• The Vale of Conway, North Wales -
    Price on request

    Inscribed on part of original backing board: In the Conway Valley

    Watercolour

    12 by 20.7 cm., 4 ¾ by 8 inches

     

    Provenance:

    Geoffrey Lefever;

    Palser Gallery, London;

    With Anthony Reed, Cork St, where bought 12th August 1983;

    With Andrew Wyld, where bought by the present owner, June 2006 

     

    Exhibited:

    New York, Davis & Langdale, David Cox, 29 April to 28 May 1983, no.18;

    London, Anthony Reed, David Cox, 18 July to 12 August 1983, no.18

     

    This on-the-spot sketch is likely to date from one of Cox’s trips to North Wales in the 1830s.

    The valley of the river Conwy runs south from the town of the same name.

  • View of Llangorse Lake with the Black Mountains beyond -
    Price on request

    Bears signature lower left

    Watercolour over pencil heightened with bodycolour and stopping out

    21.7 by 32.5 cm., 8 ½  by 12 ¾ inches

     

    Provenance:

    With J.W. Vokins, London;

    With G.M. Lotinga, New Bond St., where bought November 1947;

    By descent until 2014

     

    Llangorse is the largest natural lake in South Wales, situated in the Brecon Beacons about four miles east of the town of Brecon. This watercolour dates from the mid 1830s.

  • Landscape with Bull and Cows -
    Price on request

  • The Opening of New London Bridge 1831 -
    Price on request

    In 1799, a competition was held to design a bridge to replace the old London Bridge which was over 600 years old. The completion was won by John Rennie (1761-1821) who planned a bridge of five stone arches. Work began after Rennie’s death in 1824 under the supervision of his son, with the bridge being sited 100 feet upstream of the old bridge which was knocked down after the new bridge opened.

    Rennie’s bridge was 928 feet long and 49 feet wide. The present watercolour shows the official opening by King William IV and Queen Adelaide on 1st August 1831. The Times described the ceremony as ‘the most splendid spectacle that has been witnessed on the Thames for many years’. This view is taken from the south bank of the Thames, looking towards north towards the tower of the Monument and the church of St. Magnus. The royal standard can be seen flying from the huge pavilion erected at the north end of the bridge where a banquet was held. The royal party had embarked at Somerset House and processed to the bridge between a line of boats and barges. The King disembarked at 4pm and walked up red-carpeted stairs to the pavilion.

     

    An oil of the subject of Clarkson Stanfield taken from the same viewpoint is in the Royal collection and a finished watercolour by Cox is the Yale Center for British Art. The Yale view omits the flags on the bridge so was probably drawn on the previous day.

     

  • Cattle on a River, North Wales -
    Price on request

    Inscribed lower left: D. Cox

    Black chalk and watercolour

    17.7 by 26.5 cm., 7 by 10 1/4 in.

     

    This may be a view near the village of Dolwyddelan on the road between Blaenau Ffestiniog and Bettwy-y-Coed on the river Lledr.

  • A Castle on a distant Hill -
    Price on request

    Signed lower right: D. Cox 1832

    Watercolour heightened with touches of bodycolour and stopping out

    19.4 by 28.6 cm., 7 1/2 by 11 1/4 in.

     

    Provenance:

    Bought by the present owner at Abbott and Holder


    This may be a view of Bolsover Castle, Derbyshire

  • Cader Idris from Cymer Abbey, North Wales -
    Price on request

    Watercolour over pencil heightened with bodycolour and stopping out

    43.5 by 66.6 cm., 17 by 26 in.

