Richard Ansdell, R.A.

Sale: Christie's, London, June 6, 1980, lot 248, illustrated

Possibly, London, Royal Academy, 1873, no. 132 or no. 439

Art Journal, 1873, p. 167

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This picture is essentially in very good condition. The canvas has been lined and there appear to be no structural damages. The paint layer has been cleaned and varnished. Throughout the sky a broad wash of what appears to be a light glaze has been applied by a restorer, presumably to slightly reduce some abrasion which is very faintly visible in the paler colors in the blue. This is an inexpensive way of dealing with this kind of issue which is much more accurately approached if each small dot of thinness is retouched individually. Nonetheless, the picture looks well. There is also some restoration in the blouse of the central figure and slight thinness in her hair. Elsewhere however, this is a robust picture with very little restoration and while more economy can be exercised in retouching, the picture, it looks well as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Ansdell's painting of gamekeepers (see lot 133), sheepherders, and other robust men of England and Scotland celebrated their connection with the land, portraying rural daily life as both noble and romantic.  The same qualities were apparent in Europe's warmer climates of Greece, Italy and Spain where  the stresses of the rapidly industrialized world were erased by visions of peasant folk leading simpler lives.  Ansdell visited Spain with the artist John Phillip in 1856, returning again in 1857, and thereafter completed several works inspired by his visits there. While the extent of his travel is yet to be determined, the present work's title suggests that  Ansdell may have journeyed to the sovereignty of Gibraltar, at the southernmost tip of the Iberian peninsula, a territory (and military base) long contested by Spain and England.  Its name references the famous formation of the Rock of Gibraltar, though Ansdell's goatherds could easily be traveling along one of the two rocky peninsular coasts. Here Ansdell captures the warm blues of the Mediterranean skies and ocean waters, gauzy clouds of summer haze, and sun-bleached stones dotted with scrubby green vegetation. Despite the goats' nimble feet this is not a territory particularly hospitable to them, and they are most likely moving to greener pastures.  Goatherding was an important element of the Iberian economy, and visitors to the region have long remarked upon the unique site of well-organized caravans of goats.  Traditionally men took a more active role in goatherding, and Ansdell shows a male figure in the background carefully watching the goats as they pass.  Yet the composition centers around a peasant woman, wearing regional costume, perched upon her donkey with a saddle basket of kids tucked protectively next to her.  Ansdell demonstrates his mastery in depicting animal life, with each passing goat bearing a particularly nuanced expression as they investigate the lush leaves of a plant, peer ahead to judge the rockiness of their path, or look out across the sea toward Africa.