Thomas Gainsborough, R.A.

Probably Goodenough Earle of Barton Grange, Somerset (1699-1789);
Francis Milner Newton (1720-1794);
By descent to Francis Wheat Newton;
with Agnew's, London, by 1913;
with Knoedler, New York, by 1929;
C. I. Stralem, New York;
Mr and Mrs Donald S. Stralem, New York;
By descent to the present owner

New York, M. Knoedler & Co., Exhibition of Drawings by Thomas Gainsborough, 1914, no. 22;
New York, M. Knoedler & Co., Exhibition of Pictures by Thomas Gainsborough, 1923, no. 9

G. Williams Fulcher, Life of Thomas Gainsborough R.A., 1856 (2^nd ed.), p. 241;
M. Woodall, Thomas Gainsborough, His Life and Work, 1949, p. 57, pl. 66;
J. Hayes, 'Gainsborough Drawings from Barton Grange', The Connoisseur, January-April 1966, vol. 161, p. 91. fig. 11;
J. Hayes, The Drawings of Thomas Gainsborough, 1970, no. 284, pl. 94

Paper support The work is attached at its edges to a board with an overlay mount which covers the edges of the sheet. These two boards are stuck together so it is impossible to fully examine the sheet. There is some scattered foxing in the sky, and a 4.5 cm supported horizontal tear running from the right edge into the trees. A natural paper crease runs parallel to the top edge to the left in the sky about 1 cm into the composition. Otherwise the sheet is unstained and clean and in a good condition. Medium The watercolour and body-colour medium is in a good condition though over the years there has been a little loss of tone in the more delicate tints. In my opinion the darker area of blue body-colour in the natural crease in the sky on the left is just a little pooling of the medium in the cleft and not retouching. As some pigment lines run across the horizontal scratch, lower right I take it to be the artist's intention. We would like to thank Jane McAusland for carrying out this condition report.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This watercolour dates from the early 1760s, a period when Gainsborough was active in and around Bath. In 1966 John Hayes described this work as being 'pitched high in key and full of sunshine'.^[1] He also noted that it once belonged to a group of thirteen works which had probably been presented by Gainsborough to his acquaintance, Goodenough Earle (1699-1788/9), of Barton Grange, Taunton.

From this group there are two works: Wooded Landscape with Peasant, Horse and Cart (Metropolitan Museum of Art) and Wooded Landscape with Country Cart and Woodcutter (Private Collection) which are particularly similar in technique and character. Also, in common with the present watercolour, these works are stamped with the golden monogram TG. This detail has generally been understood to signify that Gainsborough considered the sheets to be of presentation quality.

After Goodenough Earle's death in 1789 the present watercolour passed to Francis Milner Newton, who inherited Barton Grange in the same year. It remained with the Newton family until it was sold at Agnew's, London in 1913.  The work then re-surfaced at Knoedler's, New York, where it was exhibited in their 1914 Exhibition of Drawings by Thomas Gainsborough. Finally the work entered the distinguished Stralem Collection.  We would like to thank Hugh Belsey for his help in cataloguing this lot.

1. J. Hayes, 'Gainsborough Drawings from Barton Grange', The Connoisseur, January-April 1966, vol. 161, p. 91