O N E

H U N D R E D

ONE HUNDRED D R A W I N DRAWINGS G S

&

W

A AND T E R C O L

O WATERCOLOURS U R S

S T E P H E N

O N G P I N

G U Y

P E P P I A T T

Stephen Ongpin Fine Art

Guy Peppiatt Fine Art Ltd. 2 0 1 3 -

Riverwide House 2 0

6 Mason’s Yard 1 Duke Street, St James’s 4 London SW1Y 6BU GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th century to the present day

WINTER CATALOGUE 2013–2014

to be exhibited at

Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU

Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk

1 We are delighted to present our sixth annual Winter catalogue of One Hundred Drawings and Watercolours , which will, as usual, be accompanied by a Christmas exhibition in our London gallery. The areas of Old Master drawings, early British watercolours, and 19th and 20th century drawings, have long been regarded as disparate fields, each with their own enthusiasts and collectors, auctions and exhibitions. Part of the purpose of this catalogue, and indeed part of the aim of our shared gallery, is to blur the distinction between these collecting areas. A glance at the works included in this catalogue will, we hope, show that a fine drawing or watercolour is always worthy of attention, whoever the artist and whatever the date.

This catalogue includes a wide range of British and European drawings, watercolours and oil sketches, placed more or less in chronological order, ranging in date from the late 16th century to the present day. As a glance at the enclosed price list will show, the prices of the drawings are equally broad in scope – from under £500 to around £15,000 – with a large number of interesting works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well- established artists can be very affordable, and interesting works by minor or lesser-known artists especially so. There is, we believe, much in this catalogue for the novice collector, as well as for the more experienced connoisseur or museum curator.

Our respective individual catalogues of more significant drawings will be issued in January and May 2014. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at the gallery over the coming months.

Guy Peppiatt Stephen Ongpin Lavinia Harrington

The following catalogue contains a combination of 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 therefore direct any enquiries as appropriate.

Only a brief account of each drawing is given in the catalogue. Further information and references, as well as high-resolution digital images of each of the works, are available on request.

The drawings are available for viewing from receipt of the catalogue. Most of the works are sold framed. A price list is included.

2 SOFA

1 FERRAÙ FENZONI Among the most interesting and distinctive Italian artists Faenza 1562-1645 Faenza active in the late 16th and early 17th centuries, Ferraù Fenzoni arrived in Rome as a young man, working at the Vatican and painting frescoes for several Roman churches. A Young Man Standing in Profile to the Right Between 1593 and 1599 he worked in the Umbrian hill town of Todi before returning to his native Faenza. The Black chalk, with stumping present sheet may be added to a small and stylistically 394 x 183 mm., 15 ½ x 7 ¼ in. homogenous group of figure drawings by Fenzoni, drawn in either black or red chalk, which are today in the Uffizi, Provenance the Albertina, the Biblioteca Ambrosiana in Milan and Dr. Ludwig Burchard, London elsewhere. Each of these drawings is characterized by a robust handling of stumped chalk, abbreviated contours and Literature a particularly expressive treatment of hands, and may be Giuseppe Scavizzi and Nicolas Schwed, Ferraù Fenzoni , dated to the early part of Fenzoni’s long career, before his Todi, 2006, pp.212 and 282, no.D62 move from Rome to Umbria in 1593.

3 SOFA

2 Circle of CLAUDE LORRAIN Prince Jean Cantacuzène, Paris (Lugt 4030) Chamagne 1604/5-1682 Rome By descent to his son, Alexandre Cantacuzène, Paris His sale, Paris, Hôtel Drouot, 4-6 June 1969, lot 506 (as circle of Claude) Landscape with a Bridge over a River Private collection, France Private collection, Florida Pen and brown ink and brown wash, with framing lines in brown ink Numbered 404 This drawing bears the collector’s mark of the famous 18th in brown ink at the lower right century French collector and connoisseur Pierre-Jean 3 7 135 x 201 mm., 5 /8 x 7 /8 in. Mariette, who regarded it as a work by Claude Lorrain. The drawing retained its attribution to Claude when in the Provenance collection of the Baron Malaussena, and throughout the Pierre-Jean Mariette, Paris (Lugt 1852) 19th century, and has only recently been given to an Probably his sale, Paris, anonymous contemporary of the master. 15 November 1775 - 30 January 1776 François Alziari, Baron de Malaussena (Lugt 1887) A version or copy of the present sheet is in the Albertina His sale, Paris, 18-20 April 1866, lot 286 (as Claude), in Vienna, where it is attributed to Pierre Lemaire (c.1612- sold for 210 francs 1688), a follower of Nicolas Poussin.

4 SOFA

3 ITALIAN SCHOOL maps and manuscripts, formed by the Piedmontese Circa 1700 nobleman Cesare Saluzzo (1778-1853) – was acquired en bloc by the Royal Library in Turin in 1952. The present sheet, however, remained in the collection of drawings, A Choir of Angels with Musical Instruments books and manuscripts, mainly of the Italian school, in the possession of Tommaso Alberto Vittorio di Savoia-Genova, Pen and two shades of brown ink and brown wash, 2nd Duke of Genoa (1854-1931) and his eldest son, over an underdrawing in black chalk Ferdinando di Savoia-Genova (1884-1963), 3rd Duke of 3 3 212 x 339 mm., 8 /8 x 13 /8 in. Genoa and Prince of Udine, before being sold and dispersed in the 1950’s. Provenance Probably Cesare Saluzzo, Turin An attribution to the Neapolitan painter Luca Giordano The Dukes of Savoia-Genova (Lugt 47a), (1634-1705) has previously been suggested for this until sold in the 1950’s 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 recently identified major works of that artist’s late, Spanish period; the ceiling as that of the Dukes of Savoia-Genova. The majority of the fresco of Allegory of the Golden Fleece in the Casón del Buen Savoia-Genova collection – some 17,000 drawings, prints, Retiro in Madrid, painted around 1697.

5 SOFA

4 NICOLAS DE LARGILLIÈRE many of his formal portraits were reproduced as Paris 1656-1746 Paris engravings, which served to further his reputation.

The 18th century art historian Antoine-Joseph Dezallier A Sheet of Studies of Hands and Arms d’Argenville wrote of Largillière that he worked directly on the canvas, without recourse to preparatory drawings, Black, red and white chalk, on buff paper except for studies of heads, hands and drapery. Indeed, only A portrait study of a cleric in black chalk on the a handful of drawings by the artist are known. It has been verso assumed that, when preparing his compositions, Largillière 1 155 x 304 mm., 6 /8 x 12 in. must have worked from drawings and oil sketches which he kept in his studio. One such oil sketch depicting various One of the leading portrait painters in France during the studies of hands, which can be related to several portraits latter half of the reign of Louis XIV, Nicolas de Largillière by the artist, is in the Louvre. It has been suggested by one was trained in Antwerp and London, settling in Paris in recent scholar that ‘ Dezallier d’Argenville’s observation that 1679. He soon established a reputation as a portrait Largilliere used few drawings can be explained by the fact that painter, and as early as 1681 had painted a portrait of the Largilliere preferred oil sketches to drawings, probably because King. Largillière was accepted into the Académie Royale in the establishment of colour relationships was of primary 1683, and later served twice as its Director. As well as importance to him’. members of the Royal family and the court, Largillière also painted portraits of the landed aristocracy and the haute The attribution of this drawing, which may be dated to the bourgeoisie, as well as leading civil, religious and military end of the first decade of the 18th century, has been figures. The success of his portraiture and the numerous confirmed by Dominique Brême. A closely comparable commissions he received allowed the artist to amass sheet of studies of hands and arms by Largillière, also drawn a considerable fortune. From the beginning of his career in red and black chalk, is in a French private collection.

6 SOFA

5 MARCO RICCI collaborated. A landscape painter first and foremost, Ricci Bellunno 1676-1730 Venice worked in Rome, Florence and Venice, and made the first of two trips to England in 1708, where he worked on the decoration of Castle Howard and designed scenery for the Landscape with Harvesters, a Castle Beyond King’s Theatre, Haymarket. He also visited England for a second time with Sebastiano Ricci in 1712, returning to Pen and brown ink and brown wash, settle in Venice in 1717. laid down on a Vivant Denon mount Inscribed paese at the upper left centre This charming, fresh landscape may have been intended as Indistinctly inscribed Ricci anno del 1720 an independent work, like the artist’s better-known gouache on the verso, laid down landscapes. The chronology of these pen drawings is difficult 5 to establish, as only two dated examples are known. Ricci 193 x 287 mm., 7 /8 x 11 ¼ in. would often keep these drawings in his studio, to be used Provenance as a source of pictorial motifs in his paintings and etchings. Baron Dominique-Vivant Denon, Paris (Lugt 779 and on his mount) The drawing bears the collector’s mark of Dominique- His sale, Paris, 1-19 May 1826, part of lot 553 Vivant Denon (1747-1825), the most powerful Anonymous sale, New York, Christie’s, 12 January 1995, administrator of the arts in Napoleonic France. A diplomat, lot 49 writer, archaeologist and engraver, he was also a discerning art collector. Denon’s collection of drawings numbered Marco Ricci received his artistic training in the studio of around 1,400 sheets, of which slightly more than half were his uncle Sebastiano Ricci, with whom he often later by Italian artists.

