Giovanni Paolo Panini, ‘View of the Campidoglio, Rome’, 1750, Christie's Old Masters

Signature: Signed 'P. PANINI./ROMÆ 1750' (lower left, on the wall)

C. Burrows, 'Letter from New York,' Apollo, II, no. 64, April, 1930, pp. 276, 278.

International Studio, IC, July, 1931, p. 14.

G. Nares, 'Farnborough Hall, Warwickshire, II', Country Life, CXVI, 18 February 1954, pp. 431-433.

N. Pevsner, Warwickshire, Harmondsworth, 1966, p. 293.

E. Croft-Murray, Decorative Painting in England, 1537-1837, London, 1970, II, p. 179.

G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233.

G. Jackson-Stops revised by J. Haworth, Farnborough Hall, London, 1999 (first ed. 1981), pp. 10 and 13.

M. Laskin and M. Pantazzi, eds., European and American Painting, Sculpture, and Decorative Arts, Ottawa, 1987, I, pp. 48-49, 51.

I. Hiller, 'Geschichte des Hauses und der Skulpturensammlung', in A. Scholl, Die Antiken Skulpturen in Farnborough Hall, sowie in Althorp House, Blenheim Palace, Lyme Park und Penrice Castle, Mainz, 1995, pp. 34, 37.

J. Cornforth, 'Farnborough Hall, Warwickshire - I: A Property of the National Trust and the Home of Mr. and Mrs. Geoffrey Holbech', Country Life, CXC, no. 28, 1996, pp. 52-55.

J. Cornforth, 'Farnborough Hall, Warwickshire - II: A Property of the National Trust and the Home of Mr. and Mrs. Geoffrey Holbech', Country Life, CXC, no. 29, 1996, pp. 50-53.

J. Cornforth, Early Georgian Interiors, New Haven, 2004, p. 196.

D. Marshall, 'Canaletto and Panini at Farnborough Hall', Art Bulletin of Victoria, no. 45, 2005, pp. 27-35.

M. Miers, The English country house: from the archives of Country Life, New York, 2009, p. 189.

A. Laing, 'Giovanni Paolo Panini's English Clients' in Roma Britannica: art patronage and cultural exchange in eighteenth-century Rome, eds. D. Marshall, S. Russell and K. Wolfe, London, 2010, pp. 115-118.


Supplied to William Holbech (1693/6-1771) before 1750 and installed by him at Farnborough Hall, Warwickshire; and by descent to his nephew, William Holbech, M.P. (d. 1812); and by descent to his son, William Holbech (d. 1856); and by descent to his son, Ven. Charles William Holbech, honorary Canon of Worcester and Archdeacon of Coventry (d. 1901); and by descent to his grandson, William Hugh Holbech (d. 1914); and by descent to his brother Ronald Herbert Acland Holbech (d. 1956) by whom sold in 1929, with other works by the artist and by Canaletto, to the following

with Savile Gallery, London, 1929.

with Knoedler & Co., New York, 1930, where acquired by

Private collection, New York (probably Vincent Astor).

Helen Hull (formerly Mrs. Vincent Astor), and by descent to the present owner.

About Giovanni Paolo Panini

As one of the vedutisti—or “view painters”—of Italy, Giovanni Paolo Panini was highly regarded for his precise renderings of real and imaginary views of Rome. Panini began his career by training under a stage designer in his native city Piacenza, followed by a move to study figure drawing in the city that would ultimately define his subject matter: Rome. Panini captured the ancient and modern architecture of the Romans, often combining multiple views of the city in one painting by depicting the monuments as artwork arranged in an extravagant gallery. Panini was one of the first artists to concentrate on painting the ancient ruins, which he rendered in a surreal, illusionistic style. In addition to view paintings, Panini was also successful with architecture, stage design, portraits, and decorative frescoes (the latter two projects commissioned for Pope Benedict XIV.)

Italian, 1691-1765, Piacenza, Italy, based in Rome, Italy

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