FDA-D.76-2010
Parts
Object number
FDA-D.76-2010
Object type
Identification
Title
Exeter, the Church Yard with the West End of the Cathedral
Tthe Church Yard with the West End of the Cathedral, Exeter
Pilkington
Tthe Church Yard with the West End of the Cathedral, Exeter
Pilkington
Title Type
assigned by artist
Previous title
collection
Previous title
collection
Comments
White Abbott was born in Exeter and spent most of his life there, until retiring to his estate in the country nearby in 1825. He was then able to indulge his passion for painting and drawing to the full. Previously, he had practised as an apothecary and surgeon; it was reported to Joseph Farington in 1804 that Abbott 'paints only by snatches, though by choice he would be always so employed (Diary, VI, p.2362, 26 June 1804).
Abbott was a pupil of Francis Towne in Exeter and his style is based heavily on that of his teacher. Like Towne, Abbott developed the habit of adding technical inscriptions to his drawings. The notation here, 'Finished on the spot', shows Abbott taking Towne's interest in painting out of doors, not only to sketch, but to complete elaborate works that would have taken several sittings. Oppe's observation that the painting spills over onto the mount need not necessarily lead us to doubt Abbott's word, as he could easily have taken the mounted drawing back to the location for finishing. Only two other drawings in Abbott's vast ouput of sketches are known to have been inscribed in this way, a slighter drawing of Nutwell from the same year and a watercolour of Canonteign dated 1804 in the Victoria and Albert Museum. The lack of the pen line which is generally so strong a feature of the work of Towne and Abbott alike is undoubtedly a reflection of Abbott's awareness of a shift in taste taking place around this time. Farington, visiting the highly successful watercolourist Richard Westall in 1797, noted that he 'does not outline with a pen as the collectors call such Sketches and will not pay so much for them' (Diary, 7 October 1797).
Abbott was a pupil of Francis Towne in Exeter and his style is based heavily on that of his teacher. Like Towne, Abbott developed the habit of adding technical inscriptions to his drawings. The notation here, 'Finished on the spot', shows Abbott taking Towne's interest in painting out of doors, not only to sketch, but to complete elaborate works that would have taken several sittings. Oppe's observation that the painting spills over onto the mount need not necessarily lead us to doubt Abbott's word, as he could easily have taken the mounted drawing back to the location for finishing. Only two other drawings in Abbott's vast ouput of sketches are known to have been inscribed in this way, a slighter drawing of Nutwell from the same year and a watercolour of Canonteign dated 1804 in the Victoria and Albert Museum. The lack of the pen line which is generally so strong a feature of the work of Towne and Abbott alike is undoubtedly a reflection of Abbott's awareness of a shift in taste taking place around this time. Farington, visiting the highly successful watercolourist Richard Westall in 1797, noted that he 'does not outline with a pen as the collectors call such Sketches and will not pay so much for them' (Diary, 7 October 1797).
Other number
Pi 2
Description
Dimensions
height (actual size): 405mm
width (actual size): 300mm
width (actual size): 300mm
Inscription
Inscribed: 'JWA 1796' (lower right); inscribed on the verso of the artist's mount: `The Church yard with the west end of the Cathedral, Exeter / finished on the spot / JWA 1796'
Materials & techniques note
Pencil and watercolour
Production
Person
Abbott, John White, 1763 - 1851 (Artist)
Date
1796
History and association
Object history note
Provenance: By descent in the family of the artist; collection of Alan Pilkington; by whom presented/bequeathed to Eton College
Exhibited: 'A Genius for Watercolour', Christie’s, London, 6 to 24 January 2003, catalogue number 34
Exhibited: 'A Genius for Watercolour', Christie’s, London, 6 to 24 January 2003, catalogue number 34
Previous ownership
Pilkington, Alan, 1879 - 1973: At Eton from 1961
References
• Ryan, H., Hidden Treasures, W.S. Fine Art exhibition catalogue, 2010 (p. 36, no. 13)
• Wilcox, T., A Genius for Watercolour; Watercolours from the Eton College Collection, Christie's exhibition catalogue, London, 2003 (Page 41)
• Quarrie, P., Treasures of Eton College Library: 550 years of collecting, exhibition catalogue, Pierpont Morgan Library, New York, 1990 (p. 113)
• Hardie, M., Water-Colour Painting in Britain, London, 1966, vol.I (p. 128)
• Oppé, P., John White Abbott of Exeter, Walpole Society, XIII, 1924-5 (p.76, pl.XXXIV)
• Wilcox, T., A Genius for Watercolour; Watercolours from the Eton College Collection, Christie's exhibition catalogue, London, 2003 (Page 41)
• Quarrie, P., Treasures of Eton College Library: 550 years of collecting, exhibition catalogue, Pierpont Morgan Library, New York, 1990 (p. 113)
• Hardie, M., Water-Colour Painting in Britain, London, 1966, vol.I (p. 128)
• Oppé, P., John White Abbott of Exeter, Walpole Society, XIII, 1924-5 (p.76, pl.XXXIV)
