{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1153288"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1153288/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2010EA7380/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2010EA7380/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2010EA7380","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1153288/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1153288","accessionNumber":"E.179-2010","objectType":"Drawing","titles":[{"title":"Open Landscape with Cottage, Figures and Animals","type":""}],"summaryDescription":"This drawing relates to one of ten paintings in oil on glass by Thomas Gainsborough, held by the V&A, museum number P.34-1955.  The composition in the drawing is simpler than in the painting, which is more worked up and with added elements such as the houses in the distance.  This rapidly and boldly executed drawing is a preparatory sketch for the painting.","physicalDescription":"Drawing of open landscape with cottage, figures and animals in pen, ink and wash with touches of black and white chalk on buff paper.","artistMakerPerson":[{"name":{"text":"Gainsborough, Thomas (RA)","id":"A8411"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[],"techniques":[],"materialsAndTechniques":"Drawing in pen, ink and wash with touches of black and white chalk on buff paper","categories":[{"text":"Drawings","id":"THES48966"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2010EA7380"],"imageResolution":"high","galleryLocations":[{"current":{"text":"WS","id":"THES49603"},"free":"","case":"R","shelf":"24","box":"R"}],"partTypes":[[{"text":"drawings","id":"AAT33973"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"London","id":"x28980"},"association":{"text":"drawn","id":"x30545"},"note":"probably"}],"productionDates":[{"date":{"text":"about 1786","earliest":"1786-01-01","latest":"1786-12-31"},"association":{"text":"drawn","id":"x30545"},"note":""}],"associatedObjects":[{"object":{"text":"P.34-1955","id":"O82782"},"association":"Study for"}],"creditLine":"Acquired with the support of the Hugh Phillips Bequest, The Art Fund and the Friends of the V&A","dimensions":[{"dimension":"Height","value":"23","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Length","value":"32.2","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Acquired with the support of the Hugh Phillips Bequest, The Art Fund and the Friends of the V&A\n\nHistorical significance: This drawing has been identified as a preparatory sketch for one of the glass transparencies in the V&A painted by Thomas Gainsborough about 1786 (P.34-1955).[1] The latter is one of 10 surviving transparencies painted by Gainsborough for his Exhibition Box. [2] Gainsborough's exhibition box is a unique survivor of late eighteenth century experimental art, and was described thus in 1808: 'The machine consists of a number of glass planes, which are moveable, and were painted by himself, [Gainsborough] of various subjects, chiefly landscapes. They are lighted by candles at the back, and are viewed through a magnifying lens, by which means the effect produced is truly captivating…'[3] \r\n\r\nThe drawing was included by John Hayes in 1970 in his catalogue raisonné of Gainsborough's drawings.[4]  However, it was not illustrated, nor was its connection to the transparency recognised by Hayes. It was identified by David Wilson as an original study for the transparency, and he published his discovery in 2007/8.[5] It was endorsed by Hugh Belsey, in his recent supplement to Hayes's catalogue. [6]\r\n\r\nThe drawing formerly belonged to Sir Bruce Ingram. It was sold at his sale, part 1, Sotheby's 21 October 1964, lot 37 and purchased by a Mr Salter, passing to his widow. [7] Sir Bruce Ingram (1877-1963) was a journalist and newspaper editor, who was editor of the Illustrated London News from 1900 to 1963, and of the Sketch from 1905-1946. He was a major collector of paintings, and was especially interested in Dutch and Flemish maritime paintings, and English watercolours. At its high point, his collection numbered 5,000 works. He also held the posts of honorary keeper of drawings at the Fitzwilliam Museum, and honorary advisor on pictures and drawings to the National Maritime Museum. \r\n\r\nIn 1970 Hayes recorded Ingram's collector's mark on the verso of the mount, bottom right, and noted that the picture had been sold at his sale on 21 October 1964.