series of grand owners. The first neo-Gothic improvements were made after 1840, when the young Archduke Frederick Ferdinand of Austria (1821–1847) reassembled the property, the Palazzo Cavalli-Gussoni, which had become divided among heirs, and embarked on a complex project intended to give a more prominent Habsburg presence along the Grand Canal, as Austria-Hungary had been awarded the territories of Venice after the Napoleonic Wars. At his premature death, unmarried, in 1847 the palazzo was bought by Henri, comte de Chambord, styled "Henri V" by Bourbon legitimists, who entrusted further restorations to Giambattista Meduna; his portrait on the balcony, with Santa Maria Della Salute in the background, is in the Palazzo Ducale, Modena.

In 1878 Baron Raimondo Franchetti (1829–1905),[4] who had married Sarah Luisa de Rothschild (1834–1924), daughter of Anselm Salomon Rothschild of the Vienna Rothschilds, bought the palazzo and commissioned further works by architect Camillo Boito, who constructed the grand staircase. In September 1922 it was sold to the Istituto Federale di Credito per il Risorgimento delle Venezie by Franchetti's widow. More on Palazzo Cavalli-Franchetti

Federico del Campo (1837-1923) was a Peruvian painter who was active in Venice where he was one of the leading vedute painters of the 19th century. Del Campo was born in Lima and left his native Peru at a young age. Nothing is known with certainty about his early studies in Peru. He studied at Madrid's Real Academia de Bellas Artes de San Fernando (Royal Academy of Fine Arts of San Fernando) in Madrid from around 1865. Here he established a friendship with Lorenzo Valles, a history painter. Del Campo subsequently travelled to Italy and painted in Naples, Capri, Rome, Assisi and Venice. During a visit to France he studied new artistic developments in Paris. From 1880, he exhibited works at the annual Salon van de Société des Artistes Français. In 1880 he established himself in Venice.

Here there already was a seizable community of emigré artists, such as Antonietta Brandeis, and the Spanish painters Martín Rico y Ortega, Mariano Fortuny and Rafael Senet. He became good friends with Martín Rico. The two artists worked sometimes together painting the Venetian scenes that were popular with the increasing number of visitors to that city. They responded thus to the large international market for their city views of Venice. Demand for del Campo's views was so strong, that he painted several views multiple times.

Particularly English tourists were taken by del Campo’s vedute of Venice. This was probably the reason why he moved to London in 1893 where he worked for a clientele of aristocrats and successful merchants. He was represented by art dealer Arthur Tooth who was able to organize a special exhibition of his work in Chicago during the World's Columbian Exposition of 1893. This success likely ensured del Campo’s comfortable life style. Little is known about his last two decades but it is likely that he died in London in 1923. More on Federico del Campo

Antonietta Brandeis (Czechoslovakian, 1849-1910)
Palazzo Albrizzi, Venezia 
Oil on board
24.5 x 15cm (9 5/8 x 5 7/8in)
Private Collection

Antonietta Brandeis, 1849 - 1898, see below

Palazzo Albrizzi, see below

Antonietta Brandeis, 1849 - 1898 
Canale Albrizzi in Autumn 
33 x 23, 5 cm
Private Collection

In San Polo district, not far away from the crowded Rialto market, on a calm and quiet little Campo, stands the imposing Palazzo Albrizzi, with its distinguished Renaissance appearance.

Albrizzi were a merchant family from Bergamo (Lombardy), and they had interests in olive oil trade with Crete. They moved to Venice of the 16th century: in that time the Republic of Venice was at war with its bitter enemies – the Turks, and because of it, the Republic was continuously looking for funds and support.

The Albrizzi family saw an opportunity in those conditions of need. They spontaneously offered, free of charge, their mercantile ships to the Venetian government, to support the Navy. As a result, their social position and their wealth started to progressively grow: in 1667 they bought  Venetian noble title and in the years between 1642 and 1692 the Albrizzi family acquired and restored their new home, which we today know as the Albrizzi Palace.

