John Robert Cozens

Frances L. Hofer

A. Wilton, The Art of Alexander and John Robert Cozens, 1980, p. 41

There has probably been some very slight fading to the colours, however in general they are well preserved. There is some evidence of some very minor discolouration to the paper tone, however, this in no way effects the balance of the sheet. There is the odd surface scratch, however, in general the support is in good condition. The sheet has not been laid down but it is attached at all four corners verso.
"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 Galleria di Sopra is a walk lined by oak trees which separates the lake from the town of Albano and follows the crater of the lake, affording dramatic views of the Campagna. Cozens was clearly fascinated by the play of light on and through the canopy of oak leaves, and in the curved tree trunks and branches, which outline his composition.

Bell and Girtin ('Catalogue of Drawings and Sketches of John Robert Cozens', Walpole Society, 1935, vol. XXIII) record four subjects entitled View on the Galleria di Sopra above Lake Albano. The present drawing may be closely compared with another version which is signed and dated 1778, which has a similar composition but shows the ass carrying three figures, and presumably dates from the same period.  It was exhibited at the Burlington Fine Arts Club in 1923 (plate XXII) and was again on the London art market in 1976. Please refer to the online catalogue or contact a member of the department for further information on this lot.

There are two known examples of a second type which shows the road on the right with two herdsmen driving a flock of goats against the skyline in the foreground, one in the collection of the National Gallery, Melbourne (see Bell and Girtin op. cit. no. 153).  Of the third type there are four known examples which show the road on the left with two figures reclining at the edge of it with a vast prospect over the Campagna to the right (Bell and Girtin op. cit. no. 154), one in the Williamson Art Gallery, Birkenhead and another in the Oppe Collection.  The fourth type (Bell and Girtin, op. cit. no. 155) shows the road to the right and an extensive view over the Campagna to the left, with two seated herdsmen in the foreground to the right and a flock of white goats to the left.  There is a further drawing in the collection of the Yale Centre for British Art, New Haven (B1975.4.1904) which is unfinished.

Cozens left England in the summer of 1776, most probably together with Richard Payne Knight, and is recorded as having arrived in Rome by November.  He spent two years in Italy, based in Rome, and started his return journey home in April 1779.