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Provenance

Richard White, 2d earl of Bantry [1800-1868], County Cork, Ireland, who perhaps bought it in Italy c. 1820; by descent to Mrs. Shelswell-White. (Unspecified dealer, Dublin, as Pellegrini, in 1955); (David Carritt for Geoffrey Merton, London), 1956.[1] (Thomas Agnew & Sons, London); purchased 1964 by NGA.

Exhibition History
1960
Italian Art and Britain, Royal Academy of Arts, London, 1960, no. 457, as by Francesco Guardi.
1969
In Memoriam, Ailsa Mellon Bruce, National Gallery of Art, Washington, D.C., 1969, unnumbered checklist.
Bibliography
1959
Frohlich-Bume, Lili. "Die neuentdeckten Bilder von Francesco Guardi." Weltkunst 29 (1959): 7.
1959
Jeudwine, W.R. "A Guardi Rediscovery." Apollo 70 (1959): 173-175, repro.
1959
Muraro, Michelangelo. "Figure di Francesco Guardi." Emporium 130 (1959): 252, n. 14.
1960
Morassi, Antonio. "Aggiunta al Guardi: le cinque 'Storie' della Gerusalemme liberata." Emporium 131 (1960): 247-256, figs. 5-6.
1960
Muraro, Michelangelo. "Arte Italiana e Inghilterra." Emporium 131 (1960): 168-170.
1960
Muraro, Michelangelo. "The Guardi Problem and the Statues of the Venetian Guilds." The Burlington Magazine 102 (1960): 421-428.
1960
Pallucchini 1960, 134, 140, figs. 356-357.
1961
Pallucchini, Rodolfo. "La pittura veneta alla mostra Italian Art and Britain: Appunti e proposte." In Festschrift Eberhard Hanfstaengl zum 75. Munich, 1961: 81-83, figs. 5-6.
1964
Martini, Egidio. La pittura veneziana del settecento. Venice, 1964: 114, 274, n. 259, fig. 262.
1964
Pignatti, Terisio. "Nuovi disegni di figura dei Guardi." Critica d'Arte n.s. II, nos. 67-68 (1964): 60.
1965
Heinemann, Fritz. "Mostra dei Guardi." Kunstchronik 18 (1965): 240.
1965
Nicolson, Benedict. "The Guardi Brothers as Figure Painters." The Burlington Magazine 107 (1965): 472.
1965
Palluchini, Rodolfo. "Note alla mostra dei Guardi." Arte Veneta 19 (1965): 226.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 64.
1965
Zampetti, Pietro, ed. Mostra dei Guardi. Exh. cat. Ca'Peasaro, Venice, 1965.
1966
Hannegan, Barry. "Guardi at Venice." The Art Bulletin 48, no. 2 (June 1966): 251.
1966
Levey, Michael. Rococo to Revolution. New York, 1966: 113-114, fig. 69.
1966
Morassi, Antonio. "Altre novità e precisazioni su Antonio e Francesco Guardi." Atti dell'Accademia di scienze, lettere e arti di Udine. 7th ser., 8 (1966-1969): 287.
1966
Pignatti, Terisio. "The Brothers Guardi." Art News Annual 31 (1966): 45.
1966
Watson, Francis J. B. "The Guardi Family of Painters." Journal of the Royal Society of Arts 114 (1966): 277-279.
1966
Zampetti, Pietro. "A proposito dei Guardi." Colóquio 39 (1966): 44.
1967
Mahon, Denis. "The Brothers at the Mostra dei Guardi: Some Impressions of a Neophyte." In Problemi Guardeschi. Atti del convegno di studi promossi della mostra dei Guardi. 13-14 settembre 1965. Venice, 1967: 91-99.
1967
Morassi, Antonio. "Antonio Guardi." In Sensibilità e razionalità del '700. Corso internazionale di alta cultura, 7, Venice 1965. Edited by Vittore Branca. Florence, 1967: 509-510.
1967
Watson, Francis J. B. "Guardi and England." In Problemi Guardeschi. Atti del convegno di studi promossi della Mostra dei Guardi. 13-14 settembre 1965. Venice, 1967: 212.
1967
Zampetti, Pietro. "Il problema dei Guardi: la ricerca della verita." In Problemi Guardeschi. Atti del convegno di studi promossi della Mostra dei Guardi. 13-14 settembre 1965. Venice, 1967.
1968
European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 57, repro.
1968
Morassi, Antonio. "Antonio Guardi as a Draughtsman." MD 6 (1968): 132.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 98.
1973
Morassi, Antonio. Guardi: Antonio e Francesco Guardi. 2 vols. Venice, 1973-1975: 1:88-92, 320-322, nos. 68-69; 2:figs. 78, 80.
1974
Rossi Bortolatto, Luigina. L'opera completa di Francesco Guardi. Milan, 1974: 89-90, nos. 17, 21, repro.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 168, repro.
1978
Knox, George. "The Tasso Cycles of Giambattista Tiepolo and Gianantonio Guardi." Museum Studies 9 (1978): 89-95, fig. 28-29.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:231-235, 2:pl. 157.
1981
Martini, Egidio. La pittura del settecento veneto. Udine, 1981: 547, n. 333.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 348, no. 483, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 194, repro.
1989
Pignatti, Terisio. Venezia. Mille anni d'arte. Venice, 1989: 333, color repro.
1992
Pedrocco, Filippo, and Federico Montecuccoli degli Erri. Antonio Guardi. Milan, 1992: 141-142, nos. 153-154, figs. 195, 197-201, color pls. 34-35.
1994
Martineau, Jane, and Andrew Robison, eds. The Glory of Venice: Art in the Eighteenth Century. New Haven, 1994: 452, cat. 191, color pl.
1996
De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 147-157, color repro. 150.
Technical Summary

The support is constructed of three lengths of coarse, plain-weave fabric joined horizontally. The lengths measure 92, 97, and 60 cm in width, with the widest at the top. The ground consists of a red layer with a second, overall gray layer that was used as a middle tone throughout. The composition was laid in with brown paint using a moderately narrow brush to draw outlines and with white paint using a wider brush to block out larger areas. This white paint has a low impasto visible through successive layers. The large reserves revealed in x-radiographs suggest that the composition was fairly well planned, although the reserves follow no precise outlines.

The paint was applied in layers, wet-over-dry, apparently beginning with the upper sky, then moving on to the lower sky and mountain ridges, next to the clouds, then to the figures, and finally to the still life and flowers. The drapery of the standing nymph was painted in two stages: impastoed white underpaint with an orange glaze over it. The figure of Ubaldo at left was painted with more levels of shading than other figures and in this sequence: sky, red drapery with brown shadows, yellow drapery, blue drapery, and white drapery with wet-into-wet black shadows painted on top of the flesh tones. His blue boots were painted from light to dark. The blue drapery of the seated nymph was added last and was painted from dark to light. In some areas a sharp object (perhaps a brush handle) was used to scratch lines into the paint. There are few artist's changes: Carlo's right arm was repositioned and the contour of the right shoulder of the standing nymph was changed by pulling a green glaze for foliage over it.

The original tacking margins are present. The two original seams are visible on the surface, as is the horizontal seam in the lining canvas. The vertical craquelure may have resulted from rolling. There are many tears, especially in the sky and in Ubaldo's red drapery, and losses in the figure of Carlo. Extensive abrasion to the glazes throughout has made some passages illegible. Inpainting with dots and dashes is present to a large degree in the figures. The inpainting has whitened, especially in the sky. The varnish is moderately discolored. The painting was most recently treated in 1959.