Lot 135
  • 135

John Dawson Watson

Estimate
1,000 - 1,500 GBP
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Description

  • John Dawson Watson
  • Haystack, Inver
  • signed with initials, dated and inscribed l.l.: J. D. W./1859./ Inver. Strath Braan. Perth.
  • watercolour
  • 20 by 19.5cm., 8 by 7¾in.

Provenance

Fine Art Society, London, March 2010

Condition

The sheet does not appear to be laid down and cockles slightly. It has discoloured with some spots of foxing. Held under glass in a gilt plaster frame, unexamined out of frame.
"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

John Dawson Watson was born in West Riding, Yorkshire in 1832. He studied at Manchester School of Art from 1847 onwards and at the Royal Academy in 1851. He was a highly talented painter, whose work was strongly influenced by the Pre-Raphaelites, notably John Everett Millais. Like Millais, he was inspired by the landscape of Perthshire where he was surrounded by the imposing Fells, the beautifully lush green valleys and meandering, rolling landscape. In the present work, painted on a trip to Scotland in 1859, John Ruskin’s theories and support of the Pre-Raphaelites methods and their highly detailed, unconventional compositions are recognised. In particular, Ruskin praised an artist’s industrious devotion to nature and in the present work there is a true Pre-Raphaelite feeling both in colour and meticulous detail.