Carlo Bossoli

Acquired by the father of the present owner in 1958

Original canvas, which is very fine. There is a layer of surface dirt. The paint is applied thinly in places, particularly to the sky where there are numerous areas of paint shrinkage and paintloss. There are some small holes to the canvas in places: to the top left edge, approximately 30cm from the central stretcher bar; above the round bastion Kremlin tower in the lower right, approximately 60cm from the right edge; below the far right upper green window of the building on the right; three holes to the right of the central line of retouching, above the church towers; in places either side of the church tower on the left side and several smaller pinholes in places elsewhere. There is a small area of damage from the reverse with associated paint loss to the right of the far righthand tree trunk. The central white cloud has areas of paint shrinkage and the paint surface is friable. The principal areas of paint loss and wear to the surface elsewhere include: the branches of the tree on the right and the branches and trunk of the central tree; the blue dome of the church on the right and the sky and backdrop to this far right group of buildings; the towers and upper section of the buildings on the far left. There are circular areas of media staining below and to the right of the aforementioned round bastion Kremlin tower. There are small spots of dirt and media staining in a few places elsewhere. The canvas is bare in places along the upper and lower edges. There is a vertical line of retouching through the centre of the canvas. UV light reveals sweeping retouching to the foreground and areas of retouching to the sky, including a substantial area to the top left corner and edge. Held in a simple wooden frame. Unexamined out of 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."

One of the leading topographical painters of the period, Bossoli was born in Lugano but grew up in Odessa where his family emigrated in 1820. Seduced by the beauty of Russia's cities, Bossoli sketched continuously, producing a body of drawings both precise and delicate. The present work is a rare and highly-accomplished view of Moscow thought to date to circa 1835-1840. The vantage point from the Ustinsky Bridge towards the Kremlin recalls the watercolour views taken from a similar vantage point by Maxim Vorobiev (1787-1855), a prominent landscape artist of the early nineteenth century. Although Bossoli was from a younger generation, he may have known Vorobiev's works through their shared patron Prince Mikhail Semyonovich Vorontsov (1782-1856). The Prince was stationed in Odessa as governor-general of the southern Russian provinces during Bossoli's youth and commissioned several works from the artist.