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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

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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.

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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.

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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.

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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.

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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. As one scholar has noted, ‘Palma effortlessly filled Pen and brown ink sheet after sheet with pen drawings showing constantly varied 7 3 226 x 137 mm., 8 /8 x 5 /8 in. presentations of primarily religious subjects...[he] filled sheets with series of rapid studies…including different subjects on the Provenance same sheet in a sprightly pen...Palma’s many drawings The Earls of Crawford and Balcarres, Colinsburgh, Fife produced visual resources he could use or revisit for years to By descent to a private collection feed the prodigious output of paintings from his hand, and from his studio.’

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5 ALESSANDRO MAGANZA Alessandro Maganza spent most of his career in his native Vicenza 1556-1632 Vicenza city of Vicenza. His large workshop came to dominate the artistic scene there in the late 16th and early 17th century, Two Allegorical Figures (Bacchus and Ariadne?) producing paintings for numerous churches and palaces in and around Vicenza and throughout Northern Italy. His biographer Carlo Ridolfi noted that he ‘wielded the pen as Pen and brown ink and brown wash, over an easily as the brush’, and he is perhaps better known today underdrawing in black chalk as a draughtsman than as a painter. Maganza’s pen and 1 3 209 x 112 mm., 8 /4 x 4 /8 in. wash drawings, executed with a characteristic flair, show the influence of the draughtsmanship of Palma Giovane, Provenance and the drawings of the two have often been confused. In Émile Louis Dominique Calando, Paris (Lugt 837) its rapid but assured handling of pen and the use of areas His son, Émile Pierre Victor Calando, Paris and Grasse of light brown wash to create effects of chiaroscuro, the Thence by descent to Marguerite Calando present sheet is typical of the idiosyncratic draughtsmanship Stephen Ongpin Fine Art, London of the artist, and a fine addition to the corpus of drawings Private collection, New York by Maganza.

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6 CIRCLE OF JACQUES CALLOT The present sheet is similar in size, medium and technique Nancy 1592-1635 Nancy to several figure drawings made by Jacques Callot as studies for the myriad groups of people in his large etching of The Fair at Impruneta of 1620. Callot made a significant number Study of a Man with a Cane of preparatory drawings for the etching, including a distinctive group of figure studies in red chalk. The present Red chalk sheet is derived from the left half of a slightly more finished Laid down on a thick board drawing by Callot of two standing peasants, both of whom Inscribed Callot in a cartouche mounted below the appear in The Fair at Impruneta, in the Uffizi. drawing 7 3 100 x 87 mm., 3 /8 x 3 /8 in. This drawing bears the distinctive mount and cartouche of the 18th century diplomat and collector Count Karl Provenance Cobenzl (1712-1770), who owned around thirty drawings Count Karl Cobenzl, Vienna and Brussels (Lugt 2858b) by Callot, which were acquired by the Russian Empress Acquired in 1770 by the Empress Catherine II of Russia, Catherine II. In his 1962 catalogue raisonné of Callot’s St. Petersburg drawings, however, Daniel Ternois noted that he regarded Her son, Czar Paul I of Russia, St. Petersburg most of the drawings from the Cobenzl collection to be Presented to The Hermitage, St. Petersburg (Lugt 2061) by a follower of Callot. Among stylistically comparable Hermitage sale, Leipzig, C.G. Boerner, 29 April 1931, red chalk figure drawings with the same Cobenzl and part of lot 40 Hermitage provenance is a study of a beggar in the Smith Lucien Goldschmidt, New York College Museum of Art in Northampton, MA. Eileen and Herbert Bernard, New York

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7 GERMAN SCHOOL The present sheet bears an old attribution to ‘Sarazin’, 17th Century presumably referring to the 17th Century French sculptor Jacques Sarazin (1588/90-1660). However, the style of the Study of a River God drawing is unlike that of Sarazin’s own drawings, which are mainly in chalk, in a manner indebted to that of his contemporary Simon Vouet, while the sculptor’s few Pen and brown ink on buff paper extant pen drawings are executed in a much more rapid, Inscribed Sarazin. on the old mount loose technique than is found in the present sheet. It is 127 x 177 mm., 5 x 7 in. possible, however, that this drawing may record a sculpture by Sarazin.

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8 GIOVANNI FRANCESCO BARBIERI, landscapes, caricatures and genre scenes, and have always CALLED IL GUERCINO been coveted by collectors and connoisseurs. The largest Cento 1591-1666 Bologna extant group of drawings by Guercino is today in the Royal Collection at Windsor Castle.

Study of an Angel It has been suggested that this drawing may represent a first idea for the angel at the top of a lunette fresco of The Pen and brown ink Annunciation to the Shepherds, part of the decoration of the A variant study for the same angel, in reverse, drawn cupola of the Duomo at Piacenza, painted by Guercino in pen and brown ink on the verso between 1626 and 1627. Another pen and ink study for 7 3 176 x 237 mm., 6 /8 x 9 /8 in. the angel, closer to the final fresco, was recently on the auction market in Paris. Provenance Margot Gordon, New York Similarities may also be noted with the angels in Guercino’s Acquired from her in 1998 by a private collection, Chicago paintings of The Annunciation of 1628-1629, today in the Ringling Museum of Art in Sarasota, and The Martyrdom of Among the most prolific draughtsmen of the 17th century Saint Bartholomew, painted in 1635-1636 for the church of in Italy, Guercino appears to have assiduously kept his San Martino in Siena. A preparatory study in pen and ink drawings throughout his long career, and to have only for the angel in The Martyrdom of Saint Bartholomew, in the parted with a few of them in his lifetime. His drawings, for Teylers Museum in Haarlem, is close to the present sheet the most part drawn in his preferred medium of pen and in style and composition. brown ink, include figural and compositional studies,

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9 Attributed to PEDRO ATANASIO BOCANEGRA certainly be considered as one of Cano’s closest followers, Granada 1638-1688 Granada and much of his painted oeuvre is indebted to the example of the older artist, whom he may have assisted on a series Recto: The Flight into Egypt of large paintings for the Cathedral in Granada, between Verso: A Seated Male Nude and a Sketch of the 1662 and 1664. Little is known of Bocanegra’s life and career, which seems to have been mostly spent in Granada. Forelegs of a Horse He worked at various churches and convents in the city, and in 1673 was named the maestro pintor of the Cathedral. Pen and brown ink and grey wash, over an In 1676 he was summoned to the court in Madrid, but his underdrawing in black chalk work did not find favour there and he soon returned to The verso in red chalk and pen and brown ink Granada. As a draughtsman, Bocanegra’s style is also largely 3 177 x 170 mm., 7 x 6 /4 in. dependent on the example of Cano’s pen drawings. Only a handful of drawings have been firmly attributed to Provenance Bocanegra, including sheets in the Louvre and the Uffizi, William S. Brough, J.P., Leeds and London (Lugt 2652) and the present sheet may be compared stylistically with a Gustave Soulier, Florence and Naples (Lugt 1215a) signed pen drawing of Saint Jerome in the Uffizi. As one Private collection scholar has noted of Bocanegra, ‘very few drawings can be considered as from his hand...But they show an independence A native of Granada, Pedro Atanasio Bocanegra is thought from the art of Cano and an original talent.’ to have been a pupil of Alonso Cano in the 1650s. He may

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10 BALDASSARE FRANCESCHINI, type are in the Kunstbibliothek in Berlin, while several CALLED IL VOLTERRANO others, including the present sheet, were among a large Volterra 1611-1690 Florence group of drawings by the artist sold at auction in 1980. As Charles McCorquodale has pointed out, Volterrano ‘allowed his most robust, if controlled, drawing style to emerge in his Recto: Study of Two Variant Designs for a Cartouche designs for carving, stuccoes, metalwork and other decoration’, Verso: Studies of Frames or Cartouches while another scholar has noted that such drawings display ‘the elegance and sophistication [that are] always present in Black chalk, the verso in red chalk Volterrano’s decorations.’ As has also been noted, ‘The florid 3 1 247 x 260 mm., 9 /4 x 10 /4 in. baroque style evident in these drawings, and even the way numerous unfinished sketches are crowded on to the sheet, Provenance seem to be inspired by Bernini, whose work Volterrano knew Probably part of a group of 410 drawings by Volterrano, from his two stays in Rome, but the condensed nature of the in four albums, sold Paris, Hôtel Drouot, 8 November ornament is characteristically Florentine.’ 1922, lot 214 Anonymous sale, London, Sotheby’s, 3 July 1980, Drawn in red chalk, the verso of this sheet shows several probably lot 2 designs for frames or cartouches, and may be compared Brian Sewell, London with a drawing for an oval cartouche or frame in the National Gallery of Scotland in Edinburgh. Other drawings The leading fresco painter in Florence in the latter half of for frames by Volterrano are in the Rijksmuseum in the 17th century, Baldassare Franceschini, known as Il Amsterdam, the Kunstbibliothek in Berlin, the Romanian Volterrano, was a prolific draughtsman. However, drawings Academy in Bucharest and the Metropolitan Museum of Art for architecture, decorative motifs and metalwork by him in New York. are relatively rare. A group of twenty-four drawings of this

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11 CIRCLE OF GIOVANNI FRANCESCO he adopted the local interest in landscape draughtsmanship GRIMALDI fostered by the Carracci. He enjoyed a highly successful Bologna c.1606-1680 Rome career as a painter of fresco decorations, and also worked as a printmaker, architect, scenographer and designer of book Wooded Landscape with a Castle illustrations. Grimaldi was a prolific draughtsman, and is best known for his landscape studies in pen and ink, many of which seem to have been intended as works of art in their own Pen and brown ink right. He also produced more than fifty landscape etchings, 1 7 180 x 326 mm., 7 /8 x 12 /8 in. which, like his drawings, reveal the influence of the Carraccesque tradition in which he was trained. Provenance Antoine-Joseph Dezallier d’Argenville, Paris (Lugt 2951) Although the present sheet is stylistically comparable with By descent to his widow, Françoise-Thérèse, née Hémart, drawings by Grimaldi, the difficulty of differentiating his until her death in 1778 landscape drawings from those of some of his The posthumous Dezallier d’Argenville sale, Paris, Pierre contemporaries working in the Carraccesque landscape Rémy, 18-28 January 1779 (as Domenichino) tradition, such as Domenichino, has resulted in a something The Earls of Crawford and Balcarres, Balcarres House, of an attributional minefield. Interestingly, the earliest known Colinsburgh, Fife owner of this drawing, the 18th century French amateur Thence by descent to a private collection Antoine-Joseph Dezallier d’Argenville, chose to place it among his drawings by Domenichino, rather than with Giovanni Francesco Grimaldi, known as ‘Il Bolognese’, those of Grimaldi, of which he also owned several received his artistic training in his native city of Bologna, where examples.

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12 ANDREAS BODAN THE YOUNGER in Mulhouse, painted in 1676. Bodan travelled to Italy, Mulhouse 1656-1696 Zerbst spending time in Rome, Naples and Sicily, and also visited Malta. He was appointed court painter to the Duke of Death and the Scholar Saxony, Hans Ludwig von Anhalt, in Zerbst, where he died in 1696 at the age of just forty. Drawings by Andreas Bodan are very rare. A drawing of The Death of Cleopatra, signed Pen and brown ink and brown wash and dated 1691, is in the Germanisches Nationalmuseum Signed Andr Bodan at the lower left in Nuremberg, while a signed allegorical drawing of Without 5 5 448 x 295 mm., 17 /8 x 11 /8 in. Ceres and Bacchus, Venus Would Frieze is in the National Gallery of Canada in Ottawa. Among the very few other Provenance known drawings by Bodan is a double-sided sheet with a Boguslaw Jolles, Dresden and Vienna (Lugt 381 or 381a) youthful self-portrait, dated 1674, which was once in the His sale, Munich, Helbing, 28-31 October 1895, lot 726 collection of Tobias Christ in Basel, while a pen and wash drawing of a Fortune Teller, signed and dated ‘A. Bodan Roma Born into a family of painters from Alsace, Andreas Bodan 1677’ appeared at auction in New York in 1982. A signed trained with his brother Hans-Conrad, and later with Hans pen drawing of Susannah and the Elders is in a private Rudolf Werenfels in Basel. Among his first significant collection in Augsburg. commissions was an Allegory of Justice for the Hôtel de Ville

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13 CARLO MARATTA By descent in the Forbes family Camerano 1625-1713 Rome Anonymous sale, London, Christie’s, 1 July 1986, lot 11 (unsold) Recto: Two Studies of the Head of a Woman Thence by descent in the Forbes family at Fettercairn House, Kincardineshire Verso: Study of Drapery of a Standing Woman In his posthumously published life of the artist, Giovan Pietro Black chalk, heightened with touches of white chalk, Bellori notes that, even as a young artist, Maratta’s skill as a with framing lines in brown ink, on grey paper draughtsman was readily apparent: ‘his drawings were The verso in black chalk, heightened with white already held in great esteem because there was no one who chalk equaled him…’ A prolific draughtsman, Maratta made Inscribed C. Maratti at the lower left centre numerous studies of drapery, anatomy and pose for each of 3 3 273 x 416 mm., 10 /4 x 16 /8 in. his paintings. He seems to have jealously guarded his drawings, and kept most of them in his studio until his death. Although the two heads in this drawing have thus far not Provenance been related to any painting by Maratta, a resemblance may Possibly Sir William Forbes, 6th Bt. of Monymusk and be noted between the left hand head and that of a kneeling Pitsligo, Edinburgh and Colinton House woman at the right edge of the artist’s Adoration of the His son, Sir William Forbes, 7th Bt. of Pitsligo, Colinton Shepherds in the Hermitage in St. Petersburg. A comparable House, Greenhill House and Fettercairn House, drawing of the head of a woman is in the Witt Collection at Kincardineshire the Courtauld Gallery in London.

