A wooded landscape with donkeys and figures on a path

Name: THOMAS GAINSBOROUGH, R.A. (SUDBURY 1727-1788 LONDON)
Brand: A wooded landscape with donkeys and figures on a path
Price: 130000.00 GBP
Availability: SoldOut

Price Realised GBP 163,800

Estimate

GBP 60,000 - GBP 80,000

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THOMAS GAINSBOROUGH, R.A. (SUDBURY 1727-1788 LONDON)

A wooded landscape with donkeys and figures on a path

Price Realised GBP 163,800

THOMAS GAINSBOROUGH, R.A. (SUDBURY 1727-1788 LONDON)
A wooded landscape with donkeys and figures on a path
oil on canvas
14¹⁄₂ x 18¹⁄₄ in. (36.8 x 46.3 cm.)

Miss Ware, Hestercombe House, Taunton, Somerset.
Mr Walker, Bath, from whom purchased in 1878 by,
Henry Miles Skrine, Warleigh Manor, Bath.
with Colnaghi, London, by 1957.
with Horace Buttery, London.
Sir William Mullens, Godalming, and by descent to the following,
Anonymous sale [Property of a Lady]; Sotheby's, London, 10 July 1991, lot 70, where acquired by the present owner.

'Notable works of Art now on the Market', Burlington Magazine, December 1957, pl. XXIII.
M. Woodall, 'Gainsborough Landscapes at Nottingham University', Burlington Magazine, December 1962, p. 562, fig. 47.
J. Hayes, The Drawings of Thomas Gainsborough, London, 1970, pp. 170, 172.
J. Hayes, The Landscape Paintings of Thomas Gainsborough, London, 1982, I, pp. 93, 120, 271; II, p. 423, no. 83.

Nottingham, Nottingham University Art Gallery, Landscapes by Thomas Gainsborough, 1962, no. 15.
London, Tate Gallery, on loan, inv. no. L01714.
Sudbury, Suffolk, Gainsborough's House, on loan.
Moscow, Pushkin State Museum of Fine Arts, Thomas Gainsborough, 3 December 2019 - 1 March 2020, no. 31.

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Lot Essay

Dated to circa 1763-4 by John Hayes (op. cit., 1982), this picture is a fine and rare example of Gainsborough’s early Bath period landscapes. As Hayes observes, the composition, which draws on a sketch by the artist in the Ashmolean Museum, Oxford (Hayes, The Drawings of Thomas Gainsborough, 1970, no. 265), is particularly close in style and effect to Gainsborough’s gouache drawings from the early Bath period. He further notes the artist’s ‘real feelings for light in the sunset glow’ (op. cit., 1982) and the atmospheric treatment of the mountain in the distance.