Apollonio Domenichini (formerly known as the Master of the Langmatt Foundation Views)

Both of these pictures have relinings which are older but not too tight and which have not compromised the paint surface terribly. For works of this size and age they are in generally good condition. The areas which have certainly received the most retouches are in the sky. In both canvases there are liberally scattered retouches which can be seen under UV. These are not localized to any one area of damage, but rather address thinnesses and to enhance modeling. Given the numerous retouches however, they have been applied sensitively and with care. There are no large swaths of retouching but rather small brushstrokes in clearly identified areas. In the composition with the Campo Santi Giovanni e Paolo, there is a repaired L shaped tear in the sky to the left of the church. There are far fewer retouches in the foreground of both compositions, though there are again a few scattered for mainly reinforcement purposes. Given the skill with which the expected retouches have been applied, these pictures could hang in their current state of preservation. Both are in carved gilt wood frames.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Apollonio Domenichini was formerly known as the Master of the Langmatt Foundation Views, named after a series of seven views of Venice in the Langmatt Foundation, Zurich.  The artist of these paintings, and a large corpus of other works, has now been convincingly identified as Domenichini.  He was a follower of Luca Carlevarijs and Canaletto and, like them, established his reputation by painting views of Venice and its environs.  Both of these paintings repeat prototypes painted by Canaletto in numerous versions, but with slightly differing viewpoints and arrangements of the figures.

 

1.  See W.G. Constable, Giovanni Antonio Canal 1697-1768, ed. J.G. Links, Oxford 1989, vol. II, pp. 216-18, cat. nos. 64-66; vol. III, Plate 23, cat. no. 64 reproduced (for the Piazzetta), and pp. 338-41, cat. nos. 304-307; vol. III, Plate 58, cat. nos. 304 and 305 reproduced (for the Campo Santi Giovanni e Paolo).