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2016
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Canaletto

(1697-1768)



Contents

The Highlights

RIO DEI MENDICANTI: LOOKING SOUTH

SANTI GIOVANNI E PAOLO AND THE SCUOLA DI SAN MARCO

THE PIAZZETTA: LOOKING NORTH

THE STONEMASON’S YARD

THE ENTRANCE TO THE GRAND CANAL, VENICE

THE REGATTA ON THE GRAND CANAL

GRAND CANAL: FROM SANTA MARIA DELLA CARITÀ TO THE BACINO DI SAN MARCO

DOLO ON THE BRENTA

ROME: ARCH OF CONSTANTINE

LONDON: WESTMINSTER BRIDGE FROM THE NORTH ON LORD MAYOR’S DAY

LONDON: WHITEHALL AND THE PRIVY GARDEN FROM RICHMOND HOUSE

WARWICK CASTLE

WESTMINSTER ABBEY WITH A PROCESSION OF KNIGHTS OF THE BATH

OLD WALTON BRIDGE

ETON COLLEGE CHAPEL

PIAZZA SAN MARCO LOOKING EAST FROM THE SOUTH WEST CORNER

The Paintings

THE COLLECTED PAINTINGS

ALPHABETICAL LIST OF PAINTINGS

The Etchings

THE ETCHINGS OF CANALETTO, 1697-1768

The Delphi Classics Catalogue



© Delphi Classics 2016

Version 1





Masters of Art Series





Giovanni Antonio Canal




By Delphi Classics, 2016





COPYRIGHT


Masters of Art - Canaletto

First published in the United Kingdom in 2016 by Delphi Classics.

© Delphi Classics, 2016.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form other than that in which it is published.

ISBN: 978 1 78656 501 3

Delphi Classics

is an imprint of

Delphi Publishing Ltd

Hastings, East Sussex

United Kingdom

Contact: sales@delphiclassics.com

www.delphiclassics.com





The Highlights





Venice — Canaletto’s birthplace





The house in which Canaletto was born





Portrait of Canaletto, 1754





THE HIGHLIGHTS



In this section, a sample of Canaletto’s most famous works is provided, with concise introductions, special ‘detail’ reproductions and additional biographical images.





RIO DEI MENDICANTI: LOOKING SOUTH




Giovanni Antonio Canal, better known by his sobriquet ‘little Canal’ as he was the son of the painter Bernardo Canal, w; as born in Venice in 1697. He served his apprenticeship with his father and his brother, learning the occupation of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the daily life of the city and its people. After returning from studying in Rome in 1719, he began painting in his distinctive topographical style. His first known signed and dated work is Architectural Capriccio (1723), now housed in Milan in a private collection. Studying with the older Luca Carlevarijs, a moderately-talented painter of urban cityscapes, he soon became his master’s equal.

The following plate, Rio dei Mendicanti: Looking South, formed part of a set of paintings from 1723, which are believed to be the artist’s first depicted view paintings of Venice. The name of the original patron of the artworks has not survived, though they were first recorded in the inventory of the Princes of Liechtenstein in 1806. The striking quality of the draughtsmanship of the works has caused surprise amongst art historians, since no earlier and less accomplished canvases survive.

The view depicted in the image is not a commonly depicted canal of Venice and was rarely frequented by tourists. Instead, it is the haunt of everyday Venetians, going about their usual business, evidently unaware of our scrutiny. A long pavement creates a sense of depth to the picture, running beneath the looming form of the San Lazzaro dei Mendicanti church. A fragile looking wooden bridge spans the canal water, while the Ponte del Cavallo can be glimpsed in the background. Feathery brushstrokes and the dappled sky charge the image with a sense of tranquillity, offering a view of the city away from the hectic areas of the more populated canals. Colourful clothing, hung up on lines as washing, differentiates the palette, while additional elements add interest to the piece: a maid shakes the dirt of her broom from the second floor window to the far right of the canvas; pockets of men gather closely for what appear to be whispered conversations; an old man gingerly holds on to a wall, while gripping his walking stick with the other hand. This everyday glimpse of Venetian life characterises many of the artist’s earlier canvases, anticipating the style of another Venetian artist, Franceso Guardi.





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The Rio dei Mendicanti (Beggars Canal) is a canal in Venice forming the boundary between the district of Cannaregio and Castello.





Portrait of Giovanni Paolo Panini by Louis Gabriel Blanchet. Panini influenced Canaletto’s early works.





One of Panini’s masterpieces: ‘Roman Capriccio: The Pantheon and Other Monuments’, 1735, Indianapolis Museum of Art





SANTI GIOVANNI E PAOLO AND THE SCUOLA DI SAN MARCO




Now housed in Dresden’s Gemäldegalerie Alte Meister, the following 1725 canvas depicts a scene of Venice’s most prominent Dominican church, Santi Giovanni e Paolo, to the left, with the equestrian monument to Bartolommeo Colleoni — an Italian condottiero, who became captain-general of the Republic of Venice — to the right. The sculpture was completed by Andrea Verrocchino in c. 1470. Canaletto also provides a view of the Scuola di San Marco, the wealthiest of the six major philanthropic fraternities of the city, in the centre of the canvas, with sunlight streaming noticeably upon it, as a diagonal line of shade slices across the far right.

The piazza before the edifice is teeming with life, featuring figures from all walks of life, including beggars, merchants, a mother and child, elegant society women and a lone dog. A few boatmen stand by and talk on the steps leading down to the canal, suggesting a hiatus from the busy waterway depicted by the three different boats on a relatively small section of water. Interested onlookers stand on the bridge spanning the canal, looking down on the city’s ever-changing traffic.

It is now believed the canvas was purchased by the Ambassador of the Holy Roman Empire during his visit to Venice at the Annual exhibition of paintings held outside the Scuola di San Rocco. Painters like Canaletto often used such exhibitions to promote their work to new potential patrons. Capturing the interest of such a distinguished buyer demonstrates the young artist’s growing reputation and skills.





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The Scuola Grande of San Marco today





THE PIAZZETTA: LOOKING NORTH




In 1727 Canaletto produced a series of six paintings of the Piazza and Piazzaetta in Venice for the agent Joseph Smith, who would become the artist’s most important patron over the subsequent years. It is likely the series was intended to decorate the walls of Smith’s palace located on the Grand Canal. The following plate, The Piazzetta: Looking North, held in Britain’s Royal Collection, is one of the six scenes, presenting a view looking towards the Torre dell’ Orologio clock tower, with San Marco to the right of the image. At the centre of the foreground we can see a procurator dressed in a striking red robe, with a notary dressed in black following him. The figures add a mature and significant theme to the image, stressing the important functions of civic life. However, much different figures from other walks of life populate the scene, adding local colour.





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The Clock Tower in recent times





THE STONEMASON’S YARD




The Stonemason’s Yard was completed in the late 1720’s and is generally considered one of Canaletto’s finest works. It depicts a Venetian scene looking southwest over a temporary stonemason’s yard, situated in an open space beside the Grand Canal known as the Campo San Vidal. Several masons are at work shaping and carving stone, most likely destined for the reconstruction of the nearby church of San Vidal, immediately behind the viewer and so not visible in the painting. The side of the medieval church of Santa Maria della Carità, reconstructed in the 1440’s, stands on the opposite bank of the Grand Canal; to the left of the façade of the Scuola Grande della Carità; the tower of the church of San Trovaso is visible rising over the rooftops in the distance.

As found in so many of the artist’s paintings, we witness a detailed representation of everyday life in Venice. This particular image is most likely set in the early morning, as a cock crows on a windowsill to the lower left and sunlight streams in from the left. The mainly domestic buildings are generally in poor repair, with typical Venetian flared chimney-pots. Laundry hangs from many of the windows and pot plants stand on several balconies. A woman uses a distaff and drop spindle to spin thread on a balcony to the right; another draws water from a well in the campo beside a wooden shed. The well-head is shaped like the capital of a column, adding a classical hint to the scene. Two children play in the foreground to the left. One child is falling over and urinating involuntarily in surprise, as a woman lunges forward to catch him. The spontaneity of the scene helps evoke a natural atmosphere, avoiding an artificial quality found in some of the artist’s other large-scale images.

Unsigned with no recorded date, the painting is attributed and dated by stylistic clues. The informal scene is thought to have been painted for a Venetian patron, rather than a foreign visitor to Venice. Unlike many views painted by Canaletto, the location has changed significantly since the 1720’s. The view of the opposite bank of the Grand Canal is now blocked by the high arch of the modern wooden Accademia bridge and the church of the Carità has been much altered. The campanile collapsed in the 1740’s, demolishing the houses beside the canal in front, and much of the other stonework has been removed. The nave became the Accademia di Belle Arti di Venezia in the 1800’s and the Gallerie dell’Accademia is housed in the Scuola. The Campo remains an open space, with the well-head at its centre.

The Stonemason’s Yard was one of the paintings donated to the nation by Sir George Beaumont in 1823 to form the nucleus of the National Gallery’s nascent collection. It passed to the National Gallery in 1828, where it continues to be exhibited today.





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Sir George Howland Beaumont, 7th Baronet (1753-1827) was a British art patron and amateur painter. He played a crucial part in the creation of London’s National Gallery by making the first bequest of paintings. ‘The Stonemason’s Yard’ was originally an important part of Beaumont’s collection.





THE ENTRANCE TO THE GRAND CANAL, VENICE




Canaletto developed a reputation for producing precisely depicted and evocative views of the Grand Canal. The artist soon learnt that providing formulaic paintings for tourists was a lucrative business. Travellers to Italy eagerly sought accurate and detailed records of their visits to Rome, Florence, Venice and Naples. These highly skilled works were produced with the aid of an organised workshop. His most important assistant was his nephew Bellotto, who also became an accomplished artist. Canaletto often made meticulous preparatory drawings and is likely to have used a camera obscura for topographical accuracy in creating some of his designs, though he was always concerned with satisfying compositional design, not simply recording views as they were.

The Entrance to the Grand Canal, Venice was completed in c. 1730 and is currently held as part of the Robert Lee Blaffer Memorial Collection in the Audrey Jones Beck Building at the Museum of Fine Arts in Houston, Texas. It was a gift from Sarah Campbell Blaffer. Despite the self-defined limits of his subject matter, Canaletto delicately enhances his subjects by omitting certain details in order to focus on an essential image. His broad range of colours captures a realistic impression of Venice and the daily life of the city. Executed in his studio after studies from the motif, his paintings can be regarded as more than topographic records. They are pure, intellectual re-creations. The interplay of the boatmen and gondoliers on the canal, the natural cloud formations in the sky and the light and shadow variations on the steps all confirm the master’s skill in his art.





