5 June 2007
Peter de Wint, O.W.S. (1784-1849)
Study for Elijah
pen and brown ink with gum arabic
7 5/8 x 11½ in. (19.4 x 29.2 cm.)
Miss H.H. Tatlock.
Sir Geoffrey Harmsworth.
with Spink, London.
Anonymous sale; Sotheby's, London, 10 November 1994, lot 95.
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The Burlington Magazine, September 1979 (illustrated).
H. Smith, Peter de Wint 1784-1849, London, 1982, p. 72.
Stoke-on-Trent, City Museum & Art Gallery, Peter de Wint Bicentenary Exhibition, 1984, no. 62.
This represents a most unusual aspect in de Wint's oeuvre. It relates to a lost watercolour which was exhibited at the Old Watercolour Society in 1829, where it was well-reviewed by critics. One described it as 'a classical composition, being a new feature in the practice of an artist who has hitherto so successfully devoted his rare talents to the familiar and ordinary character of landscape'. This type of historical landscape, which harks back to the work of artists such as Salvator Rosa and Gaspar Poussin, may have been inspired by his long association with William Hilton, who was not only his brother-in-law, but also an artist who worked in the 'grand manner'. Other studies for the watercolour are housed in the Yale Center for British Art, New Haven.
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