Charles-François Grenier de Lacroix, called Lacroix de Marseille

Possibly sold Paris, Nogaret, 23 February 1778 ('Une grande marine avec une montagne, sur laquelle on voit le petit temple de Tivoli, & sur le devant divers groupes de Pêcheurs');
Possibly with Doucet, Paris, 1925, according to a label on the reverse of the canvas;
Anonymous sale, Paris, Thierry de Maigret, 4 December 2013, lot 21, where acquired by the present owner.

In good overall condition. The canvas has been relined and the paint surface is stable with a clear and even varnish. There are no major damages visible to the naked eye. A pentimenti is visible in the positioning of the fisherman at the right of the boat in the foreground. Inspection under ultraviolet light reveals few sensitively executed scattered retouchings and strengthenings, the most significant of which are concentrated in the dark tones and the lower left corner, but most are simple to minimise the effect of hairline craquelure. There appear to be some older strengthenings in the dark tones on the right that are harder to make out beneath the varnish. In good overall condition, no further work required.
"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 was produced during Lacroix’s Italian period, which can be ascribed to the years 1743–60. In 1750 the artist was introduced to the famous marine painters Adrien Manglard (1695–1760) and Joseph Vernet (1714–89) in Rome. Vernet’s refinement of composition and monumentality is very much in evidence in this work by Lacroix, which mixes both elements of reality and fantasy into these exciting port scenes. The painting is directly influenced by several of Vernet’s views of Tivoli,¹ completed at the height of his career. Lacroix’s personal touch is particularly felt in the sails of the boat and character of the figures, alongside the oriental-inspired atmosphere of the scene. Another version of this work, of identical size and containing a boat in the foreground instead of a tree, is currently held in l'Hôtel Sandelin in Saint-Omer, France.²

1. F. Ingersoll-Smouse, Joseph Vernet: Peintre de Marine 1714–1789, Paris 1926, cat. no. 159, reproduced fig.32.
2. J.L. de Los Llanos, É. Beck-Saiello, J.L Ryaux, Tivoli, Variations sur un paysage au XVIIIème siècle, exhibition catalogue, Paris 2010, cat. no. 14, reproduced.