拍品专文
Bonington came to England in 1825 with Delacroix, whom he had met while working in Paris. The main aim of the visit was to study the Meyrick Collection of armour, Bonington was also making arrangements for a trip to Switzerland and Italy, and he visited the well-known colourman Mr. Davey in Newman Street and bought from him a large supply of prepared millboards. In the Spring of 1826 he and his travelling companion Baron Charles River embarked on their journey, travelling from Paris via Geneva and the Alps, arriving in Venice on 18 April. They stayed for just over four weeks, leaving on 20 May for Florence, Genoa and finally back to Paris. The Baron kept a journal of the trip, and there are references throughout it of Bonington painting on his prepared millboards on the spot. The previous painting is possibly one of these, although it may have been finished after his returning to his studio in Paris.
This painting, lost for some time, is an important rediscovery. After Boningtons' tragically early death, the contents of his studio were sold in London on 29/30 June 1829, at the first sale of his effects by his family, and there are three lots that may be the present picture: lot 62, 'View in the Environs of Florence' (bought by Cattley for #8.18.0); lot 103, 'Highly coloured landscape, View in the Gardens of Boboli, Florence (bought by Tiffin for #7.0.0); and lot 213, 'View, environs of Florence (bought by Glyn for #32.11.0). The most likely are either lots 103 or 213, as the view seems to be possibly across the Amo Valley, from the Piazzale Michelangelo, with the Arcetia Hill and the Forte di Belvedere, and the Tuscan Hills beyond. The treatment of the pine trees is very similar to two other oil sketches - 'A view on the Seine' (at Yale), and 'Sunset Landscape' (Sheep-Shanks Bequest, Victoria and Albert Museum). There are several instances also of the balustrade in other paintings, notably in 'Amy Robsart and the Earl of Leicester' in the Ashmolean, and another hilly river landscape possibly, 'The valley of the Arno' (Museé Reims) shows a very similar handling of the flowers in the foreground.
This painting, lost for some time, is an important rediscovery. After Boningtons' tragically early death, the contents of his studio were sold in London on 29/30 June 1829, at the first sale of his effects by his family, and there are three lots that may be the present picture: lot 62, 'View in the Environs of Florence' (bought by Cattley for #8.18.0); lot 103, 'Highly coloured landscape, View in the Gardens of Boboli, Florence (bought by Tiffin for #7.0.0); and lot 213, 'View, environs of Florence (bought by Glyn for #32.11.0). The most likely are either lots 103 or 213, as the view seems to be possibly across the Amo Valley, from the Piazzale Michelangelo, with the Arcetia Hill and the Forte di Belvedere, and the Tuscan Hills beyond. The treatment of the pine trees is very similar to two other oil sketches - 'A view on the Seine' (at Yale), and 'Sunset Landscape' (Sheep-Shanks Bequest, Victoria and Albert Museum). There are several instances also of the balustrade in other paintings, notably in 'Amy Robsart and the Earl of Leicester' in the Ashmolean, and another hilly river landscape possibly, 'The valley of the Arno' (Museé Reims) shows a very similar handling of the flowers in the foreground.