Canaletto
Giovanni Antonio Canal, commonly known as Canaletto, was a italian painter from the Republic of Venice, considered important member of the 18th-century Venetian school. Painter of city views or vedute, of Venice, Rome, and London, he also painted imaginary views, although the demarcation in his works between the real and the imaginary is never quite clearcut. He was further an important printmaker using the etching technique. In the period from 1746 to 1756 he worked in England where he painted many views of London and other sites including Warwick Castle and Alnwick Castle. He was highly successful in England, thanks to the British merchant and connoisseur Joseph "Consul" Smith, whose large collection of Canaletto's works was sold to King George III in 1762.
Early career
He was born in Venice as the son of the painter Bernardo Canal, hence his mononym Canaletto, and Artemisia Barbieri. Canaletto served his apprenticeship with his father and his brother. He began in his father's occupation, that of a theatrical scene painter. Canaletto was inspired by the Roman vedutista Giovanni Paolo Pannini, and started painting the daily life of the city and its people.After returning from Rome in 1719, he began painting in his topographical style. His first known signed and dated work is Architectural Capriccio. Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, he rapidly became his master's equal.
In 1725, the painter Alessandro Marchesini, who was also the buyer for the Lucchese art collector Stefano Conti, had inquired about buying two more 'views of Venice', when the agent urged him to consider instead the work of "Antonio Canale... it is like Carlevaris, but you can see the sun shining in it."
Outdoor painting
Much of Canaletto's early artwork was painted "from nature", differing from the then customary practice of completing paintings in the studio. Some of his later works do revert to this custom, as suggested by the tendency for distant figures to be painted as blobs of colour – an effect possibly produced by using a camera obscura, which blurs farther-away objects – although research by art historians working for the Royal Collection in the United Kingdom has shown Canaletto almost never used a camera obscura.However, his paintings are always notable for their accuracy: he recorded the seasonal submerging of Venice in water and ice.
Early and late work
Canaletto's early works remain his most coveted and, according to many authorities, his best. One of his early pieces is The Stonemason's Yard which depicts a humble working area of the city. It is regarded one of his finest works and was presented by Sir George Beaumont in 1823 and 1828.Later Canaletto painted grand scenes of the canals of Venice and the Doge's Palace. His large-scale landscapes portrayed the city's pageantry and waning traditions, making innovative use of atmospheric effects and strong local colours. For these qualities, his works may be said to have anticipated Impressionism.
His graphic print S. A. Giustina in Prà della Vale was found in the 2012 Munich Art Hoard.
Work in England
Many of his pictures were sold to Englishmen on their Grand Tour, first through the agency of Owen Swiny and later the banker Joseph Smith. It was Swiny in the late 1720s who encouraged the artist to paint small topographical views of Venice with a commercial appeal for tourists and foreign visitors to the city. Sometime before 1728, Canaletto began his association with Smith, an English businessman and collector living in Venice who was appointed British Consul in Venice in 1744. Smith later became the artist's principal agent and patron, acquiring nearly fifty paintings, one hundred fifty drawings, and fifteen rare etchings from Canaletto, the largest and finest single group of the artist's works, which he sold to King George III in 1763.In the 1740s Canaletto's market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice. Smith also arranged for the publication of a series of etchings of "capricci" in his vedute ideale, but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market.
He remained in England until 1755, producing views of London and of his patrons' houses and castles. These included Northumberland House for Sir Hugh Smithson, Bt., who by marriage later became the 2nd Earl of Northumberland; and Warwick Castle for Lord Brooke, later 1st Earl of Warwick. Smithson was one of the commissioners of Westminster Bridge, and it is "not impossible" that he had encouraged Canaletto to come to England and record the beginning of the bridge's life. His 1754 painting of Old Walton Bridge includes an image of Canaletto himself.
He was often expected to paint England in the fashion with which he had painted his native city. Canaletto's painting began to suffer from repetitiveness, losing its fluidity, and becoming mechanical to the point that the English art critic George Vertue suggested that the man painting under the name 'Canaletto' was an impostor. This may have been because Canaletto's nephew, Bernardo Bellotto, was also using his uncle's nickname; or more likely because the story had been spread by unscrupulous art dealers who had been passing off copies of Canaletto's own work and were anxious to see him return to Venice. Historian Michael Levey described his work from this period as "inhibited".
In order to refute this claim the artist, through an advertisement in a newspaper, invited "any Gentleman" to inspect his latest painting of St. James's Park at his studio in Silver Street off Golden Square; however, his reputation never fully recovered in his lifetime.
After his return to Venice, Canaletto was elected to the Venetian Academy in 1763 and appointed prior of the Collegio dei Pittori. He continued to paint until his death in 1768. In his later years he often worked from old sketches, but he sometimes produced surprising new compositions. He was willing to make subtle alterations to topography for artistic effect.
