Ugo Manaresi

Work rilined. The are some small losses on top right-hand side that give a sense of consumption to the surface that looks very thin. The ultra violet light reveals a darker area where there is a retouch that from the center of the lower edge goes towards the signature touching the tow first letters and the Livorno's "L". Other retouches are in the sky, one along the top edge (cm 6 x 7) and another on the cloud in the middle over the sail. The last one is near the top right-hand side edge, over the hills with cypresses (cm 5 x 15 circa). It si suggested a careful cleansing and a nice work of retouches where the pigments are worn. The overall condition as to the state of preservation are quite good.
"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."

Capitano di lungo corso, i suoi soggetti preferiti furono legati alle barche e alla navigazione. Accanto alle tempeste e ai naufragi dipinse imbarcazioni adagiate sulla riva del mare o morbidamente cullate dalle acque di canali sicuri, come quelli livornesi, più volte raffigurati con colori decisi e netti contrasti di luce. 

I grossi barconi, detti becolini, sui quali venivano scaricate le merci trasportate dalle navi che arrivavano al Porto Mediceo, per poi essere stivate nelle cantine situate lungo i canali, sono qui raffigurati nel quartiere Venezia, un'area costruita dai maestri veneziani, che la dotarono di bei ponti rivestiti in marmo.

Manaresi arricchisce la veduta scegliendo uno scorcio sovrastato dal convento dei Domenicani e dalla Chiesa di Santa Caterina, che con la sua cupola domina dal XVIII secolo il panorama urbano livornese.