7 SOFA

6 Attributed to The appearance of the temple in this drawing is derived ENNEMOND-ALEXANDRE PETITOT from an etching by Giovanni Battista Piranes of a temple Lyons 1727-1801 Parma dedicated to Vesta, published in Rome in 1743. Although Piranesi’s etching is vertical in orientation and differs in both staffage and several architectural details from the present Design for a Stage Curtain: The Interior of an sheet, the close relationship between the two is readily Elaborate Temple Dedicated to Illustrious Men evident.

Pen and grey ink and grey wash Petitot is likely to have made this drawing while a student Inscribed Petitot and Tempio della Gloria in Paris, or as a pensionnaire at the Académie de France in eretto alli Uomini Illustri, per servire di Sipario Rome. Among stylistically comparable works by Petitot a Pavia on the verso dating from his Roman period is his elaborate design for a 370 x 400 mm., 14 ½ x 15 ¾ in. temporary structure or macchina for the Roman firework festival of the Chinea in 1749, engraved several years later by Pierre Patte, as well as a Project for a Triumphal Bridge An architect as well as a designer of ephemeral decorations, in Rome of c.1747, recorded in an engraving by the artist Ennemond-Alexandre Petitot won the Premier Grand Prix himself. de Rome at the Académie Royale d’Architecture in Paris in 1745. He studied at the Académie de France in Rome The pencil inscription on the verso states that this drawing between 1746 and 1750, and in 1753 was appointed court is a design for a stage curtain for a theatre in the Lombard architect to the Duke of Parma, where he worked for the town of Pavia. remainder of his career.

8 GPFA

7 JOSEPH FARINGTON, R.A. Two studies of Kenilworth Castle, dated August 1791, are Leigh 1747-1821 Disbury in the Ashmolean Museum, Oxford (see Joseph Farington Watercolours and Drawings , exhibition catalogue, 1977, nos. 62 and 63, pp.60-61, ill. pp. 103-4). Farington drew a A Part of the ruin at Kenilworth Castle, Warwickshire number of ruined castles and abbeys around 1790 which suggests he might have been assembling material for a book Inscribed with title in another hand verso of engravings on the subject. and dated 1791 Pen and brown ink and watercolour over pencil Kenilworth Castle stands on the edge of the town of the 164 x 237 mm., 6 ¼ x 9 ¼ in. same name which is several miles south-west of Coventry. Originally Norman, the castle has been embellished over Provenance: time. A Lancastrian base during the War of the Roses, it Anonymous sale, Christie’s, 29th April 1986, lot 47; was partly destroyed by Parliamentarian forces during the Stephen Unwin Collection Civil War. During the eighteenth century, it became a picturesque tourist attraction.

9 SOFA

8 ETIENNE AUBRY as such was agréé at the Academie Royale in 1771. He Versailles 1745-1781 Versailles made his debut at the Salon the same year, exhibiting four portraits. His work as a portraitist gradually gave way to an interest in genre painting in the moralizing manner of Jean- The Offending Son (Le fils fautif) Baptiste Greuze. In fact, after exhibiting only portraits at the Salons of 1771 and 1773, in 1775 he submitted just one Oil on paper, laid down on canvas portrait, together with a number of genre scenes, while in Inscribed Tableau de genre / Théaulon on a label 1777 and 1779 showed no portraits at all. Late in his career, attached to the former frame Aubry determined to make his name as a history painter. 3 339 x 466 mm., 13 ¼ x 18 /8 in. He travelled to Rome in 1777 under the auspices of the Comte d’Angivillier, his most important patron. His history One of the most interesting and talented painters working pictures did not, however, meet with much success, and in in France in the latter half of the 18th century, Etienne Aubry 1780 Aubry returned to France where he died the following began his artistic training with Jacques Augustin de Silvestre, year. His final attempt at the grand manner, Coriolanus maître a dessiner des enfants de France , and later studied Bidding Farewell to his Troops , was exhibited posthumously with Joseph Marie Vien. In the early years of his career, at the Salon of 1781. Aubry worked almost exclusively as a portrait painter, and

10 SOFA

9 FRENCH SCHOOL Provenance 18th Century Edmond Fatio, Geneva (Lugt 3472) His sale, Geneva, Nicolas Rauch, 3-4 June 1959, lot 70 Curtis O. Baer, New Rochelle, NY (Lugt 3366) A Quiver, Bow and Arrows By descent to his son, George M. Baer, Atlanta, GA Katherine Woodward Mellon, Stonington, CT Red chalk, heightened with white chalk, on buff paper 406 x 255 mm., 16 x 10 in.

11 GPFA

10 11 PAUL SANDBY, R.A. CHARLES TOMKINS Nottingham 1731-1809 London London 1757-1823

Conway Castle from across the Estuary, North Wales Rustics by a Cottage, a Windmill beyond; A Coach on a Country Track Bodycolour on laid paper 200 x 279 mm., 7 ¾ x 11 in. A pair, each signed on the original wash border: Chas Tomkins 1783 Stylistically this appears to be an early work in bodycolour Pen and grey ink and watercolour on laid paper by Sandby drawn in the tradition of the Italian landscape Oval 228 x 304 mm., 9 x 12 in. artist Marco Ricci (see no. 5) whose work Sandby owned (for a similar work, see Luke Herrmann, Paul and Thomas The son of the landscape artist William Tomkins, Sandby , 1986, no. 5, p.83, ill.). His first recorded trip to Charles Tomkins specialised in topographical watercolours Wales was in 1770 as a guest of his patron Sir Watkin and engravings. He exhibited at the Royal Academy from Williams-Wynn so the present work is likely to date from 1773 until 1781. A number of his London views are in the the early 1770s. British Museum.

12 GPFA

13 GPFA

12 GEORGE FROST Frost was an office clerk in Ipswich who spent his leisure Ipswich 1734-1821 Ipswich time sketching in the local area. His friend the Rev. James Ford recalled: ‘he studied nature with the closest attention’ and ‘the pleasing scenery around the town of Ipswich; its A Gate on a Country Track hollow and tortuous lanes with broken sand-banks; its copse- grown dells; above all, the richly-wooded and picturesque With collector’s mark lower right: WE acclivities of its winding river, were his perpetual haunts’ Black chalk on laid paper watermarked (obituary in The Gentleman’s Magazine , July 1821, p. 90). with Britannia and dated 1809 271 x 228 mm., 10 ¼ x 9 in. He was an ardent admirer of Gainsborough’s landscape drawings, and a close friend of Constable, and he owned a Provenance: number of his drawings. Some of his Gainsborough drawings William Esdaile (1758-1837) were later acquired by the collector William Esdaile, whose sale of drawings in 1838 included over 200 works by George Frost including, presumably, the present work.

14 GPFA

a.

b.

13 THOMAS UWINS, R.A. Pentonville 1782-1857 Staines a. Study of a Plant b. A Woman and Child on a Bridge near Oxford

Inscribed lower right: Study from Nature by T. Signed lower left: Near Oxford. T. Uwins Uwins/Early and indistinctly inscribed upper right pencil Pen and brown ink on blue laid paper 189 x 284 mm., 7 ¼ x 11 in. 166 x 206 mm., 6 ½ x 8 in.

15 SOFA

a.

b.

c.

