Sir Frank Brangwyn, R. A. 1867-1956

Glasgow, Ian MacNicol;
Dr James Stewart Geikie and thence by descent

STRUCTURE The panel is flat and does not appear to have warped. CATALOGUE COMPARISON The illustration is broadly representative. PAINT SURFACE The colours are bright and the impasto is rich throughout. There are very small areas of very fine craquelure on the hulls of the boats but this is only visible upon very close inspection and the paint surface appears to be stable. The picture may benefit from a light clean. UNDER ULTRAVIOLET LIGHT There are no visible retouchings. FRAME This picture is contained in a moulded plaster frame.
"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."

Brangwyn first visited Venice in 1896, when he was twenty-eight shortly after his marriage to discuss a projected decorative scheme. This visit was to instil in the young artist a deep-felt love of the city to which he would return for almost three decades. 'He found Venice a city of immeasurable charm. He was enthralled by its medieval and Renaissance architecture, its graceful bridges, its gondolas and canals, its piazzas, all providing an abundance of material for the painter. He filled his sketch-book, and was eager on his return to London to translate his sketches into large paintings. His prolonged Venetian series began to emerge, an extravagant series of rich, majestic and ornamental canvases.' (Rodney Brangwyn, Brangwyn, 1978, pp. 75-76) The mid 1900s were particularly important to the development of Brangwyn's Venetian pictures. He exhibited a series of large and dramatic panels at the Venice International Exhibition in 1905 and was awarded a gold medal at the Venice Biennale in 1907. The International Exhibition attracted artists from all over the world who travelled to the city and left with arms full of sketches and canvases recording the many faces of its beauty. Among those who were in Venice with Brangwyn, were John Singer Sargent and Alfred East.

Brangwyn's fascination with Venice did not abate and the magnificence of the city continued to hold power over him until his last trip in July 1928. 'Year by year he added to his lengthening series of Venetian subjects, dipping into his sketchbooks for ideas and details, renewing his enthusiasm each time he visited the city, constructing designs which were animated and grand.' (ibid Brangwyn, p. 159). Notable later examples include the large canvases The Doge's Palace and Library (private collection) and Il Palazzo dei Camerlenghi (destroyed by fire) both of 1912.