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First published picture of a camera obscura in Gemma Frisius’ 1545 book ‘De Radio Astronomica et Geometrica’





THE REGATTA ON THE GRAND CANAL




Venice’s Historical Regatta takes place on the first Sunday of September; it is a competition between Venetian boats watched by thousands of people from the banks or from floating stands. Completed in 1732, Canaletto’s portrayal of the regatta is a lively and ornate interpretation. Some of the figures in the foreground wear the ‘bauta’, a costume featuring a white mask and black cape, typically worn during the carnival. The scene also illustrates the one-oared light gondola race, as four competitors race each other in the open canal water, while spectators crowd the bordering balconies and pavements, fixed upon the outcome. The gondola race had been first established in the fourteenth century and was also occasionally held to honour notable visitors to the city. On the floating pavilion on the left we can see the arms of the Carlo Ruzzini, who ruled as Doge from 1732-1735; it is from this platform that the coloured flags were presented to the winners. A striking feature of the canvas is the brightly decorated eight-oared barges and garish costumes worn by many of the figures at the Carnival, providing the artist the opportunity to use a much broader range of hues than were normally possible.





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The Historical Regatta of Venice in more recent times





GRAND CANAL: FROM SANTA MARIA DELLA CARITÀ TO THE BACINO DI SAN MARCO




St. Mark’s Basin (Bacino di San Marco) is the water space of the Venetian lagoon in front of St. Mark’s Square, between the canals of the Lido, Giudecca and the Grand Canal. Completed in the early 1730’s, this attractive image presents a comprehensive view of St. Mark’s Basin, where in the central distance we can glimpse the dome of the Santa Maria della Salute, with a number of wooden masts moored in the Basin. To the right we can see the church of Santa Maria della Carità, which would be later converted into the city’s art gallery, Accademia delle Belle Arti.

The canvas is notable for Canaletto’s maturing use of colour, as he effectively contrasts the vivid blue sky with the green water and the red and orange tones of the surrounding brickwork. His expert use of shadow is also impressive, as the slanting line of grey cuts across the building of the Scuola, producing a realistic impression of the sun’s changing light effects.

The following painting was at one time owned by Joseph Smith (c. 1682-1770), the British consul at Venice from 1744–1760, who was a patron of artists, most notably Canaletto. An art collector and connoisseur, Smith was also banker to the British community at Venice and a major draw on the British Grand Tour. As the agent for Canaletto for several years, c. 1729–35, he practically controlled the artist’s output, to the benefit of both. Smith arranged for Visentini to engrave thirty-eight of Canaletto’s views in 1730, leading to the rapid increase of interest in the artist throughout Britain. Smith also encouraged Canaletto to make what would be regarded as a very successful trip to London in 1746. In 1762 Smith sold the vast majority of his books, gems, coins, prints, drawings and paintings — including many works by Canaletto — to the young George III for £20,000. The books today form the nucleus of the King’s Library at the British Museum, while the Royal Collection features many of his other treasures.





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Bacino (basin) Di San Marco today





DOLO ON THE BRENTA




Twelve miles to the west of Venice lies Dolo, a village on the river Brenta, which flows from Padua into the Lagoon at Mestre. Brenta, with its many country houses, was a favourite destination for excursions by boat and Canaletto immortalised the river in numerous drawings, etchings and paintings. The following plate is one of the earliest and most beautiful of Canaletto’s paintings on this theme.

The canvas depicts a mill on the Brenta, near Dolo, where we can see a view towards the east from a tall house located on the dam in the river. The sun shines from the west, as indicated by the shadow — falling to the right in the foreground — of the house where the artist sat. On the left of the quay, lined with prominent houses, the inn and the campanile of San Rocco, we can see the land stretch in a wide curve. On the other side of the Brenta, free-standing buildings and a covered wharf feature in the scene. In the background a ‘burchiello’ boat, with a striped cover, glides along the bend at the right, and a third boat with a red roof disappears around the corner.

The mill complex takes up the foreground of the canvas, as two unused millstones lie against the wall in the shadow. It is late afternoon and the villagers seem to have finished their work for the day. One worker rests on a sack of flour, while another starts fishing; several figures have chosen to converse leisurely with each other. A lady dressed in red is greeted by a couple, whose servant protects them from the sun with a parasol. This group in particular attracts our attention, due to the bright, costly allure of their garments. They are apparently prosperous townsfolk out for a visit in the country. There is a sharp contrast between the finery of this group and the dull rags worn by the resting workers.





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A scene at Dolo today





ROME: ARCH OF CONSTANTINE




In 1742 Canaletto was commissioned by Smith to produce a series of five paintings of Roman subjects. It is uncertain whether they were based on a recent visit to the city or sketches the artist had made while visiting Rome in 1720. It is possible that he was inspired by prints of Roman buildings and ruins in Smith’s extensive collection.

Rome: Arch of Constantine, now held in Windsor’s Royal Collection, presents a view of the arch built by the Emperor Constantine in the fourth century to commemorate his victory over Maxentius at the Battle of Milvian Bridge in 312. Dedicated in 315, it is the largest Roman triumphal arch. The view is altered from its actual appearance, as the friezes and inscriptions are on the north side, though they are painted as seen from the south. We can also see the church of San Pietro in Vincoli and to the right the ruins of the Colosseum tower above. A group of figures in the foreground, most likely Grand Tourists that have come to admire the ancient glories of the city, communicate with wide smiles, while one of the figures points with his stick in the direction of the Colosseum, emphasising the information he is giving to the others.

A seated figure on the left, who has beside him a portfolio and ruler, may well be intended as a self portrait. Canaletto’s name is inscribed on the stone beside this figure, confirming his authorship and the date of the painting, in a grand manner emulating the carvings on the ancient monument.





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South side of the arch today, with the Colosseum to right





LONDON: WESTMINSTER BRIDGE FROM THE NORTH ON LORD MAYOR’S DAY




Canaletto’s art market in the 1740’s was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice. His patron Smith arranged for the publication of a series of etchings, but the returns were not high enough and in 1746 Canaletto decided to move to London to be closer to the demand for his work. He remained in England until 1755, producing numerous views of London and his various patrons’ castles and houses.

The artist was often expected to paint England in the fashion with which he had painted his native city, in spite of the difference between the northern country’s sky and light. Some critics argue that Canaletto’s painting began to suffer from repetitiveness, losing its fluidity and becoming mechanical. This criticism went so far that the English art critic George Vertue suggested that the man painting under the name ‘Canaletto’ was in fact an impostor. Canaletto was compelled to give public painting demonstrations in order to refute the claim, though his reputation was seriously damaged by the attack.

His earliest paintings of London concern the new Westminster Bridge, which he portrayed from various viewpoints. The bridge was not actually completed until four years after the following canvas was painted. In order to portray the whole panorama, Canaletto adopts an imaginary vantage point high above the River Thames. The painting provides a detailed view of the bridge’s entire span amidst the setting of Venetian-esque festivities, celebrating the appointment of the new Lord Mayor of London, though these revels appear less flamboyant than in the spectacles he painted in Italy. A large City Barge is transporting the mayor to Westminster Hall, beside the Abbey to the right, where he will be officially sworn in. To the left of the horizon, we can see the prominent St. John’s Church, Smith Square, whilst on the opposite side of the river Canaletto’s depicts Lambeth Palace, the London residence of the Archbishop of Canterbury. Many of the spectacular barges are firing salutes to honour the new mayor.





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Contemporary map of Westminster and Lambeth. Westminster Bridge, opened in 1740, connected Westminster to Lambeth.





The current Westminster Bridge





LONDON: WHITEHALL AND THE PRIVY GARDEN FROM RICHMOND HOUSE




The following plate, along with its companion painting The Thames and the City of London from Richmond House, are among the most widely admired canvases completed by Canaletto during his stay in England. Commissioned by the Duke of Richmond, they were most likely based on sketches made by the artist from the upper windows of the Duke’s London home, Richmond House. Canaletto depicts the Duke with a servant in the courtyard in the lower right.

The painting illustrates a view of the Privy Garden of the Palace of Whitehall, which was a large enclosed space in Westminster, originally designed as a pleasure garden for the late Tudor and Stuart monarchs. The Privy Garden was created under Henry VIII and was expanded and improved under his successors, though it lost its royal patronage after the Palace of Whitehall was almost totally destroyed by fire in 1698.

Canaletto’s rendering of the garden is observed with crisp detail, creating a vivid record of London during the reign of George II. The artist later reinterpreted the scene from a lower viewpoint with an even wider panorama, including a view of the Thames to the left.





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The companion piece: ‘The Thames and the City of London from Richmond House’





Depiction of the Palace of Whitehall by Leonard Knijff, with the Privy Garden visible on the left, c.1695





WARWICK CASTLE




The medieval Warwick Castle was developed from an original fortification built by William the Conqueror in 1068 and rebuilt in stone in the twelfth century. Warwick, the county town of Warwickshire, is situated on a bend of the River Avon. During the Hundred Years War, the facade opposite the town was refortified, resulting in one of the most recognisable examples of fourteenth century military architecture. The castle was used as a stronghold until the early seventeenth century, when it was granted to Sir Fulke Greville by James I in 1604. Greville converted it into a country house and remained with the Greville family, who became Earls of Warwick in 1759, until 1978 when it was bought by the Tussauds Group.

Warwick was visited on at least two occasions by Canaletto, first in 1748 and then later in 1752. Francis Greville, Lord Brooke, the fragile future Earl of Warwick, had set out on his Grand Tour in 1735. He spent much of his Italian trip feeling unwell. Orphaned at only eight years of age, he was raised by his aunt, Frances Seymour, wife of the Earl of Hertford, and he became close friends with their daughter, Elizabeth. She later married Sir Hugh Smithson, Duke of Northumberland, for whom Canaletto provided a series of paintings of the newly constructed Westminster Bridge and this may well be the connection that led to the commission. Lord Brooke had recently undertaken a project of improvement on both Warwick Castle and the newly landscaped grounds designed by ‘Capability’ Brown. It is thought that the commission, eventually amounting to five oil paintings and three pen and ink drawings, was originally to furnish Lord Brooke’s London home to allow him to present the newly improved castle to his London cronies.

