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The Hermitage, Villa Madama
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P91E - The Hermitage, Villa Madama
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The Hermitage, Villa Madama
Credit Line
Private Collection, Wales / Photograph Courtesy of Sotheby's
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Artist
Wilson and Studio
Title
The Hermitage, Villa Madama
Date
Undated
Medium
Oil on canvas
Dimensions
63.8 x 75.8 cm
Dimensions
25 1/4 x 29 13/16 in.
Details
Links
Collection
Private Collection, Wales
Accession Number
Wilson Online Reference
P91E
Description
In a shady glade, a lane runs across the foreground and on the left a man and a woman greet a friar. A rustic building is at the centre, overhung by trees, while to the right on a gentle slope, a line of trees is silhouetted against the sunset sky.
In a shady glade, a lane runs across the foreground and on the left a man and a woman greet a friar. A rustic building is at the centre, overhung by trees, while to the right on a gentle slope, a line of trees is silhouetted against the sunset sky.
Exhibited
Provenance
<span class="underline">Paul Panton (1727-1797)</span>, Bagillt, Flintshire and Lincoln's Inn; thence by descent; Sotheby's London, 9 July 2015 (224); Chorley's, Prinknash Abbey Park, Gloucestershire, 26 January 2016 (815)
Paul Panton (1727-1797)
, Bagillt, Flintshire and Lincoln's Inn; thence by descent; Sotheby's London, 9 July 2015 (224); Chorley's, Prinknash Abbey Park, Gloucestershire, 26 January 2016 (815)
Signature/inscription
Unsigned; no inscription
Unsigned; no inscription
Techniques and materials
Collectors' marks
Verso inscriptions
Mount inscriptions
[1] Incised at upper end of middle vertical stretcher bar: DINER
[1] Incised at upper end of middle vertical stretcher bar: DINER
Labels
[1] An old torn, faded and incomplete handwritten label on the reverse of the upper stretcher bar and horizontal frame member reads in part: Dear Panton, Greatly thank ...picture you sent for my inspection ... the picture ... of Wilson but has been ... to buy back. | Most faithfully yours, O. Bowles
[1] An old torn, faded and incomplete handwritten label on the reverse of the upper stretcher bar and horizontal frame member reads in part: Dear Panton, Greatly thank ...picture you sent for my inspection ... the picture ... of Wilson but has been ... to buy back. | Most faithfully yours, O. Bowles
Subject
The Villa Madama was designed by Raphael for Cardinal Giuliano dei Medici (later Pope Clement VII) and took its name from having been occupied by Margaret of Austria, daughter of the Emperor Charles V, and Duchess of Parma, in the late 16th century. The location shown was probably called 'Il Teatro' as the tragicomedy <i>Il Pastor Fido</i> by G.B. Guarini was performed there in about 1590. From this the libretto of Handel's eponymous opera was derived (1712, revived 1734).
The Villa Madama was designed by Raphael for Cardinal Giuliano dei Medici (later Pope Clement VII) and took its name from having been occupied by Margaret of Austria, daughter of the Emperor Charles V, and Duchess of Parma, in the late 16th century. The location shown was probably called 'Il Teatro' as the tragicomedy
Il Pastor Fido
by G.B. Guarini was performed there in about 1590. From this the libretto of Handel's eponymous opera was derived (1712, revived 1734).
Related Subjects
Related Drawings
Related Prints
E14 William Byrne after Wilson <i>A View in the Villa Madama, near Rome, called Il Teatro</i>, 1765, Yale Center for British Art, Paul Mellon Collection, New Haven (B1984.21.428) and other impressions
E14 William Byrne after Wilson
A View in the Villa Madama, near Rome, called Il Teatro
, 1765, Yale Center for British Art, Paul Mellon Collection, New Haven (B1984.21.428) and other impressions
Versions
See 'Links' tab
See 'Links' tab
Related Paintings
Related Works by Other Artists
Critical commentary
The present work seems to be a simplified replica of P91 (Petworth House, National Trust) though in some respects it is closer to P91D (National Museum Wales, Cardiff). A label attached to the stretcher is signed by <span class="underline">Oldfield Bowles</span>. It is possibly written to Paul Panton who had asked him to examine the picture. Bowles himself owned a version of this composition which he sold to Samuel Rogers for 100 guineas and which was admired by Farington. The composition was clearly one of Wilson's 'good breeders' as at least five authentic versions are known.
