Claude-Joseph Vernet

Collection of the Duke de Bouillon from an inscription on the back of the stretcher ; 
Sale Emile Barre, Paris, Hôtel Drouot, 30-31 January 1894, n°58 ;
Galerie Franco di Castro, Rome

F. Ingersoll-Smouse, Joseph Vernet, Paris 1926, vol. II, p. 87, n°1859  

A l’oeil nu : Le tableau apparaît dans un état de conservation très satisfaisant. Il a fait l’objet d’un rentoilage très ancien, très probablement réalisé dans la première moitié du XIXe siècle. Ce rentoilage a été très correctement réalisé et a bien préservé la matière et les glacis. Le tableau est sous un vernis légèrement encrassé qui a besoin d’être allégé. On ne remarque pas de restauration ancienne. A la lampe UV : Le tableau apparaît sous un vernis vert ancien uniforme. On ne remarque pas de restauration. To the naked eye : The painting is in very satisfactory condition. It has been correctly relined, most probably in the first half of the 19th century, preserving the matter and the glaze. The painting is under a slightly dirty varnish, which needs to be lightened. We cannot notice any former restoration. Under UV light : The painting appears under an old green uniform varnish. We cannot notice any restoration.
"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."

Like Poussin during the 17th century, Vernet is probably the French artist who best embodies this artistic alliance between Paris and Rome. Hailing from Avignon, as soon as he arrived in Rome in 1734, he had access to the Academy of France and soon became part of the large community of French artists living in the city. Barely six years later, he was accepted into the Accademia di San Luca. His reputation as a painter of seascapes and landscapes was such that no collection in Europe would have been considered complete without the presence of at least one of his paintings. Although he painted, via commission, magnificent paintings depicting well-defined places, Vernet held mostly onto more imaginary scenes, which allowed him further artistic freedom. Like Panini, he assembled several ruins to produce a painting, Vernet composed his landscapes from various elements taken in situ.
Even after returning to France, for a long time Vernet spent his career painting Italy, his Arcadia.