image © Guy Peppiatt Fine Art | Licence: All Rights Reserved
image © Guy Peppiatt Fine Art | Licence: All Rights Reserved

Dolgelly, North Wales

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From the Collection


‘Warwick’ Smith, who knew Rev. Gilpin through his relationship with his brother Sawrey Gilpin (1733 – 1807), was in the vanguard of artists travelling to Wales. His interest was probably further peaked by his friendship with the Welsh artist, Thomas Jones (1742–1803), who had been in Italy at the same time. Smith undertook his first visit in 1784 and the inspiration he found in the dramatic landscape of the country is clear: he made a total thirteen trips between 1784 and 1806.

This drawing was part of a group of over 700 by Smith belonging to the George Greville, 2nd Earl of Warwick which was dispersed amongst his descendants. Smith earned his sobriquet ‘Warwick’ due to his long patronage by the Earl of Warwick, who not only purchased hundreds of drawings from the artist, but also funded Smith’s two tours of Italy, one between 1776 and 1781 and again in 1785, when the Earl accompanied him.

During the latter part of the 18th century, Wales became a fashionable destination with tourists and artists alike. The Napoleonic Wars meant that Britain was cut off from the rest of Europe and so travellers and artists turned inward for inspiration. Wales, with its dramatic landscape, castles, coast and history captured their imagination.

During the last decades of the 18th Century, various publications brought the landscape of Wales to the notice of the wider public. In 1776, Paul Sandby (1731–1809) published XII views in North Wales. In 1778 and in 1781, Thomas Pennant (1726–1798) published his 2 volume Tours in Wales. In the following year, the Rev. William Gilpin (1724–1804) published, Observations on the River Wye and several parts of South Wales etc.

Descriptive medium

Watercolour over pencil

Image Licence

Image Credit

image © Guy Peppiatt Fine Art

From the Watercolour World


Dollgelleau, Gwynedd, Wales