Antonietta Brandeis, 1849 - 1898 , painted as ‘Antonio‘ as she didn’t like being praised as a ‘woman‘ painter. This was true of her work in Florence and Budapest, according to her biographer De Gubernatis, though she was known by her real name in other places where her art circulated, including Venice and London. Brandeis was a prolific Vedutisti artist who painted luminous and intricately detailed architectural scenes of Italian cities in the nineteenth century, including Verona, Rome and Turin. She was born in what was once part of the Austro-Hungarian Empire (now the Ukraine). In her teens, she studied in Prague under Karel Javurele before moving to Venice with her family. In Venice, she continued her artistic training at the Venetian Academy of Fine Arts. During her time at the Academy, she was repeatedly awarded prizes for her skill and diligence in multiple artistic pursuits including Art History, Drawing and Painting. She moved to Florence in 1909 and stayed until her death in 1926. More on Antonietta Brandeis

Antoine Bouvard, St. Jean-de-Bournay 1870 - 1956 
View of a Canal in Venice 
38, 5 x 46, 5 cm
Private Collection

Sold for EUR 8,320 in Nov 2020

The Grand Canal  is a canal in Venice, Italy. It forms one of the major water-traffic corridors in the city. Public transport is provided by water buses (Italian: vaporetti) and private water taxis, and many tourists explore the canal by gondola.

One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into Saint Mark Basin; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3.8 km long, and 30 to 90 m wide, with an average depth of five meters (16.5 ft). More on The Grand Canal

Antoine Bouvard, St. Jean-de-Bournay, 1870 - 1956 was a French landscape artist who notably often painted under the pseudonym Marc Aldine. Bouvard remains best known for his renderings of Venetian canal scenes, painted in warm tones and a hazy light that often accompanies the setting of the sun. A typical work is A Gondolier Before a Venetian Bridge, depicting the grand canal of the famous Italian city in a realist style that remained popular with tourists throughout his career. He was notably influenced by the French painter Félix Ziem, who was also popular for his poetic depictions of maritime scenes and port cities. Bouvard was born in 1870 in St. Jean-de-Bournay in L'Isere, France, and went on to study at the Academy of Beaux-Arts in Paris, befriending the French architect Constant-Dufeux who helped shape his career and aesthetic. He eventually became the director of architectural services for the Seine in tandem with his painting career, and is accredited with the construction of the Bourse du Travail in Paris. Though the artist remained based in Paris, he traveled frequently to Italy to paint Venice from observation, preferring to sell his work through dealers rather than having a public life. His son, Noel Bouvard, followed in his footsteps to become a landscape painter in a style similar to his father’s. The senior Bouvard died in 1956. More on Antoine Bouvard

Félix Ziem (February 26, 1821 – November 10, 1911) 
23,5 x 30 cm ; 9 1/4 by 11 3/4 in
Private Collection

Félix Ziem (February 26, 1821 – November 10, 1911) was a French painter in the style of the Barbizon School. He was born Félix-Francois Georges Philibert Ziem in Beaune in the Côte-d'Or département of the Burgundy région of France. His mother was a native of Burgundy who had married an immigrant. Originally, Ziem planned to be an architect and studied at the School of Architecture in Dijon, and for a time he worked as an architect. In 1839 he moved to Marseilles, where he received some informal instruction in painting from Adolphe Monticelli. Painting developed from a hobby into a career following a visit in 1841 to Italy, where he fell in love with the city of Venice, a place that would become the source for many of his works, and to which he returned annually until 1892. Apart from Venetian scenes, he also painted many still lifes, portraits, and landscapes from a variety of places including Constantinople, Martigues, Cagnes-sur-Mer and his native Burgundy. More on Félix Ziem


Antonietta Brandeis, 1849 - 1898 
Oil on panel 
25.3 x 14.5 cm; 10 by 5 3/4 in
Private Collection

Sold for $6,100.00 June 2022

Sant'Anzolo is an Inner City island, and is located in the sestiere of San Marco.

Antonietta Brandeis, 1849 - 1898, see below

Vincenzo Caprile (Italian, 1856-1936)
A Venetian backwater 
Oil on canvas
38 x 51.5cm (14 15/16 x 20 1/4in)
Private Collection

Sold for £3,500 in October 2016

Vincenzo Caprile (Naples, June 24, 1856 – Naples, 1936) was an Italian painter, mainly Genre scenes and landscape paintings depicting the coast of Amalfi. He studied at the Academy of Fine Arts of Naples with Domenico Morelli and Gabriele Smargiassi. He was attached to the School of Resina associated with Filippo Palizzi.

His seascape scenes depict the daily life of the area, and the rocks and beaches of Positano, Amalfi, Ravello and the Gulf of Salerno. Along with other neapolitan impressionist painters he helped decorate the rooms of the Caffè Gambrinus in Naples. More on Vincenzo Caprile

Canaletto (1697–1768)
The Grand Canal Venice
Oil on canvas
Private Collection

Sold for 4,255,000 USD October 2020

Canaletto (1697–1768), see below

Huile sur toile
110 x 150 cm ; 43 1/4 by 59 in
Private Collection

San Geremia is a church located in the sestiere of Cannaregio. The apse of the church faces the Grand Canal, between the Palazzo Labia and the Palazzo Flangini. The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.