Market
His students included his nephew Bernardo Bellotto, Francesco Guardi, Michele Marieschi, Gabriele Bella, and Giuseppe Moretti. The painter, Giuseppe Bernardino Bison was a follower of his style.Joseph Smith sold much of his collection to George III, creating the bulk of the large collection of works by Canaletto owned by the Royal Collection. in 1762, George III paid £20,000 for Consul Smith's collection of 50 paintings and 142 drawings. There are many examples of his work in other British collections, including several at the Wallace Collection and a set of 24 in the dining room at Woburn Abbey. A large set of Canaletto works was also part of the collection of the Earls of Carlisle, however many were lost at the 1940 fire of Castle Howard and others were sold over the last century. Among those formerly at the Carlisle collection are The Bacino di San Marco: looking East, now at the Museum of Fine Arts, Boston and the pair Entrance to the Grand Canal from the Molo, Venice and The Square of Saint Mark's, Venice, now at the National Gallery of Art, Washington DC. The last important venetian veduta at Castle Howard was by Bernardo Bellotto, A View of the Grand Canal Looking South from the Palazzo Foscari, which was sold at Sotheby's in July 2015 for £2.6 million.
Canaletto's views always fetched high prices, and as early as the 18th century Catherine the Great and other European monarchs vied for his grandest paintings. The record price paid at auction for a Canaletto is £18.6 million for View of the Grand Canal from Palazzo Balbi to the Rialto, set at Sotheby's in London in July 2005.
Works
| Painting | Title | Date | Location |
| Campo San Giacomo di Rialto, Venice | 1697–1768 | Sotheby's – New York City | |
| Canal Scene, Venice – Walters | 1697–1768 | Walters Art Museum – Baltimore, US | |
| Place Saint Marc | 1697–1768 | Musée d'art et d'histoire de Narbonne – France | |
| Le Grand Canal à Sainte Lucie | 1697–1768 | Fondation Bemberg – Toulouse, France | |
| The Grand Canal from Campo della Carità | 1697–1768 | Gallerie dell'Accademia | |
| Place of San Giacomo di Rialto in Venice | 1697–1768 | Gemäldegalerie Alte Meister, Germany | |
| Venise la place Saint-Marc-Le | 1697–1768 | Musée des beaux-arts de Brest – France | |
| ? | 1697–1768 | Private Collection | |
| The Square and the church San Francesco della Vigna | 1697–1768 | Private collection, Milan | - |
| Architectural Capriccio | 1697–1768 | Morgan Library and Museum – New York | |
| Piazzetta in Venice | 1700s | Alte Pinakothek, Munich, Germany | - |
| Venice: the Grand Canal | 1700s | - | |
| Capriccio Piazza San Marco | 1720s | Metropolitan Museum of Art- Manhattan, New York | |
| The Grand Canal near the Rialto Bridge, Venice | 1720s | Museum of Fine Arts, Houston, US | |
| The Grand Canal near the Rialto Bridge, Venice | 1720 | Institut of Applied Statistics, archive of the art department | |
| The Pantheon | 1720 | Dayton Art Institute, US | |
| Capriccio with Gothic church and lagoon | c. 1720–21 | Galleria d'Italia – Palazzo Leoni Montanari, Vicenza | |
| Grand Canal, Looking Northeast from Palazo Balbi toward the Rialto Bridge | 1720–1723 | Ca' Rezzonico, Venice, Italy | |
| San Cristoforo, San Michele and Murano from the Fondamenta Nuove, Venice | 1722–23 | Dallas Museum of Art, Dallas, Texas, United States | |
| The Grand Canal in Venice with the Palazzo Corner Ca'Grande | 1722–23 | Gallery of Paintings of the Ancient Masters | |
| Piazza di San Marco, em Veneza | 1723 | Instituto Ricardo Brennand, Brazil | |
| Piazza San Marco in Venice looking West with the Campanile | 1723 | House of Liechtenstein, Liechtenstein | - |
| 1723–24 | Thyssen-Bornemisza Museum, Madrid, Spain | ||
| 1723–24 | Thyssen-Bornemisza Museum, Madrid, Spain | ||
| Rio dei Mendicanti | 1723–24 | Ca' Rezzonico, Venice, Italy | |
| Piazza San Marco looking west towards San Geminiano | 1723–24 | Royal Collection, United Kington | |
| The Rio dei Mendicanti | 1723–24 | Ca' Rezzonico, Venice | |
| The Piazzetta towards San Giorgio Maggiore | Royal Collection, Buckingham Palace, England | ||
| The Grand Canal, Venice, Looking North East from the Palazzo Balbi to the Rialto Bridge | Private collection | ||
| The Grand Canal, Looking North-East from Palazzo Balbi to the Rialto Bridge | Private collection | ||
| The Grand Canal looking south-west from the Rialto to Ca’ Foscari | 1724–25 | Royal Collection, RU | |
| The Riva degli Schiavoni | 1724–30 | Kunsthistorisches Museum, Vienna | |
| Dogana | 1724-c.30 | Kunsthistorisches Museum, Vienna | |
| The Stonemason's Yard | National Gallery, London, England | ||
| Gemäldegalerie Alte Meister, Dresden, Germany | |||
