The Church of Santa Maria della Salute, Venice

1. Probably Sir William Pilkington, 8th Bt. (died 1850), Butterton Hall and Chevet Hall, Wakefield, Yorkshire, from about 1846 [according to letter from Edward Speelman to Daniel Rich, dated May 8, 1946; copy in curatorial file]; by descent in the Pilkington family to Sir Arthur William Milborne-Swinnerton-Pilkington, 13th Bt. (died 1952), Chevet Hall, Wakefield, Yorkshire [according to letter cited above]; sold to Edward Speelman, London, by May 1946 [according to letter cited above, the painting may have had a pendant, now untraced, since a photograph of “A Regatta on the Grand Canal” in the curatorial file is labeled “22 x 33 ½ inches; offer for £1800 – 15 Sept. 1950 by Ed. Speelman Ltd.” and “pendant picture by Marieschi”]; sold to the Art Institute, 1946.

Recorded by Art Institute of Chicago.

• Toronto, Art Gallery of Toronto, Canaletto: A retrospective exhibition of the work of Canaletto, October 16-November 15, 1964; Ottawa, National Gallery of Canada, December 4, 1964-January 10, 1965; Montreal Museum of Fine Arts, January 29-February 28, 1965, no. 132.
• Allentown, Pa., Allentown Art Museum, Circle of Canaletto, February 20-March 21, 1971, no. 34.
• Williamstown, Mass., Sterling and Francine Clark Art Institute, February 3-April 1, 1973, no cat.

• Rodolfo Pallucchini, “Dipinti Veneziani a Chicago, Detroit, Toledo e Hartford,” in Arte Veneta 1 (1947), pp. 146-48, fig. 133.
• Rodolfo Pallucchini, La pittura veneziana del Settecento, pt. 2 (Bologna: Casa Editrice Prof. Riccardo Pàtron, 1951), p. 208.
• Daniel Catton Rich, “In a Minor Key,” Art Institute of Chicago Quarterly 47, 2 (1953), p. 33 (ill.).
• Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1956), p. 27.
• Antonio Morassi, “Circa gli esordi del vedutismo di Francesco Guardi con qualche cenno sul Marieschi,” in Studies in the History of Art: Dedicated to William E. Suida on his eightieth birthday (London: Phaidon Press for the Samuel H. Kress Foundation, 1959), pp. 338-344.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 294.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich: A. Schroll, 1961), p. 518.
• Rodolfo Pallucchini, “A proposito della mostra Bergamasca del Marieschi,” in Arte Veneta 20 (1966), p. 319, fig. 377.
• Mercedes Precerutti-Garberi, “Michele Marieschi ed i ‘capricci’ del castello Sforzesco di Milano” in Pantheon 26 (1968), pp. 42, 44, fig. 10.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), p. 120.
• Ludovico Mucchi and Alberto Bertuzzi, Nella profondità dei dipinti: la radiografia nell’indagine pittorica (Milan: Electa Editrice, 1983), pp. 112, 169, 173, no. M5.
• Mario Manzelli, “Proposta per l’identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto,” in Arte Veneta 41 (1987), p. 114, no. M9.

Harpsichord

The Metropolitan Museum of Art

Allegory of Sacred and Profane Love

The Metropolitan Museum of Art

L'Arlésienne: Madame Joseph-Michel Ginoux (Marie Julien, 1848–1911)

The Metropolitan Museum of Art

The Annunciation to Zacharias; (verso) The Angel of the Annunciation

The Metropolitan Museum of Art

Piazza San Marco looking towards the Basilica and Campanile

The Metropolitan Museum of Art

Viola d'Amore

The Metropolitan Museum of Art

Vedute delle ville, e d'altri luoghi della Toscana

The Metropolitan Museum of Art

The Feast of Herod and the Beheading of the Baptist

The Metropolitan Museum of Art

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.