Jump to the content
Register
Log in
Advanced Search
Works of Art
Biographies
Exhibitions
Bibliographical Resources
Main
Home
Paintings
Drawings
Prints
Browse All Works
Wilson Collections
Wilson Collections Map
Tercentenary Exhibition
Other Exhibitions
Project Highlights
Themes and Media
Biographies
Bibliographical Resources
Torre delle Grotte near Naples
You searched for:
Work of Art items where Versions matches 'P70'
3 Items
No items selected
1
2
3
Torre delle Grotte near Naples
Credit Line
Private Collection, Yorkshire / Photograph by Jerry Hardman-Jones
Larger Image
Select Item
Email Link
Print
Feedback
Artist
Richard Wilson (1713/14-1782)
Title
Torre delle Grotte near Naples
Date
1758-59 (undated)
Medium
Dimensions
47 x 72.4 cm
Dimensions
18 1/2 x 28 1/2 in.
Details
Links
Collection
Private Collection, Yorkshire
Accession Number
Wilson Online Reference
P70
Description
View of caves cut into a cliff-face, across a stretch of sea, with a square tower on the height and a stone arch projecting into the sea on the left. This side of the bay, men in a small barge can be seen in the left foreground and there are other sailing craft in the distance. Before the sea-arch is a floating platform for mooring or to act as a buoy.
View of caves cut into a cliff-face, across a stretch of sea, with a square tower on the height and a stone arch projecting into the sea on the left. This side of the bay, men in a small barge can be seen in the left foreground and there are other sailing craft in the distance. Before the sea-arch is a floating platform for mooring or to act as a buoy.
Exhibited
York, <i>Masterpieces form Yorkshire Houses</i>, 1951 (51); Leicester 1953 (79); London, Royal Academy, <i>Italian Art and Britain</i>, 1960 (162); London, Cardiff and New Haven, 1982-83 (78)
York,
Masterpieces form Yorkshire Houses
, 1951 (51); Leicester 1953 (79); London, Royal Academy,
Italian Art and Britain
, 1960 (162); London, Cardiff and New Haven, 1982-83 (78)
Provenance
Probably bt by <span class="underline">Sir William St Quintin, Bart</span> (c.1699-1770); by descent to Mrs M. L'Estrange Malone; thence by descent
Probably bt by
Sir William St Quintin, Bart
(c.1699-1770); by descent to Mrs M. L'Estrange Malone; thence by descent
Signature/inscription
Signed on the rock lower right: RW [monogram, the R reversed]
Signed on the rock lower right: RW [monogram, the R reversed]
Techniques and materials
Saturated colours with sumptuous blues in the sky, painted over a standard pale ground. It seems possible that the rocks to the left of the arches have been extended to cover some of the lower parts of the tower and adjacent buildings.
Saturated colours with sumptuous blues in the sky, painted over a standard pale ground. It seems possible that the rocks to the left of the arches have been extended to cover some of the lower parts of the tower and adjacent buildings.
Collectors' marks
Verso inscriptions
[1] On upper horizontal member of frame in black ink in an old hand: 64
[1] On upper horizontal member of frame in black ink in an old hand: 64
Mount inscriptions
Labels
Subject
It has recently been shown by Martin Postle that the scene is of Torregaveta, a craggy outcrop on the Phlegraean peninsula to the east of Naples (<span class="underline">Wilson and Europe 2014</span>, p. 295). Close to Baiae, Cumae and the volcanic lakes of Fusaro and Avernus, it had many classical associations. At the summit of the cliffs was the ruin of a villa fortress constructed by the Roman consul, Servilius Vatia (c.122-44 BC). The tower of the villa was still prominent in the 18th century but was damaged in the Second World War, by which time the rock face and the arches had also been much eroded.
It has recently been shown by Martin Postle that the scene is of Torregaveta, a craggy outcrop on the Phlegraean peninsula to the east of Naples (
Wilson and Europe 2014
, p. 295). Close to Baiae, Cumae and the volcanic lakes of Fusaro and Avernus, it had many classical associations. At the summit of the cliffs was the ruin of a villa fortress constructed by the Roman consul, Servilius Vatia (c.122-44 BC). The tower of the villa was still prominent in the 18th century but was damaged in the Second World War, by which time the rock face and the arches had also been much eroded.