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14 ANTONIO MOLINARI delineated, completely thought out renderings. This is not to Venice 1665-1704 Venice belittle the skill with which they are drawn – command of form and technical confidence is apparent in every mark – but to Venus and Vulcan recognize a basic quality that relates to the painterly concerns of both artists, a very Venetian quality at that.’ Pen and brown ink and brown wash, with touches of red chalk, over an underdrawing in black chalk While the present sheet cannot be related to any extant painting by Molinari, it may be noted that the artist often A drawing of The Feast of the Gods(?) in black chalk depicted muscular, seated male nude figures in his paintings on the verso of mythological subjects. This drawing is more finished, and 1 279 x 205 mm., 11 x 8 /8 in. less sketchy, than most of Molinari’s drawings, which are in a more abbreviated style. Of similar technique, style and The drawings of the 17th century Venetian artist Antonio dimensions is a study of The Virgin and Child with the Molinari are characterized by a particular freedom of Archangel Michael, Saint Anne, Saint Joseph and Another Saint handling and expression. As one scholar has noted of the in the Louvre, while among the large corpus of drawings artist’s drawings, ‘In many ways, Molinari’s technique by Molinari in the Museum Kunst Palast in Düsseldorf are prefigures that of Tiepolo. The drawings of both artists have several examples which, though less resolved than the the character of painterly studies rather than carefully present sheet, offer numerous stylistic points of comparison.

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15 ITALIAN SCHOOL and manuscripts, formed by the Piedmontese nobleman Circa 1700 Cesare Saluzzo (1778-1853) – was acquired by the Royal Library in Turin in 1952. The present sheet, however, A Choir of Angels with Musical Instruments remained part the collection of drawings, books and manuscripts, mainly of the Italian school, in the possession of Tommaso Alberto Vittorio di Savoia-Genova, 2nd Duke Pen and two shades of brown ink and brown wash, of Genoa (1854-1931). The collection then passed to his over an underdrawing in black chalk eldest son, Ferdinando di Savoia-Genova (1884-1963), 3rd 3 3 212 x 339 mm., 8 /8 x 13 /8 in. Duke of Genoa and Prince of Udine. Among other drawings with the same provenance from the Savoia- Provenance Genova collection is a large group of studies by Giovanni Probably Cesare Saluzzo, Turin Battista Foggini in the Metropolitan Museum of Art, as well The Dukes of Savoia-Genova (Lugt 47a), probably as sheets by other artists in the Rijksmuseum in Amsterdam. Tommaso Alberto Vittorio di Savoia-Genova, 2nd Duke of Genoa, Turin An attribution to the Neapolitan painter Luca Giordano By descent to his son, Ferdinando di Savoia-Genova, 3rd (1634-1705) has previously been suggested for this Duke of Genoa, until sold in the 1950s drawing, by stylistic comparison with two preparatory Giancarlo Baroni, Florence and Switzerland studies, in the Biblioteca Nacional in Madrid and the Metropolitan Museum of Art in New York, for one of the This drawing bears the collector’s mark of the Dukes major works of that artist’s late, Spanish period; the ceiling of Savoia-Genova. The majority of the Savoia-Genova fresco of Allegory of the Golden Fleece in the Casón del Buen collection – some 17,000 drawings, prints, maps, atlases Retiro in Madrid, painted around 1697.

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16 DOMENICO MARIA FRATTA His sale, London, T. Philipe, 26 January - 4 February 1804, Bologna 1696-1763 Bologna lot 191 (as Donato Creti) Probably acquired at the sale by Sir William Forbes, 7th Bt. Six Drawings on an Album Page: of Pitsligo, Colinton House and Fettercairn House, a. The Head of a Satyr Kincardineshire By descent in the Forbes family at Fettercairn House b. The Head of a Satyr c. Mother and Child Although each of the small pen and ink drawings on this d. The Head of a Woman large album page bears a traditional and longstanding e. The Head of a Woman attribution to the Bolognese artist Donato Creti (1671- f. Mother and Child 1749), Marco Riccomini has pointed out that the four studies of heads are the work of Domenico Fratta, while Each pen and brown ink, of rectangular or oval the two drawings of a woman and child are by an format, laid down on an album page anonymous follower of Creti. Fratta seems to have little or Inscribed Donato Creti. beneath each drawing no success as a painter, and is best known today as a 7 draughtsman and printmaker. His drawings are particularly Various dimensions, ranging from 48 x 39 mm., 1 /8 1 1 3 indebted to those of Creti, and works by the two artists x 1 /2 in., to 64 x 46 mm., 2 /2 x 1 /4 in. 5 1 have long been confused. Fratta also produced highly The album page: 424 x 318 mm., 16 /8 x 12 /2 in. finished pen drawings, including several landscapes, which were intended as autonomous works of art for sale. Provenance John McGouan, Edinburgh (Lugt 1496)

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17 BENEDETTO LUTI Benedetto Luti worked in Rome for most of his successful Florence 1666-1724 Rome career, becoming one of the most important and influential artists in the city. He was also particularly noted by his The Head of a Young Woman contemporaries for his work as a draughtsman in pastel and coloured chalks. Pastel studies of heads account for a small but significant part of the artist’s oeuvre, and were highly Pastel on blue paper sought-after by collectors and connoisseurs. As Peter 5 1 297 x 242 mm., 11 /8 x 9 /2 in. Bowron has written of Luti, ‘His earliest biographers expressed their admiration for his pastel and coloured chalk Provenance drawings, which, for their relatively early date in the Louis-Antoine and Véronique Prat, Paris (Lugt 3617) Settecento, are characterized by unexpected freshness and His sale, Paris, Hôtel Drouot, 5 December 1984, lot 33 brilliance…These fresh and luminous studies of heads and bust-length figures are historically significant as among the first Literature of their kind to be created and appreciated strictly as Neil Jeffares, ‘Benedetto Luti’, Dictionary of pastellists independent works of art rather than as preparatory studies for before 1800 [online edition], no.J505.237 a canvas or fresco...The result was a thriving trade in pastel heads of young children, saints, and angels, and in portraits.’

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18 FRENCH SCHOOL This charming little drawing of the interior of a circular 18th Century theatre has long borne an attribution to the 18th century French draughtsman Gabriel de Saint-Aubin (1724-1780). The Interior of a Theatre The drawing may depict the interior of one of the dancing halls known as ‘Vauxhalls’, after Vauxhall Gardens in Black chalk, with framing lines in black chalk London, which were popular in Paris in the second half of the 18th century. A similar small drawing of the interior of Inscribed Tu es né pour estre / heureux. on the verso t. a circular ‘Vauxhall’ theatre by Saint-Aubin is today in the Further inscribed G de S Aubin at the lower left of the collection of the Musée Carnavalet in Paris. old mount, and G. de SAINT-AUBIN / 1724-1780 on a cartouche pasted onto the old mount The present sheet, which is inscribed Tu es né pour estre 93 x 100 mm., 3 5/8 x 3 7/8 in. heureux (‘You were born to be happy’) on the verso, once belonged to the Parisian auctioneer and collector Maurice Provenance Delestre (1848-1931), and was later acquired by his Maurice Delestre, Paris grandson, the expert Gaston Delestre (1913-1969). His sale, Paris, Hôtel Drouot, 14 May 1936, lot 106 (as Gabriel de Saint-Aubin) Gaston Delestre, Paris Thence by descent

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19 JACOB DE WIT houses of wealthy merchants and patricians of the city. A Amsterdam 1695-1754 Amsterdam Catholic, he was also one of the few talented artists in Amsterdam to produce a significant body of paintings of The Virgin and Child, in a Decorative Floral Surround religious subjects. At the time of his death, the contents of his studio contained between 2,500 and 3,000 drawings, bound into some thirty albums, which were dispersed at Pen and black ink and grey wash, with framing lines auction in Amsterdam in 1755. As his biographer Adolph in black ink Staring has noted, ‘The immense quantity of studies and A faint sketch of a female figure in black chalk on the sketches from the sale of his atelier and of finished drawings verso made for collectors spread more readily over the western world Made up at the lower left corner than his paintings...and consequently De Wit is much better 3 3 186 x 161 mm., 7 /8 x 6 /8 in. [image] known as a draughtsman than as a painter.’ With its fictive 1 1 209 x 185 mm., 8 /4 x 7 /4 in. [sheet] drawn border of flowers, the present sheet, though unsigned, is likely to have been intended as an autonomous Throughout much of the first half of the 18th century, Jacob work of art, rather than a preparatory study for a painting. de Wit was one of the leading artists in Amsterdam, with a De Wit produced a large number of such finished drawings particular reputation as a painter of decorative wall murals, intended for sale to collectors. ceiling paintings and overdoors for the town and country

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20 JAMES SEYMOUR Exhibited London 1702-1752 London Possibly London, Spink’s, An Exhibition of Drawings by James Seymour, November 1936 A Postilion on Horseback carrying a coiled Post Horn London, Covent Garden Gallery, The Ingenious Mr Seymour, 8th June to 22nd July 1978, no.19

Pen and brown ink on laid paper, with cut corners Seymour was one of the best known horse painters, 3 174 x 232 mm., 6 /4 x 9 in. alongside John Wootton, of the mid eighteenth century. Born in London, the son of a banker, he reportedly lived Provenance so extravagantly at Newmarket that his wealthy father died Possibly Warwick Castle (as part of an album of 197 bankrupt in 1739. He worked in Newmarket and produced drawings) confident pencil and ink drawings on the spot which he used Possibly with Spink’s, London, who dispersed the album; for large scale paintings. He painted most of the best known Sir John Clermont Witt (1907-1982) horses of the period with examples of his work being in the By descent until 2017 Royal Collection, British Museum, Yale Center for British Art, the Tate Gallery and elsewhere. For more on the artist, see the exhibition catalogue by William Drummond, The Ingenious Mr Seymour, 1978.

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21 JEAN-JACQUES DE BOISSIEU drawing to painting, and completed only a handful of Lyon 1736-1810 Lyon canvases.

A Ruined Farmhouse De Boissieu’s drawings and prints display the particular influence of the Dutch and Flemish artists whose work he copied and collected, and especially the graphic work of Brush and two shades of grey wash Rembrandt. As a draughtsman, he usually worked in either 3 5 171 x 194 mm., 6 /4 x 7 /8 in. grey, black or brown ink wash, and his drawings are characterized by a freshness imparted by the use of a single Provenance shade of ink, together with an abiding interest in light effects. Prof. Peter Gay, New York Although many of his drawings are signed with his initials and dated, his style remained relatively unchanged One of the most gifted draughtsmen working in France in throughout his career, and undated drawings can therefore the latter half of the 18th century, Jean-Jacques de Boissieu be difficult to place within his chronology. As one modern seems to have been largely self-taught. Apart from a few scholar has noted of de Boissieu’s landscape drawings, ‘The years in Paris and Italy, he worked almost exclusively in picturesque elements and luminous atmosphere may have Lyon, travelling throughout the Lyonnais countryside and been inspired by some of the “Italianate” Dutch painters who the Rhône valley, making landscape and genre studies. As passed through Lyon, but Boissieu’s essentially grisaille the artist noted, in a letter of 1761, ‘I have always made technique and his devotion to the Lyonnaise landscape are drawings directly from nature, and for me there is no more entirely personal.’ delightful pleasure.’ Indeed, he seems to have preferred

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22 BAREND HENDRIK THIER A painter, etcher and watercolourist, Barend Hendrik Thier Lüdinghausen 1743-1811 Leiden was active mainly as a painter of decorative wall-hangings and landscapes, but also made finished gouache and A Woman with a Lantern in a Barn watercolour drawings as independent works of art for sale to collectors. In the 1780s Thier likewise produced a series of over one hundred and fifty botanical watercolours of rare Pen and black and grey ink and grey wash, within a plants and flowers, cultivated at an estate garden known as fictive drawn mount ‘Amerika’, outside Leiden, which were commissioned from Signed Thier at the lower right the artist by the owner of the garden, Isaac van Buren. A 1 131 x 151 mm., 5 /8 x 6 in. [image number of sketchbooks by Thier have survived – in the 7 7 176 x 201 mm., 6 /8 x 7 /8 in. [sheet, including Kupferstichkabinett in Berlin, the Teylers Museum in fictive mount] Haarlem and the Louvre – and the present sheet may be compared with several figure studies of peasants and labourers, drawn in pen and ink wash, in one of these; the so-called Atlas van Stolk sketchbook in the Teylers Museum.

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23 JAMES MILLER Miller was a topographical artist, best known for his views fl.1773-1814 of London street scenes. Five London views by him are in the British Museum and a view of Richmond Bridge in the The Church of St Mary, Newington, London Victoria and Albert Museum. An album of his London views from the Dudley Snelgrove collection is now in the Yale Inscribed verso: 2. Newington - Surrey. Center for British Art, New Haven. Watercolour over pencil on laid paper 1 1 183 x 296 mm., 7 /4 x 11 /2 in.

This shows the rebuilding of the church of St Mary, Newington Butts, from 1791 to 1793. The church was pulled down in 1876 in order to widen Newington Butts and a new church was built nearby on Kennington Park Road.

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24 THOMAS SUNDERLAND Kirkby Lonsdale 1744-1823 Littlecroft

Near the Breadalbane Estate, Perthshire

Pen and brown ink and watercolour over traces of pencil 3 3 323 x 451 mm., 12 /4 x 17 /4 in.

The name Breadalbane derives from the Gaelic word for ‘High Ground of Scotland’. The Breadalbane area is centred on the upper reaches of the Tay River and loch in north- west Perthshire.

Sunderland was born at Whittington Hall near Kirkby Lonsdale, Cumberland and successfully ran the family business of iron mining and smelting until retiring to a house at Ulverston in the early 1780s. An exhibition of some of his Scottish views, which did not include the present drawing, was held at the Walker Galleries in London in 1961.

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25 ANTHONY DEVIS Preston 1729-1817 Albury, Surrey

Halton Castle, Cheshire

Pen and brown ink and watercolour and black chalk on laid paper with original pen and ink border 3 1 227 x 317 mm., 8 /4 x 12 /2 in.

Provenance With Appleby Brothers, London With Abbott and Holder where bought by the present owner

Halton Castle is now in the town of Runcorn. It was the seat of the Barons of Halton from the 11th to the 14th century. It was besieged twice during the Civil War and subsequently fell into ruins.

