Edward William Cooke, R.A.

George Baynton Davy Esq. (1871-1907) and thence by descent to the present owner

Nottingham, Castle and Museum Art Gallery (details untraced).

The canvas has been lined. There is a faint craquelure throughout. Surface is dirty and may benefit from a light clean; otherwise appears in good overall condition. Ultraviolet light reveals an opaque varnish. There appears to be a few minor spots of retouching in the sky upper right, and further spots elsewhere, including some infill to the ship to the left hand side of the picture. Held in original gilt 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."

Emulating Canaletto, Edward William Cooke painted the majority of his depictions of Venice from the vantage of a boat moored on the lagoon, showing the magnificence of the bridges and the most impressive marble facades of the palazzos which were built to face the canals and the lagoon. His position on the water also allowed Cooke to study the merchant ships with the same attention to detail and observation that he used to depict the architecture of the buildings.

The current picture presents one of the most beautiful views in world, of the island of San Marco, the sky ablaze with the golden and rosy hues of evening sunlight. Cooke appears to have painted the view from just offshore of the Isola di San Giorgio, with the Chiesa di San Giorgio Maggiore behind him and looking towards the island of San Marco. Along the Riva degli Schiavoni are the Doge’s Palace with one of its polychrome facades lit by the sunset, behind which can be seen the domes of the Basilica of San Marco and the towering Campanile. The magnificent ships in the foreground are laden with goods, celebrating the importance of Venice as a trading centre, whilst the glorious sunset seems to add religious glory to the scene, bathing the towers and domes of the churches with golden sunlight.