Wooded landscape with peasants and donkey round a fire, figures and distant church (the gypsies)
Represented work of art
Material
DimensionsOverall: 73.5 x 61 cm
Date made
- c. 1753-4
Work type
Subject
Inscription
- Engr. by T. Gainsborough c. 1753-4; J Wood 1759
Provenance
- Poss G Dupont, his sale Christie’s 10-11 April 1797 (68); Thomas William, 1st Earl of Lichfield; The Lichfield Sale, Shugborough Hall, Robins’s 1 – 16 August 1842, 9th Day (77) bt Burland, Liverpool; John Wiltshire 1856; Wiltshire sale Christie’s 25 May 1867 (131) bt Cox; William Cox sale, Foster’s 30 April-1 May 1879 2nd day (221) bt Williams; Anon (Graves & Co.) sale Christie’s 27 May 1882 (165) bt in; with Henry Graves 1885; anon (Gooden sale Christies’ 23 March 1895 (92). Anon sale Sotheby’s 4 July 2001 (80)
Publication history
- J Hayes The Landscape Paintings of Thomas Gainsborough 1978, no. 44 & q.v. catalogue
Photographic source
Archival context
Object numberPA-F02966-0069
Archival context
- Fonds:Paul Mellon Centre Photographic Archive
- Series:Artists, A–Z
- Folder:Landscapes: John Hayes Catalogue, 1-50, Oils
- Item:Wooded landscape with peasants and donkey round a fire, figures and distant church (the gypsies)
ClassificationsArchival Document
Scope and content This series comprises images of works by artists who were British by birth, foreign artists who worked in Britain or foreign artists who painted British sitters abroad. The works featured date from c.1500 to c.1900. The images in this series form by far the largest part of the Photographic Archive. Images remain in their original order: organised A–Z by artist name. Significant artists, or those for which there is a wealth of material, have multiple folders of images. In these cases, images are further subdivided by genre or type, depending on the artist. They may also be organised in ‘catalogue raisonné order’. The images predominantly depict oil paintings but prints and other works on paper are also included.
Acquisition information The collection has always been in the possession of the Paul Mellon Centre for Studies in British Art (or its predecessor institution, the Paul Mellon Foundation).
ArrangementThe archive has been arranged in its original order.
Conditions governing use The images in the Photographic Archive are derived from a variety of sources, so copyright in the collection is varied. The copyright status of each image is detailed at item level in the catalogue.
Accruals It is anticipated that new images may be added to the Centre’s Photographic Archive in future. These may be generated via the Centre’s everyday activities (such as the publishing programme). They may also come from external sources (such as donations by scholars or institutions).
Rights and reproductions
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Data Formats
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