In overall fair condition. The canvas is unlined, the paint surface is quite dirty and the varnish is discoloured. There is a very small tear with resulting paint loss upper right to the right of the branch, seeming to result from an impact, as well as two further small areas of paint loss lower right and upper left, the latter of which has been retouched, and all of which have been repaired with added canvas which is visible on the reverse. There is some visible subtle retouching along the upper and right edges along what appears to be old frame rubbing, as well as upper right in the aforementioned area of paint loss, and centre left, above and to the right of the two standing figures on the bank. Inspection under ultraviolet light reveals these, as well as an area in the furthest right edge of the bank centre left, and two further areas lower centre and lower right, but not much else is visible beneath the thick, milky varnish. Offered in a carved and gilt wood frame with losses in both upper and lower left corners.
"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."

A period copy after Vernet's painting, signed and dated 1759, commissioned as one of a pair by M. Poulhariez, Marseille, which was sold in these Rooms, 5 July 1995, lot 83. Vernet treated the theme on several other occasions, notably in the works in the Musée de Nîmes¹, in the Fine Arts Museums of San Francisco, and in the Louvre, Paris, which painting is signed and dated 1772. The composition was also engraved by Baléchou in 1762. 1. See F. Ingersoll-Smouse, Joseph Vernet. Peintre de Marine 1714-1789, Paris 1926, vol. I, reproduced fig. 160.