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Wooded Landscape with Country Cart and Figures c.1774-79 Catalogued by Hayes as an original soft ground etching and aquatint by Thomas Gainsborough. Designed and (according to Hayes) etched by Thomas Gainsborough. From the second published edition of this soft ground etching with aquatint, with J. Boydell’s 1797 publication line. As published in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London. SOLD |
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Wooded Landscape with Three Cows at a Pool c.1783-86 Catalogued by Hayes as an original aquatint by Thomas Gainsborough. Designed and (according to Hayes) worked in aquatint by Thomas Gainsborough. From the first published edition ever issued of this aquatint, as issued in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London.
SOLD |
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Wooded Landscape with Cows beside a Pool, Figures and Cottage c.1774-79 Catalogued by Hayes as an original soft ground etching and aquatint by Thomas Gainsborough. Designed and (according to Hayes) etched by Thomas Gainsborough. From the second published edition of this soft ground etching with aquatint, with J. Boydell’s 1797 publication line. As published in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London. SOLD |
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Wooded Landscape with Herdsman and Cows c.1785-88 Catalogued by Hayes as an original aquatint by Thomas Gainsborough. Designed and (according to Hayes) worked in aquatint by Thomas Gainsborough. From the second published edition of this aquatint, as published in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London. SOLD |
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Wooded Landscape with Country Cart and Figures c.1785-88 Catalogued by Hayes as an original aquatint by Thomas Gainsborough. Designed and (according to Hayes) worked in aquatint by Thomas Gainsborough. From the second published edition of this aquatint, as published in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London. £320 |
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Wooded Landscape with Shepherd and Sheep c.1783-86 Catalogued by Hayes as an original soft ground etching and aquatint by Thomas Gainsborough. Designed and (according to Hayes) worked in soft ground etching and aquatint by Thomas Gainsborough. From the first published edition ever issued of this printed work. As published in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London. SOLD |
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Wooded Landscape with Country Cart, Cottage and Figures c.1783-86 Catalogued by Hayes as an original soft ground etching by Thomas Gainsborough. Designed and (according to Hayes) etched by Thomas Gainsborough. From the second published edition of this soft ground etching, with J. Boydell’s 1797 publication line. As published in an edition of only 75 impressions in 1971, immediately before the plate entered the permanent collection of the Tate Gallery, London. £315 |
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Wooded Landscape with Church, Cow and Figure c.1750-54 Original etching by Thomas Gainsborough, finished in etching and engraving by Joseph Wood. Thomas Gainsborough’s first recorded original etching.
Very good impression as first issued for Joshua Kirby’s Dr. Brook Taylor’s Method of Perspective Made Easy, published in Ipswich in 1754. SOLD |
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Wooded Landscape with Shepherd and Sheep 1760 Etching by an unknown hand, with Gainsborough’s name in the plate. Extremely rare early etching previously attributed to Thomas Gainsborough. SOLD |
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Three Cows on a Hillside c.1784-88 Soft ground etching and aquatint by Thomas Rowlandson after Thomas Gainsborough. Very good impression as first issued for Imitations of Modern Drawings, published c.1784-88 – this publication is exceptionally rare – when writing in 1988, Hugh Belsey (Curator of Gainsborough House) could only trace one sole complete copy in existence. SOLD |
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Thomas Gainsborough is considered to have been one of the most innovative and important British printmakers of the 18th century and, although he attained both fame and fortune through his outstanding ability as a portrait painter, he viewed himself more as a landscape artist, especially during his early years. Thomas Gainsborough continued to produce accomplished landscapes of great ingenuity throughout his life but apart from the four etchings which he made during the 1850’s, he did not produce any further original prints for around fifteen to twenty years. When he did return to printmaking he experimented in a variety of media, working mostly in aquatint and soft ground etching. None of his later prints were published in his lifetime. (The authorship of Gainsborough’s various printed works is currently under review by Conal Shields, curator of the Thomson Collection, and Hugh Belsey, former Curator of Gainsborough’s House in Sudbury and currently Senior Research Fellow at the Paul Mellon Centre for Studies in British Art charged with the task of writing the definitive catalogue of portraits by Thomas Gainsborough.)
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