Lot 182
  • 182

Giovanni Paolo Panini and Studio

Estimate
150,000 - 200,000 USD
bidding is closed

Description

  • Giovanni Paolo Panini and Studio
  • A Capriccio of Hadrian's Mausoleum, the Temple of Fortuna Virilis, the Milvian Bridge and the Basilica of Antoninus with the Farnese Hercules, the Medici Vase, Washerwomen by a Fountain and Philosophers among Architectural Fragments
  • oil on canvas

Provenance

Acquired by Sir Robert Hildyard (1716-1781), 3rd Bt., M.P., of Winestead, probably on his grand tour of 1736 (recorded in an inventory of pictures at Winestead, 1756);
His son, Sir Robert D'Arcy Hildyard (1743-1814), 4th Bt., of Winestead (recorded in an inventory of pictures at Winestead, 1781);
Thence by inheritance until the previous owner;
By whom anonymously sold (The Property of a Gentleman), London, Christie's, 23 April 1993, lot 60 (with A View of the Campo Vaccino with the Temple of Jupiter Stator);
Where acquired by the present owner.

Exhibited

Cawthorne, Barnsley, Cannon Hall, Yorkshire and the Eighteenth Century, 23 May - 26 June 1963, no. 17.

Condition

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This painting, like the previous lot, has been recently restored. The painting is similarly restored and is not as focused as it could be. The architecture and figures are all very healthy. In the sky small losses and abrasions have been retouched, particularly focused in the clouds in the upper center.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Catalogue Note

Please see the cataloguing of the previous lot for additional information on this painting.

Although accepted by Arisi as an autograph work, and clearly substantially painted by Panini, the present canvas appears to have been completed with the assistance of the artist's studio.