Richard Wilson, R.A.

Probably painted for Paul Panton (1727–97), Plas Gwyn, Pentraeth, Anglesey;
Thence by descent to the present owners.

W.G. Constable, Richard Wilson, London 1953, p. 203, possibly version 6 listed under plate 82a;
Included in 'Richard Wilson Online', the online catalogue raisonné of the works of Richard Wilson by Paul Spencer-Longhurst, ref. no. P91E.

The canvas has a firm relining and an even but discoloured varnish. There are two small damages visible to the naked eye, one to the right of the top left window of the building, the other in the top leaves of the trees in the distance, both are retouched and are no longer than 1 inch in length. There is a minor degree of wear in the bottom of the cloak of the figure on the left of the trio. Otherwise no major damages are visible. Inspection under ultra violet light reveals only the aforementioned restorations and a thick varnish that fluoresces opaque. There is sign of a few scattered retouchings in the foreground and in the darker tones beneath the thick varnish, although they are hard to identify. The picture is in otherwise good overall condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Villa Madama, so called on account of its occupation in the sixteenth century by Margaret of Austria, Duchess of Parma, was designed by Raphael for Cardinal Giuliano dei Medici.

The label attached to the stretcher is signed by Oldfield Bowles (1739–1810), a pupil of Thomas Jones and a celebrated collector. It is possibly written to Paul Panton who had asked him to examine the picture. Bowles owned a version of this composition which he sold to Samuel Rogers for 100 guineas and which was admired by Farington.