Ivan Konstantinovich Aivazovsky

l.Samarine and G.Caffiero, Seas, Cities and Dreams: the Paintings of Ivan Aivazovsky, London: Alexandria Press, 2000, p.54 illustrated
l.Samarine and G.Caffiero, Light, Water and Sky: the Paintings of Ivan Aivazovsky, London: Alexandria Press, 2012, p.291 illustrated

Original canvas that is attached to a stretcher with evidence of previous tack holes along the outer edges. There are frame abrasions with associated paint loss along the edges. There is craquelure throughout, which is raised above the flags in the bottom right corner and above the mountains. There is circular craquelure to the sky which is most likely caused by an impact. The canvas is covered in a layer of surface dirt. Inspection under UV light reveals an area of retouching to the right of the house, along the edges, as well as some scattered retouching to the sky. Held in an ornate gilt frame. Unexamined out of frame.
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In the summer of 1867 Empress Maria Alexandrovna, wife of Alexander II, was passing through Crimea with her children on the way to Constantinople. The present lot was painted after a charming episode of their return journey. A tremendous reception had been laid on for the Imperial family in Theodosia, involving costumed gondoliers, fireworks, flowers and pageantry. On the eve of his departure however, the Tsarevich expressed a wish to see Aivazovsky’s vineyard estate at Sudak since he had been told that it was a place of great beauty.

Although the Tsarevich insisted no reception was required Aivazovsky decided otherwise, as the artist’s grandson recorded in his memoirs. In the night he dispatched some seventy horses and carts, laden with provisions, crockery, carpets, chefs, servants etc. to Sudak, with instructions to lay on a Tartar feast on the lawn for the Emperor’s children complete with costumed local musicians, dancers and bonfires.

‘Meanwhile Aivazovsky slipped away unobtrusively into the house, where with great speed he painted a picture in oils. This he sent off immediately to the 'Tiger’ (the Imperial yacht) and asked for it to be hung in the foremost cabin. When lunch was finished, having accompanied his royal guests to the yacht, much to their surprise they saw hanging in the cabin a painting depicting what they had just been watching. Then after warmly thanking Aivazovsky for such an original and varied reception, the Emperor’s children embarked for Livadia’.

The present work is included in the numbered archive of the artist’s work compiled by Gianni Caffiero and Ivan Samarine.