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Strada Nomentana - II (View on the Strada Nomentana)
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Strada Nomentana - II (View on the Strada Nomentana)
Credit Line
Russell-Cotes Art Gallery & Museum, Bournemouth
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Artist
Richard Wilson (1713/14-1782)
Title
Strada Nomentana - II (View on the Strada Nomentana)
Date
c.1766
Medium
Oil on canvas
Dimensions
42 x 53cm
Dimensions
16 1/2 x 20 7/8 in.
Details
Links
Collection
Russell-Cotes Art Gallery & Museum, Bournemouth. To license images click here.
Accession Number
BORGM 02383
Wilson Online Reference
P105
Description
A ruined ancient tomb on the banks of a stream at sunset, with a man and two children together with two hounds reflected in the water. To the right are large rocks and trees. A serpentine path traversed by two small figures leads towards a row of trees in the left distance. Further away in the centre are ancient buildings and mountains.
A ruined ancient tomb on the banks of a stream at sunset, with a man and two children together with two hounds reflected in the water. To the right are large rocks and trees. A serpentine path traversed by two small figures leads towards a row of trees in the left distance. Further away in the centre are ancient buildings and mountains.
Exhibited
BI 1814 (135/138 - lent Lady Ford as <i>View on the Strada Nomentana in Italy</i>); Brighton 1920 (38); 1955, Russell-Cotes Art Gallery and Museum, Bournemouth; London, Cardiff and New Haven, 1982-83 (123)
BI 1814 (135/138 - lent Lady Ford as
View on the Strada Nomentana in Italy
); Brighton 1920 (38); 1955, Russell-Cotes Art Gallery and Museum, Bournemouth; London, Cardiff and New Haven, 1982-83 (123)
Provenance
<span class="underline">Sir George Beaumont</span>; <span class="underline">Benjamin Booth</span>; <span class="underline">the Revd R.S. Booth</span>; <span class="underline">Lady Ford</span>; <span class="underline">Richard Ford</span>; <span class="underline">Sir Francis Clare Ford</span>; <span class="underline">Captain Richard Ford</span>; Christie's 4 June 1929 (16); bt Gooden & Fox (850 guineas); Ernest E. Cook, 1, Sion Hill Place, Bath; bequeathed by Ernest E. Cook through the National Art-Collections Fund, 1955
Sir George Beaumont
;
Benjamin Booth
;
the Revd R.S. Booth
;
Lady Ford
;
Richard Ford
;
Sir Francis Clare Ford
;
Captain Richard Ford
; Christie's 4 June 1929 (16); bt Gooden & Fox (850 guineas); Ernest E. Cook, 1, Sion Hill Place, Bath; bequeathed by Ernest E. Cook through the National Art-Collections Fund, 1955
Signature/inscription
Very faintly inscribed on the base of the fallen column, left centre foreground: RW [monogram, R reversed] and illegible marks, perhaps once a date
Very faintly inscribed on the base of the fallen column, left centre foreground: RW [monogram, R reversed] and illegible marks, perhaps once a date
Techniques and materials
Collectors' marks
Verso inscriptions
Mount inscriptions
Labels
[1] Centre of upper horizontal members of stretcher and frame over brown paper tape: printed and typed London 1982-83 exhibition label, Tate Gallery [2] Centre of lower horizontal members of stretcher and frame partly under brown paper tape: printed and manuscipt museum label with old accession number, 1424, perhaps dating from 1955 [3] Lower left corner of frame over brown paper tape, manuscript label: AMC | Survey | 1995
[1] Centre of upper horizontal members of stretcher and frame over brown paper tape: printed and typed London 1982-83 exhibition label, Tate Gallery
[2] Centre of lower horizontal members of stretcher and frame partly under brown paper tape: printed and manuscipt museum label with old accession number, 1424, perhaps dating from 1955
[3] Lower left corner of frame over brown paper tape, manuscript label: AMC | Survey | 1995
Subject
The ruin has been identified as the 'Sedia del Diavolo', actually the tomb of Elio Callistio, one of many ancient sepulchres to be found along the Via Nomentana, leading north-east out of Rome. In Wilson's day it was well outside the city but now stands in the Piazza Elio Callistio in the urban Trieste district.
The ruin has been identified as the 'Sedia del Diavolo', actually the tomb of Elio Callistio, one of many ancient sepulchres to be found along the Via Nomentana, leading north-east out of Rome. In Wilson's day it was well outside the city but now stands in the Piazza Elio Callistio in the urban Trieste district.
