After Gainsborough - Her Grace Georgiana Duchess of Devonshire - Rare & Large -

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Seller: trisong_fine_art (224) 100%, Location: San Diego, California, Ships to: Worldwide, Item: 282975086308 THIS IS A PAINTING ON BOARD. UNFRAMED. Free local pick up available in San Diego County. FREE SHIPPING IN USA. INTERNATIONAL BUYERS OUTSIDE USA PAY ACTUAL SHIPPING CHARGES. Hand Painted Mezzotint After Thomas Gainsborough's "Her Grace Georgiana Cavendish, Duchess of Devonshire, (1787)" The photos do not capture the beauty of this rare hand colored 19th Century Mezzotint that is a copy of the intriguing painting by Thomas Gainsborough titled "Georgiana Duchess of Devonshire". If you have any information about the history of the mezzotint that created the underlying image, or the plates for this image, such as their date of manufacture or location, history, etc., please contact us by clicking the "ask a question" link at the bottom of this page. Please see our other art for sale by clicking on "see other items" on the top right of this page. Please note that in order to protect the art from damage during shipment we will ship this item without the glass. Buyers will also be given the option of shipment without the frame. Please note that the mark or stain on the painting / print that is visible in the photos to the right of her face is less visible when the painting is viewed in person. The camera tends to pick up this character mark more in the photos. In addition, the camera flash picks up the brush strokes on the rose, etc. as the paint is reflective. In person, the painting does not display the brush strokes and essentially they are imperceptible without a magnifying glass. The hand colored mezzotint print measures about 26 3/4 inches by 20 inches. The outside of the frame is about 25 1/2 by 32 3/4 inches. mez·zo·tintˈmetsōˌtint,ˈmedzō-/nounnoun: mezzotint; plural noun: mezzotints1. a print made from an engraved copper or steel plate on which the surface has been partially roughened, for shading, and partially scraped smooth, giving light areas. The technique was much used in the 17th, 18th, and early 19th centuries for the reproduction of paintings.the technique or process of making mezzotints.verbverb: mezzotint; 3rd person present: mezzotints; past tense: mezzotinted; past participle: mezzotinted; gerund or present participle: mezzotinting1. engrave (a picture) in mezzotint. The frame is vintage and probably dates from the 1920s or 1930s and is velvet lined and a deep recessed shadow box type frame (see photos). We have to remove the glass in order to protect the art during shipment. Free local pick up is available in our secure professional offices. International Buyers - We will invoice buyer for actual shipping costs with insurance after we know your location and address. We will only ship this painting with adequate insurance to cover the painting to your location. We will assist buyers in China, Japan, the Middle East, Asia, Europe, etc. with professional international art shipping with insurance. International shipping: Import duties, taxes, and any additional charges, are sometimes not included in the upfront shipping costs evaluation and are always the buyers’ responsibility solely, and international shipping can take a long time for transport and customs clearance. We must and will fill out all customs forms accurately, honestly, and completely. When you buy from us, we will mark customs forms correctly as “merchandise” with the exact purchase price you paid. Entanglements with your country's internal customs department and import duties issues (paperwork, fees, customs taxes, etc.) are entirely buyers' sole responsibility to deal with and buyer bears all risk of transport (including insurance claims process and maintenance of shipping materials for insurance inspection) and all risks associated with damage and insurance claims, dealing with customs clearance in the USA and abroad, and import duties issues. SHIPPING COSTS STATED ON THE AUCTION ARE ESTIMATES ONLY AND WE WILL INVOICE BUYER FOR ACTUAL SHIPPING COST TO BUYER’S LOCATION WITH INSURANCE. Wikipedia on the original painting, of which we have an original mezzotint for sale on this auction: Portrait of Georgiana, Duchess of Devonshire From Wikipedia, the free encyclopedia Portrait of Georgiana, Duchess of Devonshire is a painting by the English painter Thomas Gainsborough of the political hostess Georgiana Cavendish, Duchess of Devonshire. Its construction took place sometime between 1785 and 1787.