| Entrance to the Grand Canal – Looking East | 1725 | Gemäldegalerie Alte Meister, Dresden, Germany | |
| Grand Canal – Looking North-East toward the Rialto Bridge | 1725 | Gemäldegalerie Alte Meister, Dresden, Germany | |
| Doge Palace | 1725 | Columbia Museum of Art, US | |
| The Parvis of the churches Saint Jean and Saint Paul | 1725 | Gemäldegalerie Alte Meister, Germany | - |
| Il Canal Grande dalle prossimità del ponte di Rialto | 1725 | Pinacoteca Giovanni e Marella Agnelli, Turin, Italy | |
| Il ponte di Rialto da nord | 1725 | Pinacoteca Giovanni e Marella Agnelli, Turin, Italy | |
| The Grand Canal near the Ponte di Rialto | 1725 | Private collection | |
| The Bacino di San Marco, Venice | 1725–26 | Farnborough Hall, Warwickshire | |
| San Giacomo di Rialto | 1725–26 | Gemäldegalerie Alte Meister | |
| View of the Isles of San Michele, San Cristoforo and Murano from the Fondamenta Nuove | 1725–28 | Hermitage Museum, Saint Petersburg, Russia | |
| View of Church of San Giovanni dei Battuti on the Isle of Murano | 1725–1728 | Hermitage Museum, Saint Petersburg, Russia | |
| A View of Dolo on the Brenta Canal | 1725–1729 | Ashmolean Museum, Oxford, England | |
| The Piazzetta Looking South-west towards S. Maria della Salute | 1725–1730 | Royal Collection at Windsor Castle, England | |
| The Piazzetta Looking towards the Torre dell'Orologio | 1725–1730 | Royal Collection at Windsor Castle, England | |
| Gemäldegalerie Alte Meister, Dresden, Germany | |||
| 1726 | Pinacoteca Giovanni e Marella Agnelli, Turin, Italy | ||
| 1726 | Private collection | ||
| The Bacino di San Marco, Venice, Seen from the Giudecca | 1726 | Upton House, National Trust, England | |
| Grand Canal: Looking from Palazzo Balbi | Gemäldegalerie Alte Meister, Dresden, Germany | ||
| Grand Canal: Looking North from Near the Rialto Bridge | Gemäldegalerie Alte Meister, Dresden, Germany | ||
| Venice: the Grand Canal Looking North from the Rialto Bridge | 1726–27 | Royal Collection, Windsor Castle, England | |
| Rialto Bridge from the North | 1726–27 | Royal Collection, England | |
| The Grand Canal with the Scalzi and S. Simeone Piccolo | 1726–27 | Royal Collection, England | |
| The Reception of the French Ambassador Jacques–Vincent Languet, Comte de Gergy at the Doge’s Palace, Venice | 1726–27 | Hermitage Museum, Saint Petersburg, Russia | |
| Venice: S. Geremia and the Entrance to the Cannaregio | 1726–1727 | Royal Collection, Windsor Castle, England | |
| The Grand Canal looking south from Ca’ Foscari to the Carità | 1726–1727 | Royal Collection, RU | |
| Embouchure du grand canal-musée de Grenoble | 1726–28 | Musée de Grenoble, France | |
| Veduta del Canal Grande | 1726–28 | Galleria degli Uffizi, Florencia, Italy | |
| The Stonemason's Yard | 1726–1730 | National Gallery, London, England | |
| View of the Grand Canal | 1726–28 | Galleria degli Uffizi, Florencia | |
| Grand Canal – The Rialto Bridge from the South | 1727 | Holkham Hall | |
| View of the Salute Church from the entrance to the Grand Canal detalle | 1727 | Musées de la Ville de Strasbourg | |
| Venice: The Grand Canal from the Palazzo Vendramin-Calergi towards S. Geremia | 1727–28 | Royal Collection, Windsor Castle, England | |
| '', painted 1729–32 | Return of the Bucintoro to the Molo on Ascension Day | 1727–1732 | Royal Collection, Windsor Castle, England |
| Benetke, pogled s San Giorgio Maggiore | 1727–1730 | Pomurje Museum Murska Sobota, Slovenia | |
| The Grand Canal from the Campo San Vio | 1728 | National Gallery of Scotland | |
| The Clock Tower in the Piazza San Marco | 1728–1730 | Nelson-Atkins Museum of Art, Kansas City, US | |
| The Grand Canal near the Rialto Bridge, Venice | 1728–1732 | Museum of Fine Arts, Houston, US | |
| The Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni | 1729–1730 | Royal Collection, England | |
| The Grand Canal from Campo San Vio towards the Bacino | 1729–1734 | Royal Collection, Windsor Castle, England | |
| View of the Grand Canal | Late 1720s | Birmingham Museum of Art, Birmingham, Alabama, United States | |
| Piazza San Marco | Late 1720s | Metropolitan Museum of Art, Manhattan, New York, United States | |
| Piazza San Marco with the Basilica | Fogg Art Museum, US | ||
| The Doge's Palace, Venice | Fitzwilliam Museum, Cambridge, England | - | |
| The Doge's Palace and Riva degli Schiavoni, Venice | Tatton Park, National Trust, England | ||
| Rialto Bridge | Philadelphia Museum of Art, US | ||
| Reception of the Ambassador in the Doge's Palace | Private collection | ||
| View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo | Fitzwilliam Museum, Cambridge, England | ||