The following view of the castle from the south front is portrayed from the Castle Meadow, with the Castle Mound to the left and the town of Warwick to the right. The thin band of blue is the River Avon, while the extended view of the Meadow allows the artist to create depth in his image, emphasised by the two spanning bridges, the furthest of which is foreshortened by the artist. The scattered and various figures on the Meadow demonstrate a range of occupations and visitors. Much like the Warwick Castle of today, which constantly receives flocks of tourists, the medieval building receives much attention. Several figures in different areas of the canvas gesture with awe towards the castle, adding a sense of grandeur to the scene, which Lord Brooke would have greatly appreciated.





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Another view of the south front by Canaletto





Warwick Castle today





WESTMINSTER ABBEY WITH A PROCESSION OF KNIGHTS OF THE BATH




Still held by the Dean and Chapter of Westminster Abbey, this 1749 painting illustrates the procession of newly installed Knights of the Order from Westminster Abbey to the House of Lords, which took place on 20 June 1749. Canaletto was commissioned to paint the picture by Joseph Wilcocks, Dean of Westminster.

The Order of the Bath, one of the oldest English chivalric orders, is thought to have been founded in 1399. In the composition, the knights have emerged from the west end of the Abbey, walking past St. Margaret’s church, beyond which can be seen the roof of Westminster Hall. The Abbey is shown following its recent restoration and the construction of the two west towers, which was completed by the architects Sir Christopher Wren and Nicholas Hawksmoor. The canvas was most likely commissioned to celebrate this event. The resplendent figures of the knights add gravitas to the scene, though they are stilted in arrangement, with their scale in relation to the architecture not entirely convincing, suggesting that the artist himself may not have witnessed the scene, but worked from sketches of the procession. However, the comprehensive array of spectators in the foreground, obscured in the right corner by deft shade, signals the work of a master at the height of his powers.





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The same view today





OLD WALTON BRIDGE




The first Walton Bridge, built across the River Thames between Walton-on-Thames and Shepperton in Surrey, was paid for by local landowner Samuel Dicker, the MP for Plymouth, who owned plantations in Jamaica. Dicker obtained the right to build the bridge and to collect tolls by Act of Parliament in 1747. The design of the bridge was by William Etheridge, who also designed the smaller but similar Mathematical Bridge across the River Cam at Queens’ College, Cambridge and had been responsible for the construction of many of the timber centres of the Westminster Bridge, while working as James King’s foreman. The Old Walton Bridge was supported by four central stone piers connected by three arches built of wooden beams and joists. The span of the central arch was 130 feet (39 m), at the time the widest unsupported span in England. Although considered an impressive feat of engineering at the time of its construction, the bridge stood for only thirty-three years. Dicker died in London in 1760 and his estates in the area were sold. The bridge passed to his nephew, Michael Dicker Sanders, but he found it difficult to meet the costs of its upkeep. A report on the condition of the bridge in 1778 suggested that the decay in the wooden frame made it unsuitable for use and it was dismantled in 1783 to make way for a stone-clad brickwork bridge. The sixth and current Walton Bridge was opened on 22 July 2013. It is a tied arch crossing, providing the first single-span bridge heading up the Thames.

Some time after 1750, Canaletto travelled to Walton to produce a painting of the bridge. He had previously depicted one of Etherbridge’s constructions in 1747 as the framing span of The City Seen Through an Arch of Westminster Bridge. Though the figures featured in his landscapes were usually anonymous, his painting of Old Walton Bridge, held in the Dulwich Picture Gallery, represents several identifiable figures. In the centre of the painting on the near bank, two figures can be seen standing together; to the left is Thomas Hollis, who commissioned the painting. It is likely that Hollis selected the image from a sketch in Canaletto’s portfolio, as the painting omits the stone abutments that were added in 1751. To Hollis’ right is Thomas Brand, his lifelong friend and heir. Further to the right, dressed in colourful livery, is Hollis’ servant, Francesco Giovannini, and at the feet of Hollis is his dog, Malta. The canvas bears the inscription on the reverse: ‘Made in the year 1754 in London for the first and last time with the utmost care at the request of Mr. Hollis, my most esteemed patron — Antonio del Canal, called Canaletto.’

Seated a little distance from the central group on the left, with a cow looking over his shoulder, is the artist Canaletto himself. A ship on the river is lowering its sail in order to pass under the bridge. With the towering storm clouds forming above the bridge, Canaletto contrasts the forces of nature with the work of engineering. Samuel Dicker’s house at Mount Felix can be seen in the background to the left of the bridge, but Dicker — most likely after viewing Hollis’ painting — commissioned a different view of the bridge in 1755, in which his house can be seen more clearly, as well as the full extent of the bridge works that he had funded, including the stone abutments.





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The bridge depicted in a review of 1750





The new bridge today





ETON COLLEGE CHAPEL




Built in the late Gothic style, the main chapel of Eton College, an independent school near Windsor, was planned to be over double its current length, but it was never completed owing to the downfall of the founder Henry VI. Only the Quire of the intended building was completed. Eton’s first Headmaster, William Waynflete, founder of Magdalen College, Oxford and previously Head Master of Winchester College, built the ante-chapel that finishes the Chapel today. The important wall paintings in the Chapel and the brick north range of the present School Yard also date from the 1480’s; the lower storeys of the cloister, including College Hall, had been built between 1441 and 1460.

Canaletto chose to depict the college and chapel from the east, across from the River Thames. A number of nearby buildings appear to have been invented by the artist, and the scene as a whole, which follows a surviving drawing, appears to be a capriccio painting — a subtle variation of the true scene. As Canaletto visited and painted nearby Windsor Castle in 1747, he may have made a study of Eton College then, which he later opted to portray in oil with other features. Though the scene may not be a precise record, it is still a carefully composed painting, with the framing device of the tree to the left and the effect of the darkened foreground leading our eye into the middle-distance being accomplished devices used by the artist.





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A contemporary etching of the chapel





The chapel today





PIAZZA SAN MARCO LOOKING EAST FROM THE SOUTH WEST CORNER




It is believed Canaletto returned to Venice at some point in 1756. Joseph Smith bought only one painting from Canaletto during this period and by 1762 he had sold his collection to George III. In his later paintings Canaletto’s imagination and technical skill are seldom displayed, as he often fell back on ideas from earlier work for his subjects. The following painting complements its companion picture, Piazza San Marco: Looking East from the North-West Corner, which is also housed in the National Gallery, London. Both are painted in what has been called Canaletto’s late ‘calligraphic’ style, in which he uses a system of dots and curved lines in order to place details such as highlights on figures. The Campanile and San Marco are presented from beneath the colonnade of the Procuratie Nuove. The figures in the foreground draw our immediate attention, as two seated men converse, while another attends their words, holding a coffee cup. He has most likely wandered from the nearby Café Florian, a celebrated social meting place at the time, having been founded in 1720. The spontaneity of the scene is heightened by the relaxed and casual attitude of the figures that lounge away their hours. Unlike in the earlier canvases, where figures are often seen gesticulating in wonder at the architectural treasures surrounding them, these subjects seem much more interested in their day-to-day dealings with each other than the fine surrounding buildings.

In 1763 Canaletto was finally elected to the Venetian Academy, having been passed over earlier in the same year in favour of two relatively unimportant artists — doubtless on the grounds that he was a view painter and therefore judged inferior to history or figure painters.

The artist last attended a meeting of the Academy on 23 August 1767. He died of fever on 10 April 1768 and was buried at S. Lio, where he had been baptised. He left twenty-eight “medium and small” pictures, of which little are known, some old clothes and the most modest household goods. He had scarcely any money in cash, though he still owned the property he had bought for 2150 ducats during his 1751 visit to Venice from London. For a careful bachelor, this was not a great deal after forty-five years of successful painting at prices so many complained were too high.





Detail





Detail





Detail





Detail





The companion piece: ‘Piazza San Marco: Looking East from the North-West Corner’, c. 1760,

National Gallery, London





The Paintings





Palazzo Smith Mangilli Valmarana — the Venetian home of Canaletto’s most important patron, Joseph Smith





THE COLLECTED PAINTINGS




Canaletto’s collected paintings are presented in chronological order and divided into decade sections, with an alphabetical table of contents following immediately after.


CONTENTS

1720’s

San Cristoforo, San Michele, and Murano from the Fondamenta Nuove, Venice

Piazza San Marco with the Basilica, Venice

Grand Canal, Looking East from the Campo San Vio

The Piazza San Marco in Venice

Venice: The Canale di S. Chiari towards the Lagoon

Venice: The Piazetta towards Santa Maria della Salute

Venice: The Piazzetta towards S. Giorgio Maggiore

Grand Canal: Looking Northeast from near the Palazzo Corner Spinelli to the Rialto Bridge

Grand Canal: Looking North from near the Rialto Bridge

Grand Canal: the Rialto Bridge from the North

SS. Giovanni e Paulo and the Scuola de San Marco

The Stonemason’s Yard

Campo S. Vidal and Santa Maria della Carità

The Bacino di San Marco, Venice, Seen from the Giudecca

Venice: The Grand Canal from the Rialto to the Palazzo Foscari

The Grand Canal from the Palazzo Foscari to the Carità

The Reception of the French Ambassador Jacques-Vincent Languet, Compte de Gergy, at the Doge’s Palace

Sluice Gates at Dolo

Venice: S. Geremia and the Entrance to the Cannaregio

Venice: The Grand Canal Looking North from the Rialto

Venice: The Grand Canal with the Scalzi and S. Simione Piccoli

Venice: The Rialto Bridge from the North

Venice: The Grand Canal from Campo S. Vio Towards the Bacino

Venice: The Grand Canal from the Campo San Vio

Venice: The Grand Canal from the Carità towards the Bacino

Venice: The Grand Canal from the Palazzo Vendramin Calergi towards S. Geremia

The Bucintoro by the Molo on Ascension Day

Piazza San Marco

Reception of the Imperial Ambassador at the Doge’s Palace

Venice: Piazza San Marco from a Corner of the Basilica

Venice: Piazza San Marco towards S. Geminiano

Venice: Piazza San Marco with the Basilica and Campanile

Venice: The Piazzetta towards the Torre dell Olorogio

1730’s

The Bacino di San Marco: Looking North

Campo Santa Maria Formosa

The Dogana in Venice

Fonteghetto della Farina

The Grand Canal and the Church Santa Maria della Salute

The Grand Canal from the Salute towards the Carità

Piazza San Marco with the Basilica

Venice: The Grand Canal from the Salute towards the Carità

Venice: The Grand Canal with S. Maria della Salute Towards the Riva degli Schiavoni