[1] Background During her years in the public eye, Georgiana Cavendish, Duchess of Devonshire was painted several times by both Thomas Gainsborough and Joshua Reynolds. Gainsborough's painting of her around 1785, in a large black hat (a style which she made sensationally fashionable, and came to be known as the 'Gainsborough' or 'portrait' hat), has become famous for its fascinating history. After having been lost from Chatsworth House for many years, it was discovered in the 1830s in the home of an elderly schoolmistress, who had cut it down somewhat in order to fit it over her fireplace. In 1841 she sold it to a picture dealer for £56, and he later gave it to a friend, the art collector Wynn Ellis. When Ellis died, the painting went for sale at Christie's in London in 1876, where it was bought by the Bond Street art dealer William Agnew for the then astronomical sum of 10,000 guineas. Three weeks later it was stolen from the London gallery of Thomas Agnew & Sons, a theft that was highly publicised at the time, and for years the newspapers printed stories about claimed sightings of the painting.[2][3] However, not until 25 years later did it become known that the thief had been the notorious "Napoleon of Crime", Adam Worth. He had intended to sell it to come up with the bail to release his brother from prison, but when his brother was freed without bail, he decided to keep it for himself, for "a rainy day", and brought it to his homeland, the United States. In early 1901, through the American detective agency Pinkerton's, he negotiated a return of the painting to Agnew's son for $25,000. The portrait and payment were exchanged in Chicago in March 1901, and a couple of months later the painting arrived in London and was put up for sale. The Wall Street financier J. P. Morgan immediately travelled to England to obtain the painting and later claimed to have paid $150,000 for it. The painting remained in Morgan's family until 1994, when it was put up for sale at Sotheby's and was purchased by the 11th Duke of Devonshire for the Chatsworth House collection for $408,870.[4] So, after more than 200 years it returned to Chatsworth.[3] References "Portrait of Georgiana, Duchess of Devonshire, c.1785-87". chatsworth.org. Retrieved 21 June 2014. The Sydney Mail 13 October 1877: Gainsborough's "Duchess of Devonshire" Retrieved 2012-01-29 Number One London 26 May 2010: Duchess of Devonshire Stolen Retrieved 29 July 2012 Macintyre, Ben (31 July 1994). "The Disappearing Duchess". The New York Times. Retrieved 30 May 2013. Categories: Paintings by Thomas Gainsborough1780s paintings MEZZOTINT HISTORY FROM WIKIPEDIA: Mezzotint From Wikipedia, the free encyclopedia Sunshine V, mezzotint by Peter Ilsted Part of a series on the History of printing Woodblock printing 200 CE Movable type 1040 Printing press 1377 Etching c. 1515 Mezzotint 1642 Aquatint 1772 Lithography 1796 Chromolithography 1837 Rotary press 1843 Hectograph 1869 Offset printing 1875 Hot metal typesetting 1884 Mimeograph 1886 Photostat and Rectigraph 1907 Screen printing 1910 Spirit duplicator 1923 Xerography 1938 Phototypesetting 1949 Inkjet printing 1951 Dye-sublimation 1957 Dot matrix printer 1968 Laser printing 1969 Thermal printing c. 1972 3D printing 1984 Digital press 1993 vte Mezzotint is a printmaking process of the intaglio family, technically a drypoint method. It was the first tonal method to be used, enabling half-tones to be produced without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth, called a "rocker." In printing, the tiny pits in the plate hold the ink when the face of the plate is wiped clean. A high level of quality and richness in the print can be achieved. Contents 1 History2 Dark to light method3 Light to dark method4 Printing5 Detailed technique6 Tone7 Mezzotint engravers8 Notes9 References10 External links History The mezzotint printmaking method was invented by the German amateur artist Ludwig von Siegen (1609–c 1680). His earliest mezzotint print dates to 1642 and is a portrait of Countess Amalie Elisabeth of Hanau-Münzenberg. This was made by working