Related Subjects
Related Drawings
Related Prints
E39 Joseph Farington (1747-1821) after Wilson, <i>Twelve Etchings of Views in Italy - In the Strada Nomentana</i>, 1776, Yale Center for British Art, Paul Mellon Collection, New Haven (B1977.14.21011(h)) and other impressions E72/23 Thomas Hastings after Wilson, <i>View on the Strada Nomentana in Italy</i>, The British Museum (1854,0708.80) and other impressions
E39 Joseph Farington (1747-1821) after Wilson,
Twelve Etchings of Views in Italy - In the Strada Nomentana
, 1776, Yale Center for British Art, Paul Mellon Collection, New Haven (B1977.14.21011(h)) and other impressions
E72/23 Thomas Hastings after Wilson,
View on the Strada Nomentana in Italy
, The British Museum (1854,0708.80) and other impressions
Versions
See 'Links' tab
See 'Links' tab
Related Paintings
P68 <i>Classical Landscape with Venus, Adonis and Cupids</i>, Victoria & Albert Museum, London
P68
Classical Landscape with Venus, Adonis and Cupids
, Victoria & Albert Museum, London
Related Works by Other Artists
[1] Francis Towne (1739-1816): <i>A Sepulchre by the Roadside going from Rome to the Ponte Nomentana</i>, watercolour, 1780, The British Museum (Nn,2.14)
[1] Francis Towne (1739-1816):
A Sepulchre by the Roadside going from Rome to the Ponte Nomentana
, watercolour, 1780, The British Museum (Nn,2.14)
Critical commentary
Wilson included this structure in several other paintings, for example P68 <i>Classical Landscape with Venus, Adonis and Cupids</i>, Victoria & Albert Museum. However it is doubtful whether the subject was here intended to do more than signify a generalised image of Roman imperial greatness in decay.
Wilson included this structure in several other paintings, for example P68
Classical Landscape with Venus, Adonis and Cupids
, Victoria & Albert Museum. However it is doubtful whether the subject was here intended to do more than signify a generalised image of Roman imperial greatness in decay.
Previous Cat/Ref Nos
1424
1424
Bibliography
Booth Notes Doc. 8; Booth Notes, Doc. 9 (29); Catalogue 1814, p. 19; Wright 1824, p. 272 (a version); <i>Burlington Magazine</i>, April 1920, p. 199, repr.; WGC, p. 210, pl. 96b version 1; Solkin 1982, p. 230
Booth Notes Doc. 8; Booth Notes, Doc. 9 (29); Catalogue 1814, p. 19; Wright 1824, p. 272 (a version);
Burlington Magazine
, April 1920, p. 199, repr.; WGC, p. 210, pl. 96b version 1; Solkin 1982, p. 230
Link to WG Constable Archive Record
<a href="http://calmview.co.uk/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f107" title="WGC/1/1/107" class="rewritten">WGC/1/1/107</a>
WGC/1/1/107
Location featured in work
The Via Nomentana, running from Rome to Nomentum (Mentana), passing near the Alban Hills
The Via Nomentana, running from Rome to Nomentum (Mentana), passing near the Alban Hills
More Information
Condition/Conservation
In a gold-painted twentieth-century classical frame. Dimensions in present frame: 52.3 x 62.5 cm (20 9/16 x 24 5/8 in.). Kate Lowry has noted: Frame: Gilt frame, not original or period, and coated with gold paint. It is not glazed or backed. Stretcher dimensions: 420 x 530 mm (approximate measurement in frame where stretcher edges are covered by tape.) Solkin records that the painting is signed and dated on the left hand end of the fallen column in the foreground. Close examination revealed a possible 'RW' monogram in this location but no convincing date was discovered. Support: The original canvas is a simple weave, medium weight linen and this has been paste lined onto a similar weight linen canvas probably in the 20th century. The lining is in good condition. The stretcher is not original and probably dates from the lining treatment. It has five members with square mortice joints and provision for keying out. The means of attachment of canvas to the stretcher could not be examined as covered by the frame rebate, so it is not known whether the original turnover edges were retained or removed at the time of lining. Ground: Close examination suggests that the oil ground or priming layer is a pale pink colour. This is visible where left exposed along the left hand side of the ruin and at the site of a small paint loss at lower right in the foreground. Paint Film: Any impasto in the paint layers has been flattened by pressure applied during the lining treatment. Much of the upper sky has also been affected by heat during the lining process, leading to minor wrinkling and the imposition of texture from a facing material. No major damages or repairs to the paint film or support are visible under ultra violet light, but minor old retouches are visible in the water at lower left. No retouches are present in the area of the signature. More recent retouches are present just above the right-hand end of the fallen column, possibly to disguise a raised slub in the canvas, and also around a small loss of paint and ground below the ruin alongside one of the rocks in centre right foreground. Surface film: A thick layer of varnish overlies the whole painting giving a yellowish cast to the work. Under UV light this appears as an even and continuous layer of aged natural resin.