| The Entrance to the Grand Canal, Venice | Museum of Fine Arts, Houston, Houston, United States | ||
| The Grand Canal, Piazzetta and Dogana, Venice | Tatton Park, National Trust, England | ||
| The Piazza San Marco, Venice, looking towards the procuratie nuove and the church of San Geminiano | c. 1730 | Private collection | |
| 'View of Molo, Venice' | c. 1730 | El Paso Museum of Art, US | |
| The Molo, Venice, from the Bacino di San Marco | 1730s | Private collection Edward Howard, 9th Duke of Norfolk, England | |
| The Molo Seen from the Bacino di San Marco | 1730s | Musée du Louvre, Paris, France | |
| 'il molo visto dal bacino di san marco' | c. 1730 | ||
| 'il molo visto dal bacino di san marco' | c. 1730 | ||
| 'il molo visto dal bacino di san marco' | c. 1730 | ||
| 'il molo visto dal bacino di san marco' | c. 1730 | ||
| The Entrance to the Grand Canal, Venice | 1730 | Museum of Fine Arts, Houston, US | |
| veduta del canale di santa chiara a venezia | c. 1730 | Collections of the Musée Cognacq-Jay | |
| veduta del canale di santa chiara a venezia | c. 1730 | Collections of the Musée Cognacq-Jay | |
| veduta del canale di santa chiara a venezia | c. 1730 | Collections of the Musée Cognacq-Jay | |
| veduta del canale di santa chiara a venezia | c. 1730 | Collections of the Musée Cognacq-Jay | |
| The Piazzetta, Venice, Looking North | 1730s | Norton Simon Museum, Pasadena, California | |
| The Grand Canal looking north-west from Ca' Corner to Ca' Contarini degli Scrigni, with the campanile of Santa Maria della Carità | 1730s | Norton Simon Museum, Pasadena, California | |
| The Interior of Henry VII's Chapel, Westminster Abbey | 1730s | Private collection | |
| Fonteghetto della Farina | 1730s | Private Collection | |
| View of the Piazetta with the Southwest corner of the Doge Palace | 1730s | Private collection | |
| Piazza di San Marco, looking towards the Church of San Geminiano Woburn | 1730s | Woburn Abbey, England | |
| View Embarkation of the Doge of Venice, for the Ceremony of the Marriage of the Adriatic | 1730s | Woburn Abbey, England | |
| Campo Santa Maria Formosa | 1730s | Private collection | |
| The Bucintoro Returning to the Molo on Ascension Day after the Ceremony of Wedding the Adriatic | 1730s | Bowes Museum, United Kingdom | |
| The Grand Canal, Venice, Looking South toward the Rialto Bridge | 1730–39 | Metropolitan Museum of Art, Manhattan | |
| Piazzetta Riva degli Schiavoni, Canaletto, WAF137, Alte Pinakothek Munich | 1730–1740 | Alte Pinakothek, Munich, Germany | |
| The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute | 1730–1745 | Rijksmuseum Amsterdam | |
| The Grand Canal seen from the Palazzo Balbi towards the Bridge of Rialto | 1730–1750 | Accademia Carrara, Italy | |
| Venice: the Grand Canal with S. Maria della Salute towards the Riva degli Schiavoni | 1730 | Royal Collection, Windsor Castle, England | |
| Piazza San Marco – the Clocktower | 1730 | Nelson-Atkins Museum of Art, Kansas City, US | |
| Dogenpalast | 1730 | Royal Collection, Windsor Castle, England | |
| The Grand Canal from the Salute towards the Carità | 1730 | Royal Collection, RU | |
| Dogenpalast | 1730 | Private Collection | |
| Doge Palace | 1730 | Columbia Museum of Art, USA | |
| The Bacino di San Marco, Looking North | 1730 | National Museum, Cardiff, Wales | - |
| The Canale di San Marco with the Bucintoro at Anchor | 1730–1733 | Windsor Castle, English | |
| The Bucintoro Returning to the Molo on Ascension Day | 1730–1735 | Bowes Museum, Barnard Castle, England | |
| Piazza San Marco, Venice | 1730 –1735 | Fogg Museum, Cambridge, Massachusetts | |
| Le Burchiello à Venise | 1730 –1735 | Musée Cognacq-Jay, Paris | |
| La Piazzetta | 1730–1735 | Galleria Nazionale d'Arte Antica, Rome | |
| A Regatta on the Grand Canal | 1730–1735 | Bowes Museum, Barnard Castle, England | |
| Il Canale Grande a Rialto | 1730–1750 | Museo Nacional del Prado. Spain | |
| La Piazzetta | 1730–1750 | Galleria Nazionale d'Arte Antica, Rome | |
| La Régate sur le Grand Canal | 1731–32 | Bowes Museum, Barnard Castle | |
| A Regatta on the Grand Canal | 1732 | Royal Collection at Windsor Castle | |
| View of the entrance to the Arsenal | 1732 | Private collection | |
| Rescloses de Dolo | 1732–35 | Staatsgalerie Stuttgart, Germany | |
| Return of the Bucentoro to the Molo on Ascension Day | 1733–1734 | Collection Buckingham Palace, England | |
| A View of the Rialto, Venice | 1734–35 | Sir John Soane's Museum, London, England | |
| The Piazza di San Marco, Venice | 1734–35 | Sir John Soane's Museum, London, England | |
| Venice: the Grand Canal from Campo San Vio towards the Bacino | 1734–1760 | Wallace Collection, London, England | |