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27 Attributed to HENEAGE FINCH, 4TH EARL OF AYLESFORD 26 London 1751-1812 Packington THOMAS ROWLANDSON London 1756-1827 London ‘Depiction of a mature oak tree, with foliage to lower branches and signs of a lightening strike to the upper The Riding School branches’

Pen and grey and brown ink and watercolour over Pen and brown ink and watercolour on laid paper pencil on wove paper watermarked [17]96 469 x 277 mm., 18 ½ x 10 ¾ in. 1 137 x 208 mm., 5 /4 x 8 in. Finch was educated at Oxford where he was a pupil of John Provenance Baptiste Malchair. His early work is very much influenced Salthrop Collection by Malchair but in the 1780s, he began to use brown ink. Sir John Clermont Witt (1907-1982) His work can be difficult to firmly attribute as his brothers By descent until 2017 and children were all talented amateur artists.

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28 SAMUEL ATKINS fl.1787-1808

Shipping off the Coast

Signed lower right Pen and grey ink and watercolour heightened with touches of bodycolour 1 260 x 361 mm., 10 /4 x 14 in.

Atkins specialised in marine pictures but little is known about his life. He exhibited at the Royal Academy between 1787 and 1808 and was at sea visiting the East Indies and the coast of China from 1796 to 1804. Examples of his work are in the British Museum, Victoria and Albert Museum, Ashmolean Museum, Oxford and elsewhere.

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29 SAMUEL HIERONYMOUS GRIMM Beauchief Abbey is the remains of a monastery in the Bergdorf, Switzerland 1733-1794 London southern suburbs of the city of Sheffield, Yorkshire. Founded in 1183, it was dissolved in 1537. All that remains now is the South West View of Beauchief Abbey, Sheffield western tower which is attached to a chapel built in the seventeenth century. Signed lower left: S.H. Grimm fecit 1785 and inscribed on original mount: S. Weft View of BEAUCHIEF Abbey A view of Beauchief Abbey, probably the present watercolour, is recorded in the collection of Cornelius 1785. Heathcote Rodes (1755-1825) of Barlborough Hall, Derbyshire, one of Grimm’s most important patrons Pen and black ink and watercolour over pencil on laid (see Rotha Mary Clay, Samuel Hieronymous Grimm of paper Burgdorf in Switzerland, 1941, p.83). Grimm was born 3 3 268 x 374 mm., 10 /4 x 14 /4 in. in Bergdorf,Switzerland, the son of a miniature painter. He became a pupil of J.L. Aberli before moving to Paris in 1765. Provenance In 1768 he moved to London where he lived for the rest Probably Cornelius Heathcote Rodes (1755-1825) of his life. He specialised in topographical landscapes and With P. and D. Colnaghi, 14 Old Bond St, London, 1950s exhibited at the Royal Academy and elsewhere.

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30 31 WILLIAM HAMILTON, R.A. EDWARD FRANCIS BURNEY Chelsea 1751-1801 London Worcester 1760-1848 London

Astronomy, Religion and Music The Soirée

Inscribed on mount: ASTRONOMY/RELGION/MUSIC A pair, pen and grey ink and watercolour 1 3 Pen and grey ink and watercolour, oval each approx. 56 x 94 mm., 2 /4 x 3 /4 in. 3 1 144 x 291 mm., 5 /4 x 11 /2 in. Born in Worcester, Burney came to London in 1776 and Hamilton was the son of a Scotchman employed by the studied at the Royal Academy Schools. He exhibited mainly architect Robert Adam who sent him to Rome to study portraits as a young man but from the 1790s he worked under Zucchi. He returned in 1769 and entered the Royal almost exclusively as a book illustrator. The present Academy Schools. Until 1789 he concentrated on drawings show his talent for designing complicated figure portraiture before turning to book illustration and historical groupings on a small scale. and poetic subjects.

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32 JOSEPHUS AUGUSTUS KNIP sale. In 1809 he moved Rome, drawing numerous studies Tilburg 1777-1847 Berlicum of ancient ruins. He returned to Holland in 1813, but his penchant for Italian views attracted little interest there, and A Figure Standing among the Ruins of a House by 1823 he had moved back to Paris. A few years later he returned to Holland, where he continued to work until he Gouache and watercolour became blind in 1832. 1 1 691 x 515 mm., 27 /4 x 20 /4 in. [sheet] Similar large gouache landscapes by Knip are in the Amsterdam Museum and the Rijksmuseum in Amsterdam. Provenance Other comparable, finished watercolour and gouache Dr. Friedrich Gorissen, Cleves drawings by the artist include The Ruins of Castle of His sale, Amsterdam, Sotheby’s, 1 March 1994, lot 137 Batenburg, near Nijmegen, in a private Dutch collection, and a Ruins of a Monastery recently on the art market in The son of a minor decorative painter, Josephus Augustus Germany, as well as a view of Gothic Ruins with Neapolitan Knip had settled in Paris by 1801, and there produced a Peasants which appeared at auction in Paris in 1993. number of landscape gouaches as finished works of art for

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33 FRANCIS STEVENS Exeter? 1781-1823 Exeter

Near Lincoln

Inscribed with title verso Watercolour over pencil heightened with gum arabic on laid paper, with pen and ink border 3 1 275 x 388 mm., 10 /4 x 15 /4 in.

Provenance The Forbes Family of Pitsligo, Fettercairn House

LIttle is known of the life of Francis Stevens. Reportedly born in Exeter, he was a pupil of Paul Sandby Munn and his work shows the influence of Thomas Girtin. He exhibited at the Royal Academy from 1804. The present work dates from circa 1810 when he exhibited a number of Norwich views at the Society of Painters in Water-colours. In 1811 he exhibited a view of Supholme Abbey, Lincolnshire.

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34a FRANCOIS LOUIS THOMAS FRANCIA Sir Henry Englefied was a Fellow of the Society of Calais 1772-1839 Calais Antiquaries and between 1797 and 1813 he commissioned a series of engravings of English cathedrals. The present The Interior of Winchester Cathedral drawing probably relates to this series.

Signed lower left: L. Francia 1803 and inscribed on This is likely to be one of two interior views exhibited by Francia at the Royal Academy in 1804, no.652 as `Two reverse of original mount: Inside view of views of interiors: no. 1 Winchester; no.2 Christ’s Church, Winchester/Cathedral made for/Sir Henry Englefield Hants.’ For another interior view by Francia from this Bart/by L Francia 1803, with original pen and ink period, see Marcia Pointon, Bonington, Francia & Wyld, border 1985, p.105, no.6, ill. 1 190 x 128 mm., 7 /2 x 5 in.

Provenance Drawn for Sir Henry Englefield (1752-1822), 1803

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34b FRANCOIS LOUIS THOMAS FRANCIA The Obelisk was built just outside the West Gate, Winchester, Calais 1772-1839 Calais in 1759 by the Natives’ Society. It commemorates the spot where the townspeople of Winchester traded with country The West Gate and Obelisk, Winchester folk during the Plague of 1666.

Signed lower left: L.Francia 1804 and again with initials on reverse of original mount: West Gate/& obelisk/Winchester/Hants/LF/1804 Watercolour over pencil 1 3 193 x 125 mm., 7 /2 x 4 /4 in.

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35 36 JOHN WHITE ABBOTT DRESDEN SCHOOL Exeter 1763-1851 Exeter 19th Century

Herdsmen and Cattle crossing a River Study of Trees

Dated lower left: June 6. 1831 and numbered 29 and Watercolour, over a pencil underdrawing 3 3 41 verso 400 x 264 mm., 15 /4 x 10 /8 in. Pen and grey ink and grey washes 1 3 189 x 302 mm., 7 /4 x 11 /4 in.

Provenance With Chris Beetles Private Collection

Exhibited Nunnington Hall, The Watercolour Tradition in Landscape, 23rd April to 30th June 2013

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37 SIR DAVID WILKIE, R.A. painting ‘Duncan Gray’ for exhibition and preparing studies Fifeshire 1785-1841 at Sea for ‘The Penning Wedding’ which had been commissioned by the Prince Regent and ‘The Chelsea Pensioners’ which Study of the Head of an Old Woman was commissioned by the Duke of Wellington in 1816 but not finished until 1822. Inscribed verso: Willy Shee Esq.r 8 November 1817 It is reminiscent of an earlier head study of an old woman Black and red chalk on buff paper in black, red and white chalk on a similarly textured paper 1 1 285 x 213 mm., 11 /4 x 8 /4 in. (see Nicholas Tromans, David Wilkie - Painter of Everyday Life, exhibition catalogue, 2002, no.34, p.122), which is a This drawing is dated 8th November 1817 on the reverse. study for ‘The Cut Finger’ exhibited in 1809. He tended to Wilkie had just returned from a four month visit to Scotland use coloured chalks for studies of the body (see Tromans, in early November and was beginning to work on ‘The op.cit., nos. 36, 44, 50 and 57). Abbotsford Family’ depicting Sir Walter Scott, whom he had visited, and his family. He was also reworking his 1814

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38 BENJAMIN ROBERT HAYDON and black and white chalks on both white and tinted papers. Plymouth 1786-1846 London Indeed, as one recent scholar has noted, ‘If...Haydon deserves any re-assessment of his achievements it must be Study of a Man’s Clasped Hands, Said to be Those of primarily on account of his drawings, by far his most substantial William Wordsworth artistic achievement and one for which he deserves to be much better known. Among them are some of the finest drawings produced by any British artist in the nineteenth century.’ Pencil, heightened with white chalk 1 7 243 x 302 mm., 9 /2 x 11 /8 in. (sheet) This drawing is said to depict the hands of the English Romantic poet William Wordsworth (1770-1850), who Provenance once owned the sheet. Haydon met Wordsworth around William Wordsworth, Rydal Mount, Ambleside 1814 and the two became close and lifelong friends. The By descent to his great-great-great nephew, Prof. artist held Wordsworth in very high regard, producing a Jonathan Wordsworth, Oxford number of portrait drawings and paintings of him, as well His sale, London, Sotheby’s, 15 July 1999, lot 100 as having a life mask of the author made. As the artist Agnew’s, London, in 2000 recorded in his diary entry for June 13th, 1815: ‘I had a cast Private collection, USA made yesterday of Wordsworth’s face. He bore it like a philosopher...Wordsworth was sitting in the other room in my Although he saw himself as a genius, Benjamin Haydon dressing gown, with his hands folded, sedate, steady & never achieved lasting success as a painter, and remains a solemn.’ The present sheet may perhaps have been drawn relatively obscure figure today. He was nevertheless an at this time. excellent draughtsman, working in pen and ink, graphite,

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39 CARL LUDWIG FROMMEL The German landscape painter and engraver Carl (or Karl) Birkenfeld 1789-1863 Ispringen Ludwig Frommel studied in Karlsruhe. He spent five years in Italy, where he established his reputation, before An Ancient Doorway at Tivoli returning to Karlsruhe, where he later became a professor. Between 1830 and 1858 Frommel also served as the director of the picture gallery in Karlsruhe. A large group of Watercolour and pencil watercolours and drawings by the artist is today in the Inscribed and dated Tivoli and 1814. on the margin of collection of the Staatliche Kunsthalle in Karlsruhe. the old mount 3 3 197 x 173 mm., 7 /4 x 6 /4 in. During his stay in Italy between 1812 and 1817 Frommel often visited Tivoli, and he drew and engraved several Provenance works situated there. Probably the estate of the artist Bernhard Himmelheber, Karlsruhe Thence by descent to a private collection, Germany

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40 NICHOLAS POCOCK with all the Irish ports, the greater number being involved Bristol 1740-1821 Maidenhead in the trade with Dublin and the ports of southern Ireland – Cork, Limerick, Waterford and Youghall. These ships took Spinning outside a Cottage, Inistioge, Co. Kilkenny, on manufactured goods and colonial products, primarily Ireland tobacco, returning with dairy produce, salted beef and pork, linen and yam, leather and hides and timber. In addition to Inscribed on part of old mount attached to the this direct trade, the ports of southern Ireland served as victualling stations for Bristol ships in the oceanic trades and backboard: Vale of Arklow/Farm Inistioge/Kilkenny Pocock’s surviving logs record voyages to the US, Europe, Watercolour over traces of pencil and the Caribbean. From the late 1770s, he decided to 307 x 432 mm., 12 x 17 in. become an artist and a number of Irish views by him are recorded including views of Killarney, Kilkenny, Dublin, Sligo Provenance and Shillidear. A view of Lake Killarney is in the Government With Stacey Marks, 1977 Art Collection. A view of Cork, dated 1811, was sold at Private Collection, London Christie’s on 22nd May 1998, lot 132 and a view of Dublin was at Sotheby’s on 14th April 1994, lot 125. Pocock was the son of a Bristol-based master mariner who commanded a number of vessels on the death of his father Inistioge is a small village situated on the river Nore, 15 trading out of Bristol from the 1760s to the early 1780s. miles south-east of Kilkenny. This watercolour is likely to During this period the Irish trade was the predominant date from circa 1810. destination for Bristol-based vessels. Bristol ships traded

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41 GEORGE RICHMOND, R.A. pen and ink manner of the Italian master’s Brompton 1809-1896 London draughtsmanship. (Most early drawings by the artist, however, have long remained in the possession of his Study of a Seated Man Wearing a Helmet descendants.) This drawing, which depicts a man dressed as a soldier all’antica, may be likened to a pen Pen and brown ink and pencil and ink study of a seated man, sold at auction in 1977, Inscribed The attitude of this figure / is a recollection that was once part of a sketchbook used by Richmond from nature at the bottom of the sheet between 1824 and 1830. The present sheet may be 1 7 240 x 200 mm., 9 /2 x 7 /8 in. [image] dated to the same period, during which the artist 1 1 332 x 215 mm., (13 /8 x 8 /2 in. [sheet] studied under Henry Fuseli at the Royal Academy Schools, met the elderly Blake, Samuel Palmer and Like his mentor William Blake, George Richmond Edward Calvert, and joined the group of artists known preferred the work of Michelangelo to that of as ‘The Ancients’. Raphael, and his youthful drawings often emulate the

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42 SIR GEORGE HAYTER This drawing is based on the horse in Van Dyck’s ‘Charles London 1792-1871 London I with M. de St. Antoine’ in the Royal Collection. Hayter was a portrait and history painter who was appointed official Study of a Horse painter to Queen Victoria on her accession in 1837.

