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The Arbra Sacra on the Banks of Lake Nemi (Study of an Ancient Tree)
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The Arbra Sacra on the Banks of Lake Nemi (Study of an Ancient Tree)
Credit Line
Yale Center for British Art, Paul Mellon Collection
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Artist
Richard Wilson (1713/14-1782)
Title
The Arbra Sacra on the Banks of Lake Nemi (Study of an Ancient Tree)
Date
c.1754 (undated)
Medium
Black chalk with white chalk on blued-white, medium, slightly textured, laid paper
Dimensions
389 x 560 mm
Dimensions
15 5/16 x 22 1/16 in.
Details
Links
Collection
Yale Center for British Art, Paul Mellon Collection, New Haven. To license images click here
Accession Number
B1977.14.4655
Wilson Online Reference
D245
Description
Exhibited
New York and London 1972 (26); New Haven, English Landscape, 1977 (18); Munich 1979-80 (104); London, Cardiff and New Haven, 1982-83 (52); Yale Center for British Art,<i>Sandby</i>, 1985 (15); New Haven 2001 (99); Cardiff, Manchester and London 2003-4 (19); New Haven and London 2007-8 (21); Tercentenary 2014 (135)
New York and London 1972 (26); New Haven, English Landscape, 1977 (18); Munich 1979-80 (104); London, Cardiff and New Haven, 1982-83 (52); Yale Center for British Art,
Sandby
, 1985 (15); New Haven 2001 (99); Cardiff, Manchester and London 2003-4 (19); New Haven and London 2007-8 (21); Tercentenary 2014 (135)
Provenance
Paul Sandby; Christie's, 3 May 1811 (101 - One ditto [original drawing/sketch], an elaborate and faithful study, a portrait of the Arbra Santa, on the borders of the Lake of Nemi), bt Callen [=Callender?] (£30); [...] George Guy Greville, 4th Earl of Warwick; Mrs Arthur Clifton; Agnew, 1964; bt Paul Mellon, 1964
Paul Sandby; Christie's, 3 May 1811 (101 - One ditto [original drawing/sketch], an elaborate and faithful study, a portrait of the Arbra Santa, on the borders of the Lake of Nemi), bt Callen [=Callender?] (£30); [...] George Guy Greville, 4th Earl of Warwick; Mrs Arthur Clifton; Agnew, 1964; bt Paul Mellon, 1964
Signature/inscription
Unsigned; no inscription
Unsigned; no inscription
Techniques and materials
Collectors' marks
[1] Stamp lower right: Paul Sandby (Lugt 2112) [2] Stamp lower right: Earl of Warwick (Lugt 2600)
[1] Stamp lower right: Paul Sandby (Lugt 2112)
[2] Stamp lower right: Earl of Warwick (Lugt 2600)
Verso inscriptions
[1] Graphite, lower right: RICHARD WILSON: ANCIENT TREE
[1] Graphite, lower right: RICHARD WILSON: ANCIENT TREE
Mount inscriptions
Labels
Subject
The 'sacred tree', correctly designated 'arbor sancta', was presumably so named after the sacred tree in the grove of the goddess Diana at Lake Nemi.
The 'sacred tree', correctly designated 'arbor sancta', was presumably so named after the sacred tree in the grove of the goddess Diana at Lake Nemi.
Related Subjects
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Critical commentary
The size and sensitivity of this presentation drawing demonstrate Wilson's developing skills as a draughtsman, perfected during his stay in Italy. His pupil,Thomas Jones, recorded in his diary on 30 April 1777, 'All went to make sketches about the Lake of Nemi - particularly a large <i>Plane</i> tree on the Edge of the Water call'd the <i>Arbor Santa</i> [sic] which has a hollow within ... I was told here that my Old Master <i>Willson</i> when in this Country made use of it as a Study to Paint in.'
The size and sensitivity of this presentation drawing demonstrate Wilson's developing skills as a draughtsman, perfected during his stay in Italy. His pupil,Thomas Jones, recorded in his diary on 30 April 1777, 'All went to make sketches about the Lake of Nemi - particularly a large
Plane
tree on the Edge of the Water call'd the
Arbor Santa
[sic] which has a hollow within ... I was told here that my Old Master
Willson
when in this Country made use of it as a Study to Paint in.'
Previous Cat/Ref Nos
Object ID: 14279
Object ID: 14279
Bibliography
Jones 1803, p. 58; New Haven, English Landscape, 1977, p. 13, pl. LV; Solkin, 1982, pp. 172-74; Sumner & Smith 2003, p. 129 repr.; Baskett 2007, p. 251, no. 21, pl. 21; Wilson and Europe 2014, pp. 310-11
Jones 1803, p. 58; New Haven, English Landscape, 1977, p. 13, pl. LV; Solkin, 1982, pp. 172-74; Sumner & Smith 2003, p. 129 repr.; Baskett 2007, p. 251, no. 21, pl. 21; Wilson and Europe 2014, pp. 310-11
Link to WG Constable Archive Record
Location featured in work
More Information
Condition/Conservation
Illustrations of the Work
Updated by Compiler
05/03/2019
05/03/2019
Work of Art
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
Munich, Haus der Kunst, 21 November 1979 - 27 January 1980
London, Simon C. Dickinson Ltd, 12 June - 13 July 2012
National Museum & Gallery, Cardiff, Whitworth Art Gallery, Manchester and National Gallery, London, 21 May 2003 - 15 February 2004
New Haven, Yale Center for British Art and London, Royal Academy, 18 April - 29 July 2007 and 20 October 2007 - 27 January 2008
New Haven, Yale Center for British Art, 17 May - 2 September 2001
New York, Pierpont Morgan Library and London, Royal Academy, 13 April - 28 July 1972
New Haven, Yale Center for British Art & Cardiff, Amgueddfa Cymru - National Museum Wales, 6 March - 29 October 2014
New Haven, Yale Center for British Art, 19 April - 17 July 1977
Biographies
Thomas Jones, 1742-1803
Paul Sandby, c.1730-1809
Paul Mellon, 1907-1999
George Guy Greville Brooke, 4th Earl of Warwick, 1818-1893
Thomas Thane, 1782-1846
John Thane, 1748-1818
Documents
David Solkin,
Richard Wilson: The Landscape of Reaction
Martin Postle & Robin Simon,
Richard Wilson and the Transformation of European Landscape Painting
Thomas Jones,
Memoirs of Thomas Jones, Penkerrig, Radnorshire, 1803
Ann Sumner & Greg Smith eds.,
Thomas Jones (1742-1803): An Artist rediscovered
Christopher White,
English Landscape 1630-1850: Drawings, Prints & Books from the Paul Mellon Collection
John Baskett,
Paul Mellon's Legacy, a Passion for British Art: Masterpieces from the Yale Center for British Art
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