Ivan Konstantinovich Aivazovsky

Charles E.Sorensen, Principal of the Ford Motor Company from 1925-1944, Detroit
Acquired by the grandfather of the present owner in the early 1950s
Thence by descent

Possibly listed in N.Sobko, Slovar' russkikh khudozhnikov, vayatelei, zhivopistsev, zodchikh, risovalschikov, graverov, litografov, vol.1, p.316, No.110. (95) titled Gibraltar. Night

Structural Treatment The canvas has been lined and this has successfully secured and stabilised the overall craquelure pattern which is evident particularly in the darker pigments. This drying craquelure is part of the natural drying processes of the artist's materials and is not progessive and is often found on paintings by the artist. It should be noted however that the craquelure pattern, while being quite extensive, is entirely stable. Paint surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows very fine lines of inpainting filling the craquelure, particularly in the upper and lower left corners, in the upper right in the dark clouds above the boats, and in the dark pigments of the Rock of Gibralter. These are all very fine lines, carefully applied, to reduced the pale craquelure pattern. There is also a thin vertical line approximately 2 cm in length, in the lower left corner. Summary The painting is therefore in good and stable condition and no further work is required.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Gibraltar by Night dates from the end of an extensive European tour which Aivazovsky embarked upon following his graduation from the Academy of Arts in 1840. Travelling through Italy, England, Portugal, Spain and Holland, he quickly made a name for himself in Europe as news spread of his talents as a marine artist and he was named Academician by no less than three European Academies of art. It was, however, the rumours emanating from Russia that Aivazovsky had decided to abandon his homeland and settle permanently in Paris which persuaded him to cut short his travels in 1845 and return to St. Petersburg immediately.

 

The offered lot is believed to have been painted in The Hague where it was probably also exhibited at the time of Aivazovsky's nomination as an Academician by the Amsterdam Academy of Arts. Although firmly grounded in the Classical tradition with its use of defined planes to give the impression of depth, the composition also reveals Aivazovsky's brilliance and innovation as this device is inverted and used to even greater dramatic effect. The brightness of the moon immediately draws the viewer to the striking silhouette of the rock of Gibraltar at the very back of the composition. Yet, it is only through looking beyond this initial focus that we notice the shape of the sinking steamer emerging from the darkness of the foreground, lit eerily by the red sparks sputtering from its funnel.

 

Gibraltar by Night illustrates Aivazovsky's deftness at capturing the effect of light on moving water. The technique of applying numerous very thin paint layers on top of each other allowed him to create the most subtle gradations of tone, which Nikolai  Kramskoy described as "secret colours ... so bright and pure as I have never seen ... on a dry salter's shelves" (quoted in V.Pilipenko, Ivan Konstantinovich Aivazovsky. Leningrad: Khudozhnik RSFSR, 1991, p. 29).

To be included in the forthcoming monograph on Aivazovsky by Gianni Caffiero and Ivan Samarine, which will be published in late 2010.