Germain Fabius Brest

The canvas has been relined. Apart from a faint pattern of hairline craquelure, the overall appearance of the painting under normal light is good, however ultra-violet light reveals numerous restorations: notably areas along the framing edges and particularly along parts of the top and bottom 20cm of the composition, including a circa 10cm-high area in the lower left corner (including strengthening to the signature), a circa 53cm horizontal repair from the centre of the left edge to the sails of the boat, a circa 30cm diagonal line from the building to the rowing boat in the left, and a number of other smaller scattered strokes of retouching. Presented in a coved and fluted gilt neoclassical-style 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."

Encouraged by his teacher in Marseille, Emile Loubon, Fabius Brest spent four years, from 1855 until 1859, living in Turkey, recording in a series of paintings views of Constantinople, the surrounding countryside, and the Black Sea coast. The time he spent there continued to inspire his work for the rest of his career, and provided the subjects for many of his Salon submissions throughout the 1860s and 1870s.