     

    Provenance:

    A. Pugin, 1828;

    William Everitt, 1890;

    Anonymous sale, Sotheby's, 1st April 1993, lot 103;

    Private Collection

     

    Exhibited:

    London, Society of Painters in Water-colours, 1828, 1828, no.62 as `View from Kymmer Abbey, North Wales', bought A. Pugin for 6 gns;

    Birmingham Museum and Art Gallery, Works by David Cox, 1890, no.456

     

    Literature:

    Whitworth Wallis and Arthur Bensley Chamberlain, Catalogue of a Special Collection of Works by David Cox, 1890, p.67, no.456

     

    This is a view looking south from Cymer Abbey to Penygader, the summit of Cader Idris. Cymer Abbey was founded in 1158-9 as a Cistercian monastery and sits just across the Mawddach river from the village of Llanelltyd. It was dissolved by Henry VIII in the 1530s.

    An engraving of this view by Cox was published in 1836 as a steel engraved print in `Wanderings and Excursions in North Wales.`

  • Mountainous Landscape, North Wales -
    Price on request

    Watercolour and black chalk on two sheets of oatmeal paper joined

    Whole sheet 21.6 by 64.6 cm., 8 ½ by 25 ½ in.

  • Trees near a River -
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    watercolour over pencil
    20.2 by 26.7cm., 8 by 10 1/2 inches

    This early work dates from circa 1810-1815. It relates closely in style and subject to a view on the Thames at Eton called `Morning, Eton College' in the Fitzwilliam Museum, Cambridge (see Stephen Wildman, David Cox, exhibition catalogue, 1983, no.18, ill.p.54) which was engraved as plate 15 of Cox's Treatise dated 1813
  • Old Houses at Widmore, Kent -
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    Signed lower left: D. Cox 1810 and inscribed with title on part of old mount

    Watercolour over pencil on two sheets of joined paper

    33.3 by 26.7cm., 13 by 10 1/2 inches

     

    Widmore is one mile east of Bromley in what is now South London. In the early nineteenth century, it was a rural village not far from Cox?s home at Dulwich. Cox married in 1808 and moved to Dulwich where his first son David Junior was born in the summer of 1809. In 1814 he moved to Hereford. This early work relates closely in style and subject to the watercolours published by Cox in his ?Treatise on Landscape Painting? in 1813

  • A Washerwoman on a Bridge by a Cottage -
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    Watercolour over pencil

    14.4 by 26.2cm., 5? by 10 ? inches

     

    This early work dates from circa 1815. At around this time, Cox moved from Dulwich, south of London, to Hereford.

     

    Provenance:

    Martyn Gregory Gallery

     

  • Near Pandy Mill, North Wales -
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    Inscribed verso in another hand: N.r Pandy Mill by D. Cox Sept.r 52

    Watercolour over black chalk heightened with stopping out on oatmeal paper

    27.8 by 37.3 cm., 10 ? by 14 ? inches

     

    Pandy Mill is situated on the river Machno near its junction with the river Conway, two miles south-east of Bettws-y-Coed. Cox visited Bettws in 1844 and returned there almost every summer afterwards. The present drawing dates from his visit there in September 1852 according to an inscription on the reverse. The scenery in the surrounding area is especially dramatic. Solly in his biography of Cox described it as follows: ?It is surrounded by rocky glens and deep wooded valleys. . . . Through these the mountain streams, the Machno, the Lledr, and the Llugwy, flow on towards their junction with the Conway. . . . All these streams are spanned by old and picturesque bridges, well known to lovers of art and Welsh scenery, and their banks also adorned by several ancient water-mills; of these, Pandy Mill, on the Machno, is the chief, on account of its romantic situation and the fine old oaks which surround it? (see N. Neal Solly, Memoir of the Life of David Cox, reprinted 1973, p.158-9).

  • Fishermen off the Coast -
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    Signed lower left: D. Cox/1829

    Watercolour over pencil heightened with touches of bodycolour

    15.7 by 23.3cm, 6 by 9 inches


    This dates from Cox's second trip to France in 1829 in the company of his son David Cox Junior. Cox uses the figure group in the present watercolour in another 1829 watercolour,`Fishing Boats off Dover?` sold at Sotheby?s on 9th November 1995, lot 101

  • View of a Country Villa -
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    Watercolour over pencil with black ink and pencil

    25 by 38.7cm, 9 3/4 by 15 1/4 inches

     

    Stylistically this work dates from the 1830s when Cox was living in Hereford and presumably it was drawn as a commission.

