Dresden from the Left bank of the River Elbe below the Fortifications

Artist Bernardo Bellotto Italian, 1722–1780

Date1748

MediumOil on canvas

Dimensions53 1/2 x 92 in. (135.9 x 233.7 cm)
Frame: 59 5/8 x 97 3/4 x 3 in. (151.4 x 248.3 x 7.6 cm)

ClassificationsPaintings

Credit LinePurchased with funds from the State of North Carolina, 1952, and dedicated by the NCMA Board of Trustees in honor of William P. Brown, Chief Conservator (1989-2020), 2020.

Object number52.9.146

On View

Not on view

ProvenanceCommisioned by Graf von Heinrich Bruhl, prime minister of Electoral Saxony and Poland (1700-63), Dresden; Bruhl family, by descent; Rt. Hon. Lord Hillingdon, Hillingdon Court, Uxbridge, England, by 1894; Hillingdon sale, Christie, Manson and Woods May 3, 1946, lots 43 and 44 (l 4410 the pair); (Ellis and Smith, London:) Mrs. Warwick Bryant; her sale Christie, Manson and Woods, June 23, 1950, lots 67 and 68 (l 1900 each); David M. Koetser, New York, NY; Acquired by NCMA from Koetser, 1952.Published ReferencesA. Graves, A Century of Loan Exhibitions, 1813-1912 (London: Algernon Graves, 1913), 56.

W. R. Valentiner, Catalogue of Paintings, Including Three Sets of Tapestries (Raleigh, North Carolina Museum of Art, 1956), cat. no. 176, illus (b-w).

Stefan Kozakiewicz, Bernardo Bellotto, Vol. 2 (Greenwich, CT: New York Graphic Society, 1972), 127, illus. pl. 155.

Ettore Camesaca, L'opera complete del Bellotto (Milano: Rizzoli, 1974), no. 80, illus. no. 80.

Edgar Peters Bowron, ed., Introduction to the Collections (Chapel Hill: published for the North Carolina Museum of Art, Raleigh, by The University of North Carolina Press, 1983), illus. (b-w) 217.

William Barcham, "Two Views by Bernardo Bellotto," North Carolina Museum of Art Bulletin 15 (1991), 13-28, illus. (color) 13, (b-w) 22, 25.

Introduction to the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 1992), illus. (b-w) 201.

David Steel, entry for View of Dresden with the Hofkirche at Right, in North Carolina Museum of Art: Handbook of the Collections, Rebecca Martin Nagy, ed. (Raleigh: North Carolina Museum of Art, 1998), 148-49, illus. (color) 149.

David Findley, "Blue Skies Are Here Again," North Carolina Museum of Art Preview and Calendar of Events (Nov/Dec 2000), 14-15, illus. (b-w) 14, 15.

Bernardo Bellotto and the Capitals of Europe, Edgar Peters Bowron, ed. (exhibition catalogue) (New Haven and London: Yale University Press, 2001), cat. no. 40, illus. (color) 150-51.

Michael Cole, ed., The Early Modern Painter-Etcher (exhibition catalogue) (University Park, PA: The Pennsylvania State University Press, 2006), 155-56, illus. (b-w) 156, fig. 71 (catalogue only, not in exhibition).

David Steel, entry for View of Dresden with the Hofkirche at Right, in North Carolina Museum of Art: Handbook of the Collections, rev. ed. (Raleigh: North Carolina Museum of Art, 2010), 306-307, illus. (color) 309.

Michael Yonan, “Dresden to Duchov,” Casanova: The Seduction of Europe (exhibition catalogue), Frederick Ilchman, et al, eds., (Boston: Museum of Fine Arts, 2017), 223–226, illus. (color) 226.

Lyle Humphrey, "Saul Among the Prophets: W.R. Valentiner, Robert L. Humber, Carl W. Hamilton, and the Italian Collection at the NCMA," Lisandra Estevez, ed., Collecting Early Modern Art (1400-1800) in the U.S. South (Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2021), 34.Exhibition HistoryLondon, Royal Academy, London, 1894, nos. 107, 122.

Houston, TX, The Museum of Fine Arts, "Bernardo Bellotto and the Capitals of Europe," July 29-October 21, 2001, cat. no. 40, illus. (color) 150-51.

Fort Worth, TX, Kimbell Art Museum, “Casanova: The Seduction of Europe,” August 27–December 31, 2017; San Francisco, CA, Fine Arts Museums of San Francisco (Legion of Honor), February 10–May 20, 2018; Boston, MA, Museum of Fine Arts, June 17–October 8, 2018, cat. pp. 223–226, illus. (color) 226.
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