[8] This is probably where Hayes viewed the work, as his own catalogue entry corrects the measurements given by the auctioneer, and provides a fuller description of the drawing. He listed the ownership as 'unknown', and noted that Sotheby's list of prices and purchasers mistakenly states that the drawing had been purchased by the Folio Society.[9]\r\n\r\nIn his 1970 catalogue raisonné of Gainsborough's drawings, Hayes described three drawings as 'studies' for three of the V&A transparencies (Hayes cat. no. 774 = V&A, P.42-1955; cat. no. 776 =  V&A, P.36-1955 and cat. no. 779 =  V&A, P.37-1955). However in his 1983 catalogue raisonné of Gainsborough's landscape paintings, he revised his opinion, identifying two drawings as probably worked up <i>from</i> the transparencies (V&A, P.37-1955 and P.36-1955), while reserving judgement on whether the third was a study <i>for</i> P.42-1955, or was executed subsequently. Of these three drawings, one (related to V&A, P.36-1955) is in the collection of the Tate Gallery, while the other two are in private collections.\r\n\r\nComparing this drawing with the transparency to which it is related (P.34-1955), it is clear that its composition is a simpler and apparently earlier version of that repeated, with additions, in a more worked up form in the transparency. The drawing has been rapidly and boldly executed, and does not have the character of a record of an existing work, or an elaboration of that work. In our present state of knowledge, it is the only drawing identifiable as a study for one of the Exhibition Box transparencies.\r\n\r\n\r\n\r\n1 David Wilson, ''Thomas Gainsborough RA: Pastoral pleasure and the Showbox', <i>The British Art Journal</i>, Winter 2007/8, vol.VIII, No. 3, pp.60-63.\r\n2 Jonathan Mayne, 'Thomas Gainsborough's Exhibition Box', <i>Victoria and Albert Museum Bulletin</i>, vol.1, No. 3, July 1965, pp.17-24; Two other glass transparencies are now attributed to W. White, who owned the Exhibition Box in the early 19th century.\r\n3 Edward Edwards, <i>Anecdotes of Painters</i> (1808), cited in Michael Rosenthal and Martin Myrone (eds.),  <i>Gainsborough</i>, Tate Britain (London, 2002), p.256. \r\n4 John Hayes, <i>The Drawings of Thomas Gainsborough</i>, (London, 1979), 2 vols, I, cat. 702, p.269.\r\n5 Wilson, op. cit. (note 1). \r\n6 Hugh Belsey, 'A Second Supplement to John Hayes's <i>The Drawings of Thomas Gainsborough', Master Drawings</i>, vol. 46. no. 4, /winter 2008, no. 702, p.450. \r\n7 Wilson, op. cit. (note 1), p.63. \r\n8 Hayes gave the drawing the title 'Open Landscape with Cottage, Figures and Animals', and gave its measurements as 230 x 322 mm.  Ingram's collector's mark on the card mount is visible only when the drawing is unframed.  \r\n9 The sale catalogue with the auctioneer's list of prices and purchases annexed to it is held by the National Art Library, V&A; <i>Catalogue of the collection of English Drawings formed by the late Sir Bruce Ingram, OBE, MC, FSA, Part I, 21 October 1964</i>, Sotheby's, London.   The drawing was given the shorter title, 'Cattle by a cottage'.  The catalogue states that \"All drawings sold unframed unless otherwise described.  The great majority bear the Ingram collection mark, a Gothic capitalised 'I' within an octagonal border... on the reverse\".","historicalContext":"","briefDescription":"Drawing, Open Landscape with Cottage, Figures and Animals by Thomas Gainsborough RA, about 1786, Acquired with the support of the Hugh Phillips Bequest, The Art Fund and the Friends of the V&A","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"David Wilson, 'Thomas Gainsborough RA: Pastoral pleasure and the Showbox', <u>The British Art Journal</u>, Winter 2007/8, vol.VIII, No. 3, pp.60-63."},{"reference":{"text":"","id":""},"details":"","free":"Jonathan Mayne, 'Thomas Gainsborough's Exhibition Box', <u>Victoria and Albert Museum Bulletin</u>, vol.1, No. 3, July 1965, pp.17-24; (N.B. Two of the glass transparencies are now attributed to W. White, who owned the Exhibition Box in the early 19th century)."},{"reference":{"text":"","id":""},"details":"","free":"John Hayes, <u>The Drawings of Thomas Gainsborough</u>, (London, 1979), 2 vols, I, cat. 702, p.269."},{"reference":{"text":"","id":""},"details":"","free":"Hugh Belsey, 'A Second Supplement to John Hayes's <i>The Drawings of Thomas Gainsborough</i>', <u>Master Drawings</u>, vol. 46. no. 4, /winter 2008, no. 702, p.450."}],"production":"","productionType":{"text":"Unique","id":"THES48864"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.179-2010"],"accessionNumberNum":"179","accessionNumberPrefix":"E","accessionYear":2010,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-08","recordCreationDate":"2010-01-14","availableToBook":false}}