Joaquim Marques

With Terry-Engell Gallery, London, 1963 (as by Jean Pillement);
From whom acquired by the family of the present owners. 

London, Terry-Engell Gallery, November-December 1963 (as by Jean Pillement).

The Burlington Magazine, vol. CV, no. 728, November 1963, p. 518, reproduced fig. 53 (as by Jean Pillement).

The canvas has been relined. The paint surface is secure, clean, and in good condition. Inspection under UV light reveals an old U shaped damage approx 5 by 5 cm in the upper right of the sky, some touching in of the craquelure in the sky, some minor strengthening around the figures and retouching work in the rocks on the right. There is also a 4 cm vertical line of craquelure along the bottom edge in the centre which has been more recently retouched. These retouchings are fairly unobtrusive and have been well carried out. Offered in an ornate carved gilt wood frame in good condition if a little rubbed in some places.
"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."

Although originally attributed to Jean Pillement (1728-1808), this is, in fact, a rare but characteristic work by his principal Portugese follower, Joaquim Marques. His biographer Cyrillo Volkmar Machado  records in his Memórias that it was during Pillement's second stay in Lisbon between 1780 and 1786 that 'he [Marques] strove to imitate him [Pillement] in his landscapes and in those agreeable capriccios which he called his imaginary garden'. The present work can be directly compared to his River landscape today in the Fundaçao Ricardo do Espírito Santo Silva in Lisbon, in which the same reddish tones and figures and foliage directly inspired by Pillement's work can be found.¹

1. A. Araújo et al., 'Joaquim Marques. Between landscape, vedute and capriccios', in the exhibition catalogue, Jean Pillement and landscape painting in 18th century Portugal, Lisbon, Fundaçao Ricardo do Espírito Santo Silva, 1997, pp. 223 ff., no. 88, reproduced plate 88.