Attributed to Henry Ferguson

Anonymous sale, London, Sotheby's, 7th July 1993, lot 112, for £4,200, as attributed to William Gowe Ferguson, where acquired by the present owners.

M. Eidelberg, 'Landskips...dark and gloomy', in Apollo, September 2000, p. 32, reproduced in colour p. 36, as Henry Ferguson.

The canvas has an effective and taut relining which appears to have flattened the paint surface somewhat. The paint surface is clean and stable, though a little abraded. Inspection under UV light confirms that there are no structural damages and reveals retouchings in the darker shades, for example in an area of the background in the centre, lower right and scattered throughout the figures. Offered in a later black wooden frame in good condition.
"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."

At the time of the 1993 sale, when the work was sold as attributed to William Gowe Ferguson, Dr. Marijke de Kinkelder of the RKD in The Hague had suggested the painting was probably by another artist, not yet documented, called Ferguson, as William Gowe was a still-life painter and was not known to have painted genre scenes. 
Dr. de Kinkelder pointed to a connection with a red chalk drawing of circa 1709-10 by Jean-Antoine Watteau, in Frankfurt-am-Main, Stadelschen Institut, inv. 1065, which in its general disposition of the figures and the architectural elements, is broadly similar to this composition. Dr. de Kinkelder had intended to publish the painting.

The work has since been published by M. Eidelberg (see Literature) who attributes the work to William's son Henry (also known as Henry Vergazon).