| Venice: the Grand Canal with Santa Maria della Salute towards the Riva degli Schiavoni | 1734–1762 | Wallace Collection, London, England | |
| Venice: the Grand Canal from the Palazzo Foscari to the Carità | 1734–1762 | Wallace Collection, London, England | |
| Campo San Rocco | circa 1735 | Private collection | |
| Piazza San Marco, Looking toward San Geminiano | circa 1735 | Galleria nazionale d'arte antica di palazzo Corsini, Rome | |
| The Molo, Venice | Kimbell Art Museum, Fort Worth, Texas, United States | ||
| View of the Piazzetta San Marco Looking South | Indianapolis Museum of Art, Indianapolis, Indiana, United States | ||
| Venice: A Regatta on the Grand Canal | 1735 | National Gallery, London, England | |
| The Rialto Bridge from the South | 1735 | Galleria Nazionale d'Arte Antica di Palazzo Corsini, Italy | |
| The Feast Day of St Roch | 1735 | National Gallery | |
| View of the Bacino di San Marco in Venice | 1735 | Städel Museum, Germany | |
| The Quay of the Dogana | mid 1730s | Private collection | |
| View of Campo Santa Maria Formosa | mid 1730s | Private collection | |
| The Entrance to the Canal Grande at the Punta della Dogana and the Santa Maria della Salute Woburn | mid 1730s | Private collection, Woburn Abbey | |
| Grand Canal looking East from Palazzo Bembo to Palazzo Vendramin-Calergi Woburn | mid 1730s | Private collection | |
| Piazza di San Marco, looking towards the Church of San Geminiano Woburn | mid 1730s | Woburn Abbey | |
| View of San Zaccaria | mid 1730s | Private Collection | |
| View of the Santi Giovanni e Paolo and the Equestrian Statue of Bartolomeo Colleoni | 1735–1738 | Private collection | |
| The Brenta Canal at Padua | 1735–40 | National Gallery of Art, London, England | |
| Entrance to the Grand Canal – from the West End of the Molo | 1735–40 | National Gallery of Art, Washington DC | |
| Venice the Bacino di San Marco from San Giorgio Maggiore | 1735–1744 | Wallace Collection, London, England | |
| View of the Riva degli Schiavoni | 1736 | Sir John Soane's Museum, London, England | |
| The Grand Canal at the Salute Church | c. 1736–38 | Munich Old Pinacoteca | |
| Venezia, campo Santi Giovanni e Paolo | c. 1736–40 | Royal Collection | |
| St. Mark's and the Clock Tower, Venice | c. 1737 | National Gallery of Canada, Ottawa, Canada | |
| The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola | c. 1738 | The J. Paul Getty Museum, Los Angeles | |
| Il Ritorno del Bucintoro al molo nel giorno dell'Ascensione Canaletto - Wells-Next-The-Sea, The Earl of Leicester and Trustees of the Holkham Estate.jpg | c. 1738 | Holkham Hall, England | |
| Il Canal Grande dalla chiesa di Santa Maria di Nazareth | 1738 | Pinacoteca Giovanni e Marella Agnelli, Ialy | |
| The Grand Canal looking North-East from the Palazzo Dolfin-Manin to the Rialto Bridge | 1738–1739 | Private collection | |
| The Campo Santi Giovanni e Paolo, Venice, with the West End of the Church and the Scuola di San Marco | 1738–1739 | Private collection | |
| The St Mark's Square, Venice | 1738–1740 | Detroit Institute of Arts, Detroit, Michigan, United States | |
| Bacino di San Marco | 1738–1740 | Museum of Fine Arts, Boston, United States | |
| The Grand Canal at the Salute Church | 1738–1742 | Private Collection | |
| Il Bucintoro al molo nel giorno dell'Ascensione | Pinacoteca Giovanni e Marella Agnelli, Turin, Italy | ||
| View of Piazza San Marco in Venice | Musée Jacquemart André, Paris, France | ||
| The Rialto Bridge in Venice | Musée Jacquemart André, Paris, France | - | |
| View of Mestre : alle Barche | c. 1740 | Fondation Bemberg, Toulouse, France | |
| View of Dolo | c. 1740 | Fondation Bemberg, Toulouse, France | |
| The Molo with the Library and the Entrance to the Grand Canal | c. 1740 | Private collection | |
| The Church of the Redentore, Venice | c. 1740 | Manchester Art Gallery | |
| The Piazzetta | 1740s | Galleria Nazionale d'Arte Antica, Rome, Italy | |
| Arrival of the French Ambassador in Venice | 1740s | Hermitage Museum, Russia | |
| The Piazzetta | 1740s | Galleria Nazionale d'Arte Antica, Rome, Italy | |
| View of San Giuseppe di Castello | 1740s | Private Collection | |
| A Palladian Design for the Rialto Bridge, with Buildings at Vicenza | 1740s | Galleria nazionale di Parma, Italy | |
| Venice: The Campo SS. Giovanni e Paolo | 1740 | Royal Collection, Windsor Castle, England | |
| Bemberg Fondation Toulouse | 1740 | Fondation Bemberg, France | |
| Regatta on the Canale Grande | 1740 | Royal Collection, National Gallery de London, England | |
| Venice The Basin of San Marco on Ascension Day | 1740 | National Gallery, London, England | |
