- 65
Thomas Rowlandson
Estimate
15,000 - 25,000 GBP
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Description
- Thomas Rowlandson
- THE ART OF SCALING
- pen and black ink with watercolour over traces of pencil on laid paper, held in a British neo-classical frame
- 21.5 by 29 cm.; 8 3/4 by 11 1/2 in.
Literature
J. Grego, Rowlandson and the Caricaturist, 1880, pp. 219 & 221
Condition
The colours have remained fresh although the pigments may have faded very slightly. The paper has not discoloured and overall this work is very well preserved. (This work has not been examined out of its frame).
For further information regarding this lot please contact Mark Griffith-Jones (0207 293 5083) or Emmeline Hallmark (0207 293 5407)
mark.griffithjones@sothebys.com
emmeline.hallmark@sothebys.com
"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."
"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."
Catalogue Note
Thomas Rowlandson was both in London, the only son of William Rowlandson (c. 1756-1789) and his wife, Mary. His father was a wool and silk merchant in the City who lost his fortune and was declared bankrupt in January 1759 was Thomas was only two years old. Thomas and his sister Elizabeth, who later married the sporting artist Samuel Howitt (1756-1822), were brought up by their uncle James, a rather more prosperous silk merchant and weaver. Showing an inclination to draw from an early age, the young Rowlandson was allowed by his aunt to become an art student at the age of fifteen when he was admitted to the Royal Academy Schools.
A brief trip to Paris followed and by 1777 Rowlandson had been awarded a silver medal at the Royal Academy for a figure drawing. It was unusual for a student of the Royal Academy to develop and practise as purely a draughtsman, but there is no evidence Rowlandson ever worked in oils. His style developed in a similar style and character to the earlier artist William Hogarth. Like Hogarth, Rowlandson profited from the fashion for popular art forms such as caricatures. A close friend of James Gillray, Rowlandson produced numerous political as well as social caricatures and is perhaps most recognised today for his sense of humour and the lyrical manner of his watercolours and drawings.
Rowlandson continued to travel to the continent until the outbreak of war in 1789. Although he complained he was unable to secure the regular patronage of the 'pursed gentry' he was greatly favoured by the print makers including Michell and Ackermann and his works were widely reproduced in print form. Today his works are appreciated as fascinating representations of late Georgian society.
A brief trip to Paris followed and by 1777 Rowlandson had been awarded a silver medal at the Royal Academy for a figure drawing. It was unusual for a student of the Royal Academy to develop and practise as purely a draughtsman, but there is no evidence Rowlandson ever worked in oils. His style developed in a similar style and character to the earlier artist William Hogarth. Like Hogarth, Rowlandson profited from the fashion for popular art forms such as caricatures. A close friend of James Gillray, Rowlandson produced numerous political as well as social caricatures and is perhaps most recognised today for his sense of humour and the lyrical manner of his watercolours and drawings.
Rowlandson continued to travel to the continent until the outbreak of war in 1789. Although he complained he was unable to secure the regular patronage of the 'pursed gentry' he was greatly favoured by the print makers including Michell and Ackermann and his works were widely reproduced in print form. Today his works are appreciated as fascinating representations of late Georgian society.