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ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century

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ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2 0 1 7 Riverwide House - 2 0 6 Mason’s Yard 1 Duke Street, St James’s 8 London SW1Y 6BU 100 drawings PART 1.qxp 13/11/2017 09:10 Page 1 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2017–2018 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 100 drawings PART 1.qxp 14/11/2017 11:23 Page 2 We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to nearly the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will show that a fine drawing or watercolour – whoever the artist and whatever the date – is always worthy of note. As the enclosed price list shows, the prices of the drawings in this catalogue are equally broad in scope – from well under £1,000 to around £15,000 – with most of the works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well-established artists can be affordable, and interesting works by lesser-known artists especially so. We believe that there is much here for the novice collector, as well as for the more experienced connoisseur or curator. Indeed, we are honoured that a significant number of British, European and American museums have acquired drawings and watercolours from these annual Winter catalogues over the past nine years. Our respective individual catalogues of more significant drawings will be issued in January and May 2018, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months. Stephen Ongpin Guy Peppiatt Megan Corcoran The following catalogue contains drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA in red at the top of each page; please direct any enquiries as appropriate. For reasons of space, only a brief account of each drawing is given in the catalogue. Further information, artist’s biographies and full references, as well as high-resolution digital images of each of the works, are available on request, as well as on our respective websites. The drawings are available for viewing from receipt of the catalogue. A price list is included. Please note that most, but not all, of the works are sold framed. 2 100 drawings PART 1.qxp 13/11/2017 09:10 Page 3 SOFA 1 CIRCLE OF PAUWELS FRANCK, he worked in the studio of Jacopo Tintoretto, specializing in CALLED PAOLO FIAMMINGO landscape backgrounds. Known in Italy as Paolo Fiammingo, Antwerp 1540-1596 Venice he remained in Venice for the rest of his career, establishing a successful studio and painting religious scenes, Travellers Among Roman Ruins mythological and allegorical subjects. Among his most important clients was the Imperial banker Hans Fugger, for whom he painted several works for the palace of Schloss Pen and brown ink and brown wash Kirchheim, near Augsburg, in the 1580s. Together with his A small square made up area at the lower centre of slightly younger compatriot Lodewijk Toeput, known as the composition Pozzoserrato, Paolo Fiammingo was instrumental in 5 7 220 x 301 mm., 8 /8 x 11 /8 in. establishing a new manner of landscape painting in Venice and the Veneto in the second half of the 16th century. Provenance Possibly Sir William Forbes, 6th Bt. of Monymusk and The Scottish banker Sir William Forbes, 6th Baronet of Pitsligo, Edinburgh and Colinton House Pitsligo (1739-1806) undertook a Grand Tour of Italy in His son, Sir William Forbes, 7th Bt. of Pitsligo, Colinton 1791 and 1792. Although he did not acquire paintings or House, Greenhill House and Fettercairn House, antiquities on his travels, he did purchase a number of Kincardineshire drawings and prints. A cultured and learned man, Forbes Thence by descent in the Forbes family at Fettercairn was a founder member of Royal Society of Edinburgh in House, Kincardineshire 1783. His son, Sir William Forbes, 7th Baronet of Pitsligo (1773-1828) was, like his father, a banker, and as a young Recorded as a member of the painter’s guild in Antwerp in man began to assemble a fine collection of Old Master 1561, Pauwels Franck had by 1573 settled in Venice, where prints and drawings. 3 100 drawings PART 1.qxp 13/11/2017 09:10 Page 4 SOFA 2 BARTOLOMEO PASSAROTTI A preparatory study for the figure of the Christ Child in Bologna 1529-1592 Bologna Passarotti’s large altarpiece of The Adoration of the Magi of c.1565-1580, originally in the church of San Pietro and now Studies of a Young Nude Child in the Palazzo Arcivescovile in Bologna. In the painting the Child is seated on the lap of the Virgin, whose lightly sketched hand is visible beneath His arm in this drawing. Pen and brown ink While the pose of the seated Child is similar in both the Inscribed platiae(?) at the right centre, and faintly drawing and the painting, the angle of His head in the numbered 135 at the lower left painting differs slightly from that of the main figure in the 1 3 410 x 272 mm., 16 /8 x 10 /4 in. drawing. Passarotti chose to study the head of the Child in three subsidiary studies on the same sheet, and the final Provenance result in the painting is a combination of the head at the Lady Violet Crawley lower right of the sheet, and that of the main figure. Other By descent to a private collection, England preparatory drawings for the painting are in the Teylers Private collection, USA Museum in Haarlem and at Christ Church in Oxford. 4 100 drawings PART 1.qxp 13/11/2017 09:10 Page 5 SOFA 3 ANDREA BOSCOLI 1584, his earliest known painting is a Martyrdom of Saint Florence c.1560/64-1608 Florence Bartholomew, painted in 1587 for the church of San Pier Maggiore in Florence. Boscoli painted several works for Judith Preparing to Visit Holofernes Florentine churches in the 1590s. Between 1600 and 1605 he worked mainly in the Marches, painting frescoes and altarpieces for patrons and churches in Fano, Fabriano, Pen and brown ink and brown wash, over an Macerata, Fermo and elsewhere, while the last years of his underdrawing in black chalk career were spent between Florence and Rome. 1 1 156 x 208 mm., 6 /8 x 8 /8 in. Relatively few paintings by Boscoli survive today, and it is as Provenance a draughtsman that he is best known. His drawings were Amédée-Paul-Emile Gasc, Joigny and Paris (Lugt 1131) highly praised by his biographer Filippo Baldinucci (who William Bateson, London and Grantchester (Lugt 2604a) noted that ‘he drew so well...without lacking a boldness and an Bernhard Himmelheber, Karlsruhe (Lugt 4035) extraordinarily skillful touch’) and were avidly collected. A Thence by descent to a private collection, Germany closely related drawing by Boscoli of Judith Before Holofernes, of similar dimensions and technique and also in Andrea Boscoli visited Rome as a young man in the early the form of a lunette, is in the collection of the Albertina in 1580s, and between 1582 and 1600 worked primarily in Vienna. Both the Albertina drawing and the present sheet Florence, with brief stays in Siena and Pisa. Although he was may be dated to the 1590s, but remain unrelated to any admitted into the Accademia del Disegno in Florence in surviving painting or fresco cycle by the artist. 5 100 drawings PART 1.qxp 13/11/2017 09:10 Page 6 SOFA 4 JACOPO NEGRETTI, Palma Giovane was an inveterate draughtsman, and more CALLED PALMA GIOVANE drawings by him survive than by any other Venetian artist of Venice c.1548-1628 Venice the period. He seems to have drawn as much for pleasure as to prepare his paintings, and many of his drawings A Sheet of Studies with the Virgin or a Female Saint, A cannot be related to extant works. Indeed, although this Man Kneeling Before a Priest, and Several Figures drawing is a fine and typical example of Palma’s spirited Before a Lion draughtsmanship, none of the three separate studies on the sheet can be related to any surviving painting or fresco by the artist.
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