FDA-D.256-2010
Parts
Object number
FDA-D.256-2010
Object type
Identification
Title
Wooded Landscape with Figures and Pigs outside Cottage and Country Cart
A cottage among trees, with a horse and cart, figures and pigs
A cottage among trees, with a horse and cart, figures and pigs
Title Type
Formal name
Previous title
Previous title
Comments
Gainsborough began to develop his paintings and drawings of peasant families gathered around a cottage door in the early 1770s. Although he regarded his landscapes as a respite from the business of portrait painting, there is more in these images than escapism or mere wish-fullfillment on the artist's part. The solid virtues of country life were being extolled by contemporary moralists, in opposition to the over-heated sophistication of towns, especially Bath, where Gainsborough was then resident.
The present sheet is certainly one of the most elaborate of all Gainsborough's treatments of this subject, and can be compared to the painting, 'Cottage Door' with children playing in the Cincinnatti Art Museum, possiby a Royal Academy exhibit of 1778. The foreground motif of three pigs at a trough is possible a first idea for the painting 'Girl with pigs', exhibited in 1782 (Castle Howard), which was so successful that he introduced the group into a later cottage door picture of 1786 (Hayes, op.cit., cat 174), when they were referred to as 'the trio of pigs ...so highly celebrated by the connoisseurs'. The first owner of this drawing, Samuel Kilderbee, was a life-long friend of Gainsborough's from Suffolk, and the executor of his will.
The present sheet is certainly one of the most elaborate of all Gainsborough's treatments of this subject, and can be compared to the painting, 'Cottage Door' with children playing in the Cincinnatti Art Museum, possiby a Royal Academy exhibit of 1778. The foreground motif of three pigs at a trough is possible a first idea for the painting 'Girl with pigs', exhibited in 1782 (Castle Howard), which was so successful that he introduced the group into a later cottage door picture of 1786 (Hayes, op.cit., cat 174), when they were referred to as 'the trio of pigs ...so highly celebrated by the connoisseurs'. The first owner of this drawing, Samuel Kilderbee, was a life-long friend of Gainsborough's from Suffolk, and the executor of his will.
Other number
Pi 79
Description
Dimensions
height (actual size): 214mm
width (actual size): 313mm
width (actual size): 313mm
Materials & techniques note
Pencil and white chalk, pen and black ink and watercolour, varnished
Physical description
Production
Person
Gainsborough, Thomas (), 1727 - 1788 (Artist)
Date
c.1775-1780
History and association
Object history note
Provenance: Collection of Samuel Kidderbee; by whom sold through Christie's, 30 May 1829 (Kidderbee sale), Lot 50 (with one other work); from which sale purchased by Cooper; ; collection of Sir John Need, Grittleton House;
Exhibited: 'Works by the Old Bath Artists', Victoria Art Gallery, Bath, 1903, catalogue number 176; 'A Genius for Watercolour', Christie’s, London, 6 to 24 January 2003, catalogue number 22
Exhibited: 'Works by the Old Bath Artists', Victoria Art Gallery, Bath, 1903, catalogue number 176; 'A Genius for Watercolour', Christie’s, London, 6 to 24 January 2003, catalogue number 22
Previous ownership
Pilkington, Alan, 1879 - 1973: Purchased by Alan Pilkington in 1948, and bequeathed to Eton 1973.
Neeld, L.W. (Captain): Sold by L.W. Neeld at Christie's London, 13 July 1945, lot 104, to The Fine Art Society (until 1948)
Neeld, John (Sir), 1805 - 1891: Owned by Sir John Neeld, of Crittleton House and by descent to L.W. Neeld
Kilderbee, Samuel, 1725 - 1813: With Christie's London, 30 May 1829, lot 50, with another to Cooper
Neeld, L.W. (Captain): Sold by L.W. Neeld at Christie's London, 13 July 1945, lot 104, to The Fine Art Society (until 1948)
Neeld, John (Sir), 1805 - 1891: Owned by Sir John Neeld, of Crittleton House and by descent to L.W. Neeld
Kilderbee, Samuel, 1725 - 1813: With Christie's London, 30 May 1829, lot 50, with another to Cooper
References
• Christie's, A Genius for Watercolour; Watercolours from the Eton College Collection, exhibition catalogue, London, 2003 (p. 31, no. 22)
• Quarrie, P., Treasures of Eton College Library: 550 years of collecting, Pierpont Morgan Library, New York, 1990 (no. 228)
• Hayes, J., The Drawings of Thomas Gainsborough, London, 1970 (p.190, no.348, pl.121)
• Hayes, J., Landscapes by Thomas Gainsborough, Nottingham University Art Gallery, 1962 (no. 46)
• Hayes, J.T., Gainsborough Drawings: exhibition catalogue, Arts Council, London, 1960 (no. 25)
• Quarrie, P., Treasures of Eton College Library: 550 years of collecting, Pierpont Morgan Library, New York, 1990 (no. 228)
• Hayes, J., The Drawings of Thomas Gainsborough, London, 1970 (p.190, no.348, pl.121)
• Hayes, J., Landscapes by Thomas Gainsborough, Nottingham University Art Gallery, 1962 (no. 46)
• Hayes, J.T., Gainsborough Drawings: exhibition catalogue, Arts Council, London, 1960 (no. 25)
