Dr. Edward Wilmot, (1693-1786), created a baronet in 1759, of Chaddesden Hall, Derbyshire;
Thence by direct descent.

The catalogue illustration is slightly too red in tone. The canvas has been relined and the lining is still in good order and the paint surface unaffected. The painting is now dirty and the surface varnish discoloured. There is a small old loss in the columns upper right, another above the statue below, and three more in the foreground below this. The remainder of the paint surface appears to be very well preserved indeed. The old varnish tends to hinder inspection under ultra violet light, but old intervention seems to be very limited, the main areas being the shadows of the central arch and balcony, some details of the figures, and the shadows in the trees lower left and the ruins on the extreme right. This lot is offered in an English carved and swept gilt wood frame in good condition. RCJ
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This hitherto unpublished work is entirely characteristic of the kind of painting for which Giovanni Paolo Panini became famous. Although a painter of real views of Rome as well, Panini's capricci of architectural ruins and palazzi were in great demand in the 18th century, particularly among Grand Tourists.  In this canvas he juxtaposes fantastical buildings in sharp recession thus giving the composition a rather theatrical air, almost as if it were a set design. The subject is unclear and it has been suggested that it might have an operatic source; not impossible given the theatricality of the scene. The figures are freely painted but highly developed - not always the case in Panini’s paintings - and they do not seem to appear anywhere else in the artist’s œuvre. The capriccio was probably painted by Panini relatively early in his career and can be compared, on the basis of style, to his Architectural capriccio with Alexander cutting the Gordion knot (location unknown) which Arisi dates to circa 1725, though it is based on an earlier design of 1718-19.¹

We are grateful to Prof. David R. Marshall for endorsing the attribution to Panini after first hand inspection and for suggesting a date of execution circa 1722-24.

1  See F. Arisi, Gian Paolo Panini e i fasti della Roma del ’700, Rome 1986, p. 309, cat. no. 166, reproduced.