from light to dark. The rocker seems to have been invented by Prince Rupert of the Rhine, a famous cavalry commander in the English Civil War, who was the next to use the process, and took it to England. Sir Peter Lely saw the potential for using it to publicise his portraits, and encouraged a number of Dutch printmakers to come to England. The process was especially widely used in England from the mid-eighteenth century, to reproduce portraits and other paintings. Since the mid-nineteenth century it has been relatively little used. Robert Kipniss and Peter Ilsted are two notable 20th-century exponents of the technique; M. C. Escher also made eight mezzotints. British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, also spreading to America. The main area of collecting was British portraits; hit oil paintings from the Royal Academy Summer Exhibition were routinely, and profitably, reproduced in mezzotint throughout this period, and other mezzotinters reproduced older portraits of historical figures, or if necessary, made them up. The favourite period to collect was roughly from 1750 to 1820, the great period of the British portrait. There were two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "proof states" which artists and printers had obligingly provided for them from early on. Leading collectors included William Eaton, 2nd Baron Cheylesmore and the Irishman John Chaloner Smith.[1] Dark to light method This became the most common method. The whole surface (usually) of a metal, usually copper, plate is roughened evenly, manually with a rocker, or mechanically. If the plate were printed at this point it would show as solid black. The image is then created by selectively burnishing areas of the surface of the metal plate with metal tools; the smoothed parts will print lighter than those areas not smoothed by the burnishing tool. A burnisher has a smooth, round end, which flattens the minutely protruding points comprising the roughened surface of the metal printing plate. Areas smoothed completely flat will not hold ink at all; such areas will print "white," that is, without ink. By varying the degree of smoothing, mid-tones between black and white can be created, hence the name mezzo-tinto which is Italian for "half-tone" or "half-painted". This is called working from "dark to light", or the "subtractive" method. Light to dark method Early mezzotint by Vaillerant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark technique. 27.5 × 21.3 cm Alternatively, it is possible to create the image directly by only roughening a blank plate selectively, where the darker parts of the image are to be. This is called working from "light to dark", or the "additive" method. The first mezzotints by Ludwig von Siegen were made in this way. Especially in this method, the mezzotint can be combined with other intaglio techniques, such as engraving, on areas of the plate not roughened, or even with the dark to light method. Printing Printing the finished plate is the same for either method, and follows the normal way for an intaglio plate; the whole surface is inked, the ink is then wiped off the surface to leave ink only in the pits of the still rough areas below the original surface of the plate. The plate is put through a high-pressure printing press next to a sheet of paper, and the process repeated. Because the pits in the plate are not deep, only a small number of top-quality impressions (copies) can be printed before the quality of the tone starts to degrade as the pressure of the press begins to smooth them out. Perhaps only one or two hundred really good impressions can be taken. Detailed technique Plates can be mechanically roughened; one way is to rub fine metal filings over the surface with a piece of glass; the finer the filings, the smaller the grain of the surface. Special roughening tools called 'rockers' have been in use since at least the eighteenth century. The method commonly in use today is to use a steel rocker approximately five inches wide, which has between 45 and 120 teeth per inch on the face of a blade in the shape of a shallow arc, with a wooden handle projecting upwards in a T-shape. Rocked steadily from side to side at the correct angle, the rocker will proceed forward creating burrs in the surface of the copper. The plate is then moved – either