Lot 97: Jacob More (c.1740-1793)

An extensive view of Rome with figures and goats in the foreground; and view of Lake Albano and Castel Gandolfo with figures in the foreground
oil on canvas
30 1/4 x 39 1/8 in. (76.9 x 99.3 cm.)
In contemporary frames, with flowers and antique flutes bordered by pearl strings and reed gadroons
a pair (2)

Believed to have been acquired by Michael Barker Nairn (1838-1915), 1st Bt.,when he acquired Dysart House from the Earl of Rosslyn in the late 19th century.

Jacob More, who was born in Edinburgh where he spent the early part of his career, is first recorded in Italy in 1773, where he was to remain, principally in Rome, until his death in 1793. In Rome, he lived in lodgings over the English coffee house in the Piazza di Spagna, until 1787, and later nearby in the Strada Rosella, attaining a high reputation as one of the most outstanding landscape artists of his generation, surpassing that of any other British painter then working in Italy. The esteem in which he was held was reflected in his unanimous election to the Accademia di San Luca in Rome in 1781 and with the rare accolade of having his self-portrait accepted for the Gallery of Artist's portraits in the Uffizi in 1784, two of the most prestigious artistic awards available in Italy (for which see Grand Tour, The Lure of Italy in the Eighteenth Century, catalogue to the Exhibition at the Tate Gallery, 1996, no. 26). More's work also received praise not only from British contemporaries such as James Irvine who considered him 'one of the first landscape painters that ever lived' but also in regular reviews in Roman art journals. Aside from his work as an artist More also acted for some ten years as agent and art dealer in Rome for the 4th Earl of Bristol, one of the most inveterate grand tourists, who was also among his most important patrons.

This pair of views is characteristic of More's artistic output. Castel Gandolfo on the Western shore of Lake Albano, south-east of Rome, which then, as now, was the Pope's summer retreat, was popular with both tourists and artists who were attracted by the spectacular scenery and its associations with Roman history. More is recorded as having executed a number of landscapes featuring the lake and Castel Gandolfo, including one acquired by either the 4th Earl of Bristol or a Mr Mills in the artist's studio sale (September 1779), the format of which is unrecorded, which remains untraced (for which see Patricia Andrew 'Jacob More, Biography and Checklist of Works', The Walpole Society, 1989/90, LV, pp. 171-2, nos B.7.1-B.7.VI).
The panoramic distant view of Rome shows the majestic profile of the city in the context of its surrounding countryside. To the right of the composition is the Vatican with the dome of St. Peter's silhouetted against the sky, while the formidable structure of the Castel St. Angelo anchors the central part of the view. The view can be compared with other of More's distant views of the city such as those now in the Art Gallery of South Australia, Adelaide and the Perth Museum and Art Gallery, Scotland, respectively executed circa 1774-5 and sometime before 1784 (for which see P. Andrew, op.cit., nos. B.I.1 and B.I.1V). More often produced pairs of view such as the present pictures unified with similar, rather than opposing, lighting and mood.

We are grateful to Dr. Patricia Andrew for her assistance with this catalogue entry.

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