SAN FRANCISCO, CA.- The Fine Arts Museums of San Francisco announced the acquisition of Venice, the Grand Canal looking East with Santa Maria della Salute, a preeminent work by Giovanni Antonio Canal, called Canaletto, considered the greatest Venetian view painter of the eighteenth century. The acquisition was made possible by a generous donation from the San Francisco philanthropist Diane B. Wilsey. Originally commissioned in 1750 by William Holbech for Farnborough Hall, UK, the painting has been continuously held in private collections, including most recently that of Ann and Gordon Getty. The painting will now take its place as one of the public treasures of San Francisco as part of the European Paintings collection at the Legion of Honor, widely known for its exceptional quality.

“We extend our deepest gratitude to Diane B. Wilsey for her generous gift of this breathtaking work to the city of San Francisco, and unmatched support of the Fine Arts Museums over many years, including funding our beloved free Saturdays program for Bay Area residents,” states Thomas P. Campbell, director and CEO of the Fine Arts Museums of San Francisco. “The first major painting by Canaletto to enter the Fine Arts Museums’ collections, Venice, the Grand Canal looking East with Santa Maria della Salute, builds on the Legion of Honor’s robust holdings of 18th-century Italian art .”

“With the Legion of Honor Centenary approaching in 2024, I wanted to give a gift to the museum, to the residents of San Francisco, and to our visitors from around the world, that matched the magnitude of this moment. It is an honor to help the Fine Arts Museums of San Francisco in its acquisitions of serious and important works of art that continue to elevate and distinguish its collection,” says Diane B. Wilsey.

“Christie’s is thrilled to have facilitated this pre-auction private sale that will benefit the public twice, by funding the arts and sciences through the Ann and Gordon Getty Foundation, and by ensuring that a Canaletto masterpiece will inspire and amaze visitors to the Fine Arts Museums of San Francisco for generations to come,” commented Bonnie Brennan, President Of Christie’s Americas, “On behalf of Christie’s I want to congratulate Diane B. Wilsey and the Fine Arts Museums of San Francisco for making this wonderful acquisition for the good of all a reality.”




Venice, the Grand Canal looking East with Santa Maria della Salute joins an exquisite group of eighteenth-century Italian pictures, including the Empire of Flora by Canaletto’s Venetian compatriot Giovanni Battista Tiepolo, architectural capricci by his Roman rival Panini, and further works by his Guardi and Pietro Longhi held in the Legion of Honor’s collection. The painting also joins a closely related view, painted a century and a half later depicting the Grand Canal and church of the Salute: a 1908 masterpiece by Claude Monet.

"Acquiring a masterpiece by Canaletto has long been a priority for our collections. Venice, the Grand Canal looking East with Santa Maria della Salute represents a cornerstone acquisition for the kickoff of our Gift of Art Campaign to celebrate the Legion of Honor's Centenary. Thanks to Mrs. Wilsey’s remarkable generosity, this masterpiece returns to San Francisco where it will be featured prominently as a highlight in our galleries," says Melissa Buron, Director of Curatorial Affairs.

Bathed in late afternoon light, Canaletto’s composition looks eastward, down the Grand Canal, past the stately church of Santa Maria della Salute and the customs house on the Punta della Dogana. Sailboats and gondolas dot the placid water, and Venetians of various social classes mingle in the foreground. On the horizon, the bell towers of San Giorgio dei Greci, the Piazza San Marco, and San Pietro di Castelo float like buoys, while half the canvas is given over to a radiant sky, its clouds tinted pink by the approaching sunset.

“Depicting one of the most famous views in Venice, this is among the most important pictures by the artist to come onto the market in the last twenty years. Taking as its principal subject the church of Santa Maria della Salute, built in an act of civic piety following the 1629-1631 outbreak of plague in Venice, the painting offers contemporary audiences a symbol of hope and resilience as we emerge from our own pandemic” adds Emily Beeny, Curator in Charge of European Painting at the Fine Arts Museums of San Francisco

Canaletto left Venice in 1746, to spend nearly a decade in England, where he had developed a loyal clientele among the British gentlemen who had visited his Venetian workshop during their grand tours of Italy. Once such client was William Holbech (c. 1699-1771), the owner of a country house in Warwickshire called Farnborough Hall. Having acquired two earlier Venetian views by Canaletto (today in the Städtliche Kunstsammlungen, Augsburg; and the National Gallery of Canada, Ottowa), he commissioned this painting and its pendant, a view of the Bacino di San Marco from the Piazzetta (today in the National Gallery of Victoria, Melbourne), from the artist in 1749 or 1750. These four works were likely installed, along with a group of Roman view paintings by Canaletto’s Roman counterpart, Giovanni Paolo Panini, in the dining room at Farnborough Hall in the fall of 1750, and there they remained for nearly two hundred years. Ann and Gordon Getty acquired this picture in 1987, making it the centerpiece of their legendary San Francisco collection, which contained no fewer than four Venetian view paintings by Canaletto, as well as examples by his contemporaries and rivals Francesco Guardi and Bernardo Bellotto.