William James, active 1730 - 1780

VIEW OF THE CANAL GRANDE IN VENICE WITH THE CHURCH OF SANTA CROCE AND THE CHURCH DEGLI SCALZI
Oil on canvas. Doubled.
38 x 63 cm.
In ornamentally decorated gilt frame.

Accompanied by a copy of an expertise by Dario Succi, Gorizia.

Flanked by numerous splendid buildings on the bank, the calm Grand Canal under a high light blue sky with few cloud formations. Several gondolas on the water, of which one gondola on the left is particularly striking, as it is magnificently decorated with gilding and a closed superstructure with windows. On the right-hand side, the view is directed towards San Geremia and the square where the church of Santa Lucia once stood. The canal is flanked on the left and right by a row of imposing palazzi. Painting in the summer light that falls on the city from the right, slightly shading some of the buildings and reflecting others in the calm waters. Succi dates the present painting to around 1770 and emphasizes the essential characteristics that define William James' oeuvre: "the confident perspective setting, the precise rendering of the artistic-architectural elements with warm pigments, the lively speckles reminiscent of his model Canaletto, the beautiful grey-blue hue of the sky, the fluid ductus with the typical swirls, the movement of the waves in the manner of Canaletto. William James was active as a vedutist between 1746 and 1771; the only information about his artistic personality can be found in Edward Edward's "Anecdotes of Painters" of 1808, in which James is mentioned as a pupil or collaborator of Canaletto during his stay in England between 1746 and 1755. His artistic career has been partially reconstructed through a series of London views held by the Ashmolean Museum in Oxford and the British Royal Collections. However, the text of the above-mentioned Edwards contains the only mention of his painting of Venetian subjects, which the biographer himself considers to be closely related to Canaletto. The attribution to William James of some of the views that reached the international market, and above all the presence of some canvases with his name written in full on a plaque attached to the original frames, suggest a prolific production of city panoramas, generally taken from the painterly repertoire of Antonio Canal, works that enabled the English painter to be counted among the "vedutisti di Venezia" (veduta painters of Venice), although his biographical sequence gives no indication of a possible stay in the lagoon city. James was one of Canaletto's best-known pupils, who absorbed the taste for Venetian sites indirectly by looking at the works the master had brought back to England and by working alongside him as he satisfied his patrons' great demand for views of their beloved lagoon city. Works by his hand entered the Victoria and Albert Museum, Kensington Palace and the Ashmolean Museum in Oxford. William James was a highly esteemed artist in 18th century London. Some of his London views were exhibited at the Society of Artists' annual exhibition between 1767 and 1771. The 1767 exhibition featured two paintings depicting the western end of Westminster Bridge.

Note:
For stylistic and chromatic comparison, a painting by William James shown in the 1993 exhibition "Canaletto & England" in Birmingham, no. 57. (1410772) (4) (13)



William James,
active 1730 - 1780

VIEW OF THE GRAND CANAL IN VENICE WITH THE CHURCH OF SANTA CROCE AND THE CHURCH OF THE SCALZI

Oil on canvas. Relined.
38 x 63 cm.
In gilt frame with ornamental décor.

Accompanied by an expert's report by Dario Succi, Gorizia, in copy.

Succi dates the present painting to ca. 1770 and highlights the essential features characteristic for William James' oeuvre: In 18th century London, William James was a highly esteemed artist. Some of his views of London were exhibited at the annual exhibition of the Society of Artists between 1767 and 1771. In the 1767 exhibition, two paintings depicting the western end of Westminster Bridge were presented.

Notes:
A painting by William James, shown in the 1993 exhibition "Canaletto & England" in Birmingham under number 57, serves well for stylistic and chromatic comparison.