Signed with initials lower right: GH/1830 and later inscribed: G. Hayter Pen and brown ink 1 235 x 177 mm., 9 /4 x 7 in.

Provenance Sir John Clermont Witt (1907-1982) By descent until 2017

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43 PETER DE WINT Provenance Stone 1784-1849 London With Walker Galleries, 1961 Anonymous sale, Sotheby’s, 31st October 1962, lot 40 Study of a Pheasant (part)

Watercolour over pencil Cornelius Varley drew the same view in 1803 inscribed 105 x 233 mm., 4 x 9 in. ‘Going to the Devil’s Bridge from S. Wales’ (see Lowell Libson, Cornelius Varley – The Art of Observation, 2005, no.28, p.94, ill.). Tudor was born in Monmouth, the son of Provenance Owen Tudor, a bookseller. He started drawing at a young Robert Witt age providing plans and drawings of local houses and first Sir John and Lady Witt, their sale, Sotheby’s, 19th February exhibited at the Royal Academy in 1809. He continued 1987, lot 108 exhibiting until 1819 but became a land agent, building Tudor House at Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings 44 and owned works by Reynolds, Van Dyck and Turner THOMAS TUDOR whose studio his diary records he visited in June 1847. Monmouthshire 1785-1855 Wyesham, Monmouth

a. Near Devil’s Bridge, Wales b. Rhaeadr Ddu near Dolgelly, North Wales

Brown washes heightened with scratching out Grey washes over pencil heightened with scratching 3 1 149 x 236 mm., 5 /4 x 9 /4 in. out on prepared paper 3 247 x 310 mm., 9 /4 x 12 in.

The waterfall of Rhaeadr Ddu, also known as the Black Falls, is on the river Gamlan, five miles north-west of Dolgelly. It is a double waterfall of about sixty feet.

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a.

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46 CORNELIUS VARLEY Hackney 1781-1873 London

a. Studies of Sleeping Dogs 45 Signed upper left: C. Varley July 7 1826 and inscribed HENRY THOMAS ALKEN centre right: July 7 1826 London 1785-1851 London With a study of a haycart and horse verso A Huntsman and a Hound Pencil on laid paper watermarked: SLADE/1823 3 224 x 203 mm., 8 /4 by 8 in. Watercolour over pencil heightened with bodycolour 1 1 b. At Purton, Staffordshire 239 x 335 mm., 9 /2 x 13 /4 in.

Henry Thomas Alken was the best known from a family of Signed lower right: at Purton Stafford C. Varley P.G.T. artists, most of whom specialised in hunting or racing 1820 subjects. Mallalieu describes how one of his trademarks was Black chalk 3 ‘to show his characters taking their fences with the right arm 258 x 375 mm., 10 x 14 /4 in. raised above the head, flourishing the whip’ (see Huon Mallalieu, Dictionary of British Watercolour Artists up to 1920, Provenance 2002, vol. I, p.56). Michael Ingram

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a.

b.

Varley visited Parton Hall, Staffordshire in August 1820. A Observation, exhibition catalogue, no.62, p.126). The watercolour dated 9th August was exhibited at Colnaghi inscription ‘P.G.T.' indicates the drawing was executed using in 1973 (Exhibition of Drawings and Watercolours by Varley’s Patent Graphic Telescope, a form of camera Cornelius Varley, 1973, no.98) and a drawing was with obscura, which he invented in 1809. Lowell Libson in 2005 (Cornelius Varley – the Art of

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47 ROBERT HILLS as Treasurer. He specialised in studies of animals and Islington 1769-1844 London farmyards and his work is distinctive for its ‘fuzzy’ technique. Stylistically this watercolour dates from the 1830s. A Farmyard, Godalming

Watercolour over pencil heightened with touches of 48 bodycolour GEORGE BARRET JUNIOR 1 1 314 x 420 mm., 12 /4 x 16 /2 in. London 1767-1842 London

Provenance a. A Shepherd with Sheep and Goats in a Classical Private Collection Landscape

Hills was born in Islington, north London, and entered the With partially cut off signature lower right R.A. Schools in 1788, exhibiting at the Royal Academy in Watercolour over traces of pencil heightened with 1791. He came to prominence in 1804 as one of the six stopping out and gum arabic artists who founded the Old Watercolour Society and he

exhibited almost six hundred drawings there during his 1 1 185 x 260 mm., 7 /4 x 10 /4 in. lifetime. He was the Society’s first Secretary and later served

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b.

b. Travellers on a Road in a Classical Landscape Barret Jnr was the son of a Dublin artist of the same name. He was a founder member of the Society of Painters in Signed lower centre: G Barret/1836 Water-colours in 1805 and exhibited there throughout his Watercolour life. Redgrave describes his work as follows: `He excelled 1 3 in his poetic treatments of sunrise and sunset, the effects of 313 x 428 mm., 12 /4 x 16 /4 in. moonlight and in his truly classic and poetic compositions’ (Samuel Redgrave, A Dictionary of Artists of the British School, 1878, p.26).

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49 FREDERICK NASH Nash first visited Paris in 1819 and returned again in 1824 Lambeth 1782-1856 Brighton and 1825. He is best known for his views of Paris producing ‘Picturesque Views of the City of Paris and its environs’ Notre Dame from the Pont de la Tournelle, Paris published between 1819 and 1823. This is likely to be the picture exhibited at the British Institution in 1849, no.132 as Inscribed verso: Notre Dame Paris 7 ‘View under one of the Arches of Pont Tournelle, Paris.’ Watercolour over pencil heightened with touches of bodycolour 1 283 x 438 mm., 11 x 17 /4 in.

This is a view of the Cathedral of Notre Dame from the east, taken from under the Pont de la Tournelle. The stone bridge was built in 1654 and lasted until it was demolished in 1918 and replaced by the current bridge.

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50 JOSEPH SKELTON Skelton produced engravings of both Oxford and London 1785-c.1850 London Cambridge views and also engraved a series of 154 etchings of the collection of armour at Goodrich Court in 1823. He South East View of Balliol College, Oxford was the engraver of a watercolour by Frederick Mackenzie of the same view published in 1827. Signed lower right This watercolour originally belonged to Frederick Morrell Watercolour over traces of pencil heightened with of the well known Oxford family. He was the solicitor to bodycolour the University of Oxford and trustee of the Morrell 1 1 184 x 283 mm., 7 /4 x 11 /4 in. brewery.

Provenance Frederick Joseph Morrell (1811-1882) By descent until 2016

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51 DAVID COX Birmingham 1783-1859 Birmingham

Moel Siabod, North Wales

Signed or inscribed lower left Watercolour over black chalk heightened with stopping out 3 200 x 280 mm., 7 /4 x 11 in.

Provenance with Gooden & Fox, London Private Collection

This late work dates from the 1840s or early 1850s when Cox was a regular visitor to North Wales. Moel Siabod stands 2,860 feet high and is six miles east of Snowdon and 1 2 /2 miles south-west of the village of Capel Curig.

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52 DAVID COX Birmingham 1783-1859 Birmingham

Dover Pier, Kent

Watercolour over traces of pencil heightened with bodycolour 1 134 x 232 mm., 5 /4 x 9 in.

Provenance With the Fine Art Society, London, March 1972 Private Collection

Exhibited Liverpool Art Club, David Cox, 1875

This dates from the late 1820s or early 1830s when Cox visited the South Coast a number of times and visited France in 1829 and 1832.

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53 PETER DE WINT Amelia Long and her husband Charles Long (1761-1838) Stone 1784-1849 London bought Bromley Hill House in 1801 and proceeded to enlarge the original 1760s house to their own designs and Bromley Hill, Kent improved the much-admired garden which, by 1809, had two picturesque walks, each a mile long, and a view of St Watercolour over traces of pencil Paul’s Cathedral. She was a successful amateur artist 1 1 described as Thomas Girtin’s favourite pupil. The younger 245 x 341 mm., 9 /2 x 13 /4 in. de Wint never knew Girtin but was influenced by his work as a young man at the house of Dr Thomas Monro. A Provenance woodland scene by de Wint inscribed verso ‘Bromley Hill Amelia Long, Lady Farnborough (1772-1837) 1812’ is in the Yale Center for British Art, New Haven and Amelia Long’s brother-in-law Lord Brownlow is recorded as a regular patron of de Wint (see Hammond Smith, Peter de Wint, 1982, p.190).

The gardens of Bromley Hill have long since disappeared but the house, much altered, survives as the Bromley Court Hotel on Bromley Hill.

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54 JOHN VARLEY This is a view looking south-east down the Conway estuary, Hackney 1778-1842 London or Conwy as it is now called, with the mountains of Snowdonia behind. Varley first visited North Wales in 1798 Conway Castle, North Wales and returned there throughout his life. His first exhibited view of Conway was in 1800 at the Royal Academy and his Signed lower left: J. Varley last at the Old Watercolour Society in 1833. The present watercolour is likely to date from the 1830s. Watercolour over pencil heightened with touches of bodycolour 1 1 118 x 194 mm., 4 /2 x 7 /2 in.

Provenance With J. Leger & Sons, London, June 1961

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55a 55b WILLEM HEKKING THE ELDER WILLEM HEKKING THE ELDER Amsterdam 1796-1862 Amsterdam Amsterdam 1796-1862 Amsterdam

Three Plums on a Branch An Orange

Watercolour Watercolour 3 172 x 227 mm., 6 /4 x 9 in. Inscribed van Amstelring(?) on the verso 1 235 x 178 mm., 9 /4 x 7 in. The son and pupil of the wallpaper painter and landscapist Theodorus Hekking, Willem Hekking also studied with Among comparable watercolours by the artist is a study of Anthonie van den Bosch. Although he began his career as Five Apricots on a Branch, formerly in the collection of Hans a painter of wall hangings, he became best known as a van Leeuwen and sold at auction in Amsterdam in 1999, a watercolour draughtsman and painter, exhibiting highly study of Four Plums on a Branch sold at auction in finished still life subjects of flowers and fruit in Amsterdam Amsterdam in 2000, and a watercolour of A Lemon, Fruit and Rotterdam between 1813 and 1838. Watercolours by and Blossom from the collection of Dr. Anton Dreesmann, Hekking are in the Rijksmuseum in Amsterdam, the Teylers which appeared at auction in London in 2001. Museum in Haarlem, the Museum Boijmans Van Beuningen in Rotterdam, and elsewhere.

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56 HENRY BRIGHT Saxmundham1810-1873 Ipswich

View of a Lake through an Archway

Signed with monogram lower left Coloured chalks on brown paper 1 208 x 238 mm., 8 x 9 /4 in.

Provenance Mandell’s Gallery, Norwich

Bright was a Norwich School artist who spent most of his career in London. Chalk drawings of this type are typical of his later work and this is likely to be a Continental view. He is known to have visited the Alps in 1849 and the Rhine in 1851.

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57 FRENCH SCHOOL Provenance 19th Century Hélène Boitte (according to a note on the verso) Albert van Loock, Brussels (Lugt 3751) An Artist Seated at an Easel Private collection, France Anonymous sale, Paris, Artcurial, 22 June 2011, lot 159 (as Pencil Paul Gavarni) Inscribed Dessin au crayon / extrait de l’album / de la collection / Hélène Boitte on the verso The verso of this drawing bears the stamp of the Belgian 3 3 art dealer Albert van Loock (b.1917), who worked from a 136 x 110 mm., 5 /8 x 4 /8 in. gallery on the Rue Saint-Jean in Brussels after 1949. The stamp was applied to the drawings and prints that he sold.

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58 59 Attributed to GIOVANNI JEAN SCHRANZ SAMUEL OWEN Malta 1794-1882 Malta 1768-1857 Sunbury

The Harbour, Marseille a. Shipping off the Coast in Calm Seas

Watercolour heightened with bodycolour and gum Signed lower left arabic with pen and black ink border Watercolour over pencil heightened with bodycolour 1 1 3 216 x 303 mm., 8 /2 x 12 in. 135 x 222 mm., 5 /4 x 8 /4 in.

This is likely to be by a member of the Schranz family who b. Shipping off the Dutch Coast in Rough Seas were based in Malta and produced mainly coastal views of Mediterranean towns. Signed lower centre Watercolour over pencil heightened with bodycolour 3 132 x 223 mm., 5 x 8 /4 in.

Nothing is known of Owen’s life until he exhibited a marine view at the Royal Academy in 1791. He specialised in small- scale marine and coastal views in a distinctive style reminiscent of Francia.

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a.

b.

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60 CHARLES BENTLEY London1806-1854 London

View of Hull from the South

Watercolour over traces of pencil heightened with bodycolour and stopping out 3 3 222 x 303 mm., 8 /4 x 11 /4 in.

Hull sits on the North Sea at the confluence of the Hull and Humber rivers. The spire of the medieval Hull Minster is visible to the left.

The influence of Richard Parkes Bonington is often evident in Bentley’s work. He was apprenticed to the engraver Theodore Fielding (1781-1851) until 1827 and Fielding produced plates for Bonington’s work.

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61 JOSEPH MURRAY INCE Presteigne 1806-1859 London

Boats in a Harbour at Low Tide

Signed on wall centre right: JM Ince/1847 Watercolour over pencil heightened with bodycolour and scratching out 1 203 x 343 mm., 8 x 13 /2 in.

Ince came to London in 1826 after several years as a pupil of Cox in Hereford. He exhibited at the Royal Academy and elsewhere. From the mid 1830s until his death he lived back in Presteigne in central Wales. He specialised in small scale landscapes and coastal scenes.

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62a WILLIAM CALLOW, R.W.S. Greenwich 1812-1888 Great Missenden

Dunster Castle, Somerset

Inscribed with title verso Watercolour over pencil 1 230 x 345 mm., 9 x 13 /2 in.