16 SOFA

14 15 FLORENT-FIDÈLE-CONSTANT BOURGEOIS ROBERT VEITH Guiscard 1767-1841 Passy Dresden 1810-? Vienna a. The Courtyard of an Italian Monastery Panoramic Landscape near Dresden b. A Palazzo in the Roman Campagna with a Country Estate c. The Vaults of the Palazzo Comunale in Anagni Pen and black ink, laid down on a contemporary Each pen and brown ink and brown wash, mount over a pencil underdrawing Signed and dated R. Veith. fecit 1831. in the lower a. Signed with initials and dated CB / 1807 right margin of the mount at the lower left Further inscribed (in a modern hand) R. Veith fec. b. Inscribed a Saura près d’Isola on the verso 1831 and numbered 541 on the backing sheet. 1 1 c. Inscribed vue et [?] des prisons sous le Palais / de 129 x 334 mm. (5 /8 x 13 /8 in.) [sheet] Justice à Anagni on the verso a. & c. 102 x 141 mm., 4 x 5 ½ in. Little is known of the life and career of Robert Maximilian b. 101 x 147 mm., 4 x 5 ¾ in. Veith, the younger son of the landscape painter Johann Philipp Veith (1768-1837). He studied in his native Dresden Provenance in the 1820’s and in later years settled in Vienna, where he Prince Poniatowski worked as a lithographer.

A pupil of Jacques-Louis David, Florent Constant Bourgeois (known as Bourgeois du Castelet) was a landscape painter, draughtsman and printmaker. He spent much of his career in Italy, from which he sent numerous drawings of picturesque Italian views that were shown at the Salons between 1791 and 1831. Bourgeois’s highly finished landscape drawings, which also included views in France and Switzerland, were popular with collectors. In 1804 a series of engravings after Italian views by Bourgeois were published as the Receuil de vues et fabriques pittoresques d’Italie . He was also commissioned by Dominique-Vivant Denon to produce a series of drawings recording the military campaigns of Napoleon; these are now in the Louvre.

17 SOFA

16 JEAN-MICHEL MOREAU, Regarded as one of the greatest French illustrators of the called MOREAU LE JEUNE 18th century, Jean-Michel Moreau established a successful Paris 1741-1814 Paris career as a draughtsman and engraver, and in 1770 was appointed dessinateur des menus-plaisirs , in which role he was tasked with recording the official events and A Design for a Chapter Heading, with a Bust of ceremonies of the French court. As a book ilustrator, he Athena and Emblems of the Arts and Sciences provided illustrations for works by Rousseau, Molière, La Borde, Voltaire and others. He was received as a full Pen and brown ink and brown wash, over traces member of the Académie Royale in 1789. Following the of a pencil underdrawing Signed and dated J. M. French Revolution – of which he was a supporter – he Moreau , Le J. ne 1812. at the lower right continued to work as an illustrator. At the very end of his life, 7 7 however, a cancerous growth on his right arm left him 125 x 199 mm., 4 /8 x 7 /8 in. unable to draw. Provenance Marie-Joseph-François Mahérault, Paris This drawing was once in the collection of the 19th century His posthumous sale, Paris, Hôtel Drouot, 27-29 May art historian Marie-Joseph-François Mahérault (1795-1879), 1880, lot 207 who compiled the first catalogue raisonné of Moreau’s work. Mahérault’s collection of drawings, dispersed at Literature auction the year after his death, included nearly three M.-J.-F. Mahérault, L’oeuvre de Moreau le Jeune: Catalogue hundred sheets by the artist. raisonné et descriptif , Paris, 1880, p.500, no.569

18 GPFA

17 WILLIAM HAVELL Reading 1782-1857 London

Landscape with a Castle

Grey washes over pencil on laid paper 171 x 256 mm., 6 ¾ x 10 in.

Provenance: With Thomas Agnews & Sons (no. 45093)

This early drawing, dating from 1803-4, is almost certainly a sketching Society drawing and shows the influence of John Sell Cotman. The Sketching Society was a group of artists who would meet weekly in the evening in winter in order to draw their own version of a pre-ordained subject matter. Cotman and Havell were at the same meeting at least twice in late 1803 (see William Havell , exhibition catalogue, 1981, p. 36, no. 107) and Cotman’s version of this subject is in the Victoria and Albert Museum (see Jean Hamilton, The Sketching Society 1799-1851 , 1971, pl. 6).

19 GPFA

a.

18 JOHN VARLEY c. Mountains, North Wales Hackney 1778-1842 London Inscribed on border: by J. Varley a. Study of a Tree Pencil on Whatman paper dated 1816 Sheet 160 x 254 mm., 6 ¼ x 10 in. Signed or inscribed on mount: J. Varley Pencil with a study of a nude verso These three mannered drawings by Varley are likely to have 246 x 168 mm., 9 ½ x 6 ½ in. been used as teaching tools and date from 1815-25. For a similar drawing, dated 1824, in the V and A Museum, see C.M. Kauffmann, John Varley 1984, no. 43, ill. p.146. b. Figures on a Path near a Cottage

Pencil and brown wash with drawn border Sheet 189 x 234 mm., 7 ¼ x 10 ¾ in.

20 GPFA

b.

c.

21 GPFA

19 JOHN VARLEY Hackney 1778-1842 London

Study of a House

Signed lower left: J. Varley Black and white chalk on blue paper 278 x 365 mm., 10 ¾ x 14 ¼ in.

Provenance: Angela Hornyold-Strickland, Sizergh Castle, Cumbria

Varley produced a number of watercolours of a similar house on the Thames at Barnes (for an example, see Adrian Bury, John Varley of the “Old Society” , 1946, pl. 6).

22 GPFA

a.

b.

20 JOHN LINNELL b. A Boatyard by the Thames, London Bloomsbury 1792-1882 Redhill Signed lower left: J Linnell f. a. Study of a Wherry on the Thames, London Black and white chalk on blue paper 162 x 241 mm., 6 ¼ x 9 ½ in. Signed lower left: J Linnell f. Black and white chalk on blue paper These rare early drawings by Linnell can be dated 148 x 216 mm., 5 ¾ x 8 ½ in. to between 1805 and 1809 when he was taught by John Varley. (see no. 19).

23 GPFA

22 ROBERT HILLS Islington 1769-1844 London

a. A Pond in a Farmyard 21 WILLIAM PAYNE Watercolour and pencil London 1760-1830 London 147 x 219 mm., 5 ¾ x 8 ½ in.

View of a Waterfall b. Epsom Downs looking towards Fetcham and Bookham, Surrey Watercolour 141 x 198 mm., 5 ½ x 7 ¾ in. Inscribed lower left: Epsom Downs looking towards Fetcham and Bookham Provenance: Watercolour over pencil With the Tamar Gallery, Launceston, Cornwall 148 x 217 mm., 5 ¾ x 8 ½ in.

We are grateful to David Japes who was suggested This is a view looking south-west from the Epsom Downs that this dates from 1810-12 and is likely to be a view towards Fetcham, Little and Great Bookham and what is in North Wales or the Lake District. now Leatherhead.

24 GPFA

a.

b.

25 GPFA

23 FREDERICK WILLIAM WATTS Provenance: Bath 1800-1870 Hampstead With Hugh Scarf from whom bought by Ralph Holland (1917-2012), circa 1958 At Castle Bromwich, Warwickshire Castle Bromwich is five miles east of the centre of Birmingham and was a village in the nineteenth century. Inscribed lower left: At Castle Bromwich Castle Bromwich Hall was the home of the Barons (later and lower centre: July 18th ‘26 Earls) of Bradford. F.W. Watts lived in Hampstead for most pencil of his life and exhibited landscapes at the Royal Academy, 459 x 367 mm., 18 x 14 ¼ in. British Institution and elsewhere. He was a close follower of John Constable in style.

26 SOFA

24 JEAN-IGNACE-ISIDORE GÉRARD, who commissioned stories from Honoré de Balzac, Alfred called J. J. GRANDVILLE de Musset and other writers to accompany the drawings. Nancy 1803-1847 Vanves The Scènes de la vie privée et publique des animaux was issued in a hundred instalments between November 1840 and December 1842, and the complete set was published A Frog in an Overcoat, Holding a Top Hat and Cane in two volumes in 1842.

Pen and brown ink and watercolour The present sheet was used to illustrate a story by Louis 224 x 173 mm., 8 ¾ x 6 ¾ in. Francois L’Héritier de l’Ain, entitled ‘ Pérégrination mémoriale du doyen des crapauds ’. Taking the form of a reminiscence This drawing is related to J. J. Grandville’s illustrations for by an old toad, the story tells tales of his youthful the Scènes de la vie privée et publique des animaux . This adventures. Grandville’s drawing of an elegantly dressed remarkable work, based entirely around Grandville’s animal frog, bearing the caption ‘ Les doyen des Crapauds ’, served as drawings, was the idea of the publisher Pierre-Jules Hetzel, the frontispiece to the story.

27 GPFA

25 NEWTON SMITH LIMBIRD FIELDING London 1799-1856 Paris

Lapwing and Game Birds

Signed lower centre: Newton Fielding 1856 Watercolour over pencil heightened with bodycolour, gum arabic and scratching out 146 x 198 mm., 5 ¾ x 7 ¾ in.

