Collection of Raymond Subes;
His sale, Paris, Hôtel Drouot, Etude Ferri, 13 December 2000, lot 20.

C. Lebrun Jouve, Nicolas-Antoine Taunay (1755-1830), Paris, 2003, p. 341, n° P.1026.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting has been fairly recently restored and although the lining is not properly restraining a tear in the upper left and the cracking is a little raised, the structural restoration is adequate. The paint layer has been cleaned, varnished and retouched. There does not appear to be any noticeable abrasion to the paint layer. There are retouches addressing some cracks in the blue in the upper left sky. There are three vertical breaks which have been retouched, one situated in the center of the sky, one in the center left and one in the far left. Some thin cracks in the dark colors of the center of the left foreground have also been retouched. These retouches are all to be expected and despite the restorations, the condition can be considered good.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

According to Claudine Lebrun Jouve, the author of the 2003 monograph on Taunay, the present painting may be dated to circa 1824.

After his return from Brazil in 1821, Nicolas-Antoine Taunay concentrated on paysages historiques.  This neoclassical approach to landscape, wherein historical and literary subjects are placed within a larger landscape, was first displayed by Pierre-Henri de Valenciennes, who created this new genre to compete for the Prix de Rome.

Taunay found inspiration for the present painting in Italy, where he spent a few years at the Academy of France in Rome.  Here, the artist clearly expressed his taste for antique costumes but did not seem concerned with topographic or historical relevance.  Rather, he depicted an imaginary Italianate view, and created an attractive panorama that allows the viewer to feel as though he is dominating this extensive landscape.

Taunay took up the practice heralded by Valenciennes of studying the natural subject en plein air and then reconstructing his studies in his studio to create an idealized view. ꦆ; In the present painting, the artist paid particular attention to the sky where the varying shades of blue and the color and shape of the clouds are rendered with meticulous brushwork and careful detail.  The artist addedꦑ to the beauty of the present composition by shrouding the landscape in a natural light.