With Thomas Agnew & Sons Ltd., London, Liverpool and Manchester;
James Howard Bridge (1858–1939), secretary to Henry Clay Frick (1849–1919), and curator of the Frick Collection;
Thence by descent, until purchased by the present owner.

The canvas has a firm relining, the paint surface is dirty and the varnish is discoloured. There are some slight bulges in the canvas, centre and upper right. Inspection under ultraviolet light reveals a milky varnish which fluoresces opaquely, making it difficult to discern any previous restoration, apart from perhaps some minor, local retouchings to reduce the appearance of craquelure in the sky. There is otherwise no apparent intervention.
"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."

This painting is a reduced copy after Turner's The Fighting Temeraire of 1839, in the National Gallery, London (inv. no. 524).¹

1. See M. Butlin and E. Joll, The Paintings of J.M.W. Turner, New Haven and London 1977, pp. 20𝓀8–10, cat. no. 377, reproduced fig. 351.