Provenance: With Anthony Reed, 3 Cork St, London, circa 1980

Newton Fielding is the younger brother of Anthony Vandyke Copley Fielding (1787-1855) and ran the family engraving business in Paris from 1827 with William Callow working for him. He is best known for his animal and bird studies.

28 GPFA

a. b.

26 JAMES WARD, R.A. b. Study of Ragwort London 1769-1859 Cheshunt Signed with initials lower left and inscribed in pencil: a. Study of a Cuckoo Flower …. Weeds Watercolour and pencil Signed lower right: JW. RA and inscribed in pencil: 130 x 105 mm., 5 x 4 in. Cuckoo Flower – ap.l 1820 Watercolour and pencil Provenance: 168 x 111 mm., 6 ½ x 4 ¼ in. Mr Knowles of Hanwell by 1951; Prudence Summerhayes by 1959; Provenance: By descent until 20008 Mr Knowles of Hanwell by 1951; Prudence Summerhayes by 1959; By descent until 20008

29 SOFA

27 28 FRANÇOIS-FORTUNÉ-ANTOINE FEROGIO FRENCH SCHOOL Marseille 1805-1888 Paris 19th Century

A Country Picnic An Artist Seated at an Easel

Coloured chalks on blue paper Pencil Signed Ferogio at the lower right Inscribed Dessin au crayon / extrait de l’album / de la 221 x 427 mm., 8 ¾ x 6 ¾ in. [image] collection / Hélène Boitte on the verso 5 3 3 297 x 448 mm., 11 ¾ x 17 /8 in. [sheet] 136 x 110 mm., 5 /8 x 4 /8 in.

Admitted into the studio of Baron Gros at the Ecole des Provenance Beaux-Arts in 1825, François Ferogio worked mostly in Hélène Boitte (according to a note on the verso) pastel and watercolour, usually on a fairly small scale. He Albert van Loock, Brussels (Lugt 3751), exhibited regularly at the Salons between 1831 and 1880, his stamp on the verso and also produced lithographs, designs for faience, and book Private collection, France illustrations. Among the latter were a series of seventy vignettes for the Comtesse de Ségur’s Les bons enfants , The verso of the present sheet bears the stamp of the published in 1862, and illustrations for Théodore Barrau’s Belgian dealer in prints and drawings Albert van Loock (born Amour filial , published in 1880. A large group of drawings by 1917), who worked from a gallery on the Rue Saint-Jean in Ferogio, including landscapes, historical and genre scenes, is Brussels after 1949. The stamp was applied to drawings and in the Musée Fabre in Montpellier, while paintings by the prints that he sold. artist are in the museums of Montpellier and La Rochelle.

30 SOFA

31 GPFA

29 THOMAS PEPLOE WOOD Born in Great Haywood near Stafford, Thomas Peploe Stafford 1817-1845 Stafford Wood was one of the six sons of a tollgate keeper and self- taught as an artist. In the 1830s, he drew the attention of a local architect Thomas Trubshaw who took him to London Scouting the Beat; Playing the Fish in 1836 and introduced him to various patrons. Thanks to these introductions, he exhibited at the Royal Academy and A pair, watercolour over pencil heightened sold various drawings to Colnaghi’s. Much of his subject with bodycolour and scratching out matter is Staffordshire views although he made an extensive Each 162 x 234 mm., 6 ¼ x 9 ¼ in. tour of England, Scotland and Ireland in 1838. His most important patron was William Salt who was collecting Provenance: material for a history of Staffordshire, and his collection is With Arthur Ackermann & Son Ltd, 3 Bond St., London, now in the William Salt Library in Stafford. Wood died of 1960s tuberculosis aged 28.

32 SOFA

30 GASPARD GOBAUT Siméon Fort and Theodor Jung. He began his career in Paris 1814-1882 Paris 1836 as a military draughtsman, attached to the Ministry of Defence, and continued to work in this capacity throughout much of his career. Gobaut exhibited at the annual Salons Landscape with a Mill between 1840 and 1878, showing almost exclusively watercolour landscapes, and won a bronze medal at the Watercolour, with touches of bodycolour Salon of 1847. Among the subjects of his watercolours Signed, dated and dedicated à mon bon ami Sabourin were scenes from the North African campaigns of the - Gobaut 1870 at the lower right French army, views of Paris, Swiss mountain views and 5 5 270 x 371 mm., 10 /8 x 14 /8 in. landscapes in Algeria and Morocco. In 1871 he was admitted to the Legion d’Honneur. Works by Gobaut are Provenance today in the collection of the Duc d’Aumale at Chantilly, Presented by the artist to a M. Sabourin, the Musée Carnavalet in Paris, at Versailles and in the according to the dedication on the sheet museums of Pontoise and Honfleur. A group of twelve watercolour views of Paris and its environs by Gobaut was Best known for his watercolours of landscapes, military formerly in the David-Weill collection and dispersed at subjects and battle scenes, Gaspard Gobaut was a pupil of auction in Paris in 1971.

33 GPFA

31 PETER DE WINT De Wint exhibited two views of Kent at the Society of Stone 1784-1849 London Painters in Water-colours in 1846, ‘Canterbury’ (no. 37) and ‘Dover, from the road to Canterbury’ (no. 107). A House at Tonbridge, Kent The numbering in the lower right corner suggests this drawing may have been part of the artist’s studio sale at Inscribed lower right: 64 and verso: at Tonbridge/9th Christie’s from 22-24 May 1850. Lot 264 was described as Septr 1845 ‘Near Tonbridge’ and was bought by Vokins for 4 guineas. Watercolour over pencil 292 x 462 mm., 11 ½ x 18 in.

34 GPFA

a.

b.

32 WILLIAM HENRY HUNT London 1790-1864 London a. A Dog resting its head b. Study of a Cow being milked

Signed lower right: W. HUNT Signed lower right: W. HUNT pencil pencil 51 x 65 mm., 2 x 2 ½ in. 91 x 126 mm., 3 ½ x 5 in.

35 GPFA

33 DAVID COX almost every summer afterwards. The present drawing Birmingham 1783-1859 Birmingham dates from his visit there in September 1852 according to an inscription on the reverse. The scenery in the surrounding area is especially dramatic. Solly in his Near Pandy Mill, North Wales biography of Cox described it as follows: ‘It is surrounded by rocky glens and deep wooded valleys..... Through these Inscribed verso in another hand: N.r Pandy Mill the mountain streams, the Machno, the Lledr, and the by D. Cox Sept.r 52 Llugwy, flow on towards their junction with the Conway.... Watercolour over black chalk heightened with All these streams are spanned by old and picturesque stopping out on oatmeal paper bridges, well known to lovers of art and Welsh scenery, 278 x 373 mm., 10 ¾ x 14 ½ in. and their banks also adorned by several ancient water-mills; of these, Pandy Mill, on the Machno, is the chief, on Pandy Mill is situated on the river Machno near its junction account of its romantic situation and the fine old oaks which with the river Conway, two miles south-east of Bettws-y- surround it’ (see N. Neal Solly, Memoir of the Life of David Coed. Cox visited Bettws in 1844 and returned there Cox , reprinted 1973, p.158-9).

36 GPFA

34 DAVID COX Cox made a number of sketching tours of Yorkshire in the Birmingham 1783-1859 Birmingham 1840s, the period of the present watercolour. He is known to have drawn on the Wharfe at Bolton Abbey and Barden in September 1841, August 1843 and September Fisherman on the river Wharfe 1844. Barden Tower is a fifteenth century hunting lodge near Barden Tower, Yorkshire which stands above the Wharfe river several miles north of Bolton Abbey. Signed lower left: David Cox Watercolour and black chalk Stylistically this and no. 33 are typical of Cox’s late period 212 x 283 mm., 8 ¼ x 11 in. with extensive use of black chalk under the watercolour.