rotated by a set number of degrees or through 90 degrees according to preference – and then rocked in another pass. This is repeated until the plate is roughened evenly and will print a completely solid tone of black. The first known mezzotint, by Ludwig von Siegen, 1642 Tone Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the plate with burin, burnisher and scraper allows fine gradations in tone to be developed. The scraper is a triangular ended tool, and the burnisher has a smooth round end – not unlike many spoon handles. Mezzotint engravers Ludwig von Siegen – inventorPrince Rupert of the RhineRichard Josey (1840–1906), engraver of James McNeill Whistler's Whistler's Mother.M. C. EscherPeter IlstedJohn Raphael SmithAlexander Hay RitchieT.F. SimonToru IwayaJohn SartainG. H. Rothe (1935–2007)Luke VehornFrancisco SoutoCarol WaxRobert KipnissJulie NiskanenJorge MateosJohn Martin Notes Wikimedia Commons has media related to Mezzotints. Griffiths, 134-137; 141-142 References Chisholm, Hugh, ed. (1911). "mezzotint". Encyclopædia Britannica (11th ed.). Cambridge University Press.Griffiths, Antony (ed), Landmarks in Print Collecting - Connoisseurs and Donors at the British Museum since 1753, p. 138, 1996, British Museum Press, ISBN 0714126098Carol Wax, The Mezzotint: History and Technique (Harry N. Abrams, Inc., 1990) External links Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on mezzotintNational Portrait Gallery, London: The early history of mezzotint and the prints of Richard Tompson and Alexander BrowneMetropolitan Museum of Art: The Printed image in the West: Mezzotint Categories: EngravingsPrintmakingPrintingPrinting terminologyArt mediaArtistic techniques WIKIPEDIA ON THOMAS GAINSBOROUGH: Thomas Gainsborough From Wikipedia, the free encyclopedia Thomas Gainsborough Self-portrait, (1759) Born Thomas Gainsborough 14 May 1727 (baptised) Sudbury, Suffolk, England Died 2 August 1788 (aged 61) London, England Nationality British Known for Painter Notable work(s) Mr and Mrs Andrews The Blue Boy Thomas Gainsborough FRSA (christened 14 May 1727 – 2 August 1788) was an English portrait and landscape painter. Contents 1 Biography2 Career 2.1 Suffolk2.2 Bath2.3 London 3 Technique4 In TV, fiction and music5 Gallery of selected works6 References7 Further reading8 External links9 See also Biography Gainsborough was the youngest son of John Gainsborough, a weaver in Suffolk. One of his brothers, John was known as Scheming Jack because of his passion for designing curiosities, another Humphrey, had a faculty for mechanics and was said to have invented the method of condensing steam in a separate vessel, which was of great service to James Watt.[1] Gainsborough left home in 1740 to study art in London with Hubert Gravelot, Francis Hayman, and William Hogarth. In 1746, he married Margaret Burr, and they became parents of two daughters. He moved to Bath in 1759 where fashionable society patronised him, and he began exhibiting in London. In 1769, he became a founding member of the Royal Academy, but his relationship with the organization was thorny and he sometimes withdrew his work from exhibition. Gainsborough moved to London in 1774, and painted portraits of the king and queen, but the king was obliged to name as royal painter Gainsborough's rival Joshua Reynolds. In his last years, Gainsborough painted relatively simple landscapes and is credited (with Richard Wilson) as the originator of the 18th century British landscape school. Gainsborough died of cancer in 1788 and was buried at St. Anne's Church, Kew. He painted quickly, and his later pictures are characterised by a light palette and easy strokes. He preferred landscapes to portraits. William Jackson in his contemporary essays said of him 'to his intimate friends he was sincere honest and his heart was always alive to every feeling of honour and generosity but avoided the company of literary men, who were his aversion, but for a letter to an intimate friend he had few equals and no superior'.[2] Career Suffolk Thomas Gainsborough was born in Sudbury, Suffolk, the youngest son of John Gainsborough, a weaver and maker of woollen goods, and his wife, the sister of the Reverend Humphry Burroughs.[3] He spent his childhood at what is now Gainsborough's House, on Gainsborough Street (he later resided there, following the death of his father in 1749).