Alexei Petrovich Bogoliubov

Acquired by the grandfather of the present owner

Structural Condition: The canvas is lined and is securely attached to a keyed wooden stretcher which appears to be contemporary to the lining process. This is ensuring an even and stable structural support. There is a slightly raised pattern of craquelure, most notably to the upper part of the sky. This is stable and is not visually distracting. Paint surface: The paint surface has an even varnish layer. Inspection under ultra-violet light shows extensive retouchings, the most significant of which are: 1) two large areas of retouching in the upper left and right corners of the composition; 2) two areas of retouching above the spire of the church within the clouds; 3) several retouchings within the architecture; 4) small spots and lines below the gondola in the lower left corner of the composition; and 5) further scattered areas of retouching within the sky. There are also other small scattered retouchings. Summary: The painting therefore appears to be in reasonably good and stable condition having undergone extensive restoration work in the past.
"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."

'Warm evening. The full moon shines out intently. Night falls, curtain-like, and at once I am more in love with Venice than ever. The dark gondolas glisten in silver strips on the surface of the Grand Canal and Lagoon. A light blue gauze covers everything' (A.Bogoliubov, Notes of a Sailor-Artist p.48). Bogoliubov first visited Venice in 1854. 'It became engraved in my memory. I painted it often, every view in every light, and I will carry on painting it until the end of my life' (ibid., p.49).  His Venetian views were exhibition highlights in Russia and Europe, some worked up from sketches and others painted in situ, but arguably his most successful are those which depict the city illuminated at night (fig.1).

These dusk cityscapes are characterised by an effervescent light, as though the city itself is dancing amid the multi-coloured reflections playing on the water. In the present work Bogoliubov arranges dramatic contrasts: cold moonlight seeps over the cupola and rooftops, picking out details on the pediment's white statues and the gondola's passengers; flames flicker on the distant boats and the Palladian façade of San Giorgio Maggiore; a translucent sail glows with the warmth of the portico ceremonies and the artist's characteristic bottle-green flame punctuates the darkness nearby.

Bogoliubov loved the sense of 'luxury and the soporific sensation of the gondola'. The passengers, artist and viewer are all in a sense spectators and the gondolier is the natural focal point as the only active element. 'The gondoliers give wonderful concerts in their red and blue uniforms under the arch of the Ponte Rialto...' wrote Bogoliubov, 'It is particularly wonderful to be regaled by a gondolier's thick baritone voice at night as one strolls through the magical canals and lagoons' (ibid., p.51).