The Terrace

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1745

Follower of Canaletto (Antonio Canal)
Italian, 1697–1768

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Follower of Canaletto
Title: The Terrace
Place: Italy (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1740–1750
Medium: Oil on canvas
Dimensions: 49.2 × 58.6 cm (19 3/8 × 23 in.)
Credit Line: Gift of Mrs. Clive Runnells
Reference Number: 1957.49
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/5292/manifest.json

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.

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.

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.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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