Hubert Robert

Garnier Heldewier Collection, sale, Paris, 10-11 June 1925, lot 172, reproduced;
Mrs Alan L. Corey, New York and Glen Head,
purchased at the sale of her collection, New York, Sotheby Parke Bernet, 7 December 1974, lot 576;
Jean Montague Massengale,
by whose Executors sold, London, Sotheby's, 4 July 2007, lot 119,
where purchased by the present owner

Richmond, The Virginia Museum of Fine Arts, Three Masters of Landscape:  Fragonard, Robert and Boucher, 1981, no. 23

J. de Cayeux, 'Introduction au catalogue critique des Griffonis de Saint-Non', Bulletin de la Société de l'Histoire de l'Art Français, 1963, p. 330, under no. 41;
H. Burda, Die Ruine in der Bildern Hubert Roberts, Munich 1967, pp. 75, 161, reproduced fig. 84

Hinged to the mount at the upper margin. Overall sheet in good condition with red chalk remaining strong. There is a repaired hole at the upper left side of the sheet, just located above the tree (repair work visible on verso). There are also a few brown stains, one above the figure that looks over the top of the villa and a few more at the upper left corner. There is a small crease in the paper at the lower margin in the centre. Sold in a carved and gilded 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.

The view of the Villa Madama is represented many times in Robert's work.  In the present drawing, the real view (as recorded in other works by Robert¹) is reversed, suggesting that although no corresponding original drawing in reverse is known, the basis for this drawing may well be a counterproof.  It should, however, be noted that there is no obvious evidence of counterproofing when looking at this drawing and it is only its orientation that leads to the suggestion that it is based on a counterproof.  There is, however, an actual counterproof of a similar view, in the same direction as our drawing, in Besançon.² 

1.  These include a painting in the Hermitage, St. Petersburg, a drawing in the Albertina, Vienna, and three drawings in the Paris Collection in the Municipal Library, Besançon.  See J.H. Fragonard e H. Robert a Roma, exhib.cat., Rome, Villa Medici 1990-91, nos. 52-3
2.  Les Hubert Robert de Besançon, exhib.cat., Besançon, Musée des Beaux-Arts et D'Archéologie de Besançon, 2013, p. 37, no. 8, reproduced