The first church was erected here in the 11th century, and was later rebuilt on several occasions. In 1206 it is mentioned to house the remains of St. Magnus of Oderzo (died 670), who had taken refuge in this area from the Lombards. More on San Geremia

Saint Magnus of Oderzo was a 7th-century Italian saint who is notable for founding some of the earliest churches in Venice. He was Bishop of Oderzo and travelled to Venice where he founded the churches of Santi Apostoli, San Pietro di Castello, Santa Maria Formosa, Santa Giustina, San Giovanni in Bragora, San Zaccaria, San Salvador and Angelo Raffaele.

He died in 670 and his remains are reportedly buried in the church of San Geremia in Venice. More on Saint Magnus of Oderzo

The Cannaregio Canal, which was the main route into the city, until the construction of a railway link to the mainland, gave the district its name (Canal Regio is Italian for Royal Canal). Development began in the eleventh century as the area was drained and parallel canals were dredged. Although elegant palazzos were built facing the Grand Canal, the area grew primarily with working class housing and manufacturing. More

Canaletto, byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice—died April 20, 1768, Venice) Italian topographical painter whose masterful expression of atmosphere in his detailed views (vedute) of Venice and London and of English country homes influenced succeeding generations of landscape artists.

Canaletto was born into a noble family whose coat of arms he occasionally used as a signature. How he came to be known as Canaletto is uncertain, however; perhaps the name was first used to distinguish him from his father, Bernardo Canal, a theatrical scene painter in whose studio Canaletto assisted. More on Canaletto

Canaletto (1697–1768)
Arrival of the French Ambassador in Venice, c. 1740s
Oil on canvas
Hermitage Museum

Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard (1729, London, the National Gallery) which depicts a humble working area of the city.

Later Canaletto painted grand scenes of the canals of Venice and the Doge's Palace. His large-scale landscapes portrayed the city's pageantry and waning traditions, making innovative use of atmospheric effects and strong local colors. For these qualities, his works may be said to have anticipated Impressionism. More on Canaletto

Canaletto (1697–1768), see above

123 x 203 cm ; 48 1/2 by 80 in
Private Collection

Santa Maria della Salute, commonly known simply as the Salute, is a Roman Catholic church and minor basilica located at Punta della Dogana in the Dorsoduro sestiere of the city of Venice.

It stands on the narrow finger between the Grand Canal and the Giudecca Canal, at the Bacino di San Marco, making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague-churches.

In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable baroque style. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death. More on Santa Maria della Salute

Canaletto, byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice—died April 20, 1768, Venice), see above

123 x 203 cm ; 48 1/2 by 80 in
Private Collection

The Basin of San Marco is where the Grand Canal and the Giudecca Canal merge. 

Punta della Dogana is Venice's old customs building, the Dogana da Mar. It also refers to the triangular area of Venice where the Grand Canal meets the Giudecca Canal, and its collection of buildings: Santa Maria della Salute, Patriarchal Seminary of Venice, and Dogana da Mar at the triangle's tip.

Canaletto, byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice—died April 20, 1768, Venice), see above

Canaletto, 1697 - 1768
Venice: The Doge's Palace and the Riva degli Schiavoni, c. 1730s
Oil on canvas
61.3 x 99.8 cm
The National Gallery, Trafalgar Square, London
Private Collection

Canaletto, byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice—died April 20, 1768, Venice), see above

Vincenzo Chilone, VENISE 1758 - 1839
45 x 59 cm ; 17 3/4 by 23 1/4 in
Private Collection

This work represents the Chilone Bucentaure the ship docked at the Ducal Palace. The bucentaur was the state barge of the doges of Venice. It was used every year on Ascension Day, up to 1798, to take the doge out to the Adriatic Sea to perform the "Marriage of the Sea" – a ceremony that symbolically wedded Venice to the sea every year on the "Festa della Sensa" (Ascension Day).

Depicted in paintings by Canaletto and Francesco Guardi (see below), the ship was 35 m (115 ft) long and more than 8 metres (26 ft) high. A two-deck floating palace, its main salon had a seating capacity of 90. The doge's throne was in the stern, and the prow bore a figurehead representing Justice with sword and scales. The barge was propelled by 168 oarsmen, and another 40 sailors were required to man it. The ship was destroyed in 1798 on Napoleon's orders to symbolize his victory in conquering Venice.