Related Subjects
Related Drawings
D207 <i>Torre delle Grotte, near Naples</i> Tate, London (T09300)
D207
Torre delle Grotte, near Naples
Tate, London (T09300)
Related Prints
E35 William Hodges after Wilson, <i>Twelve Etchings of Views in Italy - Torre Delle Grotte near Naples</i>, 1776, Yale Center for British Art, Paul Mellon Collection, New Haven (B1977.14.21011(d)) and other impressions
E35 William Hodges after Wilson,
Twelve Etchings of Views in Italy - Torre Delle Grotte near Naples
, 1776, Yale Center for British Art, Paul Mellon Collection, New Haven (B1977.14.21011(d)) and other impressions
Versions
See 'Links' tab
See 'Links' tab
Related Paintings
P82 <i>The Bridge of Augustus at Rimini</i>, Private Collection, Yorkshire (Pendant)
P82
The Bridge of Augustus at Rimini
, Private Collection, Yorkshire (Pendant)
Related Works by Other Artists
Critical commentary
The monogram signature of this work is simpler and more conventional than that of its pendant. The sunset at the left is subtly rendered with diagonal rays ascending through the roseate glow in prefigurement of Turner. Behind the rocks dark storm clouds are gathering as evening draws on apace. In counterpoint to it is the diagonal formed by the succession of boats receding towards the horizon. In the foreground there is some ambiguity in the extent of the sea towards the shoreline and rocks. The composition is unusual among Wilson's Italian views of this period as it has no overt references to antiquity or to Claude but seems to have been chosen rather for its picturesque qualities, thus corresponding with works painted after Wilson's return to England.
The monogram signature of this work is simpler and more conventional than that of its pendant. The sunset at the left is subtly rendered with diagonal rays ascending through the roseate glow in prefigurement of Turner. Behind the rocks dark storm clouds are gathering as evening draws on apace. In counterpoint to it is the diagonal formed by the succession of boats receding towards the horizon. In the foreground there is some ambiguity in the extent of the sea towards the shoreline and rocks. The composition is unusual among Wilson's Italian views of this period as it has no overt references to antiquity or to Claude but seems to have been chosen rather for its picturesque qualities, thus corresponding with works painted after Wilson's return to England.
Previous Cat/Ref Nos
Bibliography
E.K. Waterhouse, 'Exhibitions of Old Masters at Newcastle, York and Perth', <i>Burlington Magazine</i>, vol. 93, August 1951, pp. 262 & 264, no. 20; WGC, p. 199, pl. 78a (version 2)
E.K. Waterhouse, 'Exhibitions of Old Masters at Newcastle, York and Perth',
Burlington Magazine
, vol. 93, August 1951, pp. 262 & 264, no. 20; WGC, p. 199, pl. 78a (version 2)
Link to WG Constable Archive Record
<a href="http://www.calmview2.eu/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f87" title="WGC/1/1/87" class="rewritten">WGC/1/1/87</a>
WGC/1/1/87
Location featured in work
More Information
Either this painting or its pendant, <span class="italic">The Bridge at Rimini</span> (see 'Related Paintings' above), is alluded to in an account book of the collection in an entry under the year 1759: 'A Picture Wilson 13 gns'.
Either this painting or its pendant,
The Bridge at Rimini
(see 'Related Paintings' above), is alluded to in an account book of the collection in an entry under the year 1759: 'A Picture Wilson 13 gns'.
Condition/Conservation
In original gilt frame. Oil on canvas, recently glue relined and on a five-member stretcher probably dating from previous lining. Original ground colour is pale, off-white. Immediate foreground under-painted dark brown. Paint application is quite liquid with bright highlights in the manner of Canaletto. The figures in the foreground boats and the sunset clouds with dispersed rays are particularly good. Some mature cracks but no drying cracks visible. In excellent condition.
In original gilt frame. Oil on canvas, recently glue relined and on a five-member stretcher probably dating from previous lining. Original ground colour is pale, off-white. Immediate foreground under-painted dark brown. Paint application is quite liquid with bright highlights in the manner of Canaletto. The figures in the foreground boats and the sunset clouds with dispersed rays are particularly good. Some mature cracks but no drying cracks visible. In excellent condition.
Illustrations of the Work
Updated by Compiler
25/07/2020
25/07/2020
Work of Art
Drawings
Torre delle Grotte, near Naples
, Tate, London
Prints
William Hodges after Wilson,
Twelve Etchings of Views in Italy - Torre Delle Grotte near Naples
, Yale Center for British Art, Paul Mellon Collection, New Haven
William Hodges after Wilson,
Torre delle Grotte near Naples
, The British Museum
William Hodges after Wilson,
Torre delle Grotte near Naples
, The British Museum
William Hodges after Wilson,
Torre delle Grotte near Naples
, Royal Academy of Arts, London
Versions
Richard Wilson (1713/14-1782)
Torre delle Grotte near Naples
, Private Collection, England
Richard Wilson (1713/14-1782)
Torre delle Grotte, near Naples
, John Mitchell Fine Paintings
Paintings
The Bridge of Augustus at Rimini
, Private Collection, Yorkshire (Pendant )
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
Leicester Museums and Art Gallery, June - July 1953
Biographies
Sir William St Quintin, 4th Bart, c.1699-1770
Documents
William George Constable,
Richard Wilson
Part of a sketchbook
To view this image and see text below or to compare two images, click on
'larger image'
icon for a moveable window.
OK
View Selected