  • Mountainous Landscape, North Wales -
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    Watercolour and black chalk

    26.1 by 35.3cm, 10 1/4 by 13 3/4 inches

     

    Cox visited Bettws-y-Coed in North Wales for the first time in 1844 and subsequently returned there every year until 1856. The looseness and confidence of the present drawing together with the use of black chalk is typical of Cox?s late Welsh views dating from the second half of the 1840s and 1850s

     

    Provenance:

    Jeremy Maas & Co., London

  • Fors Nevin on the Conway, North Wales -
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    Inscribed lower right: Fors Nevin

    Black chalk

    26.6 by 18.1 cm., 10 ? by 7 inches

     

    Provenance:

    By descent from the artist to his grand-daughter in 1904;

    Bought at Walker Galleries, London, between 1960 and 1967;

    By descent from the buyer until sold at Sotheby?s, 25th November 1999, lot 80, where bought by the present owner

  • View of Westminster from Vauxhall, London -
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    signed lower right: D. Cox

    watercolour over pencil heightened with bodycolour and scratching out

    19.1 by 26.6cm., 7 1/2 by 10 1/2 inches

     

    This is a view of Westminster taken from the south bank of the Thames near Vauxhall. Stylistically this work dates from the mid 1830s. In October 1834 a fire destroyed the old Houses of Parliament but it is difficult to tell from this angle whether Cox is drawing this view before or after the fire. Westminster Hall which is visible to the right of Westminster Abbey emerged relatively unscathed by the fire. To the left of Westminster Abbey stand the four towers of St. John?s, Smith Square in front. To the right, the other side of Westminster Bridge, is the shot tower which was built in 1826.

     

    Cox exhibited a number of views on the Thames in the 1820s and 1830s. In 1827, he returned to live in London from Hereford remaining until 1841 when he returned to his hometown of Birmingham. A view of Westminster taken from Battersea was sold at Sotheby?s on 14th November 1991, lot 121

  • Snowdon from Capel Curig, North Wales -
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    signed lower centre: David Cox/1835

    watercolour over pencil heightened with touches of bodycolour and scratching out

    18.4 by 27.4cm., 7 1/4 by 10 3/4 inches

     

    Capel Curig is six miles west of Bettws-y-Coed, an area which Cox was to get to know well in the 1840s and 1850s

     

    Provenance:

    With Thos. Agnew & Sons, 1955

  • Lambeth Palace from Millbank, London -
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    Watercolour over pencil heightened with touches of bodycolour

    15.1 by 24.9cm., 6 by 9 ¾ inches


    Provenance:

    F. Newcombe, Bristol;

    With Guy Peppiatt Fine Art, 2010;

    Private Collection, Chicago, until 2014


    This watercolour dates from the early 1820s. Cox exhibited a number of Thames views in the 1820s and 1830s when he was living in Hereford but returned to live in London from 1827 until 1841. This may be the work exhibited at the Society of Painters in Water-colours in 1824, no.294, `Lambeth Palace from Mill Bank – A sketch’.


    Lambeth Palace has been the home of the Archbishop of Canterbury since the 13th century. The church of St Mary-at-Lambeth, to the right of the Palace, originally dates from the 1370s but was rebuilt in the late 15th and early 16th centuries. It was badly damaged in the Second World War and is now the Garden Museum. The Tudor Gatehouse to the left of the church was built by Archbishop Morton in 1486-1501 and is still used as the main entrance into the Palace. To its left is the tower of the Great Hall which has been built and rebuilt many times over the years thanks to damage in the Civil War and then in the Blitz. In the late 1820s it was converted into a library by Edward Blore.