In February 2008, the Fondazione Bucintoro announced a €20 million project to rebuild the 1729 bucentaur. Work started on 15 March 2008 at the Arsenale shipyard and naval dock. More on More on this painting

Vincenzo Chilone (10 July 1758, Venice - 12 January 1839, Venice) was an Italian painter who specialized in vedute, after the style of Canaletto. By age ten, Chilone was first apprenticed to a weaver of silk stockings, but soon after to a wood carver. Chilone became a pupil of the Modenese perspective painter Francesco Battaglioli. From there he came in the studio of Alessandro Mauro, where he aided in some large historical canvases.

Economic needs and family misfortunes led him to become an assistant to Mauro, a theater architect and set designer. After Mauro's death, he accepted a position in Udine to do the frescoes at a theater being decorated by the painter Giambattista Canal.

Seeking more income and independent success, he traveled in 1795 to Udine. But by 1797, the turmoil of the Napoleonic wars had slackened commissions.

He returned to Venice in 1815, virtually forgotten, and was forced to work for other painters. He began to display more stylistic autonomy. Soon, he enjoyed the patronage of the nobility. In 1824, he was elected a member of the Accademia di Belle Arti di Venezia. That same year, he received a major commission from the expatriate Venetian musician, Domenico Dragonetti, who was also an art collector and dealer.

In 1825 he was elected as academic of and perspective painter to the Royal Academy of Fine Arts of Venice. In August 1834 some of his paintings, including a view of Venice representative of the Palazzo Pesaro with other factories, were bought by for the King of England, then four vedute of Venice,were bought by the king of Prussia. 

He painted a Church of Santa Maria from the Ponte de Rialto[4] In 1830 collaborated in designs for Giacomo Alipandri in prints of vedute. These vedute include. More on Vincenzo Chilone

Adrien Moreau
The Carnival Procession, 1887
Oil on canvas
Private collection

Adrien Moreau (18 April 1843 – 22 February 1906) was a French genre and historical painter, sculptor and illustrator, born in Troyes in Aube départment. He began his artistic training as an apprentice glassmaker, but left for Paris to study at the École des Beaux-Arts under Léon Cogniet and Isidore Pils. He first exhibited at the Paris Salon in 1868, being described by fellow artist and critic, Joseph Uzanne, as "among the ranks of the greatest painters of contemporary genre". After a break occasioned by the Franco-Prussian war, it was his 1873 work, "Concert d’Amateurs dans un Atelier d’Artiste" which really established him in the public eye, and his art became in great demand, particularly in America.

He continued to exhibit at the salon until the end of his life, being awarded a silver medal in 1876 for "Repose at the farm". He also won silver medals at the 1889 and 1900 Exposition Universelle in Paris. Moreau became a Chevalier of the Légion d'honneur in 1892.More on Adrien Moreau

Francesco Guardi, (1712–1793)
The Departure of Bucentaur for the Lido on Ascension Day, between circa 1775 and circa 1780
Oil on canvas
66 × 100 cm (26 × 39.4 in)
Louvre Museum

The bucentaur was the state barge of the doges of Venice used every year on Ascension Day, up to 1798, to take the doge out to the Adriatic Sea to perform the "Marriage of the Sea" – a ceremony that symbolically wedded Venice to the sea every year on the "Festa della Sensa" .

Francesco Lazzaro Guardi (October 5, 1712 – January 1, 1793) was an Italian painter of veduta, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners of the classic Venetian school of painting.

In 1735, Guardi moved to the workshop of Michele Marieschi, where he remained until 1743. His first certain works are from 1738, for a parish at Vigo d'Anuania, in Trentino. In this period he worked alongside his older brother.

His works in this period included both landscapes and figure compositions. In 1763 he worked in Murano, in the church of San Pietro Martire, finishing a Miracle of a Dominican Saint.

Francesco Guardi's most important later works include the Doge's Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno.

In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice.

Guardi died at Campiello de la Madona in Cannaregio (Venice) in 1793. More on Francesco Lazzaro Guardi

The Doge Sebastiano Ziani disembarking from the Bucentaur for the Convent of Charity 
Miniature, Date 16th century
Museo Correr, Venezia, Italy

Sebastiano Ziani was Doge of Venice from 1172 to 1178. He was one of the greatest planners of Venice. During his short term as Doge, Ziani divided the city-state into many districts. He realised that the government headquarters were too close to the shipyard. As such, they were affected by the noise from the shipyard. Ziani resolved this problem by donating a piece of land to the city-state and relocating the shipyard in it.

