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拍品專文
This lively celebration of Arcadian revelry is a characteristic work by Andrea Locatelli, one of the foremost landscape painters active in early eighteenth-century Rome, which eloquently demonstrates the artist's refined fusion of classical subject matter and Roman pastoral ideal. Its elongated landscape format indicates its function as an overdoor painting, no doubt serving as part of a larger decorative scheme. His landscapes were sought after not only by distinguished Roman patrons but also by an international clientele, amongst whom he was renowned for his idyllic views of the Campagna. Hitherto unpublished and not known to scholars, the painting has descended in the same private collection since its appearance in these Rooms in the renowned sale of the collection of Sir George Ilay Campbell, 6th Bt. in 1946.
A note on the provenance
Sir Archibald Campbell, whose collection has been studied by Professor Peter Humfrey, was the heir of a family that had held land in Dunbartonshire since the seventeenth century, and, like his father, Sir Ilay Campbell, 1st Bt. of Succoth, Lord Succoth (1734-1823), had a successful legal career. Marriage to an heiress, Elizabeth Balfour, enabled him to employ the architect William Burn – who rebuilt Fettercairn for Sir William Forbes in 1826 – to reconstruct Garscube on an extravagant scale in 1826-7. Like Forbes, Campbell set about collecting pictures for his ‘new’ mansion, helped by the Scottish painter-cum-agent Andrew Wilson who had been in direct competition with Irvine in Genoa over two decades earlier and made purchases in Italy after he withdrew as Manager of the Trustees’ Academy at Edinburgh in 1826. The collection included works given to Moretto and Leonardo, a rare portrait by Zaganelli and a masterful Nativity by Bernardino Luini, as well as Annibale Carracci’s intimate so-called 'Montalto Madonna' (London, National Gallery), a distinguished Genoese portrait by van Dyck (Glasgow, Kelvingrove Art Gallery) and a characteristic Cuyp. His pictures were complemented by a substantial group of old master drawings: this included what was perhaps the finest Florentine trecento drawing in any Scottish collection, the sheet attributable to Taddeo Gaddi now with the Woodner Collection in the National Gallery of Art, Washington.
A note on the provenance
Sir Archibald Campbell, whose collection has been studied by Professor Peter Humfrey, was the heir of a family that had held land in Dunbartonshire since the seventeenth century, and, like his father, Sir Ilay Campbell, 1st Bt. of Succoth, Lord Succoth (1734-1823), had a successful legal career. Marriage to an heiress, Elizabeth Balfour, enabled him to employ the architect William Burn – who rebuilt Fettercairn for Sir William Forbes in 1826 – to reconstruct Garscube on an extravagant scale in 1826-7. Like Forbes, Campbell set about collecting pictures for his ‘new’ mansion, helped by the Scottish painter-cum-agent Andrew Wilson who had been in direct competition with Irvine in Genoa over two decades earlier and made purchases in Italy after he withdrew as Manager of the Trustees’ Academy at Edinburgh in 1826. The collection included works given to Moretto and Leonardo, a rare portrait by Zaganelli and a masterful Nativity by Bernardino Luini, as well as Annibale Carracci’s intimate so-called 'Montalto Madonna' (London, National Gallery), a distinguished Genoese portrait by van Dyck (Glasgow, Kelvingrove Art Gallery) and a characteristic Cuyp. His pictures were complemented by a substantial group of old master drawings: this included what was perhaps the finest Florentine trecento drawing in any Scottish collection, the sheet attributable to Taddeo Gaddi now with the Woodner Collection in the National Gallery of Art, Washington.