[citation needed] The original building still survives and is now a dedicated House to the his life and art. When he was still a boy he impressed his father with his drawing and painting skills and he was allowed to go to London to study art in 1740, but it is now known that he almost certainly had painted heads and small landscapes by the time he was ten years old, including a miniature self-portrait.[4] In London he trained under engraver Hubert Gravelot[3] but became associated with William Hogarth and his school. He assisted Francis Hayman in the decoration of the supper boxes at Vauxhall Gardens,[3] and contributed to the decoration of what is now the Thomas Coram Foundation for Children. Margaret Burr (1728–1797), the artist's wife, c. early 1770s In 1746, Gainsborough married Margaret Burr, an illegitimate daughter of the Duke of Beaufort, who settled a £200 annuity on them. The artist's work, then mainly composed of landscape paintings, was not selling well. He returned to Sudbury in 1748–1749 and concentrated on painting portraits. In 1752, he and his family, now including two daughters, moved to Ipswich. Commissions for personal portraits increased, but his clientele included mainly local merchants and squires. He had to borrow against his wife's annuity. Bath The Blue Boy (1770). The Huntington, California. In 1759, Gainsborough and his family moved to Bath, living at number 17 The Circus.[5] There, he studied portraits by van Dyck and was eventually able to attract a fashionable clientele. In 1761, he began to send work to the Society of Arts exhibition in London (now the Royal Society of Arts, of which he was one of the earliest members); and from 1769 he submitted works to the Royal Academy's annual exhibitions. He selected portraits of well-known or notorious clients in order to attract attention. The exhibitions helped him acquire a national reputation, and he was invited to become a founding member of the Royal Academy in 1769. His relationship with the academy was not an easy one and he stopped exhibiting his paintings in 1773. London In 1774, Gainsborough and his family moved to London to live in Schomberg House, Pall Mall.[3][6] A commemorative blue plaque was put on the house in 1951.[7] In 1777, he again began to exhibit his paintings at the Royal Academy, including portraits of contemporary celebrities, such as the Duke and Duchess of Cumberland. Exhibitions of his work continued for the next six years. Mr and Mrs William Hallett (1785). In 1780, he painted the portraits of King George III and his queen and afterwards received many royal commissions. This gave him some influence with the Academy and allowed him to dictate the manner in which he wished his work to be exhibited. However, in 1783, he removed his paintings from the forthcoming exhibition and transferred them to Schomberg House. In 1784, royal painter Allan Ramsay died and the King was obliged to give the job to Gainsborough's rival and Academy president, Joshua Reynolds. Gainsborough remained the Royal Family's favorite painter, however. At his own express wish, he was buried at St. Anne's Church, Kew, where the Family regularly worshipped. In his later years, Gainsborough often painted relatively simple, ordinary landscapes. With Richard Wilson, he was one of the originators of the eighteenth-century British landscape school; though simultaneously, in conjunction with Sir Joshua Reynolds, he was the dominant British portraitist of the second half of the 18th century. As a letter writer Henry Bate-Dudley said of him 'a selection of his letters would offer the world as much originality and beauty as is ever traced in his paintings'.[8] He died of cancer on 2 August 1788 at the age of 61 and is interred at St. Anne's Church, Kew, Surrey (located on Kew Green). He is buried next to Francis Bauer, the famous botanical illustrator. As of 2011, an appeal is underway to pay the costs of restoration of his tomb.[9] Technique Girl with Pigs, 1781-2, said by Sir Joshua Reynolds to be "the best picture he ever painted".