William Marlow

Jeremiah Harman (d. 1844), London (according to an old inscription on the stretcher bar, verso);

With Thomas Agnew & Sons, London by 1978, where acquired by the late owner.

Possibly, London, Society of Artists, 1769, no. 92;

London, Thomas Agnew & Sons, Three Centuries of British Paintings, 1978, no. 31.

The catalogue illustration is representative. The painting appears to be in good condition, with no extant damage or loss of paint, and the canvas has been lined. Examination under ultraviolet light reveals an area of overprint in the sky, upper right. This has been applied to cover up carquelure and results in a slight difference in tonal quality to the rest of the sky. The treatment is primitive and excessive, and should it be removed much of the original paint is likely to be beneath. There is also some minor retouching in the sky, upper left, and scattered minor areas or retouching in the darker areas. There is the partial remains of an old and opaque varnish, residues of which are left particularly in the darker areas of the foliage and foreground. Held in a gilt wood frame. To speak to a specialist about this lot please contact Julian Gascoigne on +44 (0)207 293 5482, or at julian.gascoigne@sothebys.com.
"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.
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A similar view by Marlow was sold in these rooms, 13 June 2002, lot 6. Both works relate to a drawing of circa 1766, made by the artist whilst travelling in Italy (Oppé Collection, Tate Gallery, T09158). Marlow is said to have toured France and Italy on the advice of the Duchess of Northumberland, and the large group of Italian views by the artist at Alnwick support this assertion. According to Richard Hayward, Marlow reached Rome in February 1766,¹ and judging from the large number of drawings, watercolours and sketches he made in Italy it is evident that he travelled in the Campagna around the city, and visited Venice, Florence, and Naples. Marlow probably returned to England at the end of 1766, and from 1767 regularly exhibited Italian and French subjects at the Society of Artists and Royal Academy in London.  

We are grateful to Michael Liversidge for endorsing the attribution on the basis of photographs.

1. L. Stainton, 'Hayward's List: British visitors to Rome, 1735-1775', in Walpole Society, vol. XLIX, 1983, p. 28