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    Museum collections / Art Institute of Chicago
    The Garden of Palazzo Contarini dal Zaffo
    Francesco Guardi. The Garden of Palazzo Contarini dal Zaffo, Late 1770s. The Art Institute of Chicago. Public domain (CC0).
    AT-00001511

    Public data from the Art Institute of Chicago. Learn more

    The Garden of Palazzo Contarini dal Zaffo

    by Francesco Guardi

    Provenance

    One of series of four viewed in Venice and the Veneto, presumably painted for John Strange (died 1799), British resident in Venice between 1773 and 1788; sale of his collection, European Museum, London, May 27, 1799, no. 49 (bought in); sale of his collection, Christie’s, London, March 15, 1800, no. 99. Colonel Milligan of Caldwell Hall, Burton-on-Trent; Nottinghamshire; sold, Christie’s, London, March 13, 1883, no. 358 or 359, to Davies [this information given in Christie’s sale catalogue, December 8, 1989 under no. 114, Villa Loredan from the same series]; Charles Davies, London. Colnaghi’s, London [Ames 1963, p. 37 states that Rothermere acquired the series from Colnaghi]; Harold Sidney Harmsworth, first Vicount Rothermere (died 1940) [the series of four paintings was intact on the death of Lord Rothermere, but appears to have been sold separately and privately after his death, see Fahy 1973, p. 111]. Knoedler, New York [according to Knoedler label on the back with stock no. 423 [5 or 6] 2]. Alfred Frankfurter, New York [letter from Alfred Frankfurter to Mr. and Mrs. Ascoli dated July 16, 1947, copy in curatorial file]; Dr. and Mrs. Max Ascoli, New York, by 1947 [letter cited above]; given to the Marion and Max Ascoli Fund; given to the Art Institute, 1991.

    Exhibition history

    On summer loan to the Metropolitan Museum of Art, New York, 1978, 1981, 1982, and 1983. Paris, France, Grand Palais, Venice at Vivaldi and Tiepolo’s time, September 14 2018-January 21, 2019, cat. 164; Venice, Palazzo Ducale, Feb. 23- June 9, 2019.

    Publications

    Antonio Morassi, “Settecento inedito (II). VIII. Quattro ‘Ville’ del Guardi,” Arte veneta 4 (1950) p. 50, fig. 46. J. Byam Shaw, The Drawings of Francesco Guardi (London, 1951), p. 65, under no. 30. Royal Academy of Arts, London, European Masters of the Eighteenth Century, exh. cat. 1954–55, p. 40, under no. 89 and p. 158, under no. 575. J. Byam Shaw, “Guardi at the Royal Academy,” Burlington Magazine, 97, (1955), p. 16. K. T. Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum, vol. II, Italian Schools (Oxford, 1956), pp. 509–510, under no. 1014. Francis Haskell, “Francesco Guardi as Vedutista and Some of His Patrons,” Journal of the Warburg and Courtauld Institutes, 23 (1960), pp. 269–270. Rodolfo Pallucchini, La pittura veneziana del settecento (Venice, 1963), p. 248. Winslow Ames, “The Villa dal Timpano Arcuato’ by Francesco Guardi,” Master Drawings, I, 3 (1963), pp. 37–38. Pietro Zampetti, Mostra dei Guardi, exh. cat. Palazzo Grassi, Venice, 1965, p. 266, under no. 139. Francis J. B. Watson, “Guardi in England,” in Problemi Guardeschi: Atti del convegno di studi promosso dalla mostra dei Guardi (Venice, 1967), p. 210. J. Byam Shaw, J.B.S. Selected Writings (London, 1968), pp. 117–118. Denys Sutton, Italian Drawings from the Ashmolean Museum, Oxford, exh. cat. Wildenstein, London, 1970, under no. 69. Jacob Bean and Felice Stempfle, Drawings from New York Collections III: The Eighteenth Century in Italy, exh. cat. Metropolitan Museum of Art, New York, 1971, p. 87, under no. 207. Antonio Morassi, preface to Mercedes Precerutti-Garberi, Frescoes from Italian Villas (New York, 1971), pp. 1–2. Everett Fahy, The Wrightsman Collection, vol. 5, Paintings, Drawings (New York, 1973), pp. 106–115, fig. 3. Antonio Morassi, Guardi. Antonio e Francesco Guardi (Venice, 1973), pp. 436–437, no. 680, fig. 635. Antonio Morassi, Guardi, Tutti I desegni di Antonio, Francesco, e Giacomo Guardi (Venice, 1975), pp. 63, 153, no. 419. Important Old Master Pictures, Christie’s, London, December 8, 1989, pp. 162–165, under no. 114. Jacob Bean and William Griswold, 18th Century Italian Drawings in the Metropolitan Museum of Art, New York, 1990, pp. 108, 112, under no. 93. Art Institute of Chicago Annual Report 1990–91, Chicago 1991, pp. 13, (ill.), 19. Colnaghi in America. A Survey to Commemorate the First Decade of Colnaghi in New York, edited by Nicholas H. J. Hall, New York, 1992, p. 104. Dario Succi, Francesco Guardi. Itinerario dell’avventura artistica, Cinisello Balsamo, 1993, pp. 98–103. Paul Jeromack, “Panorama del collezionismo pubblico nell’America del Nord, 1990–1995” in Pittura italiana antica. Artisti e opere del Seicento e del Settecento, ed. by Alessandro Morandotti, Milan, 2000, pp. 57 (ill.), 58. Loisel, Catherine, et. al. Venice at Vivaldi and Tiepolo’s time, exh. cat. (Grand Palais, 2018) pp. 220, pp. 230-231, cat. 164.

    Quick Overview

    Artist
    Francesco Guardi (Italian, 1712–1793)
    Date
    Late 1770s
    Medium
    Oil on canvas
    Dimensions
    48 × 78 cm (19 × 30 5/8 in.); Framed: 63.5 × 92.7 × 6.7 cm (25 × 36 1/2 × 2 5/8 in.)
    Type
    Painting
    Classification
    oil on canvas
    Style
    18th Century
    Place
    Italy
    Department
    Painting and Sculpture of Europe
    Credit line
    Gift of Marion and Max Ascoli Fund
    Accession no.
    1991.112

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    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
    • The Art Institute of Chicago: open-access terms

    Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.

    Open-access museum record · AT-00001511

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