Emil Hannover, A Catalogue Raisonné of the Works of C. W. Eckersberg no. 326, mentioned p. 216–217, reproduced p. 219.

Literature: Herman Madsen: “200 danske malere og deres værker”, 1946 p. 76. Henrik Bramsen: “Danske Marinemalere”, 1962 p. 51. Kasper Monrad and Peter Michael Hornung, “C. W. Eckersberg - dansk malerkunsts fader”, 2005, mentioned p. 230, reproduced p. 231.

Provenance: The collection of Queen Caroline Amalie, her estate auction 1882 no. 30. The collection of Titular Privy Councillor Liebe. The collection of Advocate of the Supreme Court C. Liebe (1898). The collections of director Hans Tobiesen, his auctions, part I, Winkel & Magnussen 382, 1953 no. 592, reproduced p. 121, here sold for 11.100 DKK.

On the 3rd of October 1824 Eckersberg writes in his diary: “Imodtaget 50 Rbdr. for et lidet Søestykke forrest, en fart til Charlottenlund af H. H. Prindsesse Caroline Amalie”. (I have received 50 Rbdr. for a small seascape from Her Royal Highness Princess Caroline Amalie).

Emil Hannover mentions the work in “Maleren C. W. Eckersberg”, 1898 p. 216–217. He recounts that it is a beautifully composed circular painting with a sailing ship that is being overtaken by the steamship “Caledonia”. The sailing ship is heading for the beholder, who is so close that the funny and high-spirited groups of passengers can be distinguished clearly.

A drawn study for the painting from 1822 exists and is in the Statens Museum for Kunst (National Gallery of Denmark). The steamship “Caledonia” is included in the painting, but not in the drawing. “Caledonia” was the first Danish steamer sailing in Danish waters since 1819. Each sunday she sailed three trips to Charlottenlund.

Eckersberg used the exceptional circular format for his ship portraits several times in the 1820ies. In “C. W. Eckersberg - dansk malerkunsts fader” p. 230 Kasper Monrad and Peter Michael Hornung suggest that he intended to show the motif as seen through a marine telescope.