Ruins of Paestum
Represented work of art
Artist
David Roberts
Dimensions20 x 50 3/8 inches (50.8 x 127.8 cm)
Inscription
- Signed and dated: David Roberts R. A. 1855 lower left
Provenance
- Painted for Richard Newsham of Preston 'as agreed upon for 157. 10. and Re'd The Same', 1855; with Agnew's, london, 1862; J. Hargreaves 1862; with Agnew's, London, 1862; with Hayward and Leggatt, London, 1862-3; with Agnew's, London, 1863; with Smith, 1863-66; with Agnew's, London, July 1866, and sold for 472. 10 to W. J. Holdsworth, 1866-74; with Agnew's, London, 1874-5; N. Eckersley, 1875, until at least 1887; R. H. Kinnear; Christie's London, 26 February 1898 (81) (unsold at 60 gns), R. H. Kinnear; Christie's London, 25 February 1899 (149) (48 gns to the following), Sir James Kitson, 1 Baron Airedale (1835-1911), with Spink, London; Anonymous sale, Christie's London, 28 January 1972 (150), with Frank T. Sabin Galleries, London, from whom acquired by the uncle of the present owner; Anonymous sale, Christie's London, 30 April 2010 (84)
Previous owner
Thomas Agnew and Sons Ltd.
Photographic source
Object FormatCatalogue cutting
Photograph Source
Christie's Auction House
Archival context
Object numberPA-F03784-0003
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:Greece & Turkey
- Item:Ruins of Paestum
ClassificationsArchival Document
Scope and content This series comprises images of works by artists who were British by birth, foreign artists who worked in Britain or foreign artists who painted British sitters abroad. The works featured date from c.1500 to c.1900. The images in this series form by far the largest part of the Photographic Archive. Images remain in their original order: organised A–Z by artist name. Significant artists, or those for which there is a wealth of material, have multiple folders of images. In these cases, images are further subdivided by genre or type, depending on the artist. They may also be organised in ‘catalogue raisonné order’. The images predominantly depict oil paintings but prints and other works on paper are also included.
Acquisition information The collection has always been in the possession of the Paul Mellon Centre for Studies in British Art (or its predecessor institution, the Paul Mellon Foundation).
ArrangementThe archive has been arranged in its original order.
Conditions governing use The images in the Photographic Archive are derived from a variety of sources, so copyright in the collection is varied. The copyright status of each image is detailed at item level in the catalogue.
Accruals It is anticipated that new images may be added to the Centre’s Photographic Archive in future. These may be generated via the Centre’s everyday activities (such as the publishing programme). They may also come from external sources (such as donations by scholars or institutions).
Rights and reproductions
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Rights Statementhttps://rightsstatements.org/vocab/NoC-CR/1.0/
Data Formats
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