A Woodman Seated on a Bundle of Faggots

CC0 Public Domain Designation

Prints and Drawings

1787

Thomas Gainsborough
English, 1727-1788

Status: Currently Off View
Department: Prints and Drawings

Artist: Thomas Gainsborough
Title: A Woodman Seated on a Bundle of Faggots
Place: England (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1787
Medium: Black chalk with stumping, heightened with touches of white gouache and traces of white chalk, on buff laid paper
Dimensions: 48.5 × 29.6 cm (19 1/8 × 11 11/16 in.)
Credit Line: The Regenstein Collection
Reference Number: 1993.175
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/122046/manifest.json

E. S. Siple, “Gainsborough Drawings: The Schniewind Collection,” The Connoisseur (June 1934), pp. 356-357 (ill.).
Geoffrey Grigson, English Drawing (London, 1955), p. 175 (ill.).
Adrian Bury, “Old English Water-Colours and Drawings in the Collection of Mrs. Cecil Keith,” Old Watercolour Society Club XLII (1967), p. 10 (ill.).
John Hayes, The Drawings of Thomas Gainsborough (London, 1970), no. 852 (ill.).
John Hayes, The Landscape Paintings of Thomas Gainsborough (1982), vol. I, p. 178, vol. II, pp. 571-572 (ill.).
Leger Galleries, A Century of Art Dealing 1892-1992 (London, 1992), pp. 80-81 (ill).
“Maineri to Miró; The Regenstein Collection Since 1975,” The Art Institute of Chicago Museum Studies 26 (2000), pp. 60-61 (ill.).
Suzanne Folds McCullagh, “‘A Lasting Monument:’ The Regenstein Collection at The Art Institute of Chicago,” The Art Institute of Chicago Museum Studies 26, 1 (2000), pp. 12-13.

Cincinnati Art Museum, “Paintings and Drawings by Thomas Gainsborough,” 1931, no. 74.
Aldeburgh Festival, “Drawings by Thomas Gainsborough,” 1949, no. 36.
London, Royal Academy, “Masters of British Watercolor: The Leslie J. Wright Collection,” October-November 1949, no. 78.
London, Arts Council, “Thomas Gainsborough,” 1951, cat. 72.
Bath, Victoria Art Gallery, “Paintings and Drawings by Thomas Gainsborough,” 1951, cat. 72 (49?).
London, Tate Gallery, “The Romantic Movement,” 1959, cat. 699.
London, Arts Council, “Gainsborough Drawings,” 1960-1961, cat. 63.
London, Tate Gallery, “Thomas Gainsborough,” 1980-1981, cat. 46.
Worthing Art Gallery, “English Watercolor Drawings from the Collection of Mrs. Cecil Keith,” March 1963.
London, Agnew and Sons, “The Watercolour Collection formed by Mrs. Cecil Keith,” May 1984, cat. 6.
London, Leger Galleries, “British Painting,” 4 May-2 June 1989, cat. 7.
The Art Institute of Chicago, “In Context: Recent Acquisitions to the Regenstein Collection, Thomas Gainsborough and Eighteenth-century Portraits of the Common Man,” 20 February-28 April 1995.
The Art Institute of Chicago, “Building a Collection: New Acquisitions and Promised Gifts of British Art,” May 1–August 1, 2004, checklist 7.

Guy Bellingham Smith [Hayes 1970]. Henry J. Pfungst; sold, Christie’s, June 15, 1917, Pfungst sale, lot 44, to Sir George Donaldson [Hayes 1970]. Henry Schniewind, Jr., by June 1934 [Siple 1934]; sold, Sotheby’s, May 25, 1938, Schniewind sale, lot 141, to Colnaghi [Hayes 1970]; to J. Leslie Wright [Hayes 1970]; by descent to his daughter, Mrs. Cecil Keith, by 1955-at least 1970 [Grigson 1955; Hayes 1970]. Leger Galleries, London, from 1988 [Leger Galleries 1992]; sold to the Art Institute, 1993.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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