The present work seems to be a simplified replica of P91 (Petworth House, National Trust) though in some respects it is closer to P91D (National Museum Wales, Cardiff). A label attached to the stretcher is signed by
Oldfield Bowles
. It is possibly written to Paul Panton who had asked him to examine the picture. Bowles himself owned a version of this composition which he sold to Samuel Rogers for 100 guineas and which was admired by Farington. The composition was clearly one of Wilson's 'good breeders' as at least five authentic versions are known.
Previous Cat/Ref Nos
Bibliography
WGC pp. 202-3 pl. 82a (version 5). The label written by Oldfield Bowles (see Labels) may have caused some confusion with version 6 in Constable's commentary.
WGC pp. 202-3 pl. 82a (version 5). The label written by Oldfield Bowles (see Labels) may have caused some confusion with version 6 in Constable's commentary.
Link to WG Constable Archive Record
Location featured in work
More Information
Condition/Conservation
Relined. Fitted in a gilded neoclassical frame. Kate Lowry has noted: Viewed in frame. Turnover edges not examined. Glue-lined probably in 20th century and mounted on new seven-member pine stretcher with square mortice joints. Colour of ground not discovered. Paint film covers ground completely. The foliage is mostly a flat dark green without the variety of green/red/brown tones found in Wilson's best paintings of this subject. The figures have a smoothness and detail to them which is uncharacteristic of Wilson. For these reasons this is probably a studio copy rather than a version by Wilson himself.
Relined. Fitted in a gilded neoclassical frame. Kate Lowry has noted: Viewed in frame. Turnover edges not examined. Glue-lined probably in 20th century and mounted on new seven-member pine stretcher with square mortice joints. Colour of ground not discovered. Paint film covers ground completely. The foliage is mostly a flat dark green without the variety of green/red/brown tones found in Wilson's best paintings of this subject. The figures have a smoothness and detail to them which is uncharacteristic of Wilson. For these reasons this is probably a studio copy rather than a version by Wilson himself.
Illustrations of the Work
Updated by Compiler
19/10/2020
19/10/2020
Work of Art
Prints
William Byrne (1743-1805) after Wilson,
A View in the Villa Madama, near Rome, called II Teatro
, Yale Center for British Art, Paul Mellon Collection, New Haven
William Byrne (1743-1805) after Wilson,
A view in the Villa Madama, near Rome, called Il Teatro: Pastor Fido & other dramas having been performed there
, Victoria & Albert Museum, London
William Byrne (1743-1805) after Wilson,
A view in the Villa Madama, near Rome, called Il Teatro: Pastor Fido & other Dramas having been perform'd there
, The British Museum
William Byrne (1743-1805) after Wilson,
A View in the Villa Madama near Rome called Il Teatro
, Royal Academy of Arts
William Byrne (1743-1805) after Wilson,
View in the Villa Madama
, National Museum Wales, Cardiff
Versions
Richard Wilson (1713/14-1782)
The Hermitage, Villa Madama
, Petworth House, National Trust
Richard Wilson (1713/14-1782)
The Hermitage, Villa Madama
, Hagley Hall, Worcestershire
Richard Wilson (1713/14-1782)
The Hermitage, Villa Madama
, Johannesburg Art Gallery, Johannesburg
Richard Wilson (1713/14-1782)
The Hermitage, Villa Madama
, Private Collection, England
Richard Wilson (1713/14-1782)
The Garden of the Villa Madama
, National Museum Wales, Cardiff
Exhibitions
Biographies
Oldfield Bowles, 1739-1810
Paul Panton, 1727-1797
Documents
Part of a sketchbook
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