  • Figures by Kenilworth  Castle, Warwickshire -
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    watercolour over pencil heightened with touches of bodycolour

    18.4 by 26.5cm., 7? by 10 ? inches

     

    Provenance:

    Estate of Edith Hall, U.S.A.

     

    Kenilworth Castle, which stands four miles north of Warwick, was a popular subject for Cox, particularly early in his career. An early view, dated to circa 1807, is in Birmingham Museums and Art Gallery, an 1830 watercolour is in the Lady Lever Art Gallery, Port Sunlight and a late view in Worcester City Museum and Art Gallery (see Scott Wilcox, Sun, Wind, and Rain ? The Art of David Cox, 2008, p.146, no.5 and figs. 94 and 95). The present watercolour dates from the 1830s.

  • The Garden Gateway, Haddon Hall -
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    signed lower left: D.C. 1845

    watercolour over black chalk

    20.6 by 28.4cm., 8 by 11 inches

     

    Provenance:

    Estate of Edith Hall, U.S.A.

     

    Haddon Hall was one of Cox?s sketching grounds. He seems to have first visited ?delightful old Haddon? in August 1831 as part of one of his summer tours of Derbyshire in the company of his son David Cox Junior and William Roberts, when he would also visit Hardwick Hall and Bolsover Castle. His letter to Roberts of 28th August 1831 reads: ?We have visited the Hall every day since you left. Today we had Mr Severn?s car and went to Chatsworth and round by Bakewell. . . . but I do not expect to be much pleased with anything this country can afford after my favourite old Haddon. Indeed, this alone is quite enough for one summer.?

     

    Haddon was the Tudor seat of the Dukes of Rutland but had been supplanted by Belvoir Castle since the 1740s so it was empty at the time (and remained so until 1912) which must have added to its sense of romanticism. Cox returned frequently to Haddon in the late 1830s and the present watercolour dates from his visit in May 1845 in the company of his friend and patron William Ellis who eventually owned over three hundred works by Cox. The weather was bad but they stayed in the area for two weeks. Drawings from this trip were the first of Haddon in Cox?s late, loose style and are often signed with initials and dated, as with the present work. For two more watercolours from this trip, see Air and distance, storm and sunshine ? Paintings, watercolours and drawings by David Cox, exhibition catalogue, Spink-Leger, 1999, nos. 31 and 34.

  • Boats, on the Thames, off Greenwich -
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    signed lower left: D. Cox. 1828

    watercolour over pencil heightened with touches of bodycolour and scratching out

    12.4 by 17.6cm., 4? by 6? inches

     

    This may be the watercolour of this title exhibited at the Society of Painters in Watercolours in 1829, no.321. Cox exhibited a number of views on the Thames in the late 1820s. He returned to live in London, from Hereford, in 1827 and remained there until 1841 when he returned to Birmingham.

  • Near Rowsley, Derbyshire -
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    Inscribed with title lower left
    black chalk, with another chalk sketch verso
    19.5 x 26.7 cm., 7 ? x 10 ? inches

     

    Provenance:

    William Ellis, 1845;

    Private collection, Canterbury;

    Michael Bryan, 1998;

    With Martyn Gregory, 2005;

    Private collection, UK until 2010

     

    This drawing dates from Cox?s trip to Derbyshire in May 1845 in the company of his friend and patron William Ellis. He frequently visited Haddon Hall from 1831 onwards and the area was a favourite sketching area. He normally stayed at the Peacock Inn at Rowsley. Cox?s friend N.N. Solly recalls: `These views at Rowsley were generally sketched before breakfast. Cox made sometimes two drawings before breakfast, and began a third, and then spent the day afterwards sketching at Haddon Hall; this was in the month of May, 1845, when he was still in his full vigour? (N.Neal Solly, Memoir of the Life of David Cox, 1873, p.269).

