THOMAS GAINSBOROUGH, R.A. | Wooded landscape with rustic lovers and two cows

Acquired by Francis Egerton, 3rd Duke of Bridgewater (1736–1803), for the Bridgewater Gallery in 1798;
Bequeathed to his nephew, George Granville Leveson-Gower, 2nd Marquess of Stafford and 1st Duke of Sutherland (1758–1833);
By descent to his second son, Francis Leveson-Gower, 1st Earl of Ellesmere (1800–1857);
Thence by descent to John Egerton, 5th Earl of Ellesmere and 6th Duke of Sutherland (1915–2000);
Sold, by order of 'The Trustees of The Ellesmere 1939 Settlement', London, Christie's, 18 June 1976, lot 119, for £11,500, to Richard Green;
With Richard Green, London;
Private collection, England.  

The European Museum, 1798;
London, British Institution, 1841, no. 103.

Morning Post, 22 March 1798;
W.Y. Ottley, Engravings of the most noble Marquis of Stafford's collection of pictures, London 1818, vol. III, p. 142, no. 5, reproduced from an engraving;
J.P. Neale, View of Seats of Noblemen and Gentlemen, vol. IV, London 1821, unpaginated (recorded hanging in the New Alcove Room at Trentham Hall, Staffordshire);
J. Young, A Catalogue of the Pictures, of the most noble the Marquess of Stafford, at Cleveland House, London 1825, vol. II, p. 184, no. 257, reproduced in etching;
Mrs Jameson, Companion to the most Celebrated Private Galleries of Art in London, London 1844, p. 161;
G.F. Waagen, Treasures of Art in Great Britain, 3 vols, London 1854, vol. II, p. 53 (listed among the collection at Bridgewater House);
G.W. Fulcher, Life of Thomas Gainsborough, R.A., London 1856, p. 207;
W. Armstrong, Gainsborough & his place in English Art, London 1898, p. 205;
W. Armstrong, Gainsborough & his place in English Art, London 1904, p. 286;
E. Waterhouse, Gainsborough, London 1958, cat. no. 983;
J. Hayes, The Landscape Paintings of Thomas Gainsborough, 2 vols, London 1982, vol. II, pp. 557–58, cat. no. 175, reproduced p. 558. ENGRAVED

I.H. Wright, published by Longman, 2 September 1816. 

The canvas has a firm lining that has somewhat pressed the paint surface. The varnish appears even and only a little discoloured. The craquelure has developed a distinctive pattern that is more visible in the dark tones of the foliage and in some areas of the sky. There are no major damages visible to the naked eye. Inspection under ultra violet light reveals scattered retoughings and strengthenings throughout, most appear to be cosmetic as opposed to masking any major damages, and the varnish is in fact rather patchy. The is one restored small damage, measuring about 2 cm in with and height, under the bottom of the right hand figure. Offered in an elaborately carved and gilt wood frame in good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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The monumental conception of the animals, almost unique in Gainsborough’s art, is echoed in only one other landscape by the artist: Repose (William Rockhill Nelson Gallery of Art, Kansas City), one of Gainsborough’s favourite pictures, which he could never be prevailed upon to sell.¹ The two solidly-modelled cows fill the foreground and mask the view into the distance, as do the trees on the left; whilst the two lovers, rendered almost inconsequential by the bovine presence, are highlit by the broadly painted sunset glow. Such treatment of pastoral subject matter demonstrates the influence of Berchem and Cuyp, whilst the compact, frieze-like arrangement suggests a certain affinity with Stubbs. This exceptional painting was purchased ten years after the artist’s death by Francis Egerton, 3rd Duke of Bridgewater – the richest nobleman in England and one of the greatest art collectors in British history – for the celebrated Bridgewater Gallery in 1978. The Duke was the leading member of the syndicate, together with his nephew, Lord Gower, and the Earl of Carlisle, that bought the famous Orléans Collection, and his gallery was praised by the German art historian Gustav Waagen in 1854 for its variety as being in the 'first rank among all the collections of paintings in England' (see Literature). Of this picture Waagen commented: 'Gainsborough – Cows in a meadow. Of extreme lightness and picturesque beauty. In the forms of the cows we recognise the influence of Cuyp.'

1 Inv. no. 31.56; see Hayes 1982, vol. II, pp. 469–71, cat. no. 119, reproduced p. 469.