Provenance Manning Gallery, London

Dunster Castle sits above the village of the same name on the north Somerset coast near Minehead. Originally an eleventh century Norman castle, it has been extensively rebuilt and remodelled over the years and is now a National Trust property. For another view of Dunster Castle, dated 1847, see William Callow – An Autobiography, edited by H.M. Cundall, 1908, ill. opp. p.144.

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62b WILLIAM CALLOW, R.W.S. Greenwich 1812-1888 Great Missenden

A Watermill

Signed lower left Watercolour over pencil heightened with scratching out, stopping out and gum arabic 227 x 303 mm., 9 x 12 in.

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63a GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896 London

Old Snuff Mill, Stainton near Penrith

Signed lower right: G.A. Fripp/1840 Watercolour over traces of pencil heightened with bodycolour 1 1 220 x 342 mm., 8 /2 x 13 /2 in.

This depicts the snuff mill of William Nevinson at Eamont Bridge at Stainton, just south of Penrith. This had originally been a corn mill, then gunpowder mill, then from 1835 a snuff mill. In the mid 1930s, with snuff going out of fashion, the mill and Eamont Bridge were closed.

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63b GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896 London

View on a River, North Wales

Signed lower left: G.A. Fripp/1836 Watercolour over traces of pencil heightened with bodycolour, scratching out and stopping out and gum arabic 1 1 267 x 417 mm., 10 /2 x 16 /4 in.

Fripp was a Bristol artist, the grandson of Nicholas Pocock, and was taught to paint by James Baker Pyne and Samuel Jackson. He visited Italy with William James Muller in 1834 and moved to London in 1838.

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64 PIERRE PEYTIER He returned to France in 1836, working in the cartographic Ardèche, France 1793-1864 France section of the army. The map of Greece was published in 1852, the year he became Colonel. He compiled an album Greek Soldiers on a Hill, Greece of drawings and watercolours of Greece which stylistically closely relates to the present watercolour. This watercolour Watercolour over pencil heightened with bodycolour was discovered by the present owner in a copy of the 1971 1 book. Formerly in the Stephen Vagliano collection it was 190 x 258 mm., 7 /2 x 10 in. sold at Koller in Zurich on 24th March 2014 lot 451 for the equivalent of £220,000. Peytier was a French engineer and army officer who worked on a French expedition which organized the first cartographic study of Greece from 1829 to 1836. In 1829, Peytier and three other officers arrived in Greece to train young Greek engineers to undertake the surveying project of Corinth and the Peleponnese, a project which extended to the whole of Greece in 1833.

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65 RICHARD PRINCIPAL LEITCH Leitch was the son of the watercolour artist William Glasgow 1826-1882 Leighton Leitch (1804-1883) and took over his father’s royal pupils, including Queen Victoria, from 1859 onwards. Sampans on a Chinese Lake This watercolour probably relates to a group of Chinese views which Leitch worked up from sketches by Charles Signed lower right: R.P. LEITCH/1856 Wirgman (1822-1891) in 1857 for the Illustrated London News. Watercolour over traces of pencil heightened with bodycolour 3 228 x 324 mm., 9 x 12 /4 in.

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66 JOHN GENDALL (1763-1851). Perhaps encouraged by White, Gendall was Exeter 1790-1865 Exeter in London by 1811 working for Ackermann’s where he produced drawings to be engraved. He returned Woodcutters by Fingle Bridge, Dartmoor, Devon to Exeter in the late 1820s and moved into Mol’s Coffee House on the Cathedral Close in 1833. He lived there with Watercolour over black chalk heightened with his wife Maria and worked as a drawing teacher, carriage painter, carver and gilder. bodycolour on buff paper 3 334 x 450 mm., 13 x 17 /4 in. Fingle Bridge is a seventeenth century crossing of the river Teign in north-east Dartmoor, three miles north-west of Gendall was born in Exeter and started life as a servant to Moreton Hampstead. a barrister James White, the uncle of John White Abbott

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67 GEORGE FREDERICK PROSSER Prosser was born in London and worked in Surrey before London 1805-1882 Winchester moving to Winchester in the early 1850s. He lived and worked at no.80 High Street, Winchester, where he also The West Front of Winchester Cathedral taught drawing, and specialised in local views.

Watercolour over traces of pencil heightened with bodycolour, stopping out and gum arabic 1 401 x 292 mm., 16 x 11 /2 in.

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68 HENRY NINHAM This is a rare work by Henry Ninham, a second generation Norwich 1793-1874 Norwich Norwich School artist. He was the son of an engraver whose business he inherited. He exhibited at the Norwich View at Cromer, Norfolk Society from 1818 and specialised in Norwich street scenes. The composition of the present work, a view down Watercolour over pencil heightened with bodycolour a street with a church spire behind, is typical of his work. on wove paper watermarked: ..../1828 This may be the picture exhibited at the Norwich Society of 1 1 Artists in 1830, no.58 as ‘View at Cromer.’ An oil of this 287 x 221 mm., 11 /4 x 8 /2 in. view by Ninham with different figures is in the Castle Museum, Norwich (1969.301.2 : F). Provenance With the Clarges Gallery, Walton St, London, 1970s Anonymous sale, Sotheby’s London, 26th March 1975, lot 245

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69 EDMUND JOHN NIEMANN Pull’s Ferry is a medieval waterway on the river Wensum London 1813-1876 Brixton south of Broadgate, Norwich. It was built by monks to link a canal to the Wensum to ferry stone from France to build Pull’s Ferry, Norwich Norwich Cathedral. The watergate is 15th century and built of brick and flint. The adjoining Ferry House dates from Signed lower left: The Ferry/Norwich/Niemann 51 1647. The building became known as Pull’s Ferry after John Watercolour over pencil Pull who ran a ferry across the Wensum at this point from 1796 to 1841. 354 x 482 mm., 14 x 19 in. Niemann exhibited ‘The Fish Market, Norwich’ at the Royal Academy in 1852.

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70a MILES EDMUND COTMAN Norwich 1810-1858 Norwich

Still-Life of Boxes, Bottles, Jars and a Gavel

With a watercolour of a pupil’s work verso Inscribed verso: Still Life - a New Year gift to Brother John 1841 Watercolour over pencil 1 1 168 x 263 mm., 6 /2 x 10 /4 in.

Provenance Given by the artist to his brother John Joseph Cotman, 1841

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70b MILES EDMUND COTMAN Norwich 1810-1858 Norwich

Shipping in Rough Seas

Watercolour heightened with stopping out 1 310 x 405 mm., 12 /4 x 16 in.

Miles Edmund Cotman was the eldest son of John Sell Cotman (1782-1842) and was brought up an artist. He exhibited in London between 1835 and 1856 and succeeded his father as Drawing Master to King’s College, London. His marine scenes are very close in style to his father’s and can be difficult to tell apart. Still-lives are rare in his oeuvre.

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71a THE REV. JOHN LOUIS PETIT life to writing, speaking and drawing church architecture. Ashton-under-Lyme 1801-1868 Lichfield He became the leading voice against the fashion for neo- gothic, preferring all international styles, not just British. He Caernarvon Castle, North Wales travelled and drew throughout Europe and the Middle East, recording what he saw to demonstrate the beauty and Inscribed verso: Caernarvon Castle and with typed dignity of ‘the relics bequeathed to us’ so as to help their label I9 preservation. He never sold his work during his lifetime but exhibited his drawings at his speeches. Most were retained Watercolour over pencil by his family until the 1990s. Recent articles on the artist 1 have been written in the British Art Journal and Antique 361 x 279 mm., 14 /4 x 11 in. Collectors’ Magazine.

Provenance This was drawn on one of his first visits to the Barmouth By descent to the Tate Family area in about 1848. Seven drawings from the same group Private Collection, UK are now in the National Library of Wales. Petit would later spend more time in the area building the Chapel at The Reverend Petit studied at Trinity College, Cambridge Caerdeon, the only church he designed as an architect. and took orders in 1826. He worked as a curate at Bradfield, Essex until 1834, when he resigned to devote his

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71b THE REV. JOHN LOUIS PETIT Provenance Ashton-under-Lyme 1801-1868 Lichfield By descent to the Tate Family Private Collection, UK Conway Castle, North Wales

Inscribed verso: 3 Conway and with a typed label I13 Watercolour over pencil 3 1 348 x 271 mm., 13 /4 x 10 /2 in.

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72a THE REV. JOHN LOUIS PETIT Provenance Ashton-under-Lyme 1801-1868 Lichfield By descent to the Tate Family Private Collection, UK Brussels Cathedral, Belgium Petit made several trips to the Continent in preparation for Watercolour over traces of pencil his first book Remarks on Church Architecture of 1841, 1 including the Low Countries between 1833 and 1837. In 290 x 230 mm., 11 /4 x 9 in. Vol. II, p.165, he describes Brussels Cathedral noting the decorated style and fine tracery of the windows.

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72b THE REV. JOHN LOUIS PETIT See no.71 for a biography of the artist. Ashton-under-Lyme 1801-1868 Lichfield

The Cathedral, Pavia, Italy

Inscribed upper centre: Cathedral at Pavia and inscribed with the artist’s notes verso Watercolour 1 234 x 153 mm., 9 /4 x 6 in.

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73 EDWARD LEAR Lear spent the winter of 1864-5 in Nice. This studio work Highgate1812-1888 San Remo appears to be based on an on-the-spot sketch dated 15th January 1865, 8 to 9.30 am which was with Spink in 1992 View of Villefranche, France (see Spink, Annual Watercolour Exhibition, catalogue 1992, no.37). Villefranche-sur-Mer is three miles east of Nice and Signed lower left: Villefranche./Edwd Lear. del. has one of the deepest natural harbours in the Pen and brown ink and watercolour over traces of Mediterranean. This view, taken from the west near Mount Boron, shows the fortified old town. pencil 155 x 230 mm., 6 x 9 in.

Provenance With Spink, London, where bought by the present owners

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74 THÉODORE VALÉRIO draughtsman, he produced landscapes, genre scenes and Herserange 1819-1879 Vichy military subjects. He was an inveterate traveller, and in the 1840s and 1850s made extensive tours of Italy, Switzerland, Three Studies of an Italian Peasant Woman Germany, Austria, Hungary and Romania, as well as the Balkans and Turkey. He made numerous studies of the exotic costumes of the people he saw on his travels, as well Pencil, brush and brown ink and brown wash, with as genre scenes, and many of these were published in the touches of watercolour and heightened with white form of albums of lithographs or etchings. During the gouache, on light brown paper Crimean War Valério was attached to the Ottoman army of 1 3 285 x 427 mm., 11 ⁄4 x 16 ⁄4 in. Omar Pasha, and produced numerous drawings and watercolours of the conflict, notably the siege of Sebastopol. Provenance Valério exhibited at the Paris Salons between 1838 and Among the contents of the artist’s studio at the time of his 1879, and also showed a large group of watercolours at the death Exposition Universelle in Paris in 1855, to considerable The Valério studio sale (Lugt 2476), Paris, Hôtel Drouot, acclaim. He spent much of his later years in Brittany, which 12-14 February 1880 he had first visited in 1843, and also spent some time in England before his death in 1879. Of Italian origins, Théodore Valério was born in the Moselle region of France and entered the studio of Nicolas-Toussaint A study of a seated Italian peasant, very close in style to Charlet in 1834. The two artists soon became friends, and the present sheet, was included in an exhibition of some in 1836 travelled together on a sketching tour of Germany, seventy drawings by Valério, shown in Paris in 1980. Switzerland and Italy. Active as a painter, engraver and

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75 EDWARD LEAR This dates from Lear’s tour of Sicily in April and May 1842. Highgate1812-1888 San Remo He had left England in late 1837 and was mainly based in Rome until 1848. He visited Sicily with two pupils, Leopold The Temples at Agrigento,Sicily Acland, son of Sir Thomas Acland, and a nephew of Sir Stamford Raffles. Inscribed lower left: Girgenti 4. May 1842 and He returned to Sicily in 1847 and wrote about Agrigento variously inscribed with colour notes and inscribed (or Girgenti as it was known) to his sister Ann: ‘Nothing of verso: 64./Long./Lowest earth can be so beautiful as Girgenti with its 6 Temples –I Black chalk and pencil on buff paper speak of the old town – & the flowers & birds are beyond 1 182 x 419 mm., 7 x 16 /2 in. imagination’ (Letter to Ann, 23rd May 1847).

Provenance Private Collection, New York until 2017

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76 EDWARD LEAR easy, but ‘the effect of this causeway in the middle of wide Highgate1812-1888 San Remo waters is singular, (great lines and circles of Pelicans, –& groups of Ivory Egrets) & were one sure of quiet, there is The Pyramids, Egypt much poetry in the Scene, but it wants thought and arrangement.’ Inscribed under mount: Pyramids of Ghizeh Feeling unwell, Lear postponed his Indian trip and returned Signed with monogram lower right home to San Remo where he began work on the two oils Watercolour over pencil heightened with white in the summer of 1873. On July 1st, he realized that the 3 Image 105 x 201 mm., 4 x 7 /4 in. pelicans in the foreground were too large, and ‘half the day went in painting out & scraping out all the birds’. By the This studio work dates from the mid 1870s and relates to middle of September both pictures were finished however, an oil commissioned by Lear’s friend and patron Lord and the following month he left once more for India. Northbrook. Northbrook was appointed Viceroy of India in early 1872 and invited Lear to join him in India at the same This watercolour relates to the oil painted for Lord time as commissioning two paintings of the Pyramids. Lear Northbrook titled ‘The Pyramids of Ghizeh’ with the same stopped in Cairo for a few days in October 1872 on his viewpoint as well as the pelicans in the foreground. The oil way to India exploring possible views. Pestered by locals was sold at Christie’s New York on 20th October 2005, lot and high winds which destroyed the reflections and plagued 16 for $284,000. by midges, he did not find work on the preliminary drawings

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77 CHRISTIAN MØLSTED the opportunity to travel to Paris to study developments in Dragør 1862-1930 Dragør contemporary art in France. Mølsted first exhibited his work in 1884, and five years later won a prize for a painting Coastal Scene at Rubjerg Knude, on Vendsyssel, of Ships in the Harbour at Larsens Plads, Copenhagen. He soon established a reputation for historically accurate Denmark depictions of naval battles from Danish history; the most famous of his works in this vein was a painting of The Frigate Watercolour and gouache, over a pencil Niels Juel at the Battle of Heligoland, painted in 1898 and underdrawing recording a naval engagement that had taken place in 1864. Signed and dated Chr: Mølsted. 1888. at the lower Mølsted also earned several official state commissions for left paintings of scenes from Danish naval history. The artist’s Signed and inscribed Rubjergknude a Vendsyssel. / studio in his home town of Dragør is now a museum sildig Eftermittag. / Chr Molsted. / St: Anna Plads devoted to his work. No.3. den 15/3 88. on the verso Mølsted mainly painted views on the coast near Further inscribed Chr Molsted. / St: Anna Plads No.3. Copenhagen or on the Jutland peninsula. Dated the 15th and Rubjergknude a Vendsyssel on the old backing of March 1888, the present sheet was drawn, as the artist board has noted on the verso, late one afternoon (‘sildig 3 1 415 x 624 mm., 16 /8 x 24 /2 in. Eftermittag’), and depicts a view of the coast at Rubjerg Knude, on the island of Vendyssel at the northern end of The son of a fisherman, the Danish artist Christian Mølsted Jutland. In 1900 a lighthouse was built on this spot, but by was a marine and genre painter. In 1880, following a stint on 1968 a combination of shifting sands and coastal erosion a Danish frigate, he entered the Royal Danish Academy of led to the light no longer being visible from the sea, and it Fine Arts, where he spent four years, although he also took ceased operation.

