John Dugmore, Fortress of Königstein, Dresden, Early 19th Century, Watercolour

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An original early 19th-century watercolour painting, John Dugmore of Swaffham, Fortress of Königstein, Dresden.An outstanding and rare grisaille watercolour by … Read more An original early 19th-century watercolour painting, John Dugmore of Swaffham, Fortress of Königstein, Dresden.An outstanding and rare grisaille watercolour by British draughtsman and grand-tourist John Dugmore of Swaffham (1793–1871).The view shows Königstein Fortress, which sits magisterially atop a rocky outcrop southeast of Dresden, Germany overlooking the Elbe valley. The town of Königstein nestles below on the left bank of the River Elbe. The historic fortress, dating back to the 13th century, was, due to its strategic location, considered unconquerable and it most famously served as a prison, including in the 20th century as prisoner of war camp during the two world wars. Depicted from this low vantage point, however, the fortress is barely distinguishable from the rock plateau, and the scene is very much one of the power and majesty of the natural landscape as it is about human history.John Dugmore of Swaffham (1793–1871) was born into Norfolk nobility in 1793. He benefited from a deep classical education and developed a sophisticated taste in the arts. On moving to London to seek his fame and fortune at the Royal Court, he met the man who was to become his patron, William Charles Keppel (1772–1849), 4th Earl of Albermarle. It is believed that Dugmore was responsible for Keppel children’s education, and he accompanied one of Keppel's son's on a Grand Tour in 1820. Over a period of twenty months, he passed from Scotland to Western Bohemia, France, Switzerland and Italy, recording the sights and views he encountered. This watercolour is very probably the product of that tour.Dugmore's work has been praised for not only being visual witnesses of the shape of many main and minor European cities, but also for his ability in feeling and amplifying the esthetic news which he was meeting place by place. It is thought that his drawing style varies according to the landscape, his German drawings being very linear and pure, and his French drawings are ‘touched’ by pencil and brush in a way that seems largely to anticipate the impressionist idea of the light.On wove paper laid down on brown backing paper.Provenance: William Drummond (Covent Garden Gallery, London).All artworks come with a Certificate of Authenticity and—if it is a collection artwork—its accompanying collection text or artist biography. Signed: No. Inscribed: Inscribed lower centre on backing paper. Bears William Drummond's dealer cataloguing number. Height: 20.6cm (8.1″) Width: 26.7cm (10.5″) Condition: In very good condition for its age, with just the odd surface mark, including slight transference from another paper source in a small patch to the water area, lower right. Please see photos for detail. Presented: Unframed. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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