  • Figures in Van Dyck costume on a Terrace -
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    watercolour over pencil heightened with bodycolour and stopping out

    19 x 26.5 cm., 7 1/2 x 10 1/4 inches

     

    Provenance:

    Private collection, UK

     

    This is one of series of drawings by Cox of figures in seventeenth century costume on a terrace which date from the 1830s. They are sometimes based on the terraces at Haddon Hall or Powis Castle. For another example, see Scott Wilcox, Sun, Wind, and Rain ? The Art of David Cox, 2008, p.187, no.59.

  • A Woman by a Country Cottage -
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    brown washes and black chalk

    18.4 x 25.6 cm., 7 1/4 x 10 inches

     

    Provenance:

    With Messrs Gooden & Fox, London

    Private collection, UK until 2010

     

    Drawings in wash and black chalk of this type by Cox date from the mid 1840s (see Scott Wilcox, Sun, Wind, and Rain ? The Art of David Cox, 2008, p.200?1, nos.74 and 75).

  • The Passing Storm -
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    Watercolour and pencil

    With a pencil drawing of Conway Castle and bridge verso

    27.6 by 37.6 cm., 10 ? by 14 ? inches

     

    Provenance:

    By descent to the artist?s granddaughter until 1904;

    With Walker Galleries, London, 1960

     

    Exhibited:

    London, Walker Galleries, Drawings by David Cox, 21 April to 11 May 1960, probably no.36, ?Harbour and Hillside?, sold for 12 guineas

     

    This wonderfully loose but controlled drawing is typical of Cox?s work of the early 1850s when he is at his most confident and impressionistic. He concentrates on his depiction of the sky and especially the passing storm. It may be drawn on the same sketchbook sheet as a group of drawings of Rhyll Sands which date from 1854. Cox often used a rough Scotch paper at this period but these are ordinary wove paper which measures the same size as this sheet. One in the University of Liverpool Art Gallery is signed and dated 1854 (see Andrew Wilton and Annie Lyles, The Great Age of British Watercolours 1750-1850, 1993, no.77, pl.233), another is in the Victoria and Albert Museum and a third was sold at Christie?s on 21st November 2001, lot 47.

     

    Cox was a regular visitor to North Wales from the mid 1840s and the drawing of Conway Castle on the reverse suggests this could be a view on the North Welsh coast or possibly on the estuary of the river Conway.

  • The Old Bridge, with Boys Fishing -
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    Signed lower right: David Cox/1848

    Watercolour and black chalk heightened with bodycolour and scratching out

    20 by 36.8 cm., 7? by 14 ? inches

     

    Provenance:

    James Orrock (1829-1919);

    H.J. Cornish collection, 1928

     

    Exhibited:

    City of Birmingham Museum and Art Gallery, Works by David Cox, 1890, no.321

     

    Literature:

    Whitworth Wallis and Arthur Bensley Chamberlain, Catalogue of a Special Collection of Works by David Cox, 1890, p.52, no.321

  • Travellers on a Mountain Pass, North Wales -
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    Signed lower left: David Cox/1843

    Watercolour over pencil heightened with touches of bodycolour and stopping out

    26.6 by 36.6 cm., 10 ? by 14 ? inches

     

    Provenance:

    Paul Tod, his sale, Christie?s, 25th May 1956, lot 49, bt. Fine Art Society;

    Bought from the Fine Art Society, London by Walter Brandt, 1957;

    By descent until 2011

     

    Exhibited:

    Ickworth House, Suffolk, Exhibition of English Watercolours of the Great Period, 1968, no.18

     

    This watercolour, in wonderful condition, is likely to be a view taken at or near Penmaen Mawr on the Welsh coast several miles south-west of Conway. It was a steep cliff top road and a popular subject matter for Cox in the 1840s. From 1842, Cox made an almost yearly trip to North Wales and particularly the area around Bettws-y-Coed. In August of that year, he visited Conway and Betws.

