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The Doge Receiving Ambassadors in the Sala dei Collegio of the Ducal Palace, Venice
The Doge Receiving Ambassadors in the Sala dei Collegio of the Ducal Palace, Venice
Date:
ca. 1760–1770
Location:
Not on display
Century:
Media:
Pen And Brown Ink, Brown Wash Over Black Chalk
Dimensions:
348 x 480 mm (13 11/16 x 18 7/8 in.)
Department:
Object Type:
Country:
Continent:
Europe
Accession Number:
1965.49
Acquisition Date:
1965-10-08
Credit Line:

Gift of Edmund B. MacDonald

Exhibition History:

University Art Museum, University of California, Berkeley: Master Drawings from Calfornia Collections, 1968. cat. ed. Juergen Schulz, entry by Carolyn Malone, cat. no. 39, p.45, repr. p. 120, as Circle of Francesco Guardi;
University Art Museum, University of California, Berkeley:The Masking of Venice, 11 Dec 1996-4 March 1997; University Art Museum, University of California, Berkeley: Master Drawings from Calfornia Collections, 1968. cat. ed. Juergen Schulz, entry by Carolyn Malone, cat. no. 39, p.45, repr. p. 120, as Circle of Francesco Guardi;
University Art Museum, University of California, Berkeley:The Masking of Venice, 1996-1997. University Art Museum, University of California, Berkeley: Master Drawings from Calfornia Collections, 1968. cat. ed. Juergen Schulz, entry by Carolyn Malone, cat. no. 39, p.45, repr. p. 120, as Circle of Francesco Guardi;
University Art Museum, University of California, Berkeley:The Masking of Venice, 1996-1997;University Art Museum, University of California, Berkeley: Master Drawings from Calfornia Collections, 1968. cat. ed. Juergen Schulz, entry by Carolyn Malone, cat. no. 39, p.45, repr. p. 120, as Circle of Francesco Guardi.

Depicting the Doge’s formal audience in the Sala del Collegio of Venice Ducal Palace, this large sheet reproduces an original design by Canaletto, etched by Giovanni Battista Brustolon in 1763-66, and part of series of twelve celebrating ceremonies and festivals of the Republic. The same image was later used as a model by Francesco Guardi for a series of paintings now in the Louvre (for this design, see inv. 325), which omitted some detail present in the print and in this drawing, like the second window and group of figures at left, a figure on the right and part of the ceiling. The attribution to Francesco Guardi of the present drawing, under which it arrived in the Collection in 1965, was later dismissed by Terisio Pignatti, who thought instead of a 19th century forgery after the print by Brustolon (letter of 14 August 1973, Achenbach Foundation internal files). While not autograph, the present sheet appears a work from the period, possibly produced within Guardi’s workshop or circle. (F.R.)