HUBERT ROBERT | VIGNOLA'S GATE TO THE FARNESE GARDENS, ROME, WITH A COACH AND HORSES
Paris 1733 - 1808
VIGNOLA'S GATE TO THE FARNESE GARDENS, ROME, WITH A COACH AND HORSES
17½ by 13 in.; 437 by 336 mm.
Laid down on an old card backing. There is a small gray stain to the left half of the lower edge and a small loss to the lower right corner. The drawing remains in otherwise good condition throughout with the red chalk fresh and vibrant. Sold in a decorative giltwood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Henry P. McIlhenny, Rittenhouse Square, Philadelphia,
His sale, New York, Christie's, 20-21 May 1987, lot 125
Philadelphia, Philadelphia Museum of Art, no. 42 (details untraced)
This red chalk drawing depicting Vignola's Gate to the Farnese Gardens, Rome, with a coach and horses, and lot 3, of a man out walking in the countryside, among Roman ruins, are studies executed whilst Hubert Robert was in Italy.
Robert was in Rome from 1754 to 1765. He was sent to the French Academy by the Comte de Stainville (later the Duc de Choiseul) and seems to have established himself there quickly, earning a good report as well as commissions. Aside from studying classical antiquities and architecture, the students were encouraged to go out and draw in the countryside, this activity was keenly promoted by Claude Joseph Natoire (1700-1777), who was a firm believer in drawing ‘en plein air’ to aide artistic development.
Robert extensively studied the ancient ruins, particularly the Forum, providing himself with ample motifs for future paintings and drawings. He often included figures in many of his views, sometimes to emphasize the scale of grandiose monuments but often, like the present drawing and the previous lot, to animate his scenes with daily activity. Robert’s characteristic handling of foliage and deftness with the medium of red chalk is aptly described by Mary Tavener Holmes when describing Robert’s Italian views - ‘energetic saw-toothed lines for foliage and dense parallel hatching in the shadows, the deep red chalk contrasting with the white paper and the paper often reserved to mimic brilliant sunlight.’1
1. The Metropolitan Museum of Art, Eighteenth Century French Drawings in New York Collections, exhib. cat., New York, The Metropolitan Museum of Art, 1999, p. 104, under no. 46