He also hosted Pope Alexander III, the Emperor Frederick I, and the delegation of William II of Sicily for the signing of the Treaty of Venice in July 1177. More on Sebastiano Ziani

Matteo Stom le Jeune, VENISE 1643 - 1702
114 x 165,5 cm ; 44 7/8 by 65 in
Private Collection

The work represents the Bucentaure navigating the Grand Canal and heading to the Adriatic, which will be sealed for another year, the union between Venice and the sea. This marriage, always celebrated on Ascension Day, is materialized by the launch of a gold ring in to the Adriatic by the Doge of Venice. This emblematic episode in the life of Venice met some success with the Venetian painters of the seventeenth and eighteenth century. Among many examples include Canaletto and Guardi, who were inspired by this event. 

The golden emblem, three blue stripes, that is seen in the Bucentaure flag is that of Alvise Contarini, who was Doge of 26 August 1676 to 15 January 1684. On the side of his boat is seen, in the foreground, and luxurious black and gold boat, with the papal tiara would denote Pope Innocent XI Odescalchi, elected 21 September 1676. This is therefore the craft of nunzio apostolico (the ambassador of the Pope) who was the Lombard Carlo Francesco Airoldi, sent to Venice on November 29, 1675. in 1678 , relations between the Republic of Venice and the Pope deteriorated to the point that the nunzio moved the winter of that same year in Milan until his death in 1683. It is completely improbable that after that date the boat nunzio attended the wedding with the sea. We can therefore conclude that the painting depicts the Feast of the Ascension of May 27, 1677 orMmay 19, 1678. More on More on this painting

Francesco Guardi, (1712–1793)
The Doge on the Bucentaur at San Niccolò del Lido, between 1766 and 1770
Oil on canvas
Height: 67 cm (26.4 in). Width: 100 cm (39.4 in).
Louvre Museum

Francesco Guardi, (1712–1793), see above

Francesco Guardi, (1712–1793)
The Doge on the Bucentaur at San Niccolò del Lido, between 1766 and 1770

Francesco Guardi, (1712–1793), see above

Canaletto, (1697–1768)
View of the entrance to the Arsenal, 1732 circa
Oil on Canvas
47 cm. x78,8 cm
Private Collection

The Venetian Arsenal is a complex of former shipyards and armories clustered together in the city of Venice in northern Italy. Owned by the state, the Arsenal was responsible for the bulk of the Venetian republic's naval power during the middle part of the second millennium AD. It was "one of the earliest large-scale industrial enterprises in history". More on The Venetian Arsenal

Canaletto, byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice—died April 20, 1768, Venice), see above

Giuseppe Bernardino Bison, (1762–1844)
View of the Aresenale, Venice, c. 1845
Oil on Canvas
14,8 × 19,7 cm
Private Collection

Giuseppe Bernardino Bison (16 June 1762, Palmanova - 24 August 1844, Milan) was an itinerant Italian painter of frescoes, landscapes, vedute, capriccios and some religious works. When he was still a boy, his family moved to Brescia, where he saw the works of Girolamo Romani and decided to become a painter. Later, his family moved again, to Venice, and he began his studies with Anton Maria Zanetti (The Younger), then enrolled at the Accademia di Belle Arti di Venezia, where he worked with Costantino Cedini.

Shortly after, he was in Padua, in 1790, he was commissioned to do decorations for the Castello del Catajo, then moved to Treviso, where he did frescoes on the ceiling of the Church of Saint Andrew in Volpago del Montello. From 1798 to 1800, he collaborated with Selva on decorations at the Palazzo Dolfin Manin in Venice.

Moving on to Trieste (1780-1845), he collaborated with Matteo Pertsch and the sculptor Antonio Bosa  to provide decorations for the Palazzo Carciotti and the stock exchange building. In 1811, he was in Zara, working at the Palazzo del Governatore. 

At this time, he began to take advantage of a growing market for paintings in the homes of well-to-do non-aristocrats and, working in conjunction with a local art dealer named Tosoni, produced a wide variety of landscapes, vedute and other genres to satisfy local tastes. His canvases were expensive, but also very large.

