Acquired by the present owner in Paris circa 1980

Executed on cream wove paper, not laid down, and taped to the overmount along the upper edge. There are artist's pinholes to the upper corners and the lower left corner. There are a few small areas of paper skinning to the lower half of the verso, with associated repairs. There is another tiny pin-sized hole to lower half of the left edge. Otherwise, this work is in overall good condition. Colours: fairly accurate in the printed catalogue, though the papertone is slightly warmer in the original.
"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."

In the Spring of 1921, van Dongen became embroiled in a scandal surrounding his portrait of the celebrated writer, Anatole France. The barrage of criticism motivated the artist to  seek refuge in Venice, accompanied by the Marchesa Casati. The Marchesa, a notorious femme fatale whom van Dongen had met in Paris, introduced him to Venetian high society. Inspired by the myriad of people and glorious surroundings, van Dongen produced a series of striking works depicting scenes of gondoliers with the Campanile in the background and the languid Venetian beauties of the vie mondaine he encountered there, of which the present work is perfectly reminiscent.

Gérard Bauer writes of the artist's Venetian works that 'van Dongen can paint a steamship before St. Mark's, a terrace café, the thin woman, made-up, unstable - the creatures! That doesn't shock us. We find in these assemblages, in this mix of humanity, the true Venice which was no different in its intensity and spirit during the time of Tintoretto, Casanova or Byron' (Bauer, Venise 1921, seize réproductions d'après les tableaux de Van Dongen, Paris, 1921, p. 8).