  • Lliwedd and the Llanberis Road from Pen y Gwryd, North Wales -
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    Watercolour and black chalk

    18.3 by 23.6 cm., 7 by 9 ? inches

     

    Provenance:

    By descent to David Cox Junior (1809-1885)

    Given by him to Miss E. Cox, January 9th 1867

    Given by her to John Hills, 1922

    Private Collection, UK until 2010

     

    Another watercolour of this same view was with Spink-Leger, London, in 1999 (see `Air and distance, storm and sunshine? ? Paintings, watercolours and drawings by David Cox, exhibition catalogue, 1999, no.27, ill.).

     

    Lliwedd is a mountain in North Wales situated next to Snowdon, with its eastern flanks rising up from the Glaslyn valley

  • Butcher?s Row, Hereford -
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    Watercolour over pencil on two sheets of joined paper

    21.6 by 30.1 cm., 8 ? by 11 ?  inches

     

    Provenance:

    With Spinks, London

    Private Collection until 2011

     

    This important early watercolour dates from circa 1814/15 after Cox had moved to Hereford to teach at Miss Croucher?s Drawing School. It relates to a more finished version of this view painted in 1815 for Samuel Cane, a Hereford Surgeon, and now in Hereford City Art Gallery.

     

    In 1837, Butcher?s Row on Hereford High St was torn down during redevelopment of the city. Only the large twin gabled house on the right house of the picture still remains.

  • A Hillside, Derbyshire -
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    Inscribed lower left: Derbyshire

    Pencil on wove paper watermarked: J WHATMAN/TURKEY MILL/1830

    18.8 by 23.6 cm., 7 ? by 9 ? inches

     

    Provenance:

    By descent from the artist to Hannah Cox

    Bought by T.H. Simms from Meatyard, London, 1963

    Private Collection, UK

  • Drovers in the Scottish Highlands -
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    Signed on rock lower left: D. Cox/1828

    Watercolour over pencil heightened with touches of bodycolour and scratching out on wove paper watermarked: ..DS 1825

    18.4 by 25.9 cm., 7 1/4 by 10 inches

     

    Provenance:

    Private Collection until 2012

     

    This may have been exhibited at the Society of Painters in Water-colours in 1828, no. 325 as `Scottish Drovers.
  • The Fishseller on the Banks of the Thames -
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    Watercolour over pencil heightened with bodycolour

    21.7 by 31.8 cm., 8 1/2 by 12 1/2 inches

     

    This early work dates to circa 1810-11. Another version of the same view, with some differences, was with Andrew Wyld in 2006 (see exhibition catalogue, June 2006, no.24).

  • Fisherman on the river Wharfe near Barden Tower, Yorkshire -
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    Signed lower left: David Cox

    Watercolour and black chalk

    21.2 by 28.3 cm., 8 1/4 by 11 inches

     

    Provenance:

    Edward V. Phillips

     

  • Lancaster Sands, Cumberland -
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    Signed lower left: David Cox/1836

    Watercolour over pencil heightened with touches of bodycolour and stopping out

    18.1 by 25.9 cm., 7 by 10 inches

     

    Provenance:

    With Davis & Long, New York;

    Mrs Brooke Astor (1902-2007)

  • Penmaenmawr, North Wales -
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    Signed lower left: David Cox 1853

    Watercolour over pencil heightened with bodycolour on oatmeal paper

    27 by 36.8 cm., 10 ½ by 14 ½ in.

     

    Provenance:

    With John Manning Gallery, London;

    Anonymous sale, Christie’s, 16th November 2006, lot 99;

    By descent until 2014

  • View of Cynicht from Traeth Mawr, Wales -
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    Signed lower left: D. COX 1827

    Watercolour heightened with bodycolour and stopping out

    15.1 by 21.9 cm., 6 by 8 ½ inches

     

    Provenance

    With the Manning Gallery, London, November 1971

     

    This is a view looking east from the sands of Traeth Mawr near to the village of Prenteg. The peak of Cynicht is shrouded in mist with the twin peaks of Moelwyn Mawr and Moelwyn Bach to the right.