In 1831, despite his successes in Trieste, he began wandering again, returning briefly to Brescia, then settling in Milan where he took some smaller commissions, but was not very successful and died poor. More on Giuseppe Bernardino Bison

Canaletto, 1697 - 1768
A Regatta on the Grand Canal, c. 1740
Oil on canvas
122.1 x 182.8 cm
The National Gallery, Trafalgar Square, London

This work depicts the annual carnival regatta in Venice. Some of the figures in the foreground wear the 'bauta', a costume of white mask and black cape which was typically worn during the carnival. The painting shows the one-oared light gondola race. The arms of the Doge Alvise Pisani, who ruled from 1735-41, are visible on the 'macchina della regatta' or floating pavilion on the left, from which coloured flags were presented to the winners. More on this painting

Canaletto, byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice—died April 20, 1768, Venice), see above

Jean-Baptiste van Moer, 1819 - 1884, BELGIAN
Oil on panel
57 by 94cm., 22½ by 37in.
Private Collection

Jean-Baptiste Van Moer was born in Brussels in 1819 and died in the same city in 1884. He was the student of François Bossuet He participated in the International Exhibition of Paris of 1855 with the active support of the Belgian ambassador. The thoroughness of his landscape is spotted by Queen Victoria, who commissioned several drawings. This beginning allows him to travel throughout Europe. 

Back in Brussels, he built a workshop and a house on the edge of the Leopold Park and devotes himself to paint the houses of Old Brussels, being endangered by the vaulting of the Senne . The initiator of this work, the mayor Jules Anspach , asked him to decorate the town hall with fifteen views of neighborhoods before it disappeard. The Van Moer, in Brussels, was named after him, on the occasion of the extension of the rue Allard. More on Jean-Baptiste van Moer

Federico Moja, 1802 - 1885, ITALIAN
Oil on canvas
53 by 63cm., 20¾ by 24¾in
Private Collection

Piazza San Marco, often known in English as St Mark's Square, is the principal public square of Venice, Italy, where it is generally known just as la Piazza. All other urban spaces in the city (except the Piazzetta and the Piazzale Roma) are called campi ("fields"). The Piazzetta ("little Piazza/Square") is an extension of the Piazza towards the lagoon in its south east corner (see plan). The two spaces together form the social, religious and political centre of Venice and are commonly considered together. More on Piazza San Marco

The Patriarchal Cathedral Basilica of Saint Mark is the cathedral church of the Roman Catholic Archdiocese of Venice, northern Italy. It is the most famous of the city's churches and one of the best known examples of Italo-Byzantine architecture. It lies at the eastern end of the Piazza San Marco, adjacent and connected to the Doge's Palace. Originally it was the chapel of the Doge, and has only been the city's cathedral since 1807, when it became the seat of the Patriarch of Venice. More on The Patriarchal Cathedral Basilica of Saint Mark

Federico Moja (October 20, 1802 – March 29 1885) was an Italian painter, known best for his vedute and views of interior architecture. Born in Milan into a family of artists, Moja began studying at the Brera Academy of Fine Arts in 1818 and became a pupil of Giovanni Migliara at the same time. His early work is characterised by perspective urban views, monastery interiors and subjects of a historical and literary nature addressed in strict accordance with his master’s teachings. A stay in Paris and trips to France between 1830 and 1834 provided new subjects, including the church of Sant Germaine that were painted repeatedly, sometimes at intervals of many years.

In 1841 Moja moved to Venice, where he was appointed professor of perspective at the Academy of Fine Arts in 1845. He began to specialise in vedute of Venice and cities in the Veneto region, which were sent regularly to the exhibitions of the Milan Academy of Fine Arts and to the Turin Società Promotrice di Belle Arti.

In 1875, at the end of his academic appointment, he retired to Dolo and continued to paint the same subjects with no variation in a now repetitive and outmoded pictorial style. He died in Dolo. More on Federico Moja

José Gallegos y Arnosa, 1859 - 1917, SPANISH
Oil on panel
35.5 by 21.5cm., 14 by 8½in
Private Collection

Jose Gallegos and Arnosa (1857 - 1917 ) was a Spanish painter and sculptor. From childhood he was attracted by drawing and painting. Past the first stage of learning in his hometown, Gallegos went to Madrid in 1873, helped by his patron William Garvey and began a new stage in the Academy of San Fernando. Subsequently, Gallegos traveled to Tunisia and Morocco, attracted by the light and the suggestive atmosphere of these exotic lands. In 1878 he  left for Rome in order to expand their knowledge, thus fulfilling the wishes of his patrons. In 1880 he decided to settle permanently in the Eternal City. More on Jose Gallegos and Arnosa

Acknowledgement: Sotheby's, Bonhams

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