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	BAINBRIGGE, Lieutenant Philip John (1817-1881) Quebec from Point Levi Watercolour over pencil with scratching out and gum arabic, inscribed in pencil on verso. Sheet size: 16 3/4 x 22 3/4 inches. A spectacular view of Quebec from across the St. Lawrence River: the colours all as bright as the day it was painted 'Every visitor at Quebec ought to cross the river with the ferry-boat, and view the city from the summit of this delightful spot. From this place there is a fine view of the east side of the Upper Town, where every prominent object can be distinctly seen, such as the grand battery, parliament house, the spires of the churches, the castle of St. Louis, the monument, and the flag-staff and telegraph, on Cape Diamond, with numerous other objects. The Lower Town is seen extended round the skirt of the rock, which rises at the south extremity to the height of one hundred and forty-five feet, exhibiting enormous strata, and threatening to fall and crush the inhabitants below. The ships in port are to be seen from the north-east point to Wolfe's Cove, exhibiting a forest of mast' (Thomas Fowler, writing in 1831). `Philip John Bainbrigge (1817-1881), son of General Sir Philip Bainbrigge (1786-1862), was born at Lichfield, Staffordshire, on January 16, 1817. He entered the Royal Military Academy at Woolwich in 1830 and graduated in 1833. He put in a request for a foreign posting...he travelled widely in Upper and Lower Canada and the Maritimes, reporting on fortifications and other defensive measures. He was assigned on special survey duty concerning the Maine-New Brunswick boundary dispute and was acting as adjutant from 1841 until his return to England on August 4, 1842. 'Like many British officer-painters, Bainbrigge received his artistic training at the Royal Military Academy at Woolwich. There, he was instructed in the proper use of perspective and in the handling of light and shade, and he employed these techniques with an ease and spontaneity well-suited to the principles of landscape painting. His rather individual style, while in accordance with the artistic trends of the time, resulted in watercolours that are quite distinctive. A thematic analysis of Bainbrigge's work reveals a definite predilection for depicting landscapes - either in summer or winter - into which he would work whatever section of the city he could see from his vantage point. His palette thus consisted of a range of natural colours, such as browns, reds and dark greens, which he applied in varying degrees of thickness. ' (C. Graham) Cf. Conrad Graham. Mont-Royal - Ville Marie:Early Plans and Views of Montreal, McCord Museum of Canadian History, p.103 #18849$60,000.00
	BAINBRIGGE, Lieutenant Philip John (1817-1881) Two of the Succession or St. Fenoli [i.e. Féréol] Falls / St. Anne's River Watercolour with traces of pencil and scratching out, inscribed in pencil as above, and in ink 'Given to me by Lt. Bainbrigge Royal Engineers Quebec 6th Feby 1837'. Sheet size: 13 3/4 x 10 inches. Philip John Bainbrigge (1817-1881), son of General Sir Philip Bainbrigge (1786-1862), was born at Lichfield, Staffordshire, on January 16, 1817. He entered the Royal Military Academy at Woolwich in 1830 and graduated in 1833. He requested a foreign posting...and travelled widely in Upper and Lower Canada and the Maritimes, reporting on fortifications and other defensive measures. He was assigned on special survey duty concerning the Maine-New Brunswick boundary dispute and was acting as adjutant from 1841 until his return to England on August 4, 1842. 'Like many British officer-painters, Bainbrigge received his artistic training at the Royal Military Academy at Woolwich. There, he was instructed in the proper use of perspective and in the handling of light and shade, and he employed these techniques with an ease and spontaneity well-suited to the principles of landscape painting. His rather individual style, while in accordance with the artistic trends of the time, resulted in watercolours that are quite distinctive. A thematic analysis of Bainbrigge's work reveals a definite predilection for depicting rural landscapes - either in summer or winter - into which he would work whatever section of the city he could see from his vantage point. His palette thus consisted of a range of natural colours, such as browns, reds and dark greens, which he applied in varying degrees of thickness.' (C. Graham) Cf. Conrad Graham. Mont-Royal - Ville Marie:Early Plans and Views of Montreal, McCord Museum of Canadian History, p.103 #18848$12,000.00
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