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228 - THOMAS GAINSBOROUGH, R.A. (BRITISH 1727-1788)MOUNTAINOUS LANDSCAPE WITH CATTLE BESIDE A POOLPen and brown ink, grey and blue-grey washes on laid paper25.5 x 20cm (10 x 7¾in.)Executed circa 1772Provenance:Acquired by present owner from a private collection, c. 1970Literature:To be included in any future addendum to the Catalogue RaisonnéThis drawing has only recently been identified as autograph. The sensitivity of the drawing is especially evident in the trunk of the tree on the right and the carefully modulated washes that form recessional wedges to create the landscapeGainsborough first used this formula of cattle facing opposite directions, in the centre of the composition in a rocky landscape with a pool, in the early 1770s and the design anticipates elements in the landscape painting formerly in the collection of the Earl of Jersey (John Hayes, The Landscapes of Thomas Gainsborough, London 1982, pp. 454-55, cat no 109, illus.). The composition of the painting was rehearsed in a drawing now in the Ashmolean Museum, Oxford (John Hayes, The Drawings of Thomas Gainsborough, London 1970, pp. 184-85, cat no. 328, pl. 113).The two cows, one looking left, the other right, recurs in many drawings throughout the artist's career. It is perhaps best expressed in a late colourful drawing from the 1780s now in Cleveland Museum of Art in Ohio (Hayes 1970, p. 276, cat. no. 731, pl. 214).We are grateful to Hugh Belsey for his help with cataloguing this work.
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THOMAS GAINSBOROUGH, R.A. (BRITISH 1727-1788)MOUNTAINOUS LANDSCAPE WITH CATTLE BESIDE A POOLPen and brown ink, grey and blue-grey washes on laid paper25.5 x 20cm (10 x 7¾in.)Executed circa 1772Provenance:Acquired by present owner from a private collection, c. 1970Literature:To be included in any future addendum to the Catalogue RaisonnéThis drawing has only recently been identified as autograph. The sensitivity of the drawing is especially evident in the trunk of the tree on the right and the carefully modulated washes that form recessional wedges to create the landscapeGainsborough first used this formula of cattle facing opposite directions, in the centre of the composition in a rocky landscape with a pool, in the early 1770s and the design anticipates elements in the landscape painting formerly in the collection of the Earl of Jersey (John Hayes, The Landscapes of Thomas Gainsborough, London 1982, pp. 454-55, cat no 109, illus.). The composition of the painting was rehearsed in a drawing now in the Ashmolean Museum, Oxford (John Hayes, The Drawings of Thomas Gainsborough, London 1970, pp. 184-85, cat no. 328, pl. 113).The two cows, one looking left, the other right, recurs in many drawings throughout the artist's career. It is perhaps best expressed in a late colourful drawing from the 1780s now in Cleveland Museum of Art in Ohio (Hayes 1970, p. 276, cat. no. 731, pl. 214).We are grateful to Hugh Belsey for his help with cataloguing this work.
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19th Century Pictures & Works on PaperMaison de ventes
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