Provenance: Edward V. Phillips

37 SOFA

35 GEORGE SAND Towards the very end of her life – it is first mentioned, as Paris 1804-1876 Nohant an amusement, in a letter of February 1874 – George Sand began producing watercolour drawings, using a distinctive technique, which she called ‘ dendrites ’, comparing them Mountainous Landscape with a Lake and Waterfalls with the appearance of fossilized plants. These drawings were produced by applying pigment (often green) to a Watercolour, gouache and dendrite on paper sheet of thick Bristol paper and, while it was still wet, 7 151 x 204 mm., 5 /8 x 8 in. pressing another sheet of paper on top of it. The random shapes created by this method of mixing pigments would Provenance then be worked on by the artist with watercolours, creating Acquired in 1967 by the University Art Gallery, imaginary landscapes. Sand also referred to the technique University of Massachusetts, Amherst, MA, until as ‘aquarelle à l’écrasage ’ (‘crushed watercolour)’ and, as de-accessioned in 2012 she described these works, ‘ This crushing produced ridges which are sometimes curious. Assisting my imagination, I see The French Romantic novelist, playwright and memoirist woods, forests or lakes, and I accentuate the vague shapes Amantine Lucile Dupin is better known by her pseudonym produced by chance. ’ A number of these ‘dendrite’ George Sand, which she adopted from around 1831 watercolours are today in the Louvre, while others are in onwards. A prolific writer and essayist, Sand was also the collections of the Musée de la Vie Romantique in Paris notorious for her affairs with several distinguished men, and Sand’s home at the Château de Nohant, as well as in notably a ten-year relationship with Frédéric Chopin. several private collections.

38 SOFA

36 EDWIN LORD WEEKS Exhibited Boston 1849-1903 Paris Durham, University of New Hampshire, The Art of Edwin Lord Weeks , 1976, no.23 Trees and a Wall in Jerusalem Arguably the finest American painter of Orientalist subjects, Edwin Lord Weeks made his home in Paris, where he Pencil on paper; a page from a large sketchbook exhibited with great success at the annual Salons. He Inscribed and dated Jerusalem Oct. 8th at the travelled widely in the Near East and North Africa, and lower left between 1882 and 1893 also made three long trips to Further inscribed Elizabeth Goodwin India. His views of India and Indian life proved extremely and numbered 3. on the verso popular with French and American collectors, and became 254 x 367 mm., 10 x 14 ½ in. his particular specialty.

Provenance The present sheet is part of a large collection of paintings, The artist’s niece, Elizabeth Goodwin drawings and oil sketches by Weeks, many dating from the By descent to Burton W. F. Trafton, Jr., South Berwick, years before his studies in Paris, which remained with the Maine artist’s descendants until recently. Views in Palestine are rare Mervyn E. Bronson, Portland, Maine in Week’s oeuvre; a painting of The Temple Mount in Jerusalem Bernard Broder, Gorham, Maine by the artist appeared at auction in London in 2010.

39 GPFA

37 THOMAS LOUND 1802-1861 Norwich

Crowland Abbey, Lincolnshire

Watercolour over pencil heightened with touches of bodycolour 308 x 494 mm., 12 x 19 ½ in.

Provenance: Graham W. Jay, his sale, Christie’s, 1st March 1977, lot 171; With Mandell’s Gallery, Norwich

Lound was a pupil of John Sell Cotman who joined the Norwich Society in 1820 and exhibited there until 1833. He exhibited in London in the 1840s and 1850s. His subjects are mostly Norfolk views.

The ruins of Crowland or Croyland Abbey stand eight miles north-east of Peterborough in Lincolnshire. They were famously painted by John Sell Cotman (British Museum).

40 GPFA

38 ROBERT LEMAN Norwich 1799-1863 Norwich

A Gate by a Wood

Watercolour over traces of pencil 230 x 355 mm., 9 x 14 in.

Provenance: With Andrew Wyld, 3 Cork St, London, circa 1980

Leman was a talented landscape artist who was a follower of John Sell Cotman in Norwich. He was a member of the Norwich Amateur Club in the 1830s, exhibiting at the Norwich Society and was a friend of many of the later generation of Norwich School artists. The depiction of the gate is reminiscent of Cotman’s ‘Drop Gate, Duncombe Park’ in the British Museum.

41 GPFA

39 JOHN VARLEY Hackney 1778-1842 London

Brecon on the River Usk, South Wales

Inscribed verso by the artist’s grandson, Herbert Varley: I certify that this is an original drawing/by old John Varley/Born 1778/Died 1842/Herbt. Varley/Grandson/6th August 1899 and with collector’s mark verso Watercolour over pencil 216 x 362 mm., 8 ½ x 14 ¼ in.

Provenance: By descent from the artist to his grandson Herbert Varley (d.1903); Michael Ingram

Brecon is a market town in south Powys and was previously the county town of the old county of Brecknockshire. Beyond the bridge over the Usk stands Brecon Priory, known since 1923 as Brecon Cathedral, with the old Norman castle to the left. A fully finished watercolour of this view by Varley dated 1837 was with Guy Peppiatt Fine Art in 2009 (Summer Catalogue no. 33).

42 GPFA

40 ANTHONY VANDYKE COPLEY FIELDING Sowerby Bridge 1787-1855 Worthing

The Head of Loch Etive, Argyllshire

Signed lower right: Copley Fielding 1842 Watercolour over pencil heightened with scratching out and gum arabic 203 x 305 mm., 8 x 12 in.

Provenance: With Thomas Deans Fine Art, USA; With Andrew Wyld

Exhibited: London, Society of Painters in Watercolours , 1842, no. 282

Loch Etive is a long Loch which enters the sea at Connel north of Oban on the west coast of Scotland. This is a view looking north-east to the head of the loch with Ben Trilleachan on the left.

43 GPFA

a.

b.

41 WILLIAM COLLINGWOOD, R.W.S. b. View of Dover Harbour, Kent Greenwich 1819-1903 Bristol Pencil on buff paper a. View of Dartmouth Castle on the river Dart, Devon 322 x 497 mm., 12 ½ x 19 ½ in.

Pencil on buff paper These early works by Collingwood date 342 x 502 mm., 13 ½ x 19 ¾ in. from the late 1830s.

44 GPFA

42 JAMES DUFFIELD HARDING Provenance: Deptford 1797-1863 Barnes Sir Thomas Lucas of 12a Kensington Palace Gardens, his sale, Christie’s, 9th June 1902, lot 170, bt. Vokins for 11 guineas; View in the Alps William Cooke of North Bank, Muswell Hill, his sale, Christie’s, 8th June 1917, lot 30, bt. Matthews Signed lower left: JDHarding/1841 for 18 guineas Watercolour over pencil heightened with bodycolour This is likely to be a preparatory watercolour for an 323 x 208 mm., 11 ½ x 8 in. engraving.

45 SOFA

43 DOMENICO MORELLI style was to have a particular influence on both his paintings Naples 1823-1901 Naples and drawings. The 1880’s found Morelli painting mostly religious subjects, often tinged with a form of mysticism. His draughtsmanship is characterized by rapid, short pen strokes A Seated Arab Man with a minimum of shading. Morelli’s pen style as a draughtsman was largely developed by around 1865 and Pen and brown ink, with touches of brown wash remained relatively constant for the rest of his career. Signed and dated Morelli 1883 at the lower right, and illegibly inscribed (in mock Arabic?) at the Orientalist or Islamic subjects account for a small but bottom distinctive part of Morelli’s painted oeuvre . He never seems 445 x 323 mm., 17 ½ x 12 ¾ in. to have visited the Near East, although he owned a large collection of photographs of sites in the Holy Land and Domenico Morelli lived and worked in Naples, and also elsewhere. The model depicted here also appears in made several trips to Paris between 1854 and 1867. Morelli’s painting of an Arab musician playing a musical Among his paintings are scenes from Italian literature and instrument, datable to the mid-1870’s, in a private history, religious subjects and the occasional portrait. In collection. 1874 he met the Spanish artist Mariano Fortuny, whose

46 GPFA

a.

b.

44 THOMAS HARTLEY CROMEK b. The Arch of Constantine and the Colosseum, Rome London 1809-1873 Wakefield Watercolour over traces of pencil a. The Basilica of St Francis of Assisi, Italy 140 x 243 mm., 5 ½ x 9 ½ in.

Watercolour over traces of pencil These on-the-spot sketches by Cromek date from his time 131 x 244 mm., 5 x 9 ½ in. in Rome in the 1830s and 1840s. For more on the artist, see Thomas Hartley Cromek: A Vision of Italy , exhibition catalogue, 1999.