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78 EUGÈNE EMMANUEL VIOLLET-LE-DUC outstanding draughtsman, his watercolours of buildings and Paris 1814-1879 Lausanne interiors are some of the most beautiful examples of architectural draughtsmanship of the 19th century. View near Handeck, Switzerland Dated the 19th of June 1875, this watercolour depicts a view near the Swiss alpine village of Handeck (or Handegg). Watercolour heightened with gouache, on blue Viollet-le-Duc had a lifelong interest in the topography and paper geology of the mountains and glaciers of the French and Inscribed and dated au dessus / d’ handek / 19 juin Swiss Alps. Beginning in 1868, and in particular between 75 at the lower right 1871 and 1876, he spent many weeks climbing and hiking 3 7 274 x 378 mm., 10 /4 x 14 /8 in. in the Alps. As has been noted of the artist, ‘mountaineering counted among his greatest pleasures, a form of physical and Provenance mental exercise that grew compulsive by the late 1870s. The studio of the artist (Lugt 2494a) Above all, he took refuge in the mountains to liberate himself from the claustrophobic Parisian scene.’ Viollet-le-Duc An architect and restorer of medieval buildings, as well as a produced numerous drawings and watercolours of alpine painter, watercolourist and illustrator, Eugène Viollet-le-Duc subjects; among comparable late watercolours is a view of is best known for his reconstruction and renovation of The Chamonix Valley with the Aiguilles Rouges Massif, dated Gothic buildings and churches throughout France. An 1877, sold at auction in France in 2015.

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79a JAMES THOMAS LINNELL James Thomas Linnell was the son of John Linnell (1792- London 1823-1905 1882) and studied at the Royal Academy Schools with his brothers John and William, but he was the most talented of On the old Road from Beddgelert to Ffestiniog, North his siblings. He exhibited at the Royal Academy between Wales 1850 and 1888, initially biblical subjects and later on, landscapes. Inscribed with title lower centre: On the old Road from Beddgelert to Ffestiniog Coloured chalks on brown paper 1 203 x 135 mm., 8 x 5 /4 in.

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79b JAMES THOMAS LINNELL London 1823-1905

Near Ffestiniog, North Wales

Inscribed with title lower centre: Near Ffestiniog Black and white chalk on brown paper 3 3 200 x 147 mm., 7 /4 x 5 /4 in.

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80 EDWIN JOHN ALEXANDER, R.S.A., R.W.S., Crawhall, whose work was to prove highly influential on his R.S.W. own style. In 1892, following a period of study in Paris, he Edinburgh 1870-1926 Edinburgh(?) travelled to Egypt, where he remained until 1896. Living on a houseboat on the Nile, he made watercolours of Grasses and a Small Heath Butterfly Bedouin encampments and animals, as well as desert landscapes and studies of grasses along the Nile. Alexander Watercolour, heightened with gouache, on coarse eventually settled on the west coast of Scotland, and became known for his animal and bird paintings, as well as grey paper washed brown for delicate studies of flowers and grasses, inspired by the Signed with the artist’s initials E A at the lower left restrained manner of Crawhall’s work and Japanese 3 3 349 x 222 mm., 13 /4 x 8 /4 in. woodcuts. He had a preference for unusual materials in his drawings, often working on rough paper or cardboard, as Edwin Alexander studied at the Edinburgh School of Art, well as silk or linen. He produced little work after 1917, and in 1887 visited Morocco with the painter Joseph when he suffered a stroke.

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81 JEAN-GEORGES HUYOT, provided illustrations for such periodicals as L’Estampe and CALLED GEORGE AURIOL L’Affiche and the publishers Hachette and Larousse. His love Beauvais 1863-1938 Paris of flowers as decorative motifs found its way into many of his designs for lithographic illustrations, posters, sheet music covers, theatre programmes, menus and advertisements. Breton Landscape: Design for a Fan Around 1901 Auriol began working as a typographer, designing a number of Art Nouveau-inspired fonts and Watercolour, over an underdrawing in pencil typefaces, of which the most famous – named ‘Auriol’ after Signed with the artist’s monogram GA near the the artist – was used for the signage on the stations of the lower right Paris Métro. He also published three books of designs à la Inscribed Georges / Auriol / Bretagne (?) du marais(?) / Japonaise for stamps and monograms. Indeed, such was the (?) 150- at the lower right influence of Japanese art on his work that the contemporary 3 3 173 x 450 mm., 6 /4 x 17 /4 in. [image] at greatest art critic and writer Arsène Alexandre referred to the artist dimensions as ‘Un Japonais de Paris’. Auriol ended his career as a teacher 3 1 of drawing at the Ecole Estienne, where he was employed 325 x 495 mm., 12 /4 x 19 /2 in. [sheet] from 1924 onwards. An artist, typographer, critic, poet, composer and singer This view in Brittany is one of a handful of watercolours who worked under the pseudonym George Auriol, Jean- drawn by Auriol as designs for fans, and displays the Georges Huyot began his career as a writer, and in 1885 influence of the colour woodcuts and lithographs of Breton became the editor of the satirical journal Le Chat Noir, scenes produced by his close friend and teacher Henri which was closely associated with the Montmartre cabaret Rivière, which were in turn inspired by Japanese prints. The of the same name. Auriol composed a number of songs for particular form of the artist’s monogram, stamped in red ink the Chat Noir, where he befriended the artists Henri at the lower left, was used by Auriol between 1899 and his Rivière and Théophile-Alexandre Steinlen, as well as the death. satirist and political cartoonist Caran d’Ache. He also

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82a LOUIS HAYET Louis Hayet worked mainly as a commercial artist and a Pontoise 1864-1940 Cormeilles-en-Parisis painter of stage sets, and only occasionally found time to paint for pleasure. Indeed, he spent most of his career A Tugboat on the Quai Bucherelle, Pontoise struggling for success as a painter, and was always forced to make a living in other ways. He began working in a pointillist manner in the late 1880s, and exhibited for the Watercolour over a pencil underdrawing, drawn on first time in 1899, at the Salon des Indépendants. His a page from a small sketchbook output as a painter fluctuated depending on whether he A faint sketch of boats in pencil on the verso had the time and resources to work, and there were often Numbered 19 in pencil at the lower right periods of several months or years when he painted very 3 1 118 x 182 mm., 4 /8 x 7 /8 in. little. By the 1920s Hayet was almost completely forgotten, and in the early 1930s, suffering from poor health, had Provenance largely ceased to paint. Dr. Jean Sutter, Paris (Lugt 3542) His sale, Paris, Hôtel Drouot, 15 May 2001, lot 63 Hayet chose for his subjects Parisian street scenes, café Alain and Ginette Lesieutre, Paris. interiors, musical performances, and circuses, as well as landscapes and portraits. It has been estimated that he Literature produced around 100 and 150 drawings and pastels, some Guy Dulon and Christophe Duvivier, Louis Hayet 1864- 200 watercolours and gouaches, and between 400 and 500 1940: Peintre et théoricien du Néo-impressionnisme, paintings, mostly of small dimensions. However, it is thought Pontoise, 1991, illustrated p.43 that about half of Hayet’s total output is lost.

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82b Literature LOUIS HAYET Guy Dulon and Christophe Duvivier, Louis Hayet 1864- Pontoise 1864-1940 Cormeilles-en-Parisis 1940: Peintre et théoricien du Néo-impressionnisme, Pontoise, 1991, illustrated p.46. Gas Lamps These two drawings belong with a small group of Impressionistic watercolours that are datable to the early Watercolour and pencil, drawn on a page from a years of Hayet’s career, between 1883 and 1887. Both small sketchbook watercolours once belonged to the art historian Jean Sutter, Numbered 16 in pencil at the lower right who published several books on Neo-Impressionism. 1 3 182 x 118 mm., 7 /8 x 4 /8 in. Sutter owned numerous paintings and drawings by Hayet, of whom he prepared a manuscript catalogue raisonné, Provenance which was never published. Both of these watercolours Dr. Jean Sutter, Paris (Lugt 3542) were included in the exhibition Louis Hayet, oeuvres néo- His sale, Paris, Hôtel Drouot, 15 May 2001, lot 123 impressionnistes de 1885 à 1895, held at the Musée Tavet Alain and Ginette Lesieutre, Paris in Pontoise in 1991.

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83 GEORGES CLAIRIN for the foyer of the Opéra in Paris, painted in 1874, as well Paris 1843-1919 Belle-Îsle-en-Mer as the Bourse de Commerce, the Sorbonne and the Hôtel de Ville. A popular member of artistic society in Belle The Venetian Lagoon Epoque Paris, Clairin was associated with an elegant crowd of socialites, writers, actors, artists and musicians. He was best known for his numerous paintings of the actress Sarah Watercolour, heightened with gouache, over traces Bernhardt, who was a close friend. of a pencil underdrawing, on buff paper laid down on board Clairin produced a handful of paintings and watercolours set Signed and dedicated à mon oncle Al. Clairin / souvenir in Venice, mostly depictions of elegant genre scenes and d’amitie - / G Clairin at the lower right festival subjects. This sizeable sheet may be compared to a 5 345 x 534 mm., 3 /8 x 21 in. (image) large watercolour of Ships at a Quayside, drawn in 1891 5 1 370 x 540 mm., 14 /8 x 21 /4 in. (sheet) when the artist was in Venice as the guest of Princesse Edmond de Polignac, recently with Stephen Ongpin Fine Provenance Art and today in a private American collection. A similar Given by the artist to his uncle large watercolour view of boats on a quay in Venice, dated 1892 and dedicated by the artist to Charles Garnier, the Apart from the easel pictures and illustrations for which he architect of the Opéra, was on the art market in France in was highly regarded, Georges Clairin received a number of 2004 and 2012. important public commissions, notably the ceiling painting

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84 THOMAS MATTHEW ROOKE, R.W.S. Rooke was a regular visitor to Northern France, and Marylebone 1842-1942 Northampton especially Chartres, recording old buildings for John Ruskin for whom he worked between 1878 and 1893. He also A Gate leading to the North Transept of Chartres worked for Morris & Co. and especially Burne-Jones. Cathedral, France

Signed with initials lower right: TMR/CHARTRES/1894 Watercolour over traces of pencil 1 1 494 x 237 mm., 19 /4 x 9 /4 in.

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85 FRANZ WALDRAFF décorateur Clément Mère, and the two artists soon began Tuttlingen 1878-1961 Nice working in partnership. Mère produced furniture and objects in wood, ivory and precious metals after Waldraff’s Design for a Stained Glass Decoration, with a Pair of designs or decorated by him. Waldraff also designed silk Peacocks in a Garden brocades that were manufactured in Lyon for Parisian fashion houses, as well as designs for stained glass panels, Gouache and watercolour, over pen and black ink, such as the present sheet. with framing lines in yellow watercolour In the first quarter of the 20th century, Waldraff collaborated Signed FWff. at the lower right with the leading glass painter Félix Gaudin. At the Salon de 3 3 172 x 214 mm., 6 /4 x 8 /8 in. la Société Nationale des Beaux-Arts in Paris in 1906, Gaudin exhibited a stained glass panel decoration, designed by The German decorative painter, designer and illustrator Waldraff, entitled Les paons (The Peacocks), for which the Franz Waldraff studied in Düsseldorf before moving to Paris present sheet is a preparatory study. The glass panel has in 1902. He exhibited at the Salons between 1903 and been lost or destroyed, but is recorded in an old 1909, and at the Salons of the Société des artistes photograph, as is a maquette for the same work by Waldraff. décorateurs between 1910 and 1914. At the gallery La The decoration, made up of nine panels, was intended for Maison Moderne he met the French designer and peintre- the residence of a Sr. Cousino of Santiago, Chile.

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86 FRANÇOIS CLÉMENT SOMMIER, CALLED HENRY SOMM Rouen 1844-1907 Paris

Wildflowers at the Base of a Tree

Watercolour Signed with the artist’s initials H. S at the lower right 7 1 198 x 139 mm., 7 /8 x 5 /2 in.

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87a FREDERICK ARTHUR BRIDGMAN One of the foremost American Orientalist painters, Tuskegee 1847-1928 Rouen Frederick Bridgman was born in Alabama and began his career as an engraver of banknotes, while at the same time Study of a Tree studying at the Brooklyn Art School and the National Academy of Design in New York. In 1866 he won a travel scholarship to study in Paris, where he completed his Pencil and watercolour training with the Orientalist painter Jean-Léon Gérôme. Stamped with the Bridgman studio stamp Atelier F. Bridgman made his Salon debut in 1868, and was to spend A. BRIDGMAN / NICE 1954 (not in Lugt) at the the rest of his life and career in France. He spent some time lower right among the colony of artists at Pont-Aven in Brittany and 7 250 x 306 mm., 9 /8 x 12 in. visited the Pyrenees before undertaking the first of several trips to North Africa and Egypt. In 1873 he made a voyage up the Nile, as far as the Second Cataract, that was to provide him with inspiration for a series of major Orientalist paintings for the next few years. From this time onwards he worked almost exclusively as a painter of Orientalist subjects, and returned almost every year in the 1870s and 1880s to Algeria and Egypt.

