A Capriccio scene with Classical ruins
A Capriccio scene with Classical ruins
3116
 A Capriccio scene with Classical ruinsWatercolour over pencil on laid paper28 by 40.5 cm., 11 by 16 in. Provenance: Michael Ingram (1917-2005), acquired 1957;With Lowell Libson Ltd, 2006;Private Collection, UKExhibited: Stroud Festival, 1971;New York, Lowell Libson Ltd, Of the Moment, 23rd September to 6th October 2006, no.2Taverner was a lawyer by profession, inheriting his father's position as Procurator-General of the Court of Arches of Canterbury, based in Bow Church, London, but he was also a highly skilled artist. The engraver George Vertue records in one of his notebooks in 1733: `Mr Taverner about Aeta 30 (beside his practice in the Law) has a wonderfull genius to drawing of Landskap in an excellent manner, adorned with figures in a stile above the common' (George Vertue, `The Notebooks of George Vertue', Walpole Society, vol. 3, p.68). According to Martin Hardie, he was `our first regular and systematic painter of free landscapes in watercolour' (Martin Hardie, Water-colour Painting in Britain, 1966, vol. I, p.69). The majority of his works, like the present drawing, are of imaginary Italianate compositions in the manner of Claude and Poussin although he appears never to have visited Italy.){kind=link}
William Taverner (1700-1772)
A Capriccio scene with Classical ruins
Watercolour over pencil on laid paper
28 by 40.5 cm., 11 by 16 in.
Provenance:
Michael Ingram (1917-2005), acquired 1957;
With Lowell Libson Ltd, 2006;
Private Collection, UK
Exhibited:
Stroud Festival, 1971;
New York, Lowell Libson Ltd, Of the Moment, 23rd September to 6th October 2006, no.2
Taverner was a lawyer by profession, inheriting his father's position as Procurator-General of the Court of Arches of Canterbury, based in Bow Church, London, but he was also a highly skilled artist. The engraver George Vertue records in one of his notebooks in 1733: `Mr Taverner about Aeta 30 (beside his practice in the Law) has a wonderfull genius to drawing of Landskap in an excellent manner, adorned with figures in a stile above the common' (George Vertue, `The Notebooks of George Vertue', Walpole Society, vol. 3, p.68). According to Martin Hardie, he was `our first regular and systematic painter of free landscapes in watercolour' (Martin Hardie, Water-colour Painting in Britain, 1966, vol. I, p.69). The majority of his works, like the present drawing, are of imaginary Italianate compositions in the manner of Claude and Poussin although he appears never to have visited Italy.