A classical landscape with figures on a road, a town beyond; and A wooded landscape with a lake and a man with his dog in the foreground

Details

Gaspard Dughet, called Gaspard Poussin (Rome 1615-1675)
A classical landscape with figures on a road, a town beyond; and A wooded landscape with a lake and a man with his dog in the foreground
oil on canvas
19 ½ x 25 ½ in. (49.5 x 66.4 cm.)
(2)In English/ Italian 18th Century Carlo Maratta frames

a pair

Provenance

Mr. Fauquier, probably Francis Fauquier (1703-1768), who moved to Virginia, as Lieutenant Governor, in 1758; his sale, London, 12 April 1758, lots 65 and 66, sold for 48 gns. and 42 gns. to,
Henry, 9th Earl of Lincoln, 2nd Duke of Newcastle (1720-1794), Clumber, Worksop, Nottinghamshire, and by descent to,
Henry Edward Hugh Pelham-Clinton-Hope, 9th Duke of Newcastle-under-Lyne, Earl of Lincoln (1907-1988); Christie’s, London, 31 March 1939, lot 45.
Anonymous sale; Christie’s, London, 4 July 1972, lot 71 (9,900 gns.).
with Thos. Agnew & Son Ltd., London, 1980.

Literature

Dr. Waagen, Treasures of Art in Great Britain, supplementary volume, London, 1857, p. 510.
J. Bryan, Dictionary of Painters and Engravers, London, 1909, II, p. 97.
M.N. Boisclair, ‘Gaspard Dughet: étude de sa vie et de son oeuvre’, thesis, Paris, 1978, pp. 139, 153-4, no. 277.
M. Kitson, ‘London, Gaspard Dughet at Kenwood’, The Burlington Magazine, CXII, no. 930, September 1980, p. 651.
M.N. Boisclair, Gaspard Dughet, La vie et son oeuvres (1615-1675), Paris, 1986, p. 267, nos. 317 and 318, figs. 352 and 354.

Exhibited

London, British Institution, 1858, nos. 60 and 164.
Nottingham Castle, 1879.
London, Kenwood House, Gaspard Dughet, called Gaspar Poussin 1615-75: a French landscape painter in seventeenth century Rome and his influence on British art: The Iveagh Bequest, 11 July- 28 September 1980, nos. 27 and 28.

Engraved

W. Mason, 1746.

Brought to you by

Lucy Cox

lcox@christies.com +44 (0)20 7389 2243

Lot Essay

In the fluid brushmarks and sketch-like treatment of the rocks and architectural details, these works can be dated to the later part of Gaspard Dughet’s oeuvre. The balancing compositions suggest that they were always designed as a pair, with the straight path in the first flowing into the winding path in the second. The early influence of Dughet’s work in England can be discerned in details like the thin tree in the right foreground of the Landscape with figures on a road, which, together with the distant town on the hillside, informed artists like Richard Wilson (1714-1782) in his Tivoli: Temple of the Sibyl and the Campagna (Private collection; see Richard Wilson Online Catalogue Raisonné, no. P142). Early in their history, the paintings entered the collection of the Duke of Newcastle, remaining with the family until their sale in these Rooms in 1939.

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