Jacob More

Poynder Family, Hilmarton;
thence by descent to the late husband of the present owner

London, Society of Artists, 1777, no. 81

P.R. Andrew, 'Jacob More; Biography and Checklist of Works,' Walpole Society, Vol. LV, 1993, p. 175, no. B.10.i

STRUCTURE The canvas has not been lined. There is one restoration patch to the back of the canvas, in the upper centre, measuring approximate 5 1/2 by 7 in. PAINT SURFACE The painting appears to be in reasonably good condition. There is a strong craquelure overall, particularly noticeable in the sky. There is a slight discolouration to the varnish, particularly around the edges of the canvas, as well as an uneven layer of dirt overall. There are some minor abrasion marks around the edges of the canvas and there is some slight staining to the upper right, as well as a very small area of white residue, left of centre. ULTRAVIOLET Examination under ultraviolet light confirms the uneven layer of dirt and discoloured varnish, as well as revealing small areas of retouching to the foliage in two sections, in the upper right of the canvas and along the bottom edge of the canvas. The painting would benefit from a light clean. FRAME Held in a carved and painted wooden frame with a gilded inner edge.
"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."

In this most serene and beautiful landscape, the last glimpse of golden evening light shimmers over Lake Nemi. This view had long appealed to artists and connoisseurs and Jacob More was no exception.

More was commissioned to paint landscapes such as this for the most distinguished patrons, including; Prince Rezzonico, Prince Marcantonio Borghese who commissioned the Landscape with the Metamorphosis of Daphne c. 1783 to hang at Villa Borghese. Following his time in Rome on the Grand Tour, Frederick Hervey, 4th Earl of Bristol and Bishop of Derry commissioned no less than fourteen such landscapes for his new house Downhill, Londonderry. More was able to charge an astonishing 100 guineas for his paintings, the same as Gainsborough charged in London for his portraits and double the price Pompeo Batoni was able to achieve for his portraits in Rome. However landscapes such as this rarely appear at auction today.

Born in Edinburgh, More moved to Rome in 1773 and remained there until his death. He was not only an acquaintance of Goethe and Canova, who both marvelled at the amazing beauty of his landscapes, but during this time he achieved two of the most prestigious artistic awards available in Italy. He was elected to the Accademia di San Luca in Rome and accepted into the Gallery of Artist's Portraits in the Uffizi, where his self-portrait remains today.

At the time of his death in 1793 More was heralded by Sir Joshua Reynolds as quite simply  'the finest painter of air since Claude.' But the highest praise came from his native Edinburgh where the periodical entitled The Bee most emphatically extolled More as, 'without doubt the finest landscape painter in the world.'