I don't believe I've ever seen a Logsdail painting in person, so my evaluation of the London scenes below must be tentative. The impression I have is that although they seem fairly tightly done, this is slightly loosened by his use of color and atmospheric perspective. Some other works shown below are painted more loosely, though his portraits of the 1900s generally seem to have a high degree of finish.
An interesting point of view. Shown is the central tourist zone square-on. Most artists choose to paint from the opposite side of the Grand Canal and sight down it.
Some of the better American illustrators of 1895-1930 painted scenes much like this.
Here Logsdail sights along the canal, but this view is in the opposite direction from the usual depictions.
Another unconventional viewpoint. The Church is usually shown with the canal or its shoreline in the foreground, rather than from a subsidiary canal as done here. This viewpoint is one a photographer might select, though Logsdail was a plein-air artist in those days and didn't use reference photos so far as I know.
An historical document, this is.
Having visited Taormina a year ago, I can vouch that Logsdail did a good job of capturing the scene. That's Mt. Etna in the background. Today, the shoreline is built up and large tourist hotels can be found.
Portrait of the well-known Victorian artist. The style is similar to that used by the Glasgow Boys school.
Curzon had been Viceroy of India before this was painted.
A posthumous portrait of Curzon's first wife.