The supports consist of two single, stable flat copper plates. Both paint surfaces are secure and appear to be in good overall condition. Inspection under UV light reveals scattered very minor retouching work in each and some more notable work in the foliage of both. Offered in matching gilt wood and plaster frames in good condition.
"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."

(one illustrated)

On the basis of photographs, Prof. Marcel Roethlisberger finds an attribution to Wals acceptable, while Dr. Repp-Eckert thinks the works are more likely to have been painted by Wals' immediate circle in Rome. The motif of a clump of trees overhanging a river can be found in several of Wals' pictures and in his only etching; the motif of a ruined Roman wall with an arch leading to a round tower is to be found in a painting by Wals in a Swiss private collection.¹

1. See A. Repp, Goffredo Wals. Zur Landschaftsmalerei zwischen Adam Elsheimer und Claude Lorrain, Cologne 1985, pp. 51-3, cat. no. 1, reproduced fig. 1, 🅷a🅠nd pp. 81-3, cat. no. 18, reproduced fig. 18.