View of the Molo in Venice

Campo Sant’ Angelo

Entrance to the Arsenal

Venice: The Bacino di San Marco on Ascension Day

Venice: A Regatta on the Grand Canal

Arrival of the French Ambassador at the Doge’s Palace

Campo San Rocco

The Doge’s Palace with the Piazza di San Marco

The Molo, Venice

Feast Day of San Rocco

Fonteghetto della Farina, Venice

Venice: A Regatta on the Grand Canal

Venice: The Interior of San Marco by Night

View of the Grand Canal, Santa Maria della Salute, Venice

A View of the Rialto, Venice

Bacino di San Marco

Bacino di San Marco, Venice

The Grand Canal from Palazzo Flangini to Campo san Marcuola

Regatta on the Grand Canal, Venice, Italy

Venice, a View of Piazza San Marco Looking East Towards the Basilica

Venice: The Doge’s Palace and the Riva degli Schiavoni

Venice, the Grand Canal Looking North-East from the Palazzo Dolphin-Manin to the Rialto Bridge

View of Campo Santi Apostoli

1740’s

A Caprice: View with Ruins

Piazza San Marco

Piazza San Marco, Looking Towards San Geminiano

Piazzetta and the Doge’s Palace from the Bacino di San Marco

A Regatta on the Grand Canal

Rialto Bridge from the South

Venice: A Caprice View with a Pointed Arch

Venice, Santa Maria della Salute

Venice: The Basin of San Marco on Ascension Day

Venice: The Campo SS. Giovanni e Paolo

Venice: The Upper Reaches of the Grand Canal with S. Simeone Piccolo

Arch of Constantine

The Arch of Septimius Severus

Arch of Titus

Molo Looking Towards the Zecca with the Column of Saint Theodore

Porta Portello, Padua

Rome: Ruins of the Forum looking Towards the Capitol

Rome: The Pantheon

Caprice View of the Molo and the Doge’s Palace

Rome: View of the Colosseum and the Arch of Constantine

The Colleoni Monument in a Caprice Setting

Entrance to the Grand Canal from the Molo, Venice

The Grand Canal with S.Maria della Salute towards the Riva degli Schiavoni

An Island in the Lagoon with a Gateway and a Church

Venice: Capriccio With the Four Horses From the Cathedral of San Marco

Venice: Caprice View of the Courtyard of the Doge’s Palace with the Scala dei Giganti

Venice: Caprice View with a Palladio Design for the Rialto

Venice: The Bacino di San Marco from San Giorgio Maggiore

Venice: The Bacino di San Marco from the Canale della Giudecca

Venice: The Piazza and Piazzetta from the Torre dell Orologio towards S. Giorgio Maggiore

Venice: The Piazza from the Piazzetta with the Campanile and Side of S. Marco

The Bucintoro at the Molo on Ascension Day

The entrance to the Grand Canal at the Punta della Dogana and Santa Maria della Salute

View of a River, Perhaps in Padua

The Mole with Santa Maria della Salute

Venice, the Riva degli Schiavoni

View the Arch of Constantine with the Coliseum

Capriccio of the Rialto Bridge with the Lagoon Beyond

The Thames and the City of London from Richmond House

The Thames with St. Paul’s Cathedral

Westminster Bridge from the North on Lord Mayor’s Day

The Chapel of Eton College

London Seen Through an Arch of Westminster Bridge

Warwick Castle

South Façade of Warwick Castle

Westminster Abbey with a Procession of Knights of the Bath

Windsor Castle

London: the Old Horse Guards and Banqueting Hall, from St James’s Park

London: The Old Horseguards from St. James Park

1750’s

The Canale di Santa Chiari

The Grand Canale from the Palazzo Foscari

The Grand Canal from the Palazzo Dolfin

The Grand Canal from the Palazzo Flangini

The Grand Canal with the Rialto Bridge and Fondaco dei Tedeschi

Chelsea from the Thames at Battersea Reach

Alnwick Castle

London: The Thames from Somerset House Terrace towards the City

London: The Thames from Somerset House Terrace towards Westminster

Warwick Castle, the East Front

Greenwich Hospital from the North Bank of the Thames

Northumberland House

A View of Greenwich from the River

English Landscape Capriccio with a Palace

The Interior of the Rotunda, Ranelagh, London

The Rotunda of Ranelagh House

A Sluice on a River with a Chapel

St. Paul’s Cathedral

Venice, Bacino di San Marco on Ascension Day

A View of Walton Bridge

Old Walton Bridge

Piazza San Marco - Looking South-West

Capriccio of a Renaissance Triumphal Arch seen from the Portico of a Palace

Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond

Night-time Celebration Outside the Church of San Pietro di Castello

Grand Canal from the Campo Santa Sofia towards the Rialto Bridge

Interior Court of the Doge’s Palace, Venice

Piazza San Marco, Looking East from the Southwest Corner

St Mark’s, Venice

Landscape with Ruins

Landscape with Ruins

1760’s

Campo di Rialto

Campo di Rialto

Piazza San Marco, Looking East

Piazza San Marco Looking South and West

Lock near Dolo

Perspective View with Portico

Scala dei Giganti

Venice: Palazzo Grimani

The Women’s Regatta on the Grand Canal

Santa Maria Zobenigo

Undated Paintings

Venice: The Grand Canal Towards the Bacino, with S. Maria della Salute

View Towards Murano from the Fondamenta Nuove

Church of La Salute, Venice

Grand Canal, Venice

Grand Canal, Venice

The Interior of Henry VII’s Chapel in Westminster Abbey

Rio dei Mendicanti: Looking South

San Giacomo de Rialto

Santi Giovanni e Paolo and the Scuola di San Marco

View of Rome: The Piazza del Campidoglio and the Cordonata

View of the Doge’s Palace in Venice

Basilica di Vecenza and the Ponte de Rialto

Capriccio of the Grand Canal with an Imaginary Rialto Bridge and Other Buildings

Grand Canal from the Palazzo Balbi

Grand Canal: Looking Northeast from the Palazzo Balbi to the Rialto Bridge

Grand Canal near the Campo San Vio, Looking Towards the Church of Santa Maria della Salute

London: Whitehall and the Privy Garden looking North





ALPHABETICAL LIST OF PAINTINGS




CONTENTS

A Caprice: View with Ruins

A Regatta on the Grand Canal

A Sluice on a River with a Chapel

A View of Greenwich from the River

A View of the Rialto, Venice

A View of Walton Bridge

Alnwick Castle

An Island in the Lagoon with a Gateway and a Church

Arch of Constantine

Arch of Titus

Arrival of the French Ambassador at the Doge’s Palace

Bacino di San Marco

Bacino di San Marco, Venice

Basilica di Vecenza and the Ponte de Rialto

Campo di Rialto

Campo di Rialto

Campo S. Vidal and Santa Maria della Carità

Campo San Rocco

Campo Sant’ Angelo

Campo Santa Maria Formosa

Capriccio of a Renaissance Triumphal Arch seen from the Portico of a Palace

Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond

Capriccio of the Grand Canal with an Imaginary Rialto Bridge and Other Buildings

Capriccio of the Rialto Bridge with the Lagoon Beyond

Caprice View of the Molo and the Doge’s Palace

Chelsea from the Thames at Battersea Reach

Church of La Salute, Venice

English Landscape Capriccio with a Palace

Entrance to the Arsenal

Entrance to the Grand Canal from the Molo, Venice

Feast Day of San Rocco

Fonteghetto della Farina

Fonteghetto della Farina, Venice

Grand Canal from the Campo Santa Sofia towards the Rialto Bridge

Grand Canal from the Palazzo Balbi

Grand Canal near the Campo San Vio, Looking Towards the Church of Santa Maria della Salute

Grand Canal, Looking East from the Campo San Vio

Grand Canal, Venice

Grand Canal, Venice

Grand Canal: Looking North from near the Rialto Bridge

Grand Canal: Looking Northeast from near the Palazzo Corner Spinelli to the Rialto Bridge

Grand Canal: Looking Northeast from the Palazzo Balbi to the Rialto Bridge

Grand Canal: the Rialto Bridge from the North

Greenwich Hospital from the North Bank of the Thames

Interior Court of the Doge’s Palace, Venice

Landscape with Ruins

Landscape with Ruins

Lock near Dolo

London Seen Through an Arch of Westminster Bridge

London: the Old Horse Guards and Banqueting Hall, from St James’s Park

London: The Old Horseguards from St. James Park

London: The Thames from Somerset House Terrace towards the City

London: The Thames from Somerset House Terrace towards Westminster

London: Whitehall and the Privy Garden looking North

Molo Looking Towards the Zecca with the Column of Saint Theodore

Night-time Celebration Outside the Church of San Pietro di Castello

Northumberland House

Old Walton Bridge

Perspective View with Portico

Piazza San Marco

Piazza San Marco

Piazza San Marco - Looking South-West

Piazza San Marco Looking South and West

Piazza San Marco with the Basilica

Piazza San Marco with the Basilica, Venice

Piazza San Marco, Looking East

Piazza San Marco, Looking East from the Southwest Corner

Piazza San Marco, Looking Towards San Geminiano

Piazzetta and the Doge’s Palace from the Bacino di San Marco

Porta Portello, Padua

Reception of the Imperial Ambassador at the Doge’s Palace

Regatta on the Grand Canal, Venice, Italy

Rialto Bridge from the South

Rio dei Mendicanti: Looking South

Rome: Ruins of the Forum looking Towards the Capitol

Rome: The Pantheon

Rome: View of the Colosseum and the Arch of Constantine

San Cristoforo, San Michele, and Murano from the Fondamenta Nuove, Venice

San Giacomo de Rialto

Santa Maria Zobenigo

Santi Giovanni e Paolo and the Scuola di San Marco

Scala dei Giganti

Sluice Gates at Dolo

South Façade of Warwick Castle

SS. Giovanni e Paulo and the Scuola de San Marco

St Mark’s, Venice

St. Paul’s Cathedral

The Arch of Septimius Severus

The Bacino di San Marco, Venice, Seen from the Giudecca

The Bacino di San Marco: Looking North

The Bucintoro at the Molo on Ascension Day

The Bucintoro by the Molo on Ascension Day

The Canale di Santa Chiari

The Chapel of Eton College

The Colleoni Monument in a Caprice Setting

The Dogana in Venice

The Doge’s Palace with the Piazza di San Marco

The entrance to the Grand Canal at the Punta della Dogana and Santa Maria della Salute

