Francesco Guardi

The colours of the original are a little less yellow in tone than they appear in the catalogue illustration. The canvas has an effective relining which has not overly flattened the paint surface. Many of the details of the paint surface are well persevered and the painting is overall in good original condition under a dirty varnish. Inspection under UV light reveals a handful of old very minor scattered retouchings and some other more recent but unobtrusive retouching in the sky. Offered in a gilt wood and plaster frame in good condition if a little rubbed in places.
"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."

The composition is based on the original by Joos de Momper and David Teniers the Younger today in the Kunsthaus, Zurich (see K. Ertz, Josse de Momper der Jüngere, Freren 1986, pp. 410, 570-1, no. 370, reproduced fig. 517). Guardi only rarely adapted northern designs; other examples include his reverse adaption of Adrian van de Velde's Kolf player on a Frozen lake with Classical Ruins in the National Gallery, London and his adaption of van de Velde's Beach at Scheveningen in the Museé des Beaux-Arts, Nimes (see M. Murano, 'Asterischi Guardeschi', in Problemi Guardeschi, Venice 1966, p. 169, plates, 202-207).