Francesco Guardi

On the naked eye: The painting is in satisfactory condition. It has been re-lined on the 2nd half of the 20th century, a little bit too strong. It has been correctly cleaned also on the 2nd half of the 20th century. We notice some wears in the sky. Under UV light: We can notice a green old varnish on the boats, buildings and island. We can notice numerous repaints on the cracks all over the sky and the water. In conclusion: In our opinion, the painting does not need any restoration and it is ready to be hanged.
"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."

Notre composition s'inspire de la série d'eaux-fortes (la numéro 6 plus précisément) représentant des vues de la lagune vénitienne intitulée Isolario Veneto gravée par Antonio Visentini (Venise 1688 -1782). La série fut republiée par l'éditeur Teodoro Viero en 1777.

Cette oeuvre est accompagnée de trois certificats.
Un certificat d'authenticité de Monsieur Dario Succi daté du 3 mars 2003 qui situe l'oeuvre dans l'époque de maturité de l'artiste vers 1785 et où il précise que l'oeuvre sera incluse dans le prochain catalogue raisonné de l'artiste en préparation.
Un certificat d'authenticité de Filippo Pedrocco daté du 8 février 2002.
Un certificat du Professeur Egidio Martini (non daté).

Les trois spécialistes situent cette oeuvre dans la période de maturité de l'artiste entre 1785 et le début des années 1790.