The Grand Canal and the Church Santa Maria della Salute

The Grand Canal from Palazzo Flangini to Campo san Marcuola

The Grand Canal from the Palazzo Dolfin

The Grand Canal from the Palazzo Flangini

The Grand Canal from the Palazzo Foscari to the Carità

The Grand Canal from the Salute towards the Carità

The Grand Canal with S.Maria della Salute towards the Riva degli Schiavoni

The Grand Canal with the Rialto Bridge and Fondaco dei Tedeschi

The Grand Canale from the Palazzo Foscari

The Interior of Henry VII’s Chapel in Westminster Abbey

The Interior of the Rotunda, Ranelagh, London

The Mole with Santa Maria della Salute

The Molo, Venice

The Piazza San Marco in Venice

The Reception of the French Ambassador Jacques-Vincent Languet, Compte de Gergy, at the Doge’s Palace

The Rotunda of Ranelagh House

The Stonemason’s Yard

The Thames and the City of London from Richmond House

The Thames with St. Paul’s Cathedral

The Women’s Regatta on the Grand Canal

Venice, a View of Piazza San Marco Looking East Towards the Basilica

Venice, Bacino di San Marco on Ascension Day

Venice, Santa Maria della Salute

Venice, the Grand Canal Looking North-East from the Palazzo Dolphin-Manin to the Rialto Bridge

Venice, the Riva degli Schiavoni

Venice: A Caprice View with a Pointed Arch

Venice: A Regatta on the Grand Canal

Venice: A Regatta on the Grand Canal

Venice: Capriccio With the Four Horses From the Cathedral of San Marco

Venice: Caprice View of the Courtyard of the Doge’s Palace with the Scala dei Giganti

Venice: Caprice View with a Palladio Design for the Rialto

Venice: Palazzo Grimani

Venice: Piazza San Marco from a Corner of the Basilica

Venice: Piazza San Marco towards S. Geminiano

Venice: Piazza San Marco with the Basilica and Campanile

Venice: S. Geremia and the Entrance to the Cannaregio

Venice: The Bacino di San Marco from San Giorgio Maggiore

Venice: The Bacino di San Marco from the Canale della Giudecca

Venice: The Bacino di San Marco on Ascension Day

Venice: The Basin of San Marco on Ascension Day

Venice: The Campo SS. Giovanni e Paolo

Venice: The Canale di S. Chiari towards the Lagoon

Venice: The Doge’s Palace and the Riva degli Schiavoni

Venice: The Grand Canal from Campo S. Vio Towards the Bacino

Venice: The Grand Canal from the Campo San Vio

Venice: The Grand Canal from the Carità towards the Bacino

Venice: The Grand Canal from the Palazzo Vendramin Calergi towards S. Geremia

Venice: The Grand Canal from the Rialto to the Palazzo Foscari

Venice: The Grand Canal from the Salute towards the Carità

Venice: The Grand Canal Looking North from the Rialto

Venice: The Grand Canal Towards the Bacino, with S. Maria della Salute

Venice: The Grand Canal with S. Maria della Salute Towards the Riva degli Schiavoni

Venice: The Grand Canal with the Scalzi and S. Simione Piccoli

Venice: The Interior of San Marco by Night

Venice: The Piazetta towards Santa Maria della Salute

Venice: The Piazza and Piazzetta from the Torre dell Orologio towards S. Giorgio Maggiore

Venice: The Piazza from the Piazzetta with the Campanile and Side of S. Marco

Venice: The Piazzetta towards S. Giorgio Maggiore

Venice: The Piazzetta towards the Torre dell Olorogio

Venice: The Rialto Bridge from the North

Venice: The Upper Reaches of the Grand Canal with S. Simeone Piccolo

View of a River, Perhaps in Padua

View of Campo Santi Apostoli

View of Rome: The Piazza del Campidoglio and the Cordonata

View of the Doge’s Palace in Venice

View of the Grand Canal, Santa Maria della Salute, Venice

View of the Molo in Venice

View the Arch of Constantine with the Coliseum

View Towards Murano from the Fondamenta Nuove

Warwick Castle

Warwick Castle, the East Front

Westminster Abbey with a Procession of Knights of the Bath

Westminster Bridge from the North on Lord Mayor’s Day

Windsor Castle





1720’s





San Cristoforo, San Michele, and Murano from the Fondamenta Nuove, Venice


1722

Dallas Museum of Art, USA

Oil on canvas





Piazza San Marco with the Basilica, Venice


1723

Ricardo Brennand Institute

Oil on canvas





Grand Canal, Looking East from the Campo San Vio


1723

Museo Thyssen-Bornemisza

Oil on canvas





The Piazza San Marco in Venice


1723-1724

Museo Thyssen-Bornemisza

Oil on canvas





Venice: The Canale di S. Chiari towards the Lagoon


1723-1724

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Piazetta towards Santa Maria della Salute


1724

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice: The Piazzetta towards S. Giorgio Maggiore


1724

Royal Collection Trust, Buckingham Palace

Oil on canvas





Grand Canal: Looking Northeast from near the Palazzo Corner Spinelli to the Rialto Bridge


1725

Gemäldegalerie Alte Meister - Staatliche Kunstsammlungen Dresden

Oil on canvas





Grand Canal: Looking North from near the Rialto Bridge


1725

Private collection

Oil on canvas





Grand Canal: the Rialto Bridge from the North


1725

Private collection

Oil on canvas





SS. Giovanni e Paulo and the Scuola de San Marco


1725

Gemäldegalerie Alte Meister - Staatliche Kunstsammlungen Dresden

Oil on canvas





The Stonemason’s Yard



Campo S. Vidal and Santa Maria della Carità


1725

National Gallery, London

Oil on canvas





The Bacino di San Marco, Venice, Seen from the Giudecca


1726

Upton House - National Trust

Oil on canvas





Venice: The Grand Canal from the Rialto to the Palazzo Foscari


1725-1726

Royal Collection Trust, Hampton Court Palace

Oil on canvas





The Grand Canal from the Palazzo Foscari to the Carità


1726-1727

Royal Collection Trust, Hampton Court Palace

Oil on canvas





The Reception of the French Ambassador Jacques-Vincent Languet, Compte de Gergy, at the Doge’s Palace


1727

The State Hermitage Museum - St Petersburg

Oil on canvas





Sluice Gates at Dolo


1727

Ashmolean Museum - University of Oxford

Oil on canvas





Venice: S. Geremia and the Entrance to the Cannaregio


1726-1727

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Grand Canal Looking North from the Rialto


1726-1727

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Grand Canal with the Scalzi and S. Simione Piccoli


1726-1727

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Rialto Bridge from the North


1726-1727

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Grand Canal from Campo S. Vio Towards the Bacino


1727-1728

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Grand Canal from the Campo San Vio


1728

Scottish National Gallery - National Galleries of Scotland

Oil on canvas





Venice: The Grand Canal from the Carità towards the Bacino


1727-1728

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Grand Canal from the Palazzo Vendramin Calergi towards S. Geremia


1727-1728

Royal Collection Trust, Hampton Court Palace

Oil on canvas





The Bucintoro by the Molo on Ascension Day


1729

Private collection

Oil on canvas





Piazza San Marco


1720-1729

Metropolitan Museum of Art, New York, NY

Oil on canvas





Reception of the Imperial Ambassador at the Doge’s Palace


1729

Private collection

Oil on canvas





Venice: Piazza San Marco from a Corner of the Basilica


1727-1729

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice: Piazza San Marco towards S. Geminiano


1727-1729

Royal Collection Trust, Windsor Castle

Oil on canvas





Venice: Piazza San Marco with the Basilica and Campanile


1727-1729

Royal Collection Trust, Windsor Castle

Oil on canvas





Venice: The Piazzetta towards the Torre dell Olorogio


1729

Royal Collection Trust, Buckingham Palace

Oil on canvas





1730’s





The Bacino di San Marco: Looking North


1730

Amgueddfa Cymru - Cardiff

Oil on canvas





Campo Santa Maria Formosa


1730

Woburn Abbey

Oil on canvas





The Dogana in Venice


1730

Kunsthistorisches Museum

Oil on canvas





Fonteghetto della Farina


1730

Private collection

Oil on canvas





The Grand Canal and the Church Santa Maria della Salute


1730

Museum of Fine Arts - Houston





The Grand Canal from the Salute towards the Carità


1729-1730

Royal Collection Trust, Buckingham Palace

Oil on canvas





Piazza San Marco with the Basilica


1730

Fogg Museum of Art - Harvard University

Oil on canvas





Venice: The Grand Canal from the Salute towards the Carità


1729-1730

Royal Collection Trust, Hampton Court Palace

Oil on canvas





Venice: The Grand Canal with S. Maria della Salute Towards the Riva degli Schiavoni


1729-1730

Royal Collection Trust, Hampton Court Palace

Oil on canvas





View of the Molo in Venice


1730

Columbia Museum of Art (South Carolina)

Oil on canvas





Campo Sant’ Angelo


1732

Private collection

Oil on canvas





Entrance to the Arsenal


1732

Woburn Abbey

Oil on canvas





Venice: The Bacino di San Marco on Ascension Day


1732

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice: A Regatta on the Grand Canal