| Venice: Santa Maria della Salute | 1740 | Metropolitan Museum of Art, New York City, United States | |
| A Regatta on the Grand Canal | 1740 | National Gallery, London, England | |
| Giovanni Antonio Canal, il Canaletto - Capriccio - The Grand Canal, with an Imaginary Rialto Bridge and Other Buildings - WGA03937.jpg | 1740 | Galleria nazionale di Parma | |
| Venice. The Grand Canal with San Simeone Piccolo | 1740 | The Wallace Collection, Manchester Square, England | |
| The Grand Canal with S. Simeone Piccolo | 1740 | National Gallery of London | |
| The Reception of the French Ambassador | 1740 | Hermitage Museum, Russia | |
| The Molo with the Library and the Entrance to the Grand Canal | 1740 | Private collection | |
| The Porta Portello with the Brenta Canal in Padua | 1740–43 | Albertina, Vienna, Austria | |
| The portico with a lantern | 1740–43 | Art Gallery of South Australia | |
| Venice. The Molo with Santa Maria della Salute | 1740–1745 | Wallace Collection, London, England Salute | |
| Interior of St Marks | 1740–1745 | Montreal Museum of Fine Arts, Canada | |
| Venice: the Riva degli Schiavoni | 1740–1745 | Wallace Collection, London, England | |
| The Piazza del Campidoglio and the Cordonata | 1740–1745 | Privade collection | |
| View of the Grand Canal looking toward the Punta della Dogana from Campo Sant'Ivo | Pinacoteca di Brera, Milan, Italy | ||
| View of the Grand Canal from Campo San Vio | 1740–1750 | Ca' Rezzonico, Venice, Italy | |
| Venice: the Grand Canal from the Palazzo Foscari to the Carità | 1740–1750 | Wallace Collection, London, England | |
| Venice: the Grand Canal from the Palazzo Flangini to San Marcuola | 1740–1750 | Wallace Collection, London, England | |
| The Grand Canal from the Palazzo Flangini to San Marcuola | 1740–1750 | Wallace Collection | |
| San Marco | 1740–1750 | Arp Museum Bahnhof Rolandseck, Germany | |
| Venice: the Canale di Santa Chiara | 1740–1750 | Wallace Collection, London, England | |
| Venice the Grand Canal from the Palazzo Dolfin-Manin to the Rialto Bridge | 1740–1750 | Wallace Collection, London, England | |
| Venice the Dogana and Santa Maria della Salute from the Molo | 1740–1760 | Wallace Collection, London, England | |
| Prà della Valle in Padua | 1741–1746 | Museo Poldi Pezzoli, Milan, Italy | |
| Canaletto, The Porta Portello Padua | 1741–42 | National Gallery of Art, Washington D.C., United States | |
| Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 | before 1742 | ||
| Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 | before 1742 | ||
| Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 | before 1742 | ||
| Canaletto, il molo verso la riva degli schiavoni con la colonna di san marco, ante 1742 | before 1742 | ||
| Rome: The Arch of Constantine | 1742 | Royal Collection, Windsor Castle, England | |
| Rome: The Arch of Septimius Severus | 1742 | Royal Collection, Windsor Castle, England | |
| Rome: The Arch of Titus | 1742 | Royal Collection, Windsor Castle, England | - |
| Rome- Ruins of the Forum, Looking towards the Capitol | 1742 | Royal Collection, Windsor Castle, England | |
| Rome: The Pantheon | 1742 | Royal Collection, Windsor Castle, England | |
| The Square of Saint Mark's, Venice | 1742–1744 | National Gallery of Art, Washington D.C., United States | |
| Entrance to the Grand Canal from the Molo, Venice | 1742–1744 | National Gallery of Art, Washington D.C., United States | |
| Entrance to the Grand Canal; Looking East | 1742–1744 | Windsor Castle, England | |
| The Piazza San Marco, Venice | 1742–1746 | Art Gallery of New South Wales, Australia | |
| The Thames at Westminster | 1742–54 | Penrhyn Castle, Gales | |
| Entrance to the Grand Canal; Looking East | 1744 | Royal Collection at Windsor Castle | |
| The Colleoni Monument in a Caprice Setting | 1744 | Royal Collection | |
| View of a River, Perhaps in Padua | 1745 | Private collection | |
| Looking North, the Campanile under Repair | 1745 | Royal Collection at Windsor Castle | |
| Bacino di San Marco, Venecia | 1745 | Museum of Fine Arts Boston, US | |
| The Basilica of Maxentius and the Church of Santa Francesca Romana | 1745 | Galleria Borghese, Roma | |
| The Bucintoro | 1745–1750 | Thyssen-Bornemisza Museum, Madrid, Spain | |
| 'Old Somerset House from the River Thames' | 1745–1750 | Private collection Simon C. Dickinson Ltd. | |
| Capriccio of the Rialto Bridge with the Lagoon Beyond | 1746 | Private collection | |
| London and the River Thames looking towards Westminster | 1746-7 | ||
| London and the River Westminster | 1746-7 | ||
| The River Thames with St. Paul's Cathedral on Lord Mayor's Day | 1746–47 | Lobkowicz Palace, Prague, Czech Republic | |
