Anonymous Sale, Paris, Charpentier , 24-25 May 1935, lot 83;
Anonymous Sale, Paris, Palais Galliera, 9 March 1972, lot 19 (as attributed to Vernet).

Possibly L. Lagrange, Joseph Vernet et la Peinture au XVIII Siècle, Paris 1864, 2nd edition, p. 328, no. C66 or C68.

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 work has an old glue lining, but seems to have been cleaned more recently. The condition throughout the picture is extremely good and shows hardly any restorations visible to the naked eye or under ultraviolet light. One can see that the old lining has produced a slightly bumpy texture, mostly in the sky, which could probably be eliminated with a different lining. However, this lining is otherwise effective and the painting is in beautiful condition. It is recommended that this be hung in its current condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Vernet executed the prime version of Morning in Castellemmare in 1747, a picture which now hangs in the Hermitage, St. Petersberg. Only a year before, he was approved by the Académie Royale in Paris (6 August 1746), thus enabling him to exhibit at the Salon for the first time, and it seems that from this point forward his popularity and success increased at a fantastic rate.  It was then, in the mid 1740's, that he was known to have collaborated with studio assistants on successful compositions, and the present canvas appears to be such a collaboration. The particularly high quality of the central figures, as well as the deft rendering of his iconic hazy early morning sunlight, coupled with the presence of the remnants of a Vernet signature, all suggest that he not only oversaw its completion, but also executed parts of the work himself.