Edward Pritchett fl.1828-1864

London, Frost and Reed;
Sir John Horlick, 5th Bt., Circa 1950 and thence by descent.

STRUCTURE: Relined. SURFACE: Characteristic fine surface craquelure appears on the canvas. Separation appears in the central area mainly on the boats and also on the buildings. One 'L' shaped repair appears in the centre of the sky approximately two inches vertical and ½ inch horizontal. A few minor spots elsewhere. The stretcher marks are visible along the top and left hand side. The painting is dirty and should benefit from cleaning. UV LIGHT: Under UV Light some retouchings appear along the edges where the canvas meets the frame- mainly on the left hand side. Heavy retouchings appear in the centre of the canvas on the buildings, boats where separation has been filled and retouched. FRAME: Contained in a 20th Century plaster moulded frame (damaged).
"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."

Edward Pritchett specialised in paintings of the buildings and canals of Venice and painted almost nothing else. Thus he developed a deep knowledge for the ancient city which is expressed through his detailed views. Far from merely topographical, his paintings capture the essence of the beautiful city, with its crumbling stonework and picturesque locals. Little is known about Pritchett's life and career although he exhibited widely at the Royal Academy between 1828 and 1864 and at Suffolk Street and the British Institution.

The present view depicts the mouth of the Grand Canal and the Dogana, dominated by the imposing church of Santa Maria della Salute with its soaring domes. In 1630 following the death of almost a third of Venice's population from an outbreak of plague, the surviving residents decided to build a church in thanks to the Madonna for sparing their lives. The resulting church wasn't completed until half a century later, in 1682. In The Companion Guide to Venice, in 1965 Hugh Honour described the resulting magnificence:

'If you come to Venice by sea--and any other approach is like entering a palace through the back door--the most prominent of the myriad architectural marvels that greet you is the church of Santa Maria della Salute. As if riding at anchor at the entrance to the Grand Canal, with its balloon-like dome weighed down by great baroque scrolls, this fabulous building dominates the scene even more than the Palazzo Ducale or San Giorgio Maggiore. It is the supreme masterpiece of the Venetian Baroque--and of its author Baldassare Longhena, one of the few Venetian architects whose personality is strong enough to glimmer through the mists of history. Contemporaries tell us that he was a short dapper man, always dressed in black, of quiet and gentle manners. He had the embarrassing habit of asking everyone he met their opinion of whatever work he then had in hand. But this apparent lack of self-assurance finds no echo in the magnificently extrovert and ebullient buildings he designed, least of all in Santa Maria della Salute.'