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87b FREDERIC ARTHUR BRIDGMAN Bridgman became a highly fashionable and successful artist Tuskegee 1847-1928 Rouen in Paris, keeping two studios and exhibiting frequently at the annual Salons, where he won a number of medals and Interior prizes, as well as in London and America, with which he retained close ties. An exhibition of over three hundred of his works at the American Art Gallery in New York in 1881, Pencil on paper; a page from a sketchbook which included both finished paintings and studies, was Inscribed and dated Thorne(?) / 3 Sept. 1904 at the much admired by critics, and found the artist at the height lower right of his fame and popularity in his native country. Bridgman’s Further illegibly inscribed in pencil on the arch at the illustrated book, Winters in Algeria, was published in 1890, upper left and in the same year a major retrospective exhibition of his Stamped with the studio stamp Atelier F. A. work, numbering around four hundred works, was held in BRIDGMAN / NICE 1954 (not in Lugt) at the lower New York and Chicago. right 1 1 183 x 236 mm., 7 /4 x 9 /4 in.

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88 HIPPOLYTE PETITJEAN Among the Neo-Impressionist painter Hippolyte Petitjean’s Mâcon 1854-1929 Paris most distinctive and original works were his vibrant pointillist watercolours, which were often made as independent The Wave works of art, and of which the present sheet is a fine example. The range and variety of Petitjean’s watercolours were only rediscovered several years after his death, at a Watercolour on buff paper centenary exhibition of his work held in Paris in 1955. A 3 7 323 x 250 mm., 12 /4 x 9 /8 in. comparable watercolour study of waves by the artist is in the Princeton University Art Museum. Provenance The studio of the artist (Lugt 2022c)

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89 ANDRÉ DERAIN André Derain remains best known today for his avant-garde Chatou 1880-1954 Garches work as a painter between 1900 and 1914, and in particular for his significant contribution to the short-lived movement Study of Flowers known as Fauvism. Similar watercolour studies of flowers are found in a small sketchbook of over three hundred pages used by Derain between 1903 and 1907, today in Watercolour on buff paper the collection of the Musée National d’Art Moderne in Paris. A fragment of a nude study in red chalk on the verso The present sheet was part of a group of some 4,200 Stamped with the Knaublich Derain collection sale drawings by Derain, sold at auction in France in 2002, which stamp (not in Lugt) at the lower right centre belonged to the artist’s illegitimate son, André Charlemagne 1 1 233 x 334 mm., 9 /8 x 13 /8 in. [sheet] Derain, known as ‘Boby’ (1939-1996). Recognized by his father and ‘adopted’ by the artist’s wife Alice, Boby inherited Provenance some three-quarters of the contents of Derain’s studio at By descent to the artist’s son, André Charlemagne (‘Boby’) the time of the artist’s death in 1954. Following Boby’s Derain, Paris death in 1996, the collection passed to his mother (and His mother, Mme. Raymonde Knaublich, Paris Derain’s model and mistress) Raymonde Knaublich, who Her posthumous sale, Saint-Germain-en-Laye, 23-24 died in 2001. March 2002

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90a GISBERT COMBAZ The leading Belgian Art Nouveau artist, Gisbert Combaz Antwerp 1869-1941 Saint-Gilles studied briefly at the Académie des Beaux-Arts in Brussels. He was much influenced by the work of the Belgian Orchids and a Butterfly artististic and literary group known as Les XX, and exhibited with the group’s successor, La Libre Esthétique from 1897 onwards, designing many of its exhibition posters. Known Pen and black ink and watercolour, on buff paper laid mainly for his poster designs and postcards, Combaz was down on board also active as a painter, lithographer, illustrator and furniture Signed with the artist’s monogram and dated 1912 at designer, and was a leading scholar of Oriental art. Yet the lower right although he exhibited between 1897 and 1914 at La Libre 7 433 x 582 mm., 17 x 22 /8 in. Esthétique, Combaz was never given a one-man show during his career, and only one brief article about his work Provenance was published in his lifetime. For over forty years Combaz Louis and Berthe Wittamer-De Camps, Brussels taught decorative composition at the Ecole des Arts Industriels et Décoratifs in Ixelles, and later at the Académie Literature des Beaux-Arts in Brussels, where among his pupils was Yolande Oostens-Wittamer, La Belle Epoque: Masterworks René Magritte. by Combaz, Léo Jo and Livemont, San Francisco and elsewhere, 1980-1981, p.34, no.37

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90b GISBERT COMBAZ These flower studies were executed in 1911 and 1912 and Antwerp 1869-1941 Saint-Gilles are signed with the artist’s late monogram. During this period Combaz was consistently producing works with a Wisteria pronounced Oriental influence, reminiscent in style of his work from before the turn of the century. The painterly style of these large-scale floral watercolours stylistically Pen and black ink and watercolour, on buff paper mirrors such posters of the same period as one for the laid down on board exhibition Les art anciens du Hainaut, Salon d’art moderne in Signed with the artist’s monogram and dated Charleroi, published in 1911. 1911(?) at the lower left 7 433 x 583 mm., 17 x 22 /8 in. These two watercolours were part of the remarkable collection of late 19th and early 20th century Belgian graphic Provenance art assembled by Louis and Berthe Wittamer-De Camps, Louis and Berthe Wittamer-De Camps, Brussels the owners of the town house known as the Hôtel Solvay on the Avenue Louise in Brussels. A masterpiece of Belgian Literature Art Nouveau architecture and interior decoration, the Hôtel Yolande Oostens-Wittamer, La Belle Epoque: Masterworks Solvay was the work of the architect and designer Victor by Combaz, Léo Jo and Livemont, San Francisco and Horta, and was built between 1895 and 1900. The house elsewhere, 1980-1981, p.35, no.40 was acquired by the Wittamer family in the 1950s and remains a private home today, with its unique furnishings intact. Berthe Wittamer was a pupil of Combaz, and she and her husband became keen collectors of his work.

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91 SIR WILLIAM RUSSELL FLINT, R.A., P.R.W.S. Exhibited Edinburgh 1880-1969 London London, The Fine Art Society, An Exhibition of Water Colours of Italy, Sicily, and Scotland by W. Russell Flint, February 1914, Perthshire Hillside in Autumn no.28 William Russell Flint was always particularly fond of the Watercolour scenery of his native Scotland. As his biographer has noted Signed and dated W. RUSSELL FLINT 1913 at the of the artist, ‘The dark, rich landscape of Scotland is what he lower right likes best to render; and after Scotland, Spain, and next in Titled and inscribed Perthshire Hillside in Autumn / W order Southern France.’ The artist himself has noted that ‘I Russell Flint / 12 Bedford Road / Bedford Park on the suppose I have painted more Scottish landscapes than old backing board anything else; and I never paint anything with greater 7 1 pleasure...We once spent a glorious autumn in the Highlands, 276 x 384 mm., 10 /8 x 15 /8 in. six weeks of perfect painting weather from the start of October Provenance to mid-November. The trees, rowan, beech, birch and oak, The Fine Art Society, London, in 1914 became more and more autumnal till all was a blaze of The Print Rooms, Los Angeles vermilion and gold...A lot of work was done there: I think I Erwin H. Furman, Los Angeles painted forty water-colours.’ Flint first exhibited a number of Private collection Highland watercolours in his second one-man show, at the Fine Art Society in 1911.

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92 VICENTE BORRÁS Y ABELLA A painter and art restorer, Vicente Borrás y Abella received Valencia 1867-1945 Barcelona his initial training from his father, Vicente Borrás y Mompo, before enrolling at the Escuela de Bellas Artes in Barcelona, The Head of a Young Woman Looking Down where he was later to become a professor. He painted genre scenes, portraits, landscapes, seascapes and interiors; works characterized by a strong luminosity and vibrant Charcoal, with touches of red chalk, on buff paper colours. He won several awards at exhibitions in Spain The sheet irregularly trimmed at the left and right during his career, as well as a second prize medal at the edges and backed Exposition Universelle in Paris in 1900. Borrás y Abella was Signed and dated Borras Abella / 1908 at the lower also a skilled conservator, and worked for several Spanish right museums and collectors. 5 1 499 x 434 mm., 19 /8 x 17 /8 in.

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93 VINCENZO IROLLI A gifted painter and draughtsman, the Neapolitan artist Naples 1860-1949 Naples Vincenzo Irolli made a particular speciality of genre paintings, as well as depictions of mothers and their babies, The Head of a Young Girl young Neapolitan girls, portraits, still life subjects and some religious scenes. He exhibited widely throughout Italy, as Oil on panel well as in Barcelona, Berlin, London, Munich and Paris, well Signed V. Irolli at the lower left into the 20th century. As one American reviewer of the Venice Biennale of 1920 noted, ‘We notice also with great Signed and dedicated [illegible] Amico(?) / Salvatore pleasure the interiors and figure studies of Vincenzo Irolli, warm Petruolo / affettuosamente / V. Irolli / 29.6.941 on the in color and full of light.’ Irolli’s paintings came to be much reverse in demand among Neapolitan collectors, as well as with art Further inscribed Dono al Capitano / Sig.re Giovanni de dealers and collectors in France, England and Germany. Gaudio / 14 9bre 1942 S. Petruolo on the reverse 7 1 303 x 240 mm., 11 /8 x 9 /2 in. This small, spirited oil sketch, executed with the bravura brushwork characteristic of Irolli’s technique, bears on the Provenance reverse a dedication from the artist to the Neapolitan Given by the artist to Salvatore Petruolo, Naples, in 1941 landscape painter Salvatore Petruolo (1857-1942). Given by Petruolo to Giovanni de Gaudio in 1942

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94a BERNARD BOUTET DE MONVEL Bernard Boutet de Monvel is regarded as one of the finest Paris 1881-1949 near the Azores painters, printmakers and illustrators of the Art Deco era. Beginning in the late 1890s, when he was still a teenager, his An Inebriated, Elegantly Dressed Man Attempting to remarkable colour etchings first established the young artist’s reputation. In the 1920s he received numerous Fit a Key into a Door Lock commissions for portraits and wall panels to decorate the homes of wealthy clients. Boutet de Monvel also produced Pencil on papier calque illustrations for such magazines as the Gazette du Bon Ton, Stamped with the artist’s posthumous studio stamp La Vie Parisienne, Fémina, Le Journal des Dames et de Modes (not in Lugt) at the lower right and Le Rire, as well as Harper’s Bazaar and Vogue. A frequent 7 3 352 x 196 mm., 13 /8 x 7 /4 in. exhibitor at the Salons in Paris, showing portraits, landscapes and nudes, Boutet de Monvel died in a plane crash near the Provenance Azores in 1949. By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris

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94b BERNARD BOUTET DE MONVEL The present sheet is a study for an illustration in the short Paris 1881-1949 near the Azores story ‘Deuil’ (‘Mourning’), written by the artist’s brother Roger Boutet de Monvel and published in the Gazette du Three Men Drinking Bon Ton in October 1920. This illustration appears at the end of the piece.

Pen and black ink, over a pencil underdrawing, on Founded by Lucien Vogel in 1911 and first published in papier calque 1912, the Gazette du Bon Ton was an monthly illustrated Stamped with the artist’s posthumous studio stamp magazine devoted to fashion, elegance and art. Publication (not in Lugt) at the lower right was suspended in August 1914, with the outbreak of war, 1 1 159 x 185 mm., 6 /4 x 7 /4 in. and resumed in January 1920. Boutet de Monvel had a long association with the magazine, for which he provided Provenance numeorus vignettes and illustrations. Among the other By descent to the artist’s daughter, Sylvie Boutet de Monvel, artists employed in producing illustrations for the Gazette Paris du Bon Ton were George Barbier, Pierre Brissaud, Georges Lepape, Charles Martin and André-Edouard Marty.

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94c BERNARD BOUTET DE MONVEL Provenance Paris 1881-1949 near the Azores Among the contents of the artist’s studio in Paris at the time of his death A Horse and Carriage By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris

Pen and black ink, over a pencil underdrawing, on A similar image, but with the seated footman facing forward, papier calque appears as an illustration in the article ‘de quelques attributs Squared for transfer in pencil masculins’, written by the artist’s brother Roger Boutet de Signed with the artist’s monogram BMB at the lower Monvel and published in the Gazette du Bon Ton in right November 1920. Inscribed Paris(?) en 1920 at the top left Variously numbered and inscribed 5-6 and 596-6-3, Dec. 1-28-20 / 1460C / Vogue on the verso 1 3 135 x 186 mm., 5 /4 x 7 /8 in.

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94d BERNARD BOUTET DE MONVEL The standing woman at the left of the present sheet is Paris 1881-1949 near the Azores closely related to a fashion illustration by Boutet de Monvel, depicting a woman wearing an evening dress designed by An Elegantly Dressed Standing Woman Observed by the House of Worth, published in the June 1920 issue of the Gazette du Bon Ton. Founded in Paris in 1858 by the English Two Men in a Carriage couturier Charles Frederick Worth, the House of Worth was soon established among the leading houses of high fashion Pen and black ink, over a pencil underdrawing, on in Paris, a position it retained well into the 20th century. papier calque Stamped with the artist’s posthumous studio stamp As the Boutet de Monvel scholar Stéphane-Jacques Addade (not in Lugt) at the lower right. has noted of the artist’s illustrations for the Gazette du Bon 1 3 129 x 187 mm., 5 /8 x 7 /8 in. Ton, ‘Boutet de Monvel’s work...was striking for the pared back and rectilinear qualities that were so characteristic of the Provenance sleekness of his style. In place of sinuous curves, elaborate By descent to the artist’s daughter, Sylvie Boutet de Monvel, volutes and glistening golds, he preferred the pure, controlled Paris lines of a pale outline...This productive economy of means led him to also make color subordinate to line.’