47 GPFA

45 WILLIAM JAMES MÜLLER Birmingham, City Museum and Art Gallery, a Loan Collection Bristol 1802-1845 Bristol of Paintings in Oil and Water-colours by William J. Müller , 1896 The Room of Marie de Medici, Château of Blois, In the Spring of 1840, Müller was commissioned by Messrs France Hodgson and Graves of Pall Mall to produce forty watercolours of French views which related to the Signed and dated 1841 lower left Renaissance period of Francis I. Of these forty, twenty-six Watercolour heightened with touches were to be lithographed for a book ‘Sketches of the Age of of bodycolour and scratching out Francis I’. Müller left from Southampton with his pupil 195 x 271 mm., 7 ¾ x 10 ½ in. Edward Dighton in early June and visited various sites in Normandy reaching Paris on the 17th. After a month there Provenance: and at Fontainebleau, he visited Orleans, Blois and the Loire John Edward Taylor (1830-1905) valley before returning to England from St Malo in September. A watercolour of this view was published as Exhibited: plate XIII of ‘Sketches of the Age of Francis I’ in 1841, but Leeds City Art Gallery, National Exhibition of Works of Art , with different figures. 1868, no.15;

48 GPFA

a. b.

46 WILLIAM JAMES MÜLLER b. Heidelberg from the banks of the river Neckar, Bristol 1802-1845 Bristol Germany a. The Round Tower at Andernach on the Rhine Signed with initials lower centre: Entrance to Heidelberg 1834 WM. August. Signed with initials lower right: Andernach 1834/wm pencil pencil 417 x 282 mm., 16 ¼ x 11 in. 442 x 291 mm., 17 ¼ x 11 ½ in. Provenance: Provenance: Robert H. Edmondson; Robert H. Edmondson; By descent to T.A. Edmondson; By descent to T.A. Edmondson; With the Sabin Gallery, London; With the Sabin Gallery, London; With the Motcombe Galleries, London With the Motcombe Galleries, London This dates from Müller’s seven month tour of the continent The ‘Round Tower’, completed in 1453, is part of the with his fellow artist George Arthur Fripp in the summer of medieval fortifications of Andernach which stands on the 1834 and early 1835. They crossed the Channel in mid Rhine several miles north of Koblenz. July and continued to Cologne. From there, they walked down the banks of the Rhine to Heidelberg which was their first prolonged stop.

49 GPFA

47 HARRY T. HINE London 1845-1941 Bottesdale, Suffolk

Great Ote Hall near Wivelsfield Green, West Sussex

Signed lower right: Harry Hine 1875 Watercolour heightened with bodycolour and stopping out 300 x 398 mm., 11 ¾ x 15 ¾ in.

This is an early work by Harry Hine the son of the artist Henry George Hine. Great Ote Hall, an Elizabethan manor house, dates from circa 1550 with an east wing added in 1600 and still exists today.

50 GPFA

48 ANTHONY VANDYKE COPLEY FIELDING The mountain of Ben Vorlich stands between the town of Sowerby Bridge 1787-1855 Worthing Callander to the south and Loch Earn. Copley Fielding exhibited a number of views of Ben Vorlich at the Society of Painters in Water-colours but most are taken from the banks Ben Vorlich, South Highlands, Scotland of Loch Lomond. Signed lower centre: Copley Fielding/1828 Watercolour over pencil heightened with bodycolour, scratching out and stopping out 477 x 617 mm., 18 ¾ x 24 ¼ in.

Provenance: Mrs Henry Folland of Llynderw Lodge, Blackpyl near Swansea, his sale Christie’s, 5th October 1945, lot 1, sold for £89

51 GPFA

49 GEORGE PYNE Provenance: 1800-1884 Anonymous sale, Christie’s, 25th July 1972, lot 246

Oxford Castle is a mostly ruined medieval castle to the west Castle Mill Stream and the Castle, Oxford of the centre of the city. It is dominated by St. George’s Tower which dates from 1074. George Pyne is best known Watercolour over pencil heightened for his views of Oxford colleges. with bodycolour 200 x 151 mm., 7 ¾ x 5 ¾ in.

52 GPFA

50 ATTRIBUTED TO AMBROSE POYNTER This unusual view of Greenwich looks south down Church London 1796-1886 Dover St from the river towards the Hawksmoor-designed church of St Alfege’s. Stylistically this watercolour, which is indistinctly signed, is very close to the work of the London Church St., Greenwich with St Alfege’s Church beyond artist and architect Ambrose Poynter (for a comparable watercolour, see Stephen Duffy, The Discovery of Paris – Indistinctly signed and dated 1845 lower centre Watercolours by Early Nineteenth-Century British Artists , Watercolour over pencil heightened 2013, no. 58, p. 122). with bodycolour 337 x 242 mm., 13 ¼ x 9 ½ in.

53 GPFA

51 EDWARD LEAR Lear visited Melfi from 17th to 22nd September 1847 while Highgate 1812-1888 San Remo he was living in Rome. Having visited Sicily in May and June 1847, he toured Southern Italy from July until October. He described the castle as ‘sufficiently imposing at this silent The Castle of Melfi, Italy hour of night. There is a drawbridge, and sullen gates, and dismal court-yards, and massive towers, and seneschals Inscribed lower left: Melfi/Sept 21 and inscribed in with keys and fierce dogs – all the requisites of the feudal another hand lower right: J.W. Turner fortress of romance’ (see Edward Lear in Southern Italy , Pen and brown ink and washes heightened with 1964, pp. 182-184). Melfi is in the central southern area of white on grey paper Basilicata to the east of Naples. 208 x 291 mm., 8 x 11 ¼ in.

54 GPFA

52 EDWARD LEAR This drawing dates from Lear’s time in Rome from late Highgate 1812-1888 San Remo 1837 until 1848 when he often worked in pencil or black chalk. The lack of inscription suggests it’s a studio work and maybe preparatory for an engraving or larger drawing. Castello di Baia near Naples, Italy The castle of Baia, several miles west of Naples, is perched Pencil heightened with white on grey paper on a cliff top overlooking the Mediterranean. The current 119 x 231 mm., 4 ½ x 9 in. fortress was built by the Aragonese in the late fifteenth century on a cliff above Roman ruins which purport to be Julius Caesar’s summer residence. They are more likely to have built by the Emperor Nero however.

55 SOFA

53 EUGÈNE BOUDIN Eugène Boudin seems to have made his first visit to Holland Honfleur 1824-1898 Deauville in 1873, perhaps at the suggestion of the artist Johan Barthold Jongkind, and returned several times in his later career, working in Rotterdam, The Hague and Dordrecht. A Fish Market in Rotterdam The present sheet dates from 1876, when the artist spent the months of June and July in the Low Countries, and that Watercolour over an underdrawing in pencil year he painted at least nine paintings of Vues de Rotterdam , Stamped with the atelier stamp E.B. (Lugt 828) including some of the fish market. at the lower left Inscribed and dated Rotterdam. -76 at the lower Boudin’s notebooks, which he used to record ideas and right, and further inscribed with colour notes thoughts related to his work, reveal his fondness for 159 x 202 mm.; 6 1/4 x 8 in. markets, and particularly fish markets, as pictorial subjects. These notebooks included such notes to himself as Provenance ‘Fishmarkets. There is a gold mine to be exploited. How many The studio of the artist have I sketched? If I apply myself I should produce a certain Probably the Boudin atelier sale, Paris, Hôtel Drouot, number with figures of a foot or so. Trouville, and Rotterdam – 20-21 March 1899 consider ’, as well as ‘ A large market with the people shown on Mr. and Mrs. Fred Schoneman, New York, by 1976 their striking side. For that all the material must be gathered Private collection, Scotland on the spot. ’

56 GPFA

54 HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Sussex

Pella on Lake Orta, Italy

Signed lower left: Pella/Lago di Orta/HBB Watercolour and pencil heightened with touches of bodycolour 140 x 216 mm., 5 ½ x 8 ½ in.

Pella is on the west bank of Lake Orta, one of the North Italian lakes.

