Lot 21: - Attributed to Thomas Jones and John Hamilton Mortimer A.R.A. , 1742-1803 and 1741-1779 The Rape of a Nymph before the Temple of Minerva Medica, a classical landscape beyond oil on canvas, in a British Neoclassical carved and gilded frame

oil on canvas, in a British Neoclassical carved and gilded frame

113 by 178 cm., 46 by 70 in.

The Temple of Minerva Medica, contrary to its miss-attributed name, is in fact a 4th century nymphaeum of opus latericium on the Esquiline Hill in Rome. In Ancient Rome nymphaeums were monuments consecrated to the nymphs, particularly those of springs, the Rotunda design being borrowed from constructions of the Hellenistic east. In Roman tradition they held three main purposes, acting as sanctuaries, assembly rooms (particularly relating to marriage celebrations), and as reservoirs for fresh water.

It has been suggested that there are two hands involved in the present painting. The landscape is believed to be by the hand of Thomas Jones whilst the figures are thought to be painted by John Hamilton Mortimer (1740-1779). Mortimer collaborated with a number of artists during the 1760s and early 1770s, no doubt as a result of friendships formed in the drawing schools of the Society of Artists. As well as painting many of the figures in Thomas Jones's landscapes before the latter's departure to Italy in 1776, he also worked with Richard Paton on his views of the Royal Dockyards in 1770-71 (Royal Collection), as well as Francis Wheatley, James Durno and Richard Wilson. Having studied under both Thomas Hudson and Robert Edge Pine, Mortimer exhibited at the Society of Artists every year from 1762 until 1777. Unlike many of his contemporaries he did not transfer his allegiances to the newly formed Royal Academy after its foundation in 1768, but remained loyal to the Society of Arts, along with other more radical artists such as Joseph Wright of Derby. In 1770 he was made vice president of the society, and was elected president from 1774-5.