Graham Sutherland, O.M.

Galleria Stefano Contini, Venice, where acquired by the present owner in 2005

Original canvas, there are pin holes visible to the top corners. There are frame abrasions in line with a previous framing. There are some very faint horizontal lines of very fine craquelure visible to the top centre edge. There is a very minor, small area of in-filled loss to the edge of the top left quadrant, with a few further, minor spots of light surface abrasion to the left hand edge and a further scuff in the upper right hand corner and a few surface scuffs appearing elsewhere. Elsewhere there is very minor surface dirt and traces of studio detritus, most noticeable to the blue pigment down the right and left hand sides, but this excepting the work appears in good overall condition. Ultraviolet light reveals scattered traces of fluorescence and probable retouchings to the dark blue pigment down the left hand side, with a few further scattered traces visible along the bottom edge. Housed in a thick black painted wooden frame. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"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 present work was painted by Sutherland whilst he was staying in Venice at the Hotel Cipriani on the Giudecca. During his stay, he used an enormous boat-builder’s shed with large windows and an amazing iron spiral staircase seen at the left of the present work. The shadows of foliage from the garden outside create the sensation of a stained-glass window, in front of which Sutherland has placed the part of a machine. A larger version of this interior (the largest work he painted apart from The Origins of the Land) was painted by Sutherland in the same year and exhibited at his one-man exhibition in Turin at Galleria Civica d’Arte Moderna, 1965.