Francesco Zanin

Francesco Zanin (active Venice, 19th Century) The Scuola Grande di San Marco and the Campo Santi Giovanni e Paolo, Venice signed '14. Zanin. Fran.co' (lower left) oil on canvas 43 x 64cm (16 15/16 x 25 3/16in). PROVENANCE: With Frost and Reed, London With Stacy-Marks, Eastbourne Private Collection, UK Although compositions by Zanin are known that are dated as late as the 1870s, his attention to architectural detail, marked by strong contrasts of light and shade, together with his choice of subject matter, remained heavily influenced by the tradition set by Canaletto a century earlier. Nonetheless, in the precision of his handling and in his greater attention to topographical accuracy he can be regarded as having added his own innovative stamp to the tradition of the 18th century vedute . His depictions of the grand Venetian palazzi are valued for the breathtaking detail and faultless perspective of their drawing.

292. Francesco Zanin (fl. 1850-1888) Porta della Carta, Doge's Palace,Venice, oil on canvas, signed and dated 1859 lower right, 65x 53cm (25 1/2 x 20 7/8 in). Condition report: Some retouching atcanvas edges, possibly from wear from a previous frame, somecraquelure with a few very small pigment losses.

LOT 228 FRANCESCO ZANIN VENICE CIRCA 1780- DIED 1850 VENICE, A VIEW OF THE PIAZZETTA AT CARNIVAL oil on canvas 12,000—18,000 GBP 78 by 88.5 cm.; 30 3/4 by 34 7/8 in. Description oil on canvas We are grateful to Dottor Fabrizio Magani for endorsing theattribution on the basis of photographs. As was common in theartist's work, the composition looks back to Francesco Guardi, inthis case La festa del Giovedi Grasso in Piazzetta, in the Louvre,Paris (see A. Morassi, Guardi. I dipinti, vol. II, Italy 1993, fig.277). We are grateful to Dottor Fabrizio Magani for endorsing theattribution on the basis of photographs. As was common in theartist's work, the composition looks back to Francesco Guardi, inthis case La festa del Giovedi Grasso in Piazzetta, in the Louvre,Paris (see A. Morassi, Guardi. I dipinti, vol. II, Italy 1993, fig.277).

LOT 47 FRANCESCO ZANIN VENICE CIRCA 1780- DIED 1850 VENICE, A VIEW OF THE CHURCH OF SS. GIOVANNI E PAOLO, LOOKING EAST, WITH THE MONUMENT TO BARTOLOMEO COLLEONI 100,000—150,000 GBP measurements measurements note 75.5 by 111 cm.; 29 3/4 by 43 3/4 in. Description oil on canvas LITERATURE AND REFERENCES F. Magani, Francesco Zanin 'Un "Canaletto" nell'Ottocento, Milan 2007, reproduced pp. 22 and 24. CATALOGUE NOTE This is one of the most famous views in Venice and was painted with numerous viewpoint variations by all the famous vedutisti. The view looks across the Rio dei Mendicanti towards the western façade of the largest Dominican church in Venice, SS. Giovanni e Paolo. At the extreme left is the Ponte del Cavallo and in the distance the Scuola di San Marco. To the right of the church is the celebrated equestrian statue of the condottiere Bartolomeo Colleoni by Andrea del Verocchio. The paintings of Zanin, a native of the Veneto, owe a great deal to those of Giovanni Antonio Canaletto and the present work is no exception; it is taken from a similar viewpoint, though from slightly further back, as Canaletto's depiction of SS. Giovanni e Paolo in the Royal Collection at Windsor Castle.1 We are grateful to Charles Beddington for proposing the attribution to Francesco Zanin after first-hand inspection. 1. For which see W.G. Constable & J.G. Links, Canaletto, Oxford 1989, vol. I, reproduced plate 58, vol. II, pp. 341-2, no. 308.

Francesco Zanin (Italian, 1855-1888) A celebration before the Campanile; and A Venetian palace one signed, inscribed and dated 'Zanin Franci 1871. No.2' (lower right) and the other signed and inscribed 'N.5 Zanin Franci' (lower left) oil on canvas 25 x 17¼ in. (63.5 x 43.8 cm.) a pair (2) Lot Notes View Lot Condition Report Well-known for his accurate depictions of Venice, the works by Francesco Zanin follow the artistic tradition established by Canaletto (1697-1768) and Francesco Guardi (1712-1793). Meticulously crafted and architecturally precise, Zanin's pictures could be mistaken for 18th century works. Showing the influence of these two great Venetian artists, Zanin concentrated on depicting the urban architecture of the Venetian Republic. However, while Guardi's Venice sometimes appears cloudy, Zanin's historical Venice is often shown in sunny daylight detailing its urban structures.