In a gold-painted twentieth-century classical frame. Dimensions in present frame: 52.3 x 62.5 cm (20 9/16 x 24 5/8 in.).
Kate Lowry has noted: Frame: Gilt frame, not original or period, and coated with gold paint. It is not glazed or backed. Stretcher dimensions: 420 x 530 mm (approximate measurement in frame where stretcher edges are covered by tape.) Solkin records that the painting is signed and dated on the left hand end of the fallen column in the foreground. Close examination revealed a possible 'RW' monogram in this location but no convincing date was discovered. Support: The original canvas is a simple weave, medium weight linen and this has been paste lined onto a similar weight linen canvas probably in the 20th century. The lining is in good condition. The stretcher is not original and probably dates from the lining treatment. It has five members with square mortice joints and provision for keying out. The means of attachment of canvas to the stretcher could not be examined as covered by the frame rebate, so it is not known whether the original turnover edges were retained or removed at the time of lining. Ground: Close examination suggests that the oil ground or priming layer is a pale pink colour. This is visible where left exposed along the left hand side of the ruin and at the site of a small paint loss at lower right in the foreground. Paint Film: Any impasto in the paint layers has been flattened by pressure applied during the lining treatment. Much of the upper sky has also been affected by heat during the lining process, leading to minor wrinkling and the imposition of texture from a facing material. No major damages or repairs to the paint film or support are visible under ultra violet light, but minor old retouches are visible in the water at lower left. No retouches are present in the area of the signature. More recent retouches are present just above the right-hand end of the fallen column, possibly to disguise a raised slub in the canvas, and also around a small loss of paint and ground below the ruin alongside one of the rocks in centre right foreground. Surface film: A thick layer of varnish overlies the whole painting giving a yellowish cast to the work. Under UV light this appears as an even and continuous layer of aged natural resin.
Illustrations of the Work
Updated by Compiler
16/07/2021
16/07/2021
Work of Art
Prints
Joseph Farington after Wilson,
Twelve Etchings of Views in Italy - In the Strada Nomentana
, Yale Center for British Art, Paul Mellon Collection, New Haven
Joseph Farington after Wilson,
In the Strada Nomentana
, Royal Academy of Arts, London
Joseph Farington after Wilson,
In the Strada Nomentana
, The British Museum
Thomas Hastings after Wilson,
View in the Strada Nomentana in Italy
, The British Museum
Versions
Richard Wilson (1713/14-1782)
Strada Nomentana - II (View on the Strada Nomentana)
, Magdalen College, Oxford
Ascribed to Wilson,
Strada Nomentana - II (View on the Strada Nomentana) (Classical Landscape, Strada Nomentana)
, National Museum Wales, Cardiff
Richard Wilson (1713/14-1782)
Strada Nomentana - II (View on the Strada Nomentana)
, Private Collection, South Africa
Paintings
Classical Landscape with Venus, Adonis and Cupids
, Victoria & Albert Museum, London
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
Brighton, Fine Art Galleries, 28 February - 2 May 1920
London, British Institution, 1814
Biographies
Benjamin Booth, 1732-1807
Richard Ford, 1796-1858
The Revd Richard Salwey Booth, 1762-1807
Marianne Booth, Lady Ford, 1767-1849
Sir George Beaumont, 1753-1827
Sir Francis Clare Ford, 1828-1899
Captain Richard Ford, 1860-1940
Documents
William George Constable,
Richard Wilson
David Solkin,
Richard Wilson: The Landscape of Reaction
Thomas Wright,
Some Account of the Life of Richard WiIson Esq., R.A., collected and arranged by T. Wright, Esq. To which are added various Observations
Anonymous,
Catalogue of Pictures by the late William Hogarth, Richard Wilson, Thomas Gainsborough, and J. Zoffani. Exhibited by permission of the proprietors in honour of the memory of those distinguished artists, and for the improvement of British art
Benjamin Booth, Unpublished Notes, Document 8: List of Wilson's Paintings and Works by Old Masters and other Artists in Booth's Collection
Benjamin Booth, Unpublished Notes, Document 9: List of Wilson's Landscapes with Sizes and former Owners
Part of a sketchbook
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