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拍品专文
It appears that the present watercolour was originally one of a group of six watercolours commissioned by Lord St. Asaph, later 3rd Earl of Ashburnham, a close friend of Sir George Beaumont, who was with him and Cozens in Rome in February 1783. St. Asaph must have commissioned the group to serve as a record of his time in Italy. It is uncertain when these drawings left St. Asaph's collection but three of them, including the present watercolour, were acquired by J. Leslie Wright, one of the most discernign collectors of British watercolours in the last century.
Four of the St. Asaph watercolours were of well known subjects, including of Lake Albano, Lake Nemi, Ariccia and Lake Maggiore. The fifth depicts A Ravine; given the steep view point, it is highly unlikely that it was drawn on the spot, rather appearing to be a combination of several subjects. The present watercolour also appears to be an idealised view. As with A Ravine, there are no known related sketches and Oppé has suggested that 'the subject may be a memory of Maggiore' (Oppé, op. cit., p.151). Oppé continues 'though the subject is more complex there is unity with simplicity. John Cozens has for a moment left aside the uneasy mountain-tops of his wilder Alpine scenes. The structure, though not the execution, of the cloudscape derives directly from his father; but it is also his father's compelling spirit of concentration which has guided the son throughout this solemn and noble design.'
Cozens visited Italy twice, first in 1776, staying until 1779 and then four years later with William Beckford. Beckford had made two previous journeys to Italy and on this third visit he employed Cozens as his draughtsman. His entourage was considerable and included his tutor Dr. John Lettice, a musician called Burton and a physician. It is possible to follow Beckford's and Cozens' route from Austria and through Italy. Beckford left Cozens in September 1782 in Naples, where the artist remained until December before beginning to work his way back up to Rome. He spent most of 1783 in Rome, returning to England in November. On Cozens' return he worked up several commissions including a set of watercolours for his patron, Beckford and the set of watercolours for St. Asaph discussed here.
Unlike many of his most important compositions, where he often made several versions, this is the only known watercolour of the subject, which further reinforces the idea that this is a landscape drawn from his imagination.
Four of the St. Asaph watercolours were of well known subjects, including of Lake Albano, Lake Nemi, Ariccia and Lake Maggiore. The fifth depicts A Ravine; given the steep view point, it is highly unlikely that it was drawn on the spot, rather appearing to be a combination of several subjects. The present watercolour also appears to be an idealised view. As with A Ravine, there are no known related sketches and Oppé has suggested that 'the subject may be a memory of Maggiore' (Oppé, op. cit., p.151). Oppé continues 'though the subject is more complex there is unity with simplicity. John Cozens has for a moment left aside the uneasy mountain-tops of his wilder Alpine scenes. The structure, though not the execution, of the cloudscape derives directly from his father; but it is also his father's compelling spirit of concentration which has guided the son throughout this solemn and noble design.'
Cozens visited Italy twice, first in 1776, staying until 1779 and then four years later with William Beckford. Beckford had made two previous journeys to Italy and on this third visit he employed Cozens as his draughtsman. His entourage was considerable and included his tutor Dr. John Lettice, a musician called Burton and a physician. It is possible to follow Beckford's and Cozens' route from Austria and through Italy. Beckford left Cozens in September 1782 in Naples, where the artist remained until December before beginning to work his way back up to Rome. He spent most of 1783 in Rome, returning to England in November. On Cozens' return he worked up several commissions including a set of watercolours for his patron, Beckford and the set of watercolours for St. Asaph discussed here.
Unlike many of his most important compositions, where he often made several versions, this is the only known watercolour of the subject, which further reinforces the idea that this is a landscape drawn from his imagination.