| 1746–47 | Syon House, London | ||
| The City of Westminster from River Thames near the York Water Gate | 1746–49 | Private Collection | |
| Ruins with Figures | 1747 | Fitzwilliam Museum, Cambridge, England | |
| Windsor Castle | 1747 | Collection of the Duke of Northumberland | |
| Santi Giovanni e Paolo and the Scuola di San Marco | 1747 | Gemäldegalerie Alte Meister | |
| Westminster Bridge Westminster Bridge, with the Lord Mayor's Procession on the Thames | 1747 | Yale Center for British Art | |
| The Thames and the City of London from Richmond House | 1747 | Private Collection | |
| London: River Thames looking towards Westminster from Lambeth | 1747 | Lobkowicz Palace, Prague, Czech Republic | |
| Whitehall and the Privy Garden from Richmond House | 1747 | Goodwood House, UK | |
| London | 1747 | Private Collection | |
| Westminster Bridge from the North on Lord Mayor's Day | 1747 | Yale Center for British Art, University of Yale, US | |
| Westminster Bridge Under Construction from the South-East Abutment | 1747 | Private collection Duke of Northumberland | |
| London, Whitehall and the Privy Garden looking North Buccleuch | 1747 | Private Collection, the Buccleuch Living Heritage Trust | |
| The Molo from the Basin of San Marco, Venice | 1747–1750 | San Diego Museum of Art, San Diego, California | |
| Venice, a view of the Churches of the Redentore and San Giacomo, with a moored Man-of-war, Gondolas and Barges | 1747–1755 | Private collection | |
| The South Façade of Warwick Castle | 1748 | Thyssen-Bornemisza Museum, Madrid, Spain | |
| The City of London from the River Thames with St. Paul's Cathedral | 1748 | ||
| Badminton House, Gloucestershire | 1748 | Private Collection | |
| Warwick Castle | 1748–49 | Yale Center for British Art, New Haven, United States | |
| The Thames at Westminster, London | 1749 | Penrhyn Castle, National Trust, Gwynedd, Wales | |
| The Old Horse Guards from St James's Park | 1749 | Tate Britain | |
| London – the Old Horse Guards and Banqueting Hall, from St James's Park | 1749 | Private Collection | |
| Londra, la guardia di new horse da st. james park | 1749 | ||
| Westminster Abbey with a Procession of The Knights of the Bath | 1749 | Westminster Abbey, London | |
| Syon House | 1749 | Private collection Duke of Northumberland | |
| A View of the Old Horse Guards and Banqueting Hall, from St James's Park | Probably 1749 | Private Collection | |
| The Prisons | probably late 1740s | Private collection | |
| Venice, The Church of San Giorgio Maggiore | Probably late 1740s | Private collection | |
| The Rialto Bridge and The Church of S. Giorgio Maggiore | c. 1750 | North Carolina Museum of Art, Raleigh, North Carolina, United States | |
| Capriccio with Ruins and Porta Portello, Padua | c. 1750 | Gallerie dell'Accademia, Venice, Italy | |
| The Thames from the Terrace of Somerset House, Looking toward Westminster | 1750 | Yale Center for British Art, New Haven, United States | |
| Bacino di S. Marco- From the Piazzetta | c. 1750 | National Gallery of Victoria, Australia | |
| Capriccio of the Scuola di San Marco from the Loggia of the Palazzo Grifalconi-Loredan | Early 1750s | Private collection | |
| Palazzo Vendramin-Calergi, on the Grand Canal, Venice | 1750s | Private collection | |
| Veduta del Palazzo Ducale di Venezia | 1750s | Galleria degli Uffizi, Florence | |
| Westminster Bridge from the North with the Lord Mayor's Procession | 1750 | Private Collection | |
| Cathedral San Paulo | 1750 | ||
| The Thames from the Terrace of Somerset House, Looking toward Westminster | 1750 | Yale University Art Gallery, New Haven, United States | |
| The Thames from the Terrace of Somerset House, Looking toward St. Paul's | 1750 | Yale Center for British Art, New Haven, United States | |
| London: The Thames from Somerset House Terrace towards Westminster | 1750–51 | Royal Collection, Windsor Castle, England | |
| Rome, The Piazza Navona | 1750–51 | Tokyo Fuji Art Museum, Japan | |
| Rome, The Piazza del Quirinale | 1750–51 | Tokyo Fuji Art Museum, Japan | |
| London: The Thames from Somerset House Terrace towards the City | 1750–51 | Royal Collection, Windsor Castle, England | |
| veduta di greenwich dal fiume | 1750–51 | ||
| Padua- The River Bacchiglione and the Porta Portello Day | 1750–1760 | Metropolitan Museum of Art, New York | |
| A View of Greenwich from the River | 1751 | Blickling Hall, National Trust, Norfolk, England | |
| The Grand Walk, Vauxhall Gardens London | 1751 | Compton Verney Art Gallery, England | |
| Chelsea School, Rotonda, Ranelagh house and Tamesis river | 1751 | Museo Nacional de Bellas Artes, La Habana, Cuba | |
