The Terrace

1. Probably Sir Charles Turner, London, by 1908; his sale, Rudolph Lepke, Berlin, November 17, 1908, no. 4, as Bernardo Belotto. Possibly A. S. Drey, Munich [according to Constable and Links 1976]. Antonio Dal Zotto (died 1918), Venice [according to Paris 1928 when the picture and its pendant, 1957.48, were lent by Federico Gentili di Giuseppe]. Federico Gentili di Giuseppe, Paris, (died 1940), by 1917 [see Oulmont 1917]; by descent to his daughter Adriana Salem, Paris and Cambridge, Massachusetts, by 1952 [according to Kleinberger stock card in European Painting Department, Metropolitan Museum of Art, New York, the painting was on loan to the Fogg Museum of Art from 1952–54]; by descent to her son, Daniel Salem, Paris [according to stock card referenced above]; sold to F. Kleinberger & Co., New York, 1956 [according to stock card referenced above and a letter from Harry G. Sperling to Daniel Catton Rich dated November 1, 1956 in curatorial file]; purchased by the Art Institute from F. Kleinberger & Co. with funds provided by Mrs. Clive Runnells (died 1977), who maintained a partial life interest in the picture.

Recorded by Art Institute of Chicago.

• Paris, Galerie d’Art Sambon, Exposition des paysagistes vénitiens et français des XVIIe et XVIIIe siècles, June 5–July 5, 1928, no cat. no.
• Auckland City Art Gallery, Canaletto: Master of Venice, April 9–June 1, 1986, no cat no.; traveled to National Gallery of Art, Wellington, June 19–July 31, 1986; Robert McDougall Art Gallery, Christchurch, August 14–September 25, 1986.

• Giulio Ferrari, Les deux Canaletto: Antonio Canal, Bernardo Bellotto, peintres (Turin, 1914), p. 26, pl. 50.
• Charles Oulmont, “Collection M.-F. Gentili di Giuseppe,” Les Arts no. 162 (1917), pp. 13, 18–19, ill.
• Hellmuth Allwill Fritzsche, Bernardo Belotto, gennant Canaletto (Burg bei Magdeburg, 1936), p. 105, no. 10.
• Rodolfo Pallucchini and G. F. Guarnati, Les eaux-fortes de Canaletto (Venice, 1945), p. 34, under no. 18.
• Daniel Catton Rich, “Report of the Director: Annual Report 1956–1957,” The Art Institute of Chicago Quarterly 51, 3 (September 1957), p. 52.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 65.
• W. G. Constable, Canaletto: Giovanni Antonio Canal, 1697–1768, vol. 2 (Oxford, 1962), p. 411, no. 469 b or e.
• Stefan Kozakiewicz, Bernardo Bellotto, genannt Canaletto, vol. 2 (Recklinghausen, 1972), p. 487, no. Z402.
• Ettore Camesasca, L’opera completa del Bellotto (Milan, 1974), pp. 122–23, no. 323 A, ill.
• W. G. Constable and J. G. Links, Canaletto: Giovanni Antonio Canal, 1697–1768, vol. 2 (Oxford, 1976), p. 443, no. 469; reprinted (Oxford, 1989).
• John D. Morse, Old Master Paintings in North America (New York, 1979), p. 44.
• New York Graphic Society, Fine Art Collections (Greenwich, Connecticut, 1986), p. 165, ill.

Piazza San Marco

The Metropolitan Museum of Art

Platter

The Metropolitan Museum of Art

The Adoration of the Magi

The Metropolitan Museum of Art

Saints John the Evangelist and Mary Magdalene

The Metropolitan Museum of Art

Campo Santa Maria Zobenigo, Venice

The Metropolitan Museum of Art

The Grand Canal, Venice, Looking Southeast, with the Campo della Carità to the Right

The Metropolitan Museum of Art

Warwick Castle: The East Front

The Metropolitan Museum of Art

The Adoration of the Christ Child

The Metropolitan Museum of Art

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