English follower of Giovanni Antonio Canal, called Canaletto

The painting is very slightly more yellow in tone than the catalogue illustration would suggest. The canvas has been relined and as a result the paint is a little thin in the darker pigments to the right. The paint surface appears to be in good overall condition otherwise with no apparent damage or loss of paint except for a very minor retouched loss in the lower left hand corner, only visible under a raking light. There also appears to be a discoloured varnish overall which accounts for the yellow tinge. Examination under ultraviolet confirms the presence of the varnish and reveals very minor old infilling to craquelure in the sky, and some minor retouching on the left and right to old partial stretcher bar marks. There is also an area of retouching to the sky upper left measuring approx. 3 cm in height which maybe to an old area of damage. The painting appears to be in good overall condition however the varnish impedes further inspection. Offered in a gilt wood frame with very minor losses.
"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."

This picture depicts the Molo looking west from the Piazzetta. On the right is the column of Saint Theodore and beyond on the left is Santa Maria della Salute in the distance. The composition relates to a work by Canaletto in a private collection, London, of which numerous versions are known. A large number of them have been, and still are, attributed to the artist William James, who was reputed to have been an assistant to Canaletto when he was working in London. There is, however, no evidence of his ever having visited Venice itself.