Born in Exeter, John Gendall started life as a servant to the barrister James White, the uncle of the artist John White Abbott (1763-1851). Perhaps encouraged by White, Gendall was in London by 1811, working for Rudolph Ackermann, the owner of a printing and engraving business on the Strand; for him, Gendall produced drawings to be engraved. In London, he was also introduced to John Soane, and this led him to his first important commission: the drawing of a window for Westminster Abbey. During his time at Ackermann’s press, Gendall was much involved with lithography, and though his name is not always recorded, the artist Thomas Heaphy reported that Gendall had an important role in establishing and spreading the use of lithography at Ackermann’s press. Gendall later returned to Exeter in 1824, after marrying his wife Maria in London; he remained in Exeter for the rest of his life. One of the leading topographical painters in pure watercolour, Gendall displayed exact draughtsmanship, brilliance of colouring, and competent figure drawing in his work. He also worked in oils and in 1824 executed a fine large painting, 'The Thames below London Bridge', which was exhibited at the Exeter Art Exhibition that year.

In Exeter, the artist initially went into partnership with W. Cole, a firm which then went bankrupt. Subsequently, he moved with his wife into Mol’s Coffee House on the Cathedral Close in 1833, and worked as a drawing teacher, carriage painter, carver and gilder; his bread and butter came mainly from his framing business. In 1861, Gendall was involved with the creation of a museum in Exeter, where he served as its first curator, and his role was pivotal in bringing together a collection required for the Royal Albert Memorial Museum. Sadly, he died before the museum opened.

The present drawing illustrates Fingle Bridge on Dartmoor, Devon, and perfectly encapsulates Gendall’s fine watercolour and bodycolour technique, to which he devoted much of his time in Exeter. This work shows his ability in capturing the beauty of the natural landscape, while the addition of the picturesque scene with woodcutters at work brings animation to the tranquil scene.

partial clearance sale of Black Hall, Avonwick at Piers Motley Auctions (Exmouth), 7 November 2016, lot 10; purchased there by Guy Peppiatt Gallery (London); purchased there by Charles Booth-Clibborn, 2018; gift to the Samuel Courtauld Trust by Charles Booth-Clibborn, 2018

Watermark: Watermark: unable to check as is laid down.

Inscription: none (although verso not accessible to check).

Collector's mark: none (although verso not accessible to check).