| Chelsea from the Thames at Battersea Reach | February 1751 | Tate Britain | |
| Alnwick Castle | 1752 | Alnwick Castle, Northumberland, England | |
| Greenwich Hospital from the North Bank of the Thames | National Maritime Museum, Greenwich, London, England | ||
| Warwick Castle, the East Front | 1752 | Birmingham Museum and Art Gallery, Birmingham, England | |
| Warwick Castle, the East Front from the Courtyard | 1752 | Birmingham Museum and Art Gallery, Birmingham, England | |
| Northumberland House | 1752 | Collection of the Duke of Northumberland | |
| veduta di greenwich dal fiume | 1750–1752 | ||
| New Horse Guards from St James’s Park | 1752–53 | Private collection | |
| Capriccio of a Renaissance Palazzo with a monumental Staircase, a Clock Tower and the Arch of Titus beyond | 1752–55 | Private collection Arundel Castle | |
| London: Northumberland House | 1752–1763 | Wallace Collection, London, England | |
| The Interior of Henry VII's Chapel in Westminster Abbey | 1753 | Museum of London, London, England | |
| Capriccio of a Round Church with an Elaborate Gothic Portico in a Piazza, a Palladian Piazza and a Gothic Church Beyond | 1753–55 | Arundel Castle | |
| Capriccio of a Renaisance Triumphal Arch seen from the Portico of a Palace | 1753–55 | Arundel Castle | |
| English Landscape Capriccio with a Column | 1754 | National Gallery of Art, Washington D.C., United States | |
| View of Banqueting House and Equestrian Statue of King Charles I | 1754 | Private Collection | |
| Capriccio with a Domed Church and the Colleoni Monument | probably 1754 | Private collection | |
| English Landscape Capriccio with a Palace | 1754 | National Gallery of Art, Washington D.C., United States | |
| Westminster Bridge | 1754 | Private Collection | |
| Venice, Bacino di San Marco on Ascension Day | 1754 | Privade Collection | |
| The Interior of the Rotunda, Ranelagh, London | 1754 | Compton Verney Art Gallery, England | |
| The Interior of the Rotunda, Ranelagh | 1754 | National Gallery of London | |
| St. Paul's Cathedral | 1754 | Yale Center for British Art, New Haven, United States | |
| A View of Walton Bridge | 1754 | Dulwich Picture Gallery, London, England | |
| Eton College | 1754 | National Gallery, London, England | |
| Palazzo Ducale and the Piazza di San Marco | c. 1755 | Galleria degli Uffizi, Florence | |
| Old Walton Bridge | 1755 | Yale Center for British Art, New Haven, United States | |
| San Marco – the Interior | 1755 | Windsor Castle | |
| Piazza San Marco – Looking South-West | 1755–59 | Wadsworth Atheneum Museum of Art, Connecticut, United States | |
| Saint Mark's, Venice | Fitzwilliam Museum, Cambridge, England | ||
| Interior Court of the Doge's Palace, Venice | Fitzwilliam Museum, Cambridge, England | ||
| Piazza San Marco – Looking East from the South- West Corner | 1756 | National Gallery, London, England | |
| San Marco | 1756 | Fitzwilliam Museum, UK | |
| Venice: Palazzo Grimani | 1756–58 | National Gallery, London, England | |
| Piazza San Marco Looking East from the North-West Corner | 1758 | National Gallery, London, England | |
| Le grand canal – Looking South-East from the Campo Santa Sophia to the Rialto Bridge, Anagoria, Venice | 1758–63 | Gemäldegalerie de Berlín and Prussian Cultural Heritage Foundation | |
| The Campo di Rialto | 1758–63 | Gemäldegalerie der Staatlichen Museen zu Berlin | |
| The Campo di Rialto and S. Giacomo di Rialto, Venice | 1760 | National Gallery of Canada, Ottawa, Canada | - |
| The Bucintoro at the Molo on Ascension Day | 1760 | Dulwich Picture Gallery, London, England | |
| Porta Portello, Padua | 1760 | Thyssen-Bornemisza Museum, Madrid, Spain | - |
| The Bucintoro at the Molo on Ascension Day | 1760 | Dulwich Picture Gallery, London, England | |
| View through a Baroque Colonnade into a Garden | 1760–1768 | Albertina, Austria | |
| The Doge and Grand Council in Sala del Maggior Consiglio | 1763 | Statens Museum for Kunst, Dinamarca | |
| Doge of Venice Departing for the Lido | 1763–67 | British Museum, London | |
| Santa Maria Zobenigo | c. 1765 | Private Collection | |
| Scala dei Giganti | c. 1765 | Private Collection | |
| 1765 | Gallerie dell'Accademia, Venice, Italy | ||
| Capriccio with Colonnade in the Interior of a Palace | 1765 | Thyssen-Bornemisza Museum, Madrid, Spain | - |
| The School of San Marco | 1765 | Thyssen-Bornemisza Museum, Madrid, Spain | - |
| San Marco – the Crossing and North Transept, with Musicians Singing | 1766 | Kunsthalle Hamburg, Germany | |
| Vue de Mestre Bemberg | before 1768 | Fondation Bemberg, France | |
| Vue de Dolo Bemberg | before 1768 | Fondation Bemberg, France | |
| Teilansicht der Piazza San Marco in Venedig | 1768 |