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94e BERNARD BOUTET DE MONVEL Provenance Paris 1881-1949 near the Azores Among the contents of the artist’s studio in Paris at the time of his death A Recumbent Woman and a Standing Man By descent to the artist’s daughter, Sylvie Boutet de Monvel, Paris.

Pen and black ink, over a pencil underdrawing, on The scene seems to show a man criticizing a woman for papier calque, laid down sitting on the foor in an unladylike manner, and the Signed with the artist’s monogram BMB at the inscription at the bottom of the sheet may loosely be lower right translated as ‘The posture in which the unhappy woman had Numbered 4 and inscribed La posture dans laquelle placed herself nevertheless offered something revolting.’ s’était mise la malheureuse n’en / offrait pas moins quelque chose de révoltant. in pencil at the bottom 3 3 187 x 265 mm., 7 /8 x 10 /8 in.

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95a HENRY LAMB, R.A. Adelaide, Australia 1885-1960 Salisbury

Study of a Sleeping Woman

Signed upper right: H. Lamb Pencil 3 197 x 203 mm., 7 /4 x 8 in.

This may be a study of Lamb’s first wife Euphemia whom he married in 1906. Their marriage was stormy and they soon separated. However this highly finished drawing is more typical of Lamb’s work of the 1920s or 1930s and this study is evidently of a sitter with whom he was intimate.

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95b HENRY LAMB, R.A. Adelaide, Australia 1885-1960 Salisbury

Study of the Head of a Man

Red chalk 230 x 177 mm., 9 x 7 in.

This late portrait study is likely to date from the 1950s.

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96 PAUL CADMUS Provenance New York 1904-1999 Weston, Connecticut Palm Beach Galleries, Palm Beach, Florida Private collection, Los Angeles Vermont Waterfall No.1 The American artist Paul Cadmus was, from early in his career, recognized as a gifted draughtsman, and throughout Coloured chalks on blue-green paper his life evinced a particular preference for toned paper. In Signed Cadmus at the lower right the 1940s, when his friend and sometime lover Jared Inscribed VERMONT WATERFALL / #1 / CADMUS / French and his wife Margaret bought a summer house in 1 3 12 /2 x 8 /4 on the old backing board the town of Hartland in Vermont, Cadmus was given his 7 3 328 x 234 mm., 12 /8 x 8 /4 in. own house on the property, and the present sheet is likely to have been drawn at around this time.

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97 JOHN MINTON In both his painted and drawn portraits, he often chose to Great Shelford 1917-1957 London depict his subjects seated and seen from a high vantage point. As one scholar has noted, Minton ‘formed a personal lexicon which was largely concerned with the male figure, Portrait of a Seated Young Man whether in landscape and urban settings, or in sensitive portraits of friends, students and lovers...Minton depicted Pen and two shades of brown ink many of his sitters in the same wooden Oxford Windsor Chair, Signed and dated John Minton 1950 at the upper with a high back and arm rests that enabled them to rest right comfortably with their hands in their lap...These are not 1 382 x 281 mm., 15 x 11 /8 in. ‘heroic’ portraits concerned with conveying the outward masculinity of the sitters, but instead posses a quietness and Provenance intimacy which convey the sense of an inner reverie.’ Piccadilly Gallery, London, in 1958 Acquired from them by Charles Ribon in December 1958 The present sheet is likely to depict one of a group of young Private collection, Canada art students at the Royal College of Art who gathered around the inspiring figure of Minton and became known John Minton’s portrait studies in pen and ink –‘superb as ‘Johnny’s Circus’. The drawing may be a first idea for a examples at their best of unforced draughtsmanship’, in the more finished pen and ink portrait drawing of what appears words of one critic – are among the finest of his drawings. to be the same sitter, which appeared at auction in 1997.

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98 DAVID R. THOMAS years showed regularly at the Summer Exhibitions at the London 1916-1990 London(?) Royal Academy. Active as a topographical artist, Thomas painted views of London, Rome, Venice, Jerusalem and From Saint Bride’s Istanbul. In 1983 an exhibition of his work was mounted at the Guildhall Art Gallery in London, whose collection Watercolour and gouache, over a pencil includes the artist’s largest work, a sixteen-foot wide view of London from the Top of the Shell Centre, painted in 1968. underdrawing Other views of the city by Thomas are in the Government Titled, signed and dated FROM SAINT BRIDES / Art Collection, including a large watercolour of Waterloo DAVID THOMAS / AD.1960. at the lower right Bridge and the Thames from St. Bride’s. 3 1 426 x 642 mm., 16 /4 x 25 /4 in. [image] This very large and impressive view of the City of London, David Thomas studied at the Chelsea School of Art in 1931 looking towards St. Paul’s Cathedral, was taken from the and worked as a waiter before embarking on a series of spire of the church of St. Bride’s on Fleet Street. Designed adventures that found him working as a pavement artist in by Sir Christopher Wren in 1672, the church boasted one London and Paris and travelling around the world on a of the tallest church spires in London, rising to a height of 69 tramp steamer, before being shipwrecked off Cape Town. metres. Gutted by fire during the Blitz in December 1940, He also undertook four further voyages by sea as a member St. Bride’s was rebuilt during the 1950s and rededicated in of the ship’s orchestra on P & O ships. Following service in December 1957. This view was therefore executed less the Royal Artillery during the Second World War, Thomas than three years after the church was reopened. returned to art school for a further four years, and in later

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99 FRANK AUERBACH red and the purple drapery, that great knot of people like a Born 1931 tear which underscores the fleshy drama which is an orchestrated accompaniment of poignancy and waste. It’s Study after Rubens’s Samson and Delilah sort of obvious that she’s betrayed him, that he’s ruined and that she loves him.’

Pen and black ink and black felt-tip pen, drawn on Auerbach’s studies after Rubens’s Samson and Delilah an invitation card for the exhibition Frank Auerbach: resulted in a large painting, completed in 1993, that was recent work at Marlborough Fine Art, September – recently sold at auction in London. As Colin Wiggins notes, October 1990 ‘Auerbach’s painting took several months to make, yet what Signed and titled After Rubens’ “Samson & Delilah” the viewer sees is only the last session of work. The picture was Frank Auerbach below the drawing completed after many previous and failed attempts, all of 3 which were scraped off before the next try...The finished work 128 x 148 mm., 5 x 5 /4 in. [image] 1 5 is the result of both the accumulated experience of the failed 209 x 297 mm., 8 /4 x 11 /8 in. [sheet] attempts and of the many small working drawings executed in front of the original. These were made regularly and frequently Frank Auerbach has made drawings after paintings in the during the months that Auerbach was working on the painting, collection of the National Gallery in London throughout taken back to the studio and pinned on the wall. It was to much of his career, beginning in the late 1940s. In 1992 these, rather than to a reproduction of the painting, that and 1993 he made a large number of drawings after Auerbach referred when working on his version.’ Rubens’s large panel of Samson and Delilah, painted around 1609-1610. As he noted of the painting, ‘the yellow, the

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100 JESS SHEPHERD even before my brushes touch the paper. I believe that a good Born 1984 picture is made using not only sight, but also touch, sound, smell and movement. One has to be aware of all of these 030320161305 Cabbage Leaf (Brassica oleracea) elements in order to portray the plant well and describe the 37° 10’ 31.3” N / 3° 41’ 28.7” W space that the plant is growing into, both over and underground. I trained in botany before committing myself fully Watercolour, over a pencil underdrawing to painting so that I would understand the processes of plants Signed and inscribed Jess Shepherd / 030320161305 more comprehensively.’ at the lower right Painted in Granada in Spain, this study of a cabbage leaf Inscribed, signed and dated Brassica oleracea var. / depicts one of the artist’s favourite subjects, and, as she capitata / A leaf taken from a cabbage / which was in has noted on the verso, was done as a means of our fridge / on 3rd March 2016 at 13:05. / These leaves overcoming a case of painter’s block. The titles of always remove my / painters block. / Jess Shepherd / Shepherd’s watercolours reflect the precise circumstances 2016 on the verso of her contact with the leaf depicted. As she notes, ‘Once I 3 188 x 128 mm., 7 /8 x 5 in., [sight] started questioning mankind’s use of scale and measurement to record size and space, I realised that to refer to time as a As the artist and botanist Jessica Shepherd has written of measurement in the collection was an absolute must. So the her work, ‘I am a botanical painter. When I paint plants I try titles record the exact time I found the leaf.’ to become them. There is a great deal of observation involved

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Stephen Ongpin has nearly thirty years of experience as a dealer in Old Master, 19th and 20th Century drawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working at the firm's New York branch for ten years before moving to London in 1996. Working closely with Jean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by the gallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001 he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assume responsibility for the new firm's drawing department, organizing their successful drawings exhibitions and writing the accompanying catalogues. He has to date researched and written nearly thirty scholarly catalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant in the field of Old Master, 19th century and Modern drawings, assisted by Megan Corcoran, and sharing a gallery in St. James's in London with Guy Peppiatt. The gallery exhibits at several art fairs, including the Salon du Dessin in Paris and TEFAF in Maastricht in March, and Frieze Masters in London in October. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby's British Pictures department in 1993. He quickly specialised in early British drawings and watercolours and took over the running of Sotheby's Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby's in early 2004 and has worked as a dealer since then, first based at home, and now in a gallery in St James's, which he shares with Stephen Ongpin. Guy's main yearly exhibition of early drawings and watercolours is in May and June and he also exhibits at the Works on Paper Fair in early February and the BADA Fair in March. In January he exhibits in a gallery in New York as part of Master Drawings New York. He is Chairman of the Vetting Committee at the Works on Paper Fair and also does the vetting at a number of other fairs. He advises clients on their collections, buys and sells on their behalf and can provide insurance valuations.

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

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INDEX OF ARTISTS

ALEXANDER, Edwin John No. 80 DEVIS, Anthony No. 25 ALKEN, Henry Thomas No. 45 DRESDEN SCHOOL, 19th Century No. 36 ATKINS, Samuel No. 28 AUERBACH, Frank No. 99 FIAMMINGO, Paolo [circle] No. 1 AURIOL, George No. 81 FINCH, Heneage [attributed] No. 27 FLINT, William Russell No. 91 BARBIERI, Giovanni Francesco No. 8 FRANCESCHINI, Baldassare No. 10 BARRET JUNIOR, George No. 48 FRANCIA, François Louis Thomas No. 34 BENTLEY, Charles No. 60 FRANCK, PAUWELS [circle] No. 1 BOCANEGRA, Pedro Atanasio [attr.] No. 9 FRATTA, Domenico Maria No. 16 BODAN the Younger, Andreas No. 12 FRENCH SCHOOL, 18th Century No. 18 BOISSIEU, Jean-Jacques de No. 21 FRENCH SCHOOL, 19th Century No. 57 BORRÁS Y ABELLA, Vicente No. 92 FRIPP, George Arthur No. 63 BOSCOLI, Andrea No. 3 FROMMEL, Carl Ludwig No. 39 BOUTET DE MONVEL, Bernard No. 94 BRIDGMAN, Frederick Arthur No. 87 GENDALL, John No. 66 BRIGHT, Henry No. 56 GERMAN SCHOOL, 17th Century No. 7 BURNEY, Edward Francis No. 31 GRIMALDI, Giovanni Francesco [circle] No. 11 GRIMM, Samuel Hieronymous No.29 CADMUS, Paul No. 96 GUERCINO No. 8 CALLOT, Jacques [circle] No. 6 CALLOW, William No. 62 HAMILTON, William No. 30 CLAIRIN, Georges No. 83 HAYDON, Benjamin Robert No. 38 COMBAZ, Gisbert No. 90 HAYTER, Sir George No. 42 COTMAN, Miles Edmund No. 70 HAYET, Louis No. 82 COX, David Nos. 51-52 HEKKING, Willem No. 55 HILLS, Robert No. 47 DE WINT, Peter Nos. 43, 53 HUYOT, Jean-Georges No. 81 DE WIT, Jacob No. 19 DERAIN, André No. 89 INCE, Joseph Murray No. 61

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IROLLI, Vincenzo No. 93 POCOCK, Nicholas No. 40 ITALIAN SCHOOL, c. 1700 No. 15 PROSSER, George Frederick No. 67

KNIP, Josephus Augustus No. 32 RICHMOND, George No. 41 ROOKE, Thomas Matthews No. 84 LAMB, Henry No. 95 ROWLANDSON, Thomas No. 26 LEAR, Edward Nos. 73, 75-76 LEITCH, Richard Principal No. 65 SCHRANZ, Giovanni [attributed] No. 58 LINNELL, James Thomas No. 79 SEYMOUR, James No. 20 LUTI, Benedetto No. 17 SHEPHERD, Jess No. 100 SKELTON, Joseph No. 50 MAGANZA, Alessandro No. 5 SOMM, Henry No. 86 MARATTA, Carlo No. 13 STEVENS, Francis No. 33 MILLER, James No. 23 SUNDERLAND, Thomas No. 24 MINTON, John No. 97 MOLINARI, Antonio No. 14 THIER, Barend Hendrik No. 22 MØLSTED, Christian No. 77 THOMAS, David No. 98 TUDOR, Thomas No. 44 NASH, Frederick No. 49 NEGRETTI, Jacopo No. 4 VALÉRIO, Théodore No. 74 NIEMANN, Edmund John No. 69 VARLEY, Cornelius No. 46 NINHAM, Henry No. 68 VARLEY, John No. 54 VIOLLET-LE-DUC, Eugène Emmanuel No. 78 OWEN, Samuel No. 59 VOLTERRANO No. 10

PALMA GIOVANE No. 4 WALDRAFF, Franz No. 85 PASSAROTTI, Bartolomeo No. 2 WHITE ABBOTT, John No. 35 PETIT, Rev. John Louis Nos. 71-72 WILKIE, Sir David No. 37 PETITJEAN, Hippolyte No. 88 PEYTIER, Pierre No. 64

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