1733-1734

Royal Collection Trust, Buckingham Palace

Oil on canvas





Arrival of the French Ambassador at the Doge’s Palace


1735

The State Hermitage Museum - St Petersburg

Oil on canvas





Campo San Rocco


1735

Private collection

Oil on canvas





The Doge’s Palace with the Piazza di San Marco


1735

Galleria degli Uffizi

Oil on canvas





The Molo, Venice


1735

Kimbell Art Museum, Fort Worth, Texas

Oil on canvas





Feast Day of San Rocco


1735

National Gallery, London

Oil on canvas





Fonteghetto della Farina, Venice


1735

Museum of Fine Arts - Boston

Oil on canvas





Venice: A Regatta on the Grand Canal


1735

National Gallery, London

Oil on canvas





Venice: The Interior of San Marco by Night


1725-1735

Royal Collection Trust, Windsor Castle

Oil on canvas





View of the Grand Canal, Santa Maria della Salute, Venice


1730-1735

Fitzwilliam Museum - University of Cambridge

Painting - tempera on canvas





A View of the Rialto, Venice


1734-1735

Sir John Soane’s Museum, London

Oil on canvas





Bacino di San Marco


1738

Museum of Fine Arts - Boston

Oil on canvas





Bacino di San Marco, Venice


1738

Museum of Fine Arts - Boston

Oil on canvas





The Grand Canal from Palazzo Flangini to Campo san Marcuola


1738

J. Paul Getty Museum - Los Angeles

Oil on canvas





Regatta on the Grand Canal, Venice, Italy


1730-1739

The Bowes Museum

Oil on canvas





Venice, a View of Piazza San Marco Looking East Towards the Basilica


1738-1739

Private collection

Oil on canvas





Venice: The Doge’s Palace and the Riva degli Schiavoni


1737-1739

National Gallery, London

Oil on canvas





Venice, the Grand Canal Looking North-East from the Palazzo Dolphin-Manin to the Rialto Bridge


1738-1739

Private collection

Oil on canvas





View of Campo Santi Apostoli


1730-1739

Private collection

Oil on canvas





1740’s





A Caprice: View with Ruins


1740

Royal Collection Trust, Buckingham Palace

Oil on canvas





Piazza San Marco


1735-1740

National Gallery of Art - Washington DC

Oil on canvas





Piazza San Marco, Looking Towards San Geminiano


1735-1740

Galleria Nazionale d’Arte Moderna e Contemporanea di Roma

Oil on canvas





Piazzetta and the Doge’s Palace from the Bacino di San Marco


1735-1740

Private collection

Oil on canvas





A Regatta on the Grand Canal


1740

National Gallery, London

Oil on canvas





Rialto Bridge from the South


1735-1740

Galleria Nazionale d’Arte Antica - Palazzo Barberini

Oil on canvas





Venice: A Caprice View with a Pointed Arch


1740

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice, Santa Maria della Salute


1740

Metropolitan Museum of Art, New York, NY

Oil on canvas





Venice: The Basin of San Marco on Ascension Day


1740

National Gallery, London

Oil on canvas





Venice: The Campo SS. Giovanni e Paolo


1736-1740

Royal Collection Trust, Windsor Castle

Oil on canvas





Venice: The Upper Reaches of the Grand Canal with S. Simeone Piccolo


1740

National Gallery, London

Oil on canvas





Arch of Constantine


1742

Royal Collection Trust, Buckingham Palace

Oil on canvas





The Arch of Septimius Severus


1742

Royal Collection Trust, Buckingham Palace

Oil on canvas





Arch of Titus


1742

Royal Collection Trust, Buckingham Palace

Oil on canvas





Molo Looking Towards the Zecca with the Column of Saint Theodore


1742

Castello Sforzesco

Oil on canvas





Porta Portello, Padua


1741-1742

National Gallery of Art - Washington DC

Oil on canvas





Rome: Ruins of the Forum looking Towards the Capitol


1742

Royal Collection Trust, Buckingham Palace

Oil on canvas





Rome: The Pantheon


1742

Royal Collection Trust, Buckingham Palace

Oil on canvas





Caprice View of the Molo and the Doge’s Palace


1743

Royal Collection Trust, Buckingham Palace

Oil on canvas





Rome: View of the Colosseum and the Arch of Constantine


1743

Royal Collection Trust, Buckingham Palace

Oil on canvas





The Colleoni Monument in a Caprice Setting


1744

Royal Collection Trust, Windsor Castle

Oil on canvas





Entrance to the Grand Canal from the Molo, Venice


1742-1744

National Gallery of Art - Washington DC

Oil on canvas





The Grand Canal with S.Maria della Salute towards the Riva degli Schiavoni


1744

Royal Collection Trust, Windsor Castle

Oil on canvas





An Island in the Lagoon with a Gateway and a Church


1743-1744

Saint Louis Art Museum

Oil on canvas





Venice: Capriccio With the Four Horses From the Cathedral of San Marco


1743-1744

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice: Caprice View of the Courtyard of the Doge’s Palace with the Scala dei Giganti


1744

Royal Collection Trust, Windsor Castle

Oil on canvas





Venice: Caprice View with a Palladio Design for the Rialto


1743-1744

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice: The Bacino di San Marco from San Giorgio Maggiore


1735-1744

Wallace Collection, London

Oil on canvas





Venice: The Bacino di San Marco from the Canale della Giudecca


1735-1744

Wallace Collection, London

Oil on canvas





Venice: The Piazza and Piazzetta from the Torre dell Orologio towards S. Giorgio Maggiore


1743-1744

Royal Collection Trust, Buckingham Palace

Oil on canvas





Venice: The Piazza from the Piazzetta with the Campanile and Side of S. Marco


1744

Royal Collection Trust, Buckingham Palace

Oil on canvas





The Bucintoro at the Molo on Ascension Day


1745

Philadelphia Museum of Art

Oil on canvas





The entrance to the Grand Canal at the Punta della Dogana and Santa Maria della Salute