[10] Gainsborough was noted for the speed with which he applied paint, and he worked more from observations of nature (and of human nature) than from application of formal academic rules. The poetic sensibility of his paintings caused Constable to say, "On looking at them, we find tears in our eyes and know not what brings them." Gainsborough said, "I'm sick of portraits, and wish very much to take my viol-da-gam and walk off to some sweet village, where I can paint landskips (sic) and enjoy the fag end of life in quietness and ease." His liking for landscapes is shown in the way he merged figures of the portraits with the scenes behind them. His later work was characterised by a light palette and easy, economical strokes.[11] His most famous works, Portrait of Mrs. Graham; Mary and Margaret: The Painter's Daughters; William Hallett and His Wife Elizabeth, nee Stephen, known as The Morning Walk; and Cottage Girl with Dog and Pitcher, display the unique individuality of his subjects. Joshua Reynolds considered Girl with Pigs ' the best picture he (Gainsborough) ever painted or perhaps ever will'.[10] Gainsborough's only known assistant was his nephew, Gainsborough Dupont.[3] In the last year of his life he collaborated with John Hoppner in painting a full length portrait of Lady Charlotte Talbot. In 2011, Gainsborough's portrait of Miss Read (Mrs William Villebois) was sold by Michael Pearson, 4th Viscount Cowdray for a record price of £6.5M.[12] In TV, fiction and music Kitty (1945) is a notable fictional film about Gainsborough, portrayed by Cecil Kellaway.In the song "20th Century Man" from the Kinks' 1971 album Muswell Hillbillies, Ray Davies lists Gainsborough as one of the painters he prefers to "your smart modern painters".Two potential works by Gainsborough were investigated in the third series of Fake or Fortune?. Gallery of selected works Landscape in Suffolk (1748) Mr. and Mrs. Robert Andrews, (c. 1748–1750) Self-Portrait (1754) The Painter`s Daughters Chasing a Butterfly, (1756) Two Daughters with a Cat (c. 1759) Portrait of the Composer Carl Friedrich Abel with his Viola da Gamba (c. 1765) The Harvest Wagon (c. 1767) Portrait of John Needham, 10th Viscount Kilmorey, (c. 1768) River Landscape (1768–1770) The Linley Sisters, (1772) Johann Christian Bach, (1776) Gainsborough`s Daughter Mary (1777) Lady in Blue (c. 1780) Colonel John Bullock (c. 1780) Her Grace Georgiana Cavendish, Duchess of Devonshire (1783) The Harvest Wagon (c. 1784) Mrs. Sarah Siddons (1785) Cottage Girl with Dog and pitcher (1785) Self-Portrait (1787) James Baillie family (c. 1784) Her Grace Georgiana Cavendish, Duchess of Devonshire, (1787) Mrs Richard Brinsley Sheridan, (1787) References Fulcher, George William, Life of Thomas Gainsborough , London 1856 Jackson, William The Four Ages including essays on various subjects Cadell & Davies, London 1798 "Thomas Gainsborough". National Gallery of Art. Retrieved 10 December 2011. Conrad, Stephen, ‘Thomas Gainsborough's First Self-portrait’, in The British Art Journal, Vol. XII, No. 1, Summer 2011, pp. 52-59 Greenwood, Charles (1977). Famous houses of the West Country. Bath: Kingsmead Press. pp. 84–86. ISBN 978-0-901571-87-8. Plaque #2 on Open Plaques. "Thomas Gainsborough Blue Plaque". openplaques.org. Retrieved 13 May 2013. Woodall, Mary , Introduction to The Letters of Thomas Gainborough, Cupid Press , London, 1963 "Restoration of Thomas Gainsborough's tomb". Richmond Guardian (London). 7 March 2011. Retrieved 1 December 2011. Willes, F.W. Letters of Joshua Reynolds , Cambridge University Press, Cambridge 1929 Birmingham Museum of Art (2010). Birmingham Museum of Art: A Guide to the Collection. London: Giles. p. 80. ISBN 978-1-904832-77-5. Retrieved 24 June 2011. Hardman, Robert (17 July 2011). "Why I'm swapping my £25m house for a cottage". Daily Mail (London). Further reading Thomas Gainsborough, William T. Whitley, (John Murray, 1915) - the most respected biographyGainsborough, Ellis Waterhouse, (Edward Hulton, 1958) - the standard catalogue of the portraits etc.The Letters of Thomas Gainborough, ed. Mary Woodall, (Cupid Press, 1963)The Drawings of Thomas Gainsborough, John Hayes, (Two volumes, Zwemmer, 1970) - the standard catalogue of the drawingsGainsborough as Printmaker, John Hayes, (Zwemmer, 1971) - the standard catalogue of the printsGainsborough, John Hayes, (Phaidon, 1975)Gainsborough & Reynolds in the British Museum, ed. Timothy Clifford, Antony Grffiths and Martin Royalton-Kisch, (BMP, 1978)Thomas Gainborough, John Hayes, (Tate Gallery, 1981)The Landscape Paintings of Thomas