57 GPFA

55 NOEL ROOKE to Birmingham City Art Gallery. The 1899 watercolour of Bedford Park 1881-1953 Bedford Park the west front of Bourges Cathedral is still in the museum’s collection. He was evidently accompanied by his 18 year old son Noel who produced the present watercolour. Study of the west Façade of Bourges Cathedral, France Noel was educated at the Lyceé de Chartres before entering the Central School of Arts and Crafts in 1899. Signed with initials lower right: N.R./1899 and There he was taught by the calligrapher Edward Johnston inscribed on border under mount: 7 Queen Anne’s and his fellow pupils included Eric Gill. In 1905 he became Gardens/Bedford Park/W./With another the teacher of Book Illustration at the Central School and drawing/Submitted at National Gallery 26.th Oct became increasingly interested in wood engraving. In 1914 1899 he became head of the School of Book Production, a post Watercolour over traces of pencil he held until 1946. In 1920 he helped to found the Society of Wood Engravers. His teachings were a major factor in 313 x 636 mm., 12 ¼ x 25 in. the revival of wood engraving in the twentieth century. Noel was the son of the artist Thomas Matthew Rooke A watercolour by Noel Rooke, of the same size, of the main (1842-1942) who was a designer for Burne-Jones and also portal of Senlis Cathedral, France, dated 1900, is in the worked for Ruskin. T.M. Rooke visited Bourges in 1899, Harvard Art Museum, Cambridge, Massachusetts. one of the annual trips arranged by Sydney Cockerell, the idea being to produce a major watercolour to be presented

58 SOFA

56 GEORGE LAWRENCE BULLEID A.R.W.S. range of subjects is narrow, consisting almost entirely of Glastonbury 1858-1933 Bath? female figures in classical settings, the intense clarity of his vision, combined with an astonishing level of technical accomplishment, mark him out as much more than just A Young Girl in a Straw Hat another Alma-Tadema follower. ’ Bulled worked mainly in watercolour, and exhibited regularly at the Royal Academy, Watercolour on paper laid down on board the Royal Watercolour Society and the Royal Institute of Signed G . LAWRENCE . BULLEID at the upper left Painters in Watercolours. As The Studio magazine noted, in 203 x 178 mm., 8 x 7 in. a review of an exhibition of the Bath Society of Artists in 1905, ‘ Two drawings by G. Lawrence Bulleid, A.R.W.S, have George Bulleid is best known as a painter of highly finished the intricacy of design, pure colour and wealth of detail paintings and watercolours of subjects from classical beautifully drawn which are associated with his name. ’ The antiquity, in the manner of Lawrence Alma-Tadema. present sheet is unusual in the artist’s oeuvre in being a Christopher Wood has written of Bulleid that ‘ Although his depiction of a young girl in contemporary dress.

59 GPFA

57 58 THOMAS MILES RICHARDSON, SENIOR HENRY BARLOW CARTER Newcastle 1784-1848 Newcastle Scarborough 1795-1867 Torquay

Robin Hood’s Bay, Yorkshire a. The North Porch of Bridlington Priory, Yorkshire

Signed lower left: TR 1836 Inscribed verso: The North Porch/of Burlington Priory Watercolour heightened with bodcolour, Watercolour over traces of pencil heightened with scratching out and gum arabic touches of bodycolour 230 x 336 mm., 9 x 13 ¼ in. 361 x 258 mm., 14 x 10 in.

Robin Hood’s Bay is five miles south of Whitby on the Bridlington Priory, founded in the twelfth century is one of North Yorkshire coast. the earliest Augustinian Priories in the country. Having been dissolved by Henry VIII in the 1530s, it was restored in the nineteenth century.

b. A Horse and Cart in a snowy Landscape near St Mary’s Church, Whitby, Yorkshire

Signed lower right: H.B. CARTER. 46 Watercolour over traces of pencil 289 x 446 mm., 11 ¼ x 17 ½ in.

60 GPFA

a.

b.

61 GPFA

59 60 MYLES BIRKET FOSTER, R.W.S. RAFFAELLE MAINELLA North Shields 1825-1899 Weybridge Benevento 1856-1941 Lido di Venezia

View of Saltburn-by-the-Sea, Yorkshire The Fondamenta Nuova, Venice

Inscribed lower right: Saltburn/by the Sea Watercolour, over a pencil underdrawing Watercolour heightened with bodycolour Signed R. Mainella at the lower left 133 x 243 mm., 5 ¼ x 9 ½ in. 242 x 185 mm., 9 ½ x 7 ¼ in.

Saltburn-by-the-Sea is 10 miles east of Middleborough on The son, grandson and great-grandson of painters, Raffaelle the Yorkshire coast. This is likely to be an on-the-spot sketch Mainella was trained in Naples before transferring to the by Birket Foster. Accademia in Venice. Early in his career he worked mainly as a painter in oils, but after a few years decided to devote himself to watercolour, a medium in which he was highly regarded by his contemporaries. Although best known for his watercolour views of the Venice and the Venetian lagoon, Mainella also travelled to Greece, Egypt, Palestine and Syria, and produced a handful of watercolours of Orientalist subjects. He exhibited his work frequently in Venice, notably at the Biennale of 1897, as well in Berlin, Munich and Brussels. In 1901 he was invited by Count Robert de Montesquieu to mount an exhibition of his watercolours in Paris, and was later made an honorary member of the Société des Aquarellistes.

62 SOFA

63 SOFA

64 GPFA

61 GEORGES CLAIRIN in 1874. Clairin was best known, however, for his paintings Paris 1843-1919 Belle-Îsle-en-Mer of the actress Sarah Bernhardt, whom he depicted in a number of her stage roles as well as in more informal surroundings. This large sheet is a study for Clairin’s painting Study of Thistles of Ophelia in the Thistles , for which the model was likely Bernhardt; the painting is today in a private collection. Watercolour, heightened with white, over a pencil underdrawing 483 x 300 mm., 19 x 11 ¾ in. 62 Provenance JAMES JACKSON CURNOCK Probably the second Clairin studio sale (Lugt 448), Paris, Bristol 1839-1891 Galerie Georges Petit, 5-6 February 1920 On the river Frome at Stapleton, Bristol Exhibited Brest, Musée des Beaux-Arts de Brest, Les peintres du rêve en Bretagne , 2006-2007, no.20 Signed lower right: Stapleton/J. Jackson Curnock/1862 Watercolour heightened with bodycolour A graduate of the Ecole des Beaux-Arts in Paris, Georges 360 x 530 mm., 14 x 20 ¾ in. Clairin first exhibited his work in 1866. Apart from the easel pictures and illustrations for which he was highly regarded, This is an early work by the Bristol artist James Jackson he received a number of public commissions, notably a Curnock. Stapleton is now a suburb of Bristol to the north- ceiling painting for the foyer of the Opéra in Paris, painted east of the city centre.

65 SOFA

63 PAUL-ALBERT BESNARD bold brushwork. These elements also found their way into Paris 1849-1936 Paris the artist’s other main activity; his work as a decorative mural painter. He painted large decorative schemes for several public buildings in Paris, as well as for private homes. Portrait of a Baby Although he was strongly influenced by the work of the Impressionists, he never exhibited with them, leading Degas Pastel on brown paper, mounted onto canvas to comment that ‘ Besnard is flying with our wings ’. Signed ABesn at the lower right 1 7 409 x 327 mm., 16 /8 x 12 /8 in. This spirited pastel sketch can be related to a large painted Portrait of the Artist’s Family of 1890, in the Musée d’Orsay, Albert Besnard was, by the 1880’s, one of the most highly in which the same baby appears. The baby has been regarded portrait painters in Paris. He developed a identified as the artist’s youngest child, Jean Besnard (1889- particularly evocative manner of depicting his sitters that 1958), who was to become a ceramic artist. relied on luminous, vibrant colours, dramatic lighting and

66 SOFA

64 HENRI EDMOND CROSS Indépendants. Cross did not adopt the Neo-Impressionist Douai 1856-1910 Saint-Clair techniques of his colleagues Georges Seurat and Paul Signac until the early 1890’s, after Seurat’s death. At around the same time he left Paris for the south of France, eventually A Design for a Dish settling in the village of Saint-Clair, near Saint-Tropez. The Mediterranean landscape of the Côte d’Azur became his Brush and blue-grey wash, over an underdrawing preferred subject matter for the remainder of his career, in pencil although he also painted idyllic scenes of bathers and Stamped with the atelier stamp H.E.C. (Lugt 1305a) mythological figures. Cross was, however, never very at the lower right productive as a painter, largely due to a combination of Inscribed Ancienne collection Félix Fénéon at the failing eyesight and severe arthritis, and from 1900 onwards lower left and projet de plat / Henri Edmond Cross. painted little. at the lower right This drawing belonged to the scholar and critic Félix Fénéon 249 x 325 mm., 9 ¾ x 12 ¾ in. (1861-1944), a champion of the Neo-Impressionists, who owned a large number of paintings and watercolours by Provenance Cross. In 1907 he organized a retrospective exhibition of The studio of the artist, Saint-Clair Cross’s work at the Galerie Bernheim-Jeune, and following Félix Fénéon, Paris the artist’s death three years later assisted Cross’s widow and Signac with making an inventory of the artist’s studio. Little is known of Henri Edmond Cross’s work before 1884, when he first exhibited with the Société des Artistes

67 GPFA

65 66 HARRY JOHN JOHNSON THOMAS BAKER OF LEAMINGTON Birmingham 1826-1884 London Birmingham 1809-1869

Grange Bridge, Borrowdale, Lake District The Bridge over the River Avon at Stoneleigh Abbey, Warwickshire Inscribed lower left: The Entrance to Borrowdale and dated August 1877 Watercolour over pencil heightened with touches Watercolour heightened with scratching out of bodycolour and scratching out 338 x 502 mm., 13 ¼ x 19 ¾ in. 195 x 137 mm., 7 ½ by 5 ¼ in.

