Country track with houses
Country track with houses
A Country Track with HousesSigned with gold monogram lower rightWatercolour and black chalk over pencil on laid paper23.2 by 29.9 cm., 9 by 11 3/4 in.Provenance:With Anthony Mould, London;Anonymous sale, Sotheby's, 14th November 1996, lot 65Literature:Hugh Belsey, `A Second Supplement to John Hayes's The Drawings of Thomas Drawings', Master Drawings, no. 46, 2008, p.488, no.1043This drawing dates to circa 1763. The gold monogram indicates that this is one of Gainsborough' presentation drawings which he would have given to a friend. Generally Gainsborough's drawings were done for his own interest and not for sale. They are also rarely preparatory to finished oils.The distinctive buildings in the background are unusual in Gainsborough's drawings. The large house is similar to a building in the background of a drawing now known only from a print by John Laporte. It is possible that the now unknown recipient of the drawing may have had a say in the subject. We are grateful to Hugh Belsey for his comments on this drawing.){kind=link}
Thomas Gainsborough (1727-1788)
A Country Track with Houses
Signed with gold monogram lower right
Watercolour and black chalk over pencil on laid paper
23.2 by 29.9 cm., 9 by 11 3/4 in.
Provenance:
With Anthony Mould, London;
Anonymous sale, Sotheby's, 14th November 1996, lot 65
Literature:
Hugh Belsey, `A Second Supplement to John Hayes's The Drawings of Thomas Drawings', Master Drawings, no. 46, 2008, p.488, no.1043
This drawing dates to circa 1763. The gold monogram indicates that this is one of Gainsborough' presentation drawings which he would have given to a friend. Generally Gainsborough's drawings were done for his own interest and not for sale. They are also rarely preparatory to finished oils.
The distinctive buildings in the background are unusual in Gainsborough's drawings. The large house is similar to a building in the background of a drawing now known only from a print by John Laporte. It is possible that the now unknown recipient of the drawing may have had a say in the subject.
We are grateful to Hugh Belsey for his comments on this drawing.