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Lot Essay
Outstanding in quality and scale, this landscape was almost certainly painted by Marco Ricci during his time in England, where he was based from 1708–1710 and again from the winter of 1711/12–1715. The building in the background appears to be a capriccio, but its dome is reminiscent of a number of cupolas that were constructed in England at this time, including Wren’s domes of the Naval Hospital, Greenwich (completed in 1708), Vanburgh’s at Castle Howard (circa 1710/11) and, most notable of all, Saint Paul’s Cathedral (completed in 1710).
Marco was the nephew of the painter Sebastiano Ricci; it is possible he began his career in Milan as his uncle's pupil, and certainly followed him to Venice, but was forced to flee after murdering a gondolier. He later traveled to Florence, where he collaborated with his uncle in 1706/7 on the decoration of the Sala d’Ercole in the Palazzo Marucelli, and Rome.
Marco first arrived in London accompanied by Gian Antonio Pellegrini in the autumn of 1708, invited by Charles Montagu, 4th Duke of Manchester, to produce stage sets for Italian operas at the Queen’s Theatre, Haymarket. The ensuing eighteen months were extremely successful for the pair, not only establishing Marco as one of the most sought-after set designers of the age, but also resulting in major commissions from Lord Burlington, Lord Carlisle and Lord Manchester himself. Marco Ricci’s first English period eventually ended with bitterness between him and Pellegrini, probably resulting in his brief sojourn in Venice. He would return to England shortly thereafter alongside his uncle, Sebastiano. Whether due to Sebastiano’s talent, or Marco’s connections, the two enjoyed a successful period of collaboration, producing work for many of England's leading patrons in the period, including the Duke of Buckingham, Lord Burlington and the Duke of Portland.
It is little surprise that this picture entered the collection of the Earls of Pembroke at Wilton, celebrated for its works by the most sought-after Italian painters as well as masterpieces by Sir Anthony van Dyck. Thomas Herbert, 8th Earl of Pembroke (fig. 1), was born into a great architectural and artistic heritage, and became, by any standard, a remarkable collector of paintings, sculpture and books. During his long tenure at Wilton (1683 - 1733), the 8th Earl must be credited with a revival of the house's fortunes. The Earl’s intention was to have all schools of painting represented, including as many different artists as possible, at Wilton. By the time of Gamberini’s catalogue (loc. cit.), no fewer than 347 artists were represented. His collection remains largely intact at the family seat of Wilton, though the collection’s eponymous diptych (National Gallery, London), was sold in 1929.
Marco was the nephew of the painter Sebastiano Ricci; it is possible he began his career in Milan as his uncle's pupil, and certainly followed him to Venice, but was forced to flee after murdering a gondolier. He later traveled to Florence, where he collaborated with his uncle in 1706/7 on the decoration of the Sala d’Ercole in the Palazzo Marucelli, and Rome.
Marco first arrived in London accompanied by Gian Antonio Pellegrini in the autumn of 1708, invited by Charles Montagu, 4th Duke of Manchester, to produce stage sets for Italian operas at the Queen’s Theatre, Haymarket. The ensuing eighteen months were extremely successful for the pair, not only establishing Marco as one of the most sought-after set designers of the age, but also resulting in major commissions from Lord Burlington, Lord Carlisle and Lord Manchester himself. Marco Ricci’s first English period eventually ended with bitterness between him and Pellegrini, probably resulting in his brief sojourn in Venice. He would return to England shortly thereafter alongside his uncle, Sebastiano. Whether due to Sebastiano’s talent, or Marco’s connections, the two enjoyed a successful period of collaboration, producing work for many of England's leading patrons in the period, including the Duke of Buckingham, Lord Burlington and the Duke of Portland.
It is little surprise that this picture entered the collection of the Earls of Pembroke at Wilton, celebrated for its works by the most sought-after Italian painters as well as masterpieces by Sir Anthony van Dyck. Thomas Herbert, 8th Earl of Pembroke (fig. 1), was born into a great architectural and artistic heritage, and became, by any standard, a remarkable collector of paintings, sculpture and books. During his long tenure at Wilton (1683 - 1733), the 8th Earl must be credited with a revival of the house's fortunes. The Earl’s intention was to have all schools of painting represented, including as many different artists as possible, at Wilton. By the time of Gamberini’s catalogue (loc. cit.), no fewer than 347 artists were represented. His collection remains largely intact at the family seat of Wilton, though the collection’s eponymous diptych (National Gallery, London), was sold in 1929.