Provenance: Stoneleigh Abbey on the edge of the village of Stoneleigh, The Artist’s studio sale, Christie’s, 5th March 1885, lot 5 Warwickshire, was the home of the Leigh Family from 1561 until the late twentieth century. This bridge across Grange Bridge, in the village of Grange, stands at the the river Avon was built by John Rennie in 1814. Three entrance to Borrowdale between Grange Fell and Castle oils of Stoneleigh Park views by Baker are in Leamington Crag. It has stood over the River Derwent since 1675. Art Gallery.

68 GPFA

69 SOFA

67a HENRI EVENEPOEL By descent to their son, Charles De May, Brussels Nice 1872-1899 Paris Roland Leten, Ghent Private collection, England An Artist, thought to be Adolphe Crespin, Painting at Literature an Easel Philippe Roberts-Jones, ‘Evenepoel et l’art de son temps’, in Eliane De Wilde et al, Henri Evenepoel 1872-1899 , Charcoal exhibition catalogue, Brussels, 1994, illustrated p.92. Stamped with the artist’s monogram he in a circle and numbered No.777 on the verso This caricature is thought to be a portrait of the Belgian 1 384 x 243 mm., 15 /8 x 9 ½ in. painter, decorator and poster designer Adolphe Crespin (1859-1944), who was Henri Evenepoel’s teacher at the Provenance Académie des Beaux-Arts in Brussels, and was to remain Probably the artist’s cousin, Louise De May-van close to the artist throughout his life. Evenepoel painted a Mattemburgh, Brussels portrait of Crespin in 1894.

70 SOFA

67b HENRI EVENEPOEL was a great admirer. Describing a visit to Lautrec’s Parisian Nice 1872-1899 Paris studio, in a letter to his father in January 1895, Evenepoel wrote that, ‘ More than ever, I maintain that Toulouse-Lautrec is an artist of immense value and even that he is a complete A Seated Artist, Possibly Toulouse-Lautrec, Drawing at artist. ’ (Some two years earlier, after another visit to an Easel Lautrec’s studio, Evenepoel had noted that, ‘ Toulouse- Lautrec does not much care what anybody thinks of his Charcoal painting, but he would not forgive any slighting remarks about Stamped with the artist’s monogram he in a circle his American drinks. ’) and numbered No.744 on the verso 3 305 x 212 mm., 12 x 8 /8 in. These two caricatures belonged to Evenepoel’s illegitimate son Charles De May, born in 1894 to the artist’s cousin, Provenance Louise De May-van Mattemburgh. The drawings may be See No. 67a. compared stylistically with several sketches of figures formerly in the collection of Roland Leten in Ghent, who is The present sheet may be a caricature portrait of Henri de likely to have also owned the present pair. Toulouse-Lautec (1864-1901), of whose work Evenepoel

71 GPFA

68 ALFRED WILLIAM HUNT picture dealer James Wyatt who had a shop on the High Liverpool 1830-1896 London Street. Wyatt commissioned Hunt to go on a series of sketching trips to North Wales which he funded in exchange for the option to sell the finished works in his shop. View of Capel Curig with Snowdon and the Glyders beyond, North Wales The present drawing, an early work, originates from such a trip and dates from the year of his first picture exhibited at Signed lower centre: AWHunt/1856 the Royal Academy, in 1856, ‘The Stream from Lyn Idwal’. Watercolour over pencil heightened with John Ruskin who had published his Modern Painters IV in bodycolour and gum arabic April 1856, described it as ‘the best landscape I have seen Sheet 248 x 344mm., 9 ¾ by 13 ½ in. in the [Academy] exhibition for many a day – uniting most subtle finish and watchfulness of Nature, with real and rare Born in Liverpool, the son of a drawing master, Hunt read power of composition’ ( The Works of John Ruskin , ed. Cook Classics at Corpus Christi, Oxford, on a scholarship. While & Wedderburn, 1903-12, vol. XIV, pp.50-51). a student, he was encouraged to draw by the Oxford

72 GPFA

69 ALFRED WILLIAM HUNT This dates from Hunt’s first trip to Scotland in 1868. Liverpool 1830-1896 London Christopher Newall quotes a letter Hunt wrote to William Greenwell in February 1860: ‘Where are you inclined to go this summer? What do you say to Glen Nevis & Skye. Loch Alsh, Isle of Skye For purely artistic reasons I should prefer Scotland to Wales’ (see Christopher Newall, The Poetry of Truth – Alfred William Signed lower right: A.W. Hunt/1868 and inscribed Hunt and the Art of Landscape , Exhibition Catalogue, lower left: Loch Alsh Ashmolean Museum, 2004, p. 128). It was not until 1868 Watercolour over pencil however when Hunt was invited by a friend to sail off the 249 x 365 mm., 9 ¾ x 14 ¼ in. west coast of Scotland that he made it. For a view of Loch Torridon, a large sea loch adjacent to Skye, see Newall, op. Provenance: cit. , no. 39, p. 128. Lochalsh is a sea loch standing between P.W. Mitchell, Newcastle; the north-east corner of Skye and the mainland of Scotland. Miss E.M. Jones, Chilbolton

Exhibited: London, Society of Painters in Water-colours , Winter Exhibition 1873-74, no. 330; London, Burlington Fine Art Club , 1887, no. 10

73 GPFA

70 WALLER HUGH PATON, R.S.A., R.S.W. sketch. There is a tradition on Arran that ‘Paton’s numerous Dunfermline 1828-1895 Edinburgh landscapes so contributed to the popularity of the island for holiday makers, that he was allowed free lodging at the main hotel in Brodick’ (see June Baxter, Waller Hugh Paton: a A Wooded Stream, Arran Scottish Landscape Painter, 1992). Ruskin and Millais were both friends of his brother Noel and he has been described Signed lower left: Arran/19.th Sept. 1855/W.H. Paton as the leading exponent of the Pre-Raphaelite landscape in Watercolour over pencil heightened with Scotland. Paton exhibited views of Arran at the Royal bodycolour on brown paper Scottish Academy from 1854. 270 x 381mm., 10 ½ x 15 in. Provenance: Paton was born in Dunfermline, the son of a damask J.S. Maas & Co., London; designer, for whom he worked as an assistant before Bought by Sir David Scott (1887-1986), January 1974 becoming a pupil of J.A. Houston. As a young man, his for £130; family, including his brother the artist Sir Joseph Noel Paton, By family descent until 2008 often spent summer holidays on Arran, where they would

74 GPFA

71 GEORGE PRICE BOYCE into the Pre-Raphaelite circle. His diaries which he kept London 1826 -1897 London between 1851 and 1875 provide a fascinating insight into their activities. View on the River Teme, Ludlow, Shropshire He exhibited a number of Ludlow views in the early 1870s (see Christopher Newall and Judy Egerton, George Price Signed lower right: G.P. BOYCE. 72-3 Boyce, 1987, p. 60, nos. 53 and 54). This is likely to be Watercolour over traces of pencil one of the two views on the river Neme which he 287 x 420 mm., 11 ¼ x 16 ½ in. exhibited at the Society of Painters in Water-colours in 1873 and most probably ‘The Teme at Ludlow, Boyce was studying to be an architect until he met September.’ A smaller sketch of this view, inscribed and David Cox (see nos. 33 and 34) at Bettws-y-Coed in dated October 1872, was sold at Christie's South August 1849, which inspired him to be a landscape artist. Kensington on 22nd February 2011, lot 276. In the early 1850s, he met Rossetti and was accepted

75 SOFA

72 WILLIAM FRASER GARDEN Huntingdonshire. He was very poor for most of his life, and Gillingham 1856-1921 Huntingdon was declared bankrupt in 1899. Garden’s body of work has only recently been rediscovered, and his reputation as among the finest Victorian landscape watercolourists is now The Bridge at St. Ives, Huntingdonshire firmly established.

Watercolour Christopher Newall has aptly described Garden’s Signed with initials and dated W. F. G. ’99. watercolour views of his native Huntingdonshire and at the lower right along the river Ouse in Bedfordshire as ‘ extraordinary in 1 120 x 155 mm., 4 ¾ x 6 /8 in. their pellucid clarity of light and their exact delineation of architectural and landscape