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Harbour Scene
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"Solkin 1982" Is linked to these Works of Art
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Harbour Scene
Credit Line
National Museum Wales, Cardiff
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Artist
Richard Wilson (1713/14-1782)
Title
Harbour Scene
Date
Dated lower right: 1753
Medium
Black chalk and stump with white heightening on grey laid paper; some heightening of figures in black ink
Dimensions
210 x 177 mm
Dimensions
8 3/16 x 6 15/16 in.
Details
Links
Collection
National Museum Wales, Cardiff. To license image, click here.
Accession Number
NMW A 5763
Wilson Online Reference
D218
Description
Two figures are seen on a jetty, with bundles nearby. A boat approaches them from the left. In the middle distance on the left is a large classical building with a round tower.
Two figures are seen on a jetty, with bundles nearby. A boat approaches them from the left. In the middle distance on the left is a large classical building with a round tower.
Exhibited
London 1925 (97 - <i>Classical Landscape</i>); Birmingham 1948-49 (69); London 1949 (68); Kenwood 1974 (150); London, Cardiff and New Haven 1982-83 (29)
London 1925 (97 -
Classical Landscape
); Birmingham 1948-49 (69); London 1949 (68); Kenwood 1974 (150); London, Cardiff and New Haven 1982-83 (29)
Provenance
James Pyke Thompson; Clothier Sale, Penarth; given to the Museum by Barry Eisteddfod Fund, 30 June 1921
James Pyke Thompson; Clothier Sale, Penarth; given to the Museum by Barry Eisteddfod Fund, 30 June 1921
Signature/inscription
Signed lower left in ink: R.W.f.
Signed lower left in ink: R.W.f.
Techniques and materials
Collectors' marks
Verso inscriptions
[1] Lower left pencil: illegible marks
[1] Lower left pencil: illegible marks
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Critical commentary
An idyllic, atmospheric study of a port in the evening, concentrating on the sunset effect, this was probably drawn in Venice (though by 1753 Wilson was based in Rome).. David Solkin noted the comparison of the simple design with the calm seaports of Claude-Joseph Vernet, who lived in Rome from 1734 to 1753, was particularly popular with British patrons and encouraged Wilson to concentrate on landscape rather than portraiture.
An idyllic, atmospheric study of a port in the evening, concentrating on the sunset effect, this was probably drawn in Venice (though by 1753 Wilson was based in Rome).. David Solkin noted the comparison of the simple design with the calm seaports of Claude-Joseph Vernet, who lived in Rome from 1734 to 1753, was particularly popular with British patrons and encouraged Wilson to concentrate on landscape rather than portraiture.
Previous Cat/Ref Nos
Bibliography
Ford 1951, pp. 25 & 58, pl. 47; Cardiff 1961, pp. 16-17; Solkin 1982, pp. 160-61; L. Meyer, <i>Les Paysages Anglais</i>, Paris, 1992
Ford 1951, pp. 25 & 58, pl. 47; Cardiff 1961, pp. 16-17; Solkin 1982, pp. 160-61; L. Meyer,
Les Paysages Anglais
, Paris, 1992
Link to WG Constable Archive Record
Location featured in work
More Information
Condition/Conservation
Illustrations of the Work
Updated by Compiler
Work of Art
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
Birmingham City Art Gallery, 17 November 1948 - 9 January 1949
London, Tate Gallery, 22 January - 14 March 1949
London, Kenwood House, Iveagh Bequest, 8 June - 27 August 1974
Biographies
Documents
David Solkin,
Richard Wilson: The Landscape of Reaction
Brinsley Ford,
The Drawings of Richard Wilson
Part of a sketchbook
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