  • The Salmon Trap -
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    Signed lower left: David Cox

    Watercolour over traces of pencil heightened with stopping out and gum arabic

    52.3 by 74.9 cm., 20 ¾ by 29 ½ in.

     

    Provenance:

    Sir John Pender (1816-1896) by 1872, his sale, Christie's 29th May 1897, lot 208, bt. Agnew's for 190 guineas;

    With the Graves Gallery, Birmingham;

    James Gresham, his sale, Christie's, 12th July 1917, lot 10, bt. Bowden for 60 guineas;

    Anon sale, Christie's, 8th November 1946, lot 58;

    By descent until 2015

     

    Literature:

    N. Neil Solly, Memoir of the Life of David Cox, 1873, p. 280-1;

    Whitworth Wallis and Arthur Bensley Chamberlain, Catalogue of a Special Collection of Works by David Cox, 1890, no. 214, p.39

     

    Exhibited:

    London International Exhibition, 1872;

    City of Birmingham Museum and Art Gallery, Works by David Cox, 1890, no. 214

    This dramatic late work by Cox has been in a private collection since 1946. According to the 1890 Cox exhibition catalogue it can be dated to 1850 and is described: `The foreground, rocks and pool of water, with stream rushing from the salmon trap, which occupies centre and right of picture; near the trap, a man holds up a salmon; at the back of him, the figure of a woman; on the left, an old woman approaches the trap; right and left of middle distance, a belt of trees; the hills at Bettws beyond; blue sky, with clouds’ (Wallis and Chamberlain, op. cit.). It is also described in Solly’s 1873 memoir of Cox’s life: `This drawing is on rough paper in the latest style, and was lent to the London International Exhibition in 1872 by F. Pender, Esq., M.P. The scenery is that of Bettws-y-Coed…..the general effect is dark and rather gloomy, although powerful and impressive’ (op. cit.).

     

    Cox visited Bettws in 1844 and returned there  every summer until 1856.  The village stands at the junction of three rivers, the Conway, Lledr and the Llugwy and the scenery in the surrounding area is especially dramatic.

  • Horseman on a Track near Bolsover Castle, Derbyshire -
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    Watercolour over pencil

    267 x 370 mm., 10 ¾ x14 ¾ in.

     

    Provenance:

    With Thos. Agnew & Sons, London

     

    Bolsover Castle stands on a hill six miles east of Chesterfield overlooking the Vale of Scarsdale. It was built in the early seventeenth century by Sir Charles Cavendish but was in ruins by the mid eighteenth century. It is now in the care of English Heritage.

     

    This watercolour dates from the 1830s when Cox was a frequent visitor to Bolsover. He was there in the summer of 1834 and again in September 1835 as well as the summer of 1838. He wrote to a friend William Roberts on 5th September 1835: `…. and on Thursday will start for Bolsover, which I hope to reach by five o’clock. If you have not seen Bolsover, I think you will be pleased with the distant views of it’ (see N. Neil Solly, Memoir of the Life of David Cox, 1873, p.79).

     

  • A Horse and Cart on a Country Track near Moel  Siabod, North Wales -
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    Signed lower left: David Cox

    Watercolour and black chalk

    17.8 by 26.7 cm., 7 by 10 ½ in.

     

    Provenance:

    With Walker Galleries, London

  • Washing Day, North Wales -
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    Signed lower left: David Cox

    Watercolour over black chalk heightened with bodycolour on oatmeal paper

    27.7 by 37.1 cm., 10 ¾ by 14 ½ in.

     

    Provenance:

    Bought at Abbott and Holder, circa 1956, for 12s 6d

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