View full screen - View 1 of Lot 57. Venice, a view of the Molo from the Bacino di San Marco, with the Palazzo Ducale and the Bucentaur.
57

Francesco Albotto

Venice, a view of the Molo from the Bacino di San Marco, with the Palazzo Ducale and the Bucentaur

Estimate:

50,000

to
- 70,000 EUR

Francesco Albotto

Francesco Albotto

Venice, a view of the Molo from the Bacino di San Marco, with the Palazzo Ducale and the Bucentaur

Venice, a view of the Molo from the Bacino di San Marco, with the Palazzo Ducale and the Bucentaur

Estimate:

50,000

to
- 70,000 EUR

Francesco Albotto

Venise 1721 - 1758

Venice, a view of the Molo from the Bacino di San Marco, with the Palazzo Ducale and the Bucentaur


Oil on canvas 

54,2 x 71,5 cm ; 21⅜ by 28⅛ in.

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Francesco Albotto

Venise 1721 - 1758

Vue du Palais des Doges avec le Bucentaure depuis le Bacino


Huile sur toile

54,2 x 71,5 cm ; 21⅜ by 28⅛ in.

The painting is in a satisfactory condition.

It has been relined, rather stiffly.

It seems to be sound and stable.

Some rather marked stretcher garlands appear in the upper area.

The paint layer is in satisfactory condition, but is very dirty.

Some small dents are visible in the sky, above the Palazzo Ducale, and have caused slight losses.

The varnish layer is very yellow and very dirty.

A few areas of wear can be observed, especially in the water, close to the two columns.


Under UV light

Inspection under UV light reveals a few areas of retouching, highlighting the architecture in places, as well as in the water, near the Bucentaur, in the boat lower right and on the figures in the lower part of the composition.


Offered with a gilt wood frame.

Please note that Sotheby's does not guarantee the condition of the frame.


Le tableau est dans un état de conservation satisfaisant.

Il a fait l'objet d'un rentoilage, un peu dur.

Le support est sain et stable.

Des guirlandes de tension assez marquées sont visibles dans la partie supérieure.

La couche picturale est dans un état satisfaisant mais très sale.

Des petits enfoncements sont visibles dans le ciel, au-dessus du palais des Doges, ayant entraîné une légère perte de matière.

Le vernis est très jaune et très encrassé.

Quelques zones d'usure apparaissent, notamment dans l'eau, au niveau des deux colonnes.


À la lampe UV

L'éclairage à la lampe UV révèle quelques retouches soulignant par endroits l'architecture, ainsi que dans l'eau, au niveau du Bucentaure et dans la barque en bas à droite et sur les figures de la partie inférieure.


Vendu dans un cadre en bois doré.

Veuillez noter que Sotheby's ne garantit pas l'état des cadres.


"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."

Each year, during the feast of the Ascension, the Venetians celebrated the Doge's marriage to the sea, bringing out the Bucintoro, the processional barge whose appearance is so distinctive.


The subject has been painted many times by various Venetian artists, including Canaletto (1697–1768) and Michele Marieschi (1710–1744). Francesco Albotto was one of Marieschi's closest pupils: he called himself il secondo Marieschi – and even married his master's widow. After Marieschi's death, Albotto continued the production of his vedute, and even tried to pass some of his own paintings off as those of the elder artist, sometimes signing them.


As a result, for a long time his works were confused with those of Marieschi, whose technique and views he adopted: he became so skilled at this that the two hands are often difficult to tell apart.

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Chaque année, lors des fêtes de l’Ascension, les Vénitiens célèbrent le mariage du Doge avec la mer, en exhibant le Bucentaure, bateau de parade à la silhouette bien caractéristique.


Ce sujet a été traité à maintes reprises par différents artistes vénitiens, parmi lesquels Canaletto (1697-1768), ou encore Michele Marieschi (1710-1744).

Francesco Albotto est l’un des plus proches élèves de Marieschi : il se fait appeler il secondo Marieschi… et en épouse même la veuve ! A la mort de son maître, Albotto perpétue ses vedute, cherchant lui-même à faire passer certains de ses tableaux pour ceux de son aîné, parfois en les signant.


Ainsi, pendant longtemps, ses œuvres ont été confondues avec celles de Marieschi, dont il empreinte la technique, et les perspectives, parvenant sur ce point à une maîtrise telle, que les deux mains sont souvent difficiles à distinguer…