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JOHN RUSKIN | Sketch of the lake of Geneva from the slopes of the Jura mountains, Switzerland
Estimate
20,000 - 30,000 USD
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Description
- Sketch of the lake of Geneva from the slopes of the Jura mountains, Switzerland
- Watercolor over pencil, heightened with bodycolor and pen and black ink;inscribed on the backing sheet: Sketch of the lake of Geneva from the slopes of the Jura mountains. By Professor Ruskin. / Frederick Crawley
- 185 by 323 mm; 7 1/4 by 12 3/4 in
Provenance
Frederick Crawley (1828-1898);
Anne Dundas (1830-1913),
by family descent to the present owner
Anne Dundas (1830-1913),
by family descent to the present owner
Exhibited
On loan to the Fitzwilliam Museum, Cambridge (1913-2018)
Condition
The pigments are generally very well preserved and the image is strong. The greens of the fields may have softened slightly with time but the overall impression is good. There is some very minor scattered foxing, but this can only be seen on very close inspection. There is a soft vertical crease that is positioned circa 3 cm from the right hand edge of the sheet. This can only be seen in certain lights and do not effect the composition. The sheet is not laid down.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
In this remarkably well preserved watercolor, Ruskin stands near to the Villa de Tournay, which is positioned just to the north of the old city of Geneva and enjoys commanding views over the great lake of Geneva. Looking north-north-east, in the direction of Nyon, to the right the point le Creux de Genthod can be seen, while to the left, La Dole, a mountain that forms part of the Jura escarpment, is capped with menacing-looking storm clouds. Exactly when Ruskin executed this work has caused debate amongst scholars. Professor David Hill has suggested that the combination of studious naturalism, pen and ink and deft, clean washes are comparable to Ruskin’s drawings of 1849. In that year he carried out an Alpine tour and was in Geneva between the 18 and 21 July, where he stayed at the Hotel Bergues, which is only a short walk from the Villa de Tournay. Conversely, Professor Stephen Wildman has proposed a date of circa 1862, a year when Ruskin was living in the village of Mornex, just to the south of Geneva.
The drawing is accompanied by a backing sheet, which is signed and inscribed by Frederick Crawley. Crawley worked as Ruskin’s valet from 1853; he accompanied him on many of his foreign travels and was skilled at taking daguerreotypes.
We are grateful to Professor David Hill and Professor Stephen Wildman for their help when cataloguing this work.
The drawing is accompanied by a backing sheet, which is signed and inscribed by Frederick Crawley. Crawley worked as Ruskin’s valet from 1853; he accompanied him on many of his foreign travels and was skilled at taking daguerreotypes.
We are grateful to Professor David Hill and Professor Stephen Wildman for their help when cataloguing this work.