Canaletto Painting Leaves Prague’s Lobkowicz Palace for Vienna

“Some visitors spend long hours with the work. Canaletto‘s sense of detail is exceptional. As well as the subject. It captures the celebration of the election of the mayor of London,” William E. Lobkowicz describes the scenes on the unique work, adding that he himself also admires all of the aforementioned.

“Look at the two little boys in the corner getting on the boat,” he blurts out one of the many tidbits, adding that the painting is also exceptional for its central theme. “There is no nobility on it, but estates, guilds, the celebration of the democratic election of the mayor,” he describes.

He will then give the floor to Dita Baker, director of the Lobkowicz Collections Administration. As soon as she takes the floor, it is clear to me that she could talk for hours about the unique item, similar to the other exhibits owned by the famous family.

You can find part of them in the Prague Castle, in its palace, where I met the two interviewees even before the aforementioned work was transported to Vienna. It took place in the past few days and was subject to a regime of strict secrecy. At the same time, it was far from his first similar trip across Europe.

It all started in London, where it was bought by Ferdinand Filip z Lobkovice (1724–1784) in the middle of the 18th century. Like Canaletto (1697–1768), he took refuge in the city above the Thames partly in an attempt to avoid the effects of the Wars of the Austrian Succession (1740 to 1748), partly because of the so-called cavalier’s journey. Getting to know foreign countries was part of the tradition of educating young nobles.

The famous painter was looking for customers in London. In his native Venice, the same war brought the art trade to a halt. He brought his own artistic style with him to England, in some ways he even moved it there, namely the size of his works.

He also created large-format works in London, the earliest two of which were bought by the young Lobkovic. It was about: The Mayor’s party on the Thames and also London: a view of the River Thames and Westminster Abbey from Lambeth Palace. It was finished sometime around 1748.

The legend associated with the store is also interesting. According to her, the nobleman should have paid for everything from the money originally intended for the purchase of horses. “Similar stories have not been verified. Our archives have not yet been cataloged, there are tens of thousands of documents, not…,” comments Dita Baker on the story.

And he continues: “But we know reliably that the famous painter opened a workshop in London, in which he could also have apprentices. Furthermore, the mentioned paintings were created at approximately the same time, roughly within two years. And if you look at them casually, from a distance, you can feel that they depict Venetian motifs, vedutes. This confirms that Canaletto kept his author’s handwriting.”

Looking more closely at the work, I agree with her. Veduta is indeed slightly idealized, including the mayor’s ceremony itself. For the sake of interest, Baker adds that the event still takes place on the Thames every autumn.

Perhaps that is why the mentioned image is still in the British consciousness. As they say, he knows about him very well. Years ago, he returned to the city where he was born for a while. The Lobkowicz family lent it in connection with the celebrations of the 60th anniversary of Elizabeth II’s reign in 2012.

He is not heading into the unknown even as part of his current loan to Vienna. He used to be “at home” there too. At one time it decorated the family palace there.

He recently left Prague properly insured, in a large safety box. The whole thing weighed tens of kilograms. “I would estimate it to be about thirty-five kilos,” says Dita Baker, adding that both paintings have traveled a lot for their size.

At the same time, the fate of the latter is particularly affected: London: a view of the River Thames and Westminster Abbey from Lambeth Palace. During World War II, he left Prague for Salzburg. It was part of the Nazi “depository” of Europe’s most important works of art in nearby salt mines. “Subsequently, he returned to Czechoslovakia. After the Nazis, however, they were both nationalized by the communists. The National Gallery of the Czech Republic took care of them,” says Baker.

Even under socialism, however, there were works to be seen. After all, the Lobkowiczs also strive to prevent it from becoming “just” exhibits. In this, they continue the tradition of their predecessors, who were the first in the Czech Kingdom to open a castle in Bílina in the 19th century. Thanks to the famous spa there, they had a certain clientele. And managing settlements has never been cheap.

“We have all our castles open for everyone to see how wonderful they are,” adds William E. Lobkowicz.

The Vienna Canaletto & Bellotto exhibition, which is the main project of this season for KHM, starts on March 24 and ends on September 6. Soon after, the rare work will return to its place, in the Lobkowicz Palace.

Until then, a TV screen will hang on it, in which his likeness will be projected during the loan. It will also open its journey through history to visitors.