Description
Creator
Francis Towne (1739 - 1816)
Title(s)
  • Part of the Baths of Titus
  • Part of the Baths of Titus
Date
1781/03/03
Medium
Pencil, watercolour
Dimensions
  • image height 326mm,
  • image length 474mm
Support
laid paper
Mount
mounted by the artist
Inscription
  • sheet, recto, lower left
  • “No.31. Rome / F.Towne./ delt. 1781”
  • in brown ink
Inscription
  • artist's mount, verso
  • “No.31. Rome / From 10 till 1 O Clock / A View of part of the Baths of Titus / drawn on the Spot by Francis Towne / [“March 3rd. 1781” scratched out]”
  • in brown ink
Object Type
Watercolour

Collection
Catalogue Number
FT201
Description Sources
Author's examination of the object

Provenance

Bequeathed by the artist in 1816 to James White of Exeter (1744–1825), who gave it in 1816 to the present owner, the British Museum, London (Nn.1.05).

Associated People & Organisations

British Museum
James White (1744 - 1825)
Exhibition History
[?] Exhibition of Original Drawings at the Gallery, No.20 Lower Brook Street, Grosvenor Square, 20 Lower Brook Street, 1805, no. 163 as 'Part of the Baths of Titus'
unidentified exhibition, British Museum, 1934, no. 300
Das Aquarell 1400-1950, Haus der Kunst, 1972, no. 142
unidentified exhibition, British Museum, 1981
Light, time, legacy: Francis Towne’s watercolours of Rome, British Museum, 2016
Bibliography
Laurence Binyon, Catalogue of Drawings by British Artists and Artists of Foreign Origin Working in Great Britain Preserved in the Department of Prints and Drawings in the British Museum, Trustees of the British Museum: London, 1907, p. 201
Paul Oppé, 'Francis Towne, Landscape Painter', The Walpole Society: London, 1920, p. 110
Adrian Bury, Francis Towne - Lone Star of Water-Colour Painting, Charles Skilton: London, 1962, pp. 79, 125

Comment

In Towne’s day Trajan’s Baths were known as the Baths of Titus (see also FT207). The ruin here is the Sette Sale (the seven rooms) near the Domus Aurea. John “Warwick” Smith also drew this ruin, in a watercolour now in the British Museum.

by Richard Stephens

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