Both canvases are lined. The paint surfaces are slightly dirty and the varnish is discoloured. There are some minor retouchings to the margins and scattered in the sky of both, visible to the naked eye. Inspection under UV confirms this. Otherwise they are both in very good condition remaining largely untouched. The works are offered in carved and gilt wood frames with lamb's tongue decoration, with some losses.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

These compositions are both slightly reduced derivations of the pen and ink drawings with wash, by Giovanni Antonio Canal, Canaletto (1697-1768), in the British Museum, London (inv. no. 1878,1228.4) and the Institute of Arts, Detroit (inv. no. 29.171).¹ These were both engraved in the same sense as part of the six-part series Prospetti sei di altrettanti Templi di Venezia, by Joseph Wagner and Fabio Berardi in 1742.² While the print of San Giorgio Maggiore is inscribed 'Canaletto delin.', relating it to the extant drawing, the engraving of San Simeone Piccolo is inscribed 'Canaletto pinx.', suggesting the existence of a painting, though this has never been traced. 1. See W. Constable, Canaletto. Giovanni Antonio Canal 1697-1768, Oxford 1962, vol. I, pp. 539 and 542, cat. nos 770 and 777; reproduced vol. II, plates 145 and 146, respectively. (Another version of the Detroit drawing is in the British Museum, London, inv. no. 1878,1228.3; recorded by Constable as a version or a copy, it is now considered autograph).
2. Numbered 'No.57.1' and 'No.57.2' on the respective plates; both engravings held at the British Museum, London, inv. nos 1951,0714.102 and 1951,0714.103, respectively. For further information see D. Succi, Da Carlevarijs Ai Tiepolo: Incisori Veneti E Friulani Del Settecento, Venice 1983, cat. no. 51.