Gainsborough, John Hayes (Two volumes, Sotheby's, 1982) - the standard catalogue on the landscape paintingsThomas Gainsborough: His Life and Art, Jack Lindsay, (Harper Collins, 1982)A Nest of Nightingales: Thomas Gainsborough, The Linley Sisters. Paintings and their Context II, ed. Giles Waterfield, (Dulwich PIcture Gallery, 1988)The Paintings of Thomas Gainborough, Malcolm Cormack, (Cambridge University Press, 1991)Gainsborough & Reynolds: Contrasts in Royal Patronage, exhibition catalogue, (Queen's Gallery, 1994)Gainsborough's Vision, Amal Asfour and Paul Williamson (Liverpool University Press, 1999)The Art of Thomas Gainborough: A little business for the Eye, Michael Rosenthal, (Yale University Press, 1999)The Letters of Thomas Gainsborough, ed. John Hayes (Yale University Press, 2001)Thomas Gainsborough’s 'Lost' Portrait of Auguste Vestri, Martin Postle, Tate Online Research Journal, http://www.tate.org.uk/download/file/fid/7407Gainsborough, eds. Michael Rosenthal and Martin Myrone, (Tate, 2002)Gainsborough in Bath, Susan Sloman, (Yale University Press, 2002)Gainsborough, William Vaughan, (World of Art, Thames & Hudson, 2002) - the most accessible introductionSensation & Sensibility: Viewing Gainsborough's Cottage Door, ed. Ann Bermingham (Yale University Press, 2005)'Tom Will Be A Genius' New Landscapes by the Young Thomas Gainsborough, Diane Perkins, Lindsay Stainton & Bendor Grosvenor, (Philip Mould, 2009), http://www.philipmould.com/docs/gainsborough/index.html#/1/zoomedThomas Gainsborough's First Self-portrait, Stephen Conrad, in The British Art Journal, Vol. XII, No. 1, Summer 2011, pp. 52-59Thomas Gainsborough and the Modern Woman, ed. Benedict Leca, (Giles, 2011)Gainsborough's Landscapes: Themes and Variations, Susan Sloman, (Philip Wilson, 2012) Rossetti, William Michael (1911). "Gainsborough, Thomas". In Chisholm, Hugh. Encyclopædia Britannica 11 (11th ed.). Cambridge University Press. Monkhouse, William Cosmo (1889). "Gainsborough, Thomas". In Stephen, Leslie. Dictionary of National Biography 20. London: Smith, Elder & Co.Belsey, Hugh. "Gainsborough, Thomas (1727–1788)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/10282. (Subscription or UK public library membership required.) External links Wikiquote has quotations related to: Thomas Gainsborough Wikimedia Commons has media related to Thomas Gainsborough. 371 Paintings by Thomas Gainsborough at the BBC Your Paintings siteWebmuseum Paris: Thomas GainsboroughVictoria and Albert Museum collectionhttp://www.abcgallery.com/G/gainsborough/gainsborough.html Olga's Gallerywww.gac.culture.gov.uk/search/Artist.asp?makerid=112361www.Thomas-Gainsborough.org 70 works by Thomas GainsboroughThomas Gainsborough exhibition catalogs See also Gainsborough's HouseEnglish artArt of the United KingdomList of British paintersHumphrey GainsboroughHolywells Park, IpswichWestern painting [hide] vte Thomas Gainsborough Paintings The Blue BoyThe Harvest WagonMr and Mrs AndrewsMrs. Richard Brinsley Sheridan Movie Kitty Wikimedia Thomas Gainsborough at Wikiquote Thomas Gainsborough at Commons Thomas Gainsborough at Wiktionary Thomas Gainsborough at Wikisource Thomas Gainsborough at Wikinews Authority control WorldCatVIAF: 29542582LCCN: n79055449ISNI: 0000 0001 0883 0621GND: 118689185BNF: cb11943538g (data)ULAN: 500115200NDL: 00718697 Categories: 1727 births1788 deathsPeople from Sudbury, SuffolkBurials at St. Anne's Church, Kew18th-century English paintersRoyal AcademiciansEnglish portrait paintersLandscape artistsRococo paintersPeople associated with the Royal Society of ArtsCancer deaths in EnglandPeople educated at Sudbury Grammar School **** We encourage potential and/or actual buyers to perform their own due diligence, examining the historical facts supporting the origin of any painting. Authenticity of any antique or painting is not guaranteed. To the best of our knowledge the items are as we state they are, however our statements are non-expert opinions only. Colors vary on various monitors; if color is important to you, we encourage you to look at items on various computer screens prior to purchase.Thank you for your interest. Normal 0 false false false EN-US X-NONE X-NONE Condition: please inspect photos carefully - shipment will be without glass in order to protect the art

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