1730-1745

Rijksmuseum Amsterdam

Oil on canvas





View of a River, Perhaps in Padua


1745

Private collection

Oil on canvas





The Mole with Santa Maria della Salute


1740-1745

Wallace Collection, London

Oil on canvas





Venice, the Riva degli Schiavoni


1740-1745

Wallace Collection, London

Oil on canvas





View the Arch of Constantine with the Coliseum


1742-1745

J. Paul Getty Museum - Los Angeles

Oil on canvas





Capriccio of the Rialto Bridge with the Lagoon Beyond


1746

Private collection

Oil on canvas





The Thames and the City of London from Richmond House


1746

Private collection

Oil on canvas





The Thames with St. Paul’s Cathedral


1746

Private collection

Oil on canvas





Westminster Bridge from the North on Lord Mayor’s Day


1746

Yale Center for British Art

Oil on canvas





The Chapel of Eton College


1747

National Gallery, London

Oil on canvas





London Seen Through an Arch of Westminster Bridge


1747

Private collection

Oil on canvas





Warwick Castle


1748

Yale Center for British Art

Oil on canvas





South Façade of Warwick Castle


1749

Thyssen-Bornemisza Museum, Madrid, Spain

Oil on canvas





Westminster Abbey with a Procession of Knights of the Bath


1749

Westminster College, London

Oil on canvas





Windsor Castle


1747

Private collection

Oil on canvas





London: the Old Horse Guards and Banqueting Hall, from St James’s Park


1749

Private collection

Oil on canvas





London: The Old Horseguards from St. James Park


1749

Tate Britain, London

Oil on canvas





1750’s





The Canale di Santa Chiari


1750

Wallace Collection, London

Oil on canvas





The Grand Canale from the Palazzo Foscari


1740-1750

Wallace Collection, London

Oil on canvas





The Grand Canal from the Palazzo Dolfin


1750

Wallace Collection, London

Oil on canvas





The Grand Canal from the Palazzo Flangini


1740-1750

Wallace Collection, London

Oil on canvas





The Grand Canal with the Rialto Bridge and Fondaco dei Tedeschi


1750

Rijksmuseum Amsterdam

Oil on canvas





Chelsea from the Thames at Battersea Reach


1751

Blickling Hall - National Trust

Oil on canvas





Alnwick Castle


c. 1750

Private collection

Oil on canvas





London: The Thames from Somerset House Terrace towards the City


1750-1751

Royal Collection Trust, Buckingham Palace

Oil on canvas





London: The Thames from Somerset House Terrace towards Westminster


1750-1751

Royal Collection Trust, Buckingham Palace

Oil on canvas





Warwick Castle, the East Front


1752

Birmingham Museum and Art Gallery

Oil on canvas





Greenwich Hospital from the North Bank of the Thames


1752

National Maritime Museum, London

Oil on canvas





Northumberland House


1752

Private collection

Oil on canvas





A View of Greenwich from the River


1750-1752

Tate Britain, London

Oil on canvas





English Landscape Capriccio with a Palace


1754

National Gallery of Art - Washington DC

Oil on canvas





The Interior of the Rotunda, Ranelagh, London


1754

Compton Verney - Warwickshire

Oil on canvas





The Rotunda of Ranelagh House


1754

National Gallery, London

Oil on canvas





A Sluice on a River with a Chapel


1754

Museum of Fine Arts - Boston

Oil on canvas





St. Paul’s Cathedral


1754

Yale Center for British Art

Oil on canvas





Venice, Bacino di San Marco on Ascension Day


1754

Private collection

Oil on canvas





A View of Walton Bridge


1754

Dulwich Picture Gallery, London

Oil on canvas





Old Walton Bridge


1755

Yale Center for British Art

Oil on canvas





Piazza San Marco - Looking South-West


1755

Wadsworth Atheneum Hartford, Connecticut

Oil on canvas





Capriccio of a Renaissance Triumphal Arch seen from the Portico of a Palace


1755

Private collection

Oil on canvas





Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond


1755

Private collection

Oil on canvas





Night-time Celebration Outside the Church of San Pietro di Castello


1755

Gemäldegalerie - Staatliche Museen zu Berlin

Oil on canvas





Grand Canal from the Campo Santa Sofia towards the Rialto Bridge


1756

Gemäldegalerie - Staatliche Museen zu Berlin

Oil on canvas





Interior Court of the Doge’s Palace, Venice


1756

Fitzwilliam Museum - University of Cambridge

Oil on canvas





Piazza San Marco, Looking East from the Southwest Corner


1756

National Gallery, London

Oil on canvas





St Mark’s, Venice


1756

Fitzwilliam Museum - University of Cambridge

Oil on canvas





Landscape with Ruins


1750-1759

Galleria dell Accademia - Venice

Oil on canvas





Landscape with Ruins


1750-1759

Galleria dell Accademia - Venice

Oil on canvas





1760’s





Campo di Rialto


c. 1760

Gemäldegalerie, Berlin Link back to Institution

Oil on canvas





Campo di Rialto


1760

Gemäldegalerie - Staatliche Museen zu Berlin





Piazza San Marco, Looking East


1760

National Gallery, London

Oil on canvas





Piazza San Marco Looking South and West


1763

Los Angeles County Museum of Art

Oil on canvas





Lock near Dolo


1763

Museum of Fine Arts, Budapest

Oil on canvas





Perspective View with Portico


1765

Accademia of Venice

Oil on canvas





Scala dei Giganti


1765

Private collection

Oil on canvas





Venice: Palazzo Grimani


1756-1768

National Gallery, London

Oil on canvas





The Women’s Regatta on the Grand Canal


1764-1768

Museo della Fondazione Quereni Stampalia - Venice

Oil on canvas





Santa Maria Zobenigo


1760-1769

Private collection

Oil on canvas





Undated Paintings





Venice: The Grand Canal Towards the Bacino, with S. Maria della Salute


Royal Collection Trust, Windsor Castle

Oil on canvas





View Towards Murano from the Fondamenta Nuove


Royal Collection Trust, Windsor Castle

Oil on canvas





Church of La Salute, Venice


Fine Arts Museums of San Francisco - Legion of Honor

Oil on canvas





Grand Canal, Venice


Fine Arts Museums of San Francisco - de Young

Oil on canvas





Grand Canal, Venice


Fine Arts Museums of San Francisco - de Young

Oil on canvas





The Interior of Henry VII’s Chapel in Westminster Abbey


Private collection

Oil on canvas





Rio dei Mendicanti: Looking South


Ca’ Rezzonico - Fondazione Musei Civici di Venezia

Oil on canvas





San Giacomo de Rialto


Gemäldegalerie Alte Meister - Staatliche Kunstsammlungen Dresden

Oil on canvas





Santi Giovanni e Paolo and the Scuola di San Marco


Private collection

Oil on canvas





View of Rome: The Piazza del Campidoglio and the Cordonata


Private collection

Oil on canvas





View of the Doge’s Palace in Venice


Alte Pinakothek - Bayerische Staatsgemäldesammlungen

Oil on canvas





Basilica di Vecenza and the Ponte de Rialto


Galleria Nazionale - Parma





Capriccio of the Grand Canal with an Imaginary Rialto Bridge and Other Buildings


Galleria Nazionale - Parma





Grand Canal from the Palazzo Balbi


Galleria degli Uffizi





Grand Canal: Looking Northeast from the Palazzo Balbi to the Rialto Bridge


Ca’ Rezzonico - Fondazione Musei Civici di Venezia





Grand Canal near the Campo San Vio, Looking Towards the Church of Santa Maria della Salute


Ashmolean Museum - University of Oxford

Oil on canvas





London: Whitehall and the Privy Garden looking North


Private collection

Oil on canvas





The Etchings





Gallerie dell’Accademia, now a museum gallery of pre-19th-century art, housed in the Scuola della Carità on the south bank of the Grand Canal, Venice — Canaletto was elected to the Venetian Academy in 1763 and appointed prior of the Collegio dei Pittori





THE ETCHINGS OF CANALETTO, 1697-1768




“Views, some taken from actual spots, others fanciful.”

Reproduced on a reduced scale from the original etchings in the British Museum

ALL the known etchings of Canaletto, thirty-one in number, appeared in one set about the year 1745. They were grouped upon eighteen oblong leaves, plates 1-11 and 14 being full-page, the others two to four on a page. The titles given by Rudolph Meyer (Die beiden Canaletto, Dresden, 1878) have been adopted in our List of the Plates. The order of the plates in the copy used by him is the same as in the British Museum set; in that in the Bibliothèque Nationale, not only are the full-page plates differently arranged, but the smaller plates are not grouped on the same pages.





THE PLATES





The Delphi Classics Catalogue




We are proud to present a listing of our complete catalogue of English titles, with new titles being added every month. Buying direct from our website means you can make great savings and take advantage of our instant Updates service. You can even purchase an entire series (Super Set) at a special discounted price.

Only from our website can readers purchase the special Parts Edition of our Complete Works titles. When you buy a Parts Edition, you will receive a folder of your chosen author’s works, with each novel, play, poetry collection, non-fiction book and more divided into its own special volume. This allows you to read individual novels etc. and to know precisely where you are in an eBook. For more information, please visit our Parts Edition page.





Series Contents




Series One

Anton Chekhov

Charles Dickens

D.H. Lawrence

Dickensiana Volume I

Edgar Allan Poe

Elizabeth Gaskell

Fyodor Dostoyevsky

George Eliot

H. G. Wells

Henry James

Ivan Turgenev

Jack London

James Joyce

Jane Austen

Joseph Conrad

Leo Tolstoy

Louisa May Alcott

Mark Twain

Oscar Wilde

Robert Louis Stevenson

Sir Arthur Conan Doyle

Sir Walter Scott

The Brontës

Thomas Hardy

Virginia Woolf

Wilkie Collins

William Makepeace Thackeray



Series Two

Alexander Pushkin

Alexandre Dumas (English)

Andrew Lang

Anthony Trollope

Bram Stoker

Christopher Marlowe

Daniel Defoe

Edith Wharton

F. Scott Fitzgerald

G. K. Chesterton

Gustave Flaubert (English)

H. Rider Haggard

Herman Melville

Honoré de Balzac (English)

J. W. von Goethe (English)

Jules Verne

L. Frank Baum

Lewis Carroll

Marcel Proust (English)

Nathaniel Hawthorne

Nikolai Gogol

O. Henry

Rudyard Kipling

Tobias Smollett

Victor Hugo

William Shakespeare



Series Three

Ambrose Bierce

Ann Radcliffe

Ben Jonson

Charles Lever

Émile Zola

Ford Madox Ford

Geoffrey Chaucer

George Gissing

George Orwell

Guy de Maupassant

H. P. Lovecraft

Henrik Ibsen

Henry David Thoreau

Henry Fielding

J. M. Barrie

James Fenimore Cooper

John Buchan

John Galsworthy

Jonathan Swift

Kate Chopin

Katherine Mansfield

L. M. Montgomery

Laurence Sterne

Mary Shelley

Sheridan Le Fanu

Washington Irving



Series Four

Arnold Bennett

Arthur Machen

Beatrix Potter

Bret Harte

Captain Frederick Marryat

Charles Kingsley

Charles Reade

G. A. Henty

Edgar Rice Burroughs

Edgar Wallace

E. M. Forster

E. Nesbit

George Meredith

Harriet Beecher Stowe

Jerome K. Jerome

John Ruskin

Maria Edgeworth

M. E. Braddon

Miguel de Cervantes

M. R. James

R. M. Ballantyne

Robert E. Howard

Samuel Johnson

Stendhal

Stephen Crane

Zane Grey



Series Five

Algernon Blackwood

Anatole France

Beaumont and Fletcher

Charles Darwin

Edward Bulwer-Lytton

Edward Gibbon

E. F. Benson

Frances Hodgson Burnett

Friedrich Nietzsche

George Bernard Shaw

George MacDonald

Hilaire Belloc

John Bunyan

John Webster

Margaret Oliphant

Maxim Gorky

Oliver Goldsmith

Radclyffe Hall

Robert W. Chambers

Samuel Butler

Samuel Richardson

Sir Thomas Malory

Thomas Carlyle

William Harrison Ainsworth

William Dean Howells

William Morris



Series Six

Anthony Hope

Aphra Behn

Arthur Morrison

Baroness Emma Orczy

Captain Mayne Reid

Charlotte M. Yonge

Charlotte Perkins Gilman

E. W. Hornung

Ellen Wood

Frances Burney

Frank Norris

Frank R. Stockton

Hall Caine

Horace Walpole

One Thousand and One Nights

R. Austin Freeman

Rafael Sabatini

Saki

Samuel Pepys

Sir Issac Newton

Stanley J. Weyman

Thomas De Quincey

Thomas Middleton

Voltaire

William Hazlitt

William Hope Hodgson



Series Seven

Adam Smith

Benjamin Disraeli

Confucius

David Hume

E. M. Delafield

E. Phillips Oppenheim

Edmund Burke

Ernest Hemingway

Frances Trollope

Galileo Galilei

Guy Boothby

Hans Christian Andersen

Ian Fleming

Immanuel Kant

Karl Marx

Kenneth Grahame

Lytton Strachey

Mary Wollstonecraft

Michel de Montaigne

René Descartes

Richard Marsh

Sax Rohmer

Sir Richard Burton

Talbot Mundy

Thomas Babington Macaulay

W. W. Jacobs



Series Eight

Anna Katharine Green

Arthur Schopenhauer

The Brothers Grimm

C. S. Lewis

Charles and Mary Lamb

Elizabeth von Arnim

Ernest Bramah

Francis Bacon

Gilbert and Sullivan

Grant Allen

Henryk Sienkiewicz

Hugh Walpole

Jean-Jacques Rousseau

John Locke

John Muir

Joseph Addison

Lafcadio Hearn

Lord Dunsany

Marie Corelli

Niccolò Machiavelli

Ouida

Richard Brinsley Sheridan

Sigmund Freud

Theodore Dreiser

Walter Pater

W. Somerset Maugham



Ancient Classics

Achilles Tatius

Aeschylus

Ammianus Marcellinus

Apollodorus

Appian

Apuleius

Apollonius of Rhodes

Aristophanes

Aristotle

Arrian

Augustine

Aulus Gellius

Bede

Cassius Dio

Cato

Catullus

Cicero

Clement of Alexandria

Cornelius Nepos

Demosthenes

Diodorus Siculus

Diogenes Laërtius

Euripides

Frontius

Herodotus

Hesiod

Hippocrates

Homer

Horace

Isocrates

Josephus

Julius Caesar

Juvenal

Livy

Longus

Lucan

Lucian

Lucretius

Marcus Aurelius

Martial

Nonnus

Ovid

Pausanias

Petronius

Pindar

Plato

Plautus

Pliny the Elder

Pliny the Younger

Plotinus

Plutarch

Polybius

Procopius

Propertius

Quintus Smyrnaeus

Sallust

Sappho

Seneca the Younger

Septuagint

Sophocles

Statius

Strabo

Suetonius

Tacitus

Terence

Theocritus

Thucydides

Tibullus

Virgil

Xenophon



Delphi Poets Series

A. E. Housman

Alexander Pope

Alfred, Lord Tennyson

Algernon Charles Swinburne

Andrew Marvell

Beowulf

Charlotte Smith

Christina Rossetti

D. H Lawrence (poetry)

Dante Alighieri (English)

Dante Gabriel Rossetti

Delphi Poetry Anthology

Edgar Allan Poe (poetry)

Edmund Spenser

Edward Lear

Edward Thomas

Edwin Arlington Robinson

Ella Wheeler Wilcox

Elizabeth Barrett Browning

Emily Dickinson

Ezra Pound

Friedrich Schiller (English)

George Chapman

George Herbert

Gerard Manley Hopkins

Hafez

Heinrich Heine

Henry Howard, Earl of Surrey

Henry Wadsworth Longfellow

Isaac Rosenberg

James Russell Lowell

Johan Ludvig Runeberg

John Clare

John Donne

John Dryden

John Keats

John Milton

John Wilmot, Earl of Rochester

Leigh Hunt

Lord Byron

Ludovico Ariosto

Luís de Camões

Matthew Arnold

Michael Drayton

Percy Bysshe Shelley

Petrarch

Ralph Waldo Emerson

Robert Browning

Robert Burns

Robert Frost

Robert Southey

Rumi

Rupert Brooke

Samuel Taylor Coleridge

Sir Philip Sidney

Sir Thomas Wyatt

Sir Walter Raleigh

Thomas Chatterton

Thomas Gray

Thomas Hardy (poetry)

Thomas Hood

Thomas Moore

Torquato Tasso

T. S. Eliot

W. B. Yeats

Walter Savage Landor

Walt Whitman

Wilfred Owen

William Blake

William Cowper

William Wordsworth



Masters of Art

Albrecht Dürer

Amedeo Modigliani

Camille Pissarro

Canaletto

Caravaggio

Caspar David Friedrich

Claude Monet

Dante Gabriel Rossetti

Diego Velázquez

Edgar Degas

Édouard Manet

Eugène Delacroix

Francisco Goya

Giotto

Gustave Courbet

Gustav Klimt

J. M. W. Turner

Johannes Vermeer

John Constable

Leonardo da Vinci

Michelangelo

Paul Cézanne

Paul Gauguin

Paul Klee

Peter Paul Rubens

Piero della Francesca

Pierre-Auguste Renoir

Pieter Bruegel the Elder

Sandro Botticelli

Raphael

Rembrandt van Rijn

Thomas Gainsborough

Tintoretto

Titian

Vincent van Gogh

Wassily Kandinsky





Alphabetical List of Titles




A. E. Housman

Achilles Tatius

Adam Smith

Aeschylus

Albrecht Dürer

Alexander Pope

Alexander Pushkin

Alexandre Dumas (English)

Alfred, Lord Tennyson

Algernon Blackwood

Algernon Charles Swinburne

Ambrose Bierce

Amedeo Modigliani

Ammianus Marcellinus

Anatole France

Andrew Lang

Andrew Marvell

Ann Radcliffe

Anna Katharine Green

Anthony Hope

Anthony Trollope

Anton Chekhov

Aphra Behn

Apollodorus

Apollonius of Rhodes

Appian

Apuleius

Aristophanes

Aristotle

Arnold Bennett

Arrian

Arthur Machen

Arthur Morrison

Arthur Schopenhauer

Augustine

Aulus Gellius

Baroness Emma Orczy

Beatrix Potter

Beaumont and Fletcher

Bede

Ben Jonson

Benjamin Disraeli

Beowulf

Bram Stoker

Bret Harte

The Brontës

The Brothers Grimm

C. S. Lewis

Camille Pissarro

Canaletto

Captain Frederick Marryat

Captain Mayne Reid

Caravaggio

Caspar David Friedrich

Cassius Dio

Cato

Catullus

Charles and Mary Lamb

Charles Darwin

Charles Dickens

Charles Kingsley

Charles Lever

Charles Reade

Charlotte M. Yonge

Charlotte Perkins Gilman

Charlotte Smith

Christina Rossetti

Christopher Marlowe

Cicero

Claude Monet

Clement of Alexandria

Confucius

Cornelius Nepos

D. H Lawrence (poetry)

D.H. Lawrence

Daniel Defoe

Dante Alighieri (English)

Dante Gabriel Rossetti

Dante Gabriel Rossetti

David Hume

Delphi Poetry Anthology

Demosthenes

Dickensiana Volume I

Diego Velázquez

Diodorus Siculus

Diogenes Laërtius

E. F. Benson

E. M. Delafield

E. M. Forster

E. Nesbit

E. Phillips Oppenheim

E. W. Hornung

Edgar Allan Poe

Edgar Allan Poe (poetry)

Edgar Degas

Edgar Rice Burroughs

Edgar Wallace

Edith Wharton

Edmund Burke

Edmund Spenser

Édouard Manet

Edward Bulwer-Lytton

Edward Gibbon

Edward Lear

Edward Thomas

Edwin Arlington Robinson

Elizabeth Barrett Browning

Elizabeth Gaskell

Elizabeth von Arnim

Ella Wheeler Wilcox

Ellen Wood

Émile Zola

Emily Dickinson

Ernest Bramah

Ernest Hemingway

Eugène Delacroix

Euripides

Ezra Pound

F. Scott Fitzgerald

Ford Madox Ford

Frances Burney

Frances Hodgson Burnett

Frances Trollope

Francis Bacon

Francisco Goya

Frank Norris

Frank R. Stockton

Friedrich Nietzsche

Friedrich Schiller (English)

Frontius

Fyodor Dostoyevsky

G. A. Henty

G. K. Chesterton

Galileo Galilei

Geoffrey Chaucer

George Bernard Shaw

George Chapman

George Eliot

George Gissing

George Herbert

George MacDonald

George Meredith

George Orwell

Gerard Manley Hopkins

Gilbert and Sullivan

Giotto

Grant Allen

Gustav Klimt

Gustave Courbet

Gustave Flaubert (English)

Guy Boothby

Guy de Maupassant

H. G. Wells

H. P. Lovecraft

H. Rider Haggard

Hafez

Hall Caine

Hans Christian Andersen

Harriet Beecher Stowe

Heinrich Heine

Henrik Ibsen

Henry David Thoreau

Henry Fielding

Henry Howard, Earl of Surrey

Henry James

Henry Wadsworth Longfellow

Henryk Sienkiewicz

Herman Melville

Herodotus

Hesiod

Hilaire Belloc

Hippocrates

Homer

Honoré de Balzac (English)

Horace

Horace Walpole

Hugh Walpole

Ian Fleming

Immanuel Kant

Isaac Rosenberg

Isocrates

Ivan Turgenev

J. M. Barrie

J. M. W. Turner

J. W. von Goethe (English)

Jack London

James Fenimore Cooper

James Joyce

James Russell Lowell

Jane Austen

Jean-Jacques Rousseau

Jerome K. Jerome

Johan Ludvig Runeberg

Johannes Vermeer

John Buchan

John Bunyan

John Clare

John Constable

John Donne

John Dryden

John Galsworthy

John Keats

John Locke

John Milton

John Muir

John Ruskin

John Webster

John Wilmot, Earl of Rochester

Jonathan Swift

Joseph Addison

Joseph Conrad

Josephus

Jules Verne

Julius Caesar

Juvenal

Karl Marx

Kate Chopin

Katherine Mansfield

Kenneth Grahame

L. Frank Baum

L. M. Montgomery

Lafcadio Hearn

Laurence Sterne

Leigh Hunt

Leo Tolstoy

Leonardo da Vinci

Lewis Carroll

Livy

Longus

Lord Byron

Lord Dunsany

Louisa May Alcott

Lucan

Lucian

Lucretius

Ludovico Ariosto

Luís de Camões

Lytton Strachey

M. E. Braddon

M. R. James

Marcel Proust (English)

Marcus Aurelius

Margaret Oliphant

Maria Edgeworth

Marie Corelli

Mark Twain

Martial

Mary Shelley

Mary Wollstonecraft

Matthew Arnold

Maxim Gorky

Michael Drayton

Michel de Montaigne

Michelangelo

Miguel de Cervantes

Nathaniel Hawthorne

Niccolò Machiavelli

Nikolai Gogol

Nonnus

O. Henry

Oliver Goldsmith

One Thousand and One Nights

Oscar Wilde

Ouida

Ovid

Paul Cézanne

Paul Gauguin

Paul Klee

Pausanias

Percy Bysshe Shelley

Peter Paul Rubens

Petrarch

Petronius

Piero della Francesca

Pierre-Auguste Renoir

Pieter Bruegel the Elder

Pindar

Plato

Plautus

Pliny the Elder

Pliny the Younger

Plotinus

Plutarch

Polybius

Procopius

Propertius

Quintus Smyrnaeus

R. Austin Freeman

R. M. Ballantyne

Radclyffe Hall

Rafael Sabatini

Ralph Waldo Emerson

Raphael

Rembrandt van Rijn

René Descartes

Richard Brinsley Sheridan

Richard Marsh

Robert Browning

Robert Burns

Robert E. Howard

Robert Frost

Robert Louis Stevenson

Robert Southey

Robert W. Chambers

Rudyard Kipling

Rumi

Rupert Brooke

Saki

Sallust

Samuel Butler

Samuel Johnson

Samuel Pepys

Samuel Richardson

Samuel Taylor Coleridge

Sandro Botticelli

Sappho

Sax Rohmer

Seneca the Younger

Septuagint

Sheridan Le Fanu

Sigmund Freud

Sir Arthur Conan Doyle

Sir Issac Newton

Sir Philip Sidney

Sir Richard Burton

Sir Thomas Malory

Sir Thomas Wyatt

Sir Walter Raleigh

Sir Walter Scott

Sophocles

Stanley J. Weyman

Statius

Stendhal

Stephen Crane

Strabo

Suetonius

T. S. Eliot

Tacitus

Talbot Mundy

Terence

Theocritus

Theodore Dreiser

Thomas Babington Macaulay

Thomas Carlyle

Thomas Chatterton

Thomas De Quincey

Thomas Gainsborough

Thomas Gray

Thomas Hardy

Thomas Hardy (poetry)

Thomas Hood

Thomas Middleton

Thomas Moore

Thucydides

Tibullus

Tintoretto

Titian

Tobias Smollett

Torquato Tasso

Victor Hugo

Vincent van Gogh

Virgil

Virginia Woolf

Voltaire

W. B. Yeats

W. Somerset Maugham

W. W. Jacobs

Walt Whitman

Walter Pater

Walter Savage Landor

Washington Irving

Wassily Kandinsky

Wilfred Owen

Wilkie Collins

William Blake

William Cowper

William Dean Howells

William Harrison Ainsworth

William Hazlitt

William Hope Hodgson

William Makepeace Thackeray

William Morris

William Shakespeare

William Wordsworth

Xenophon

Zane Grey


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San Lio Church, Castello, Venice — Canaletto’s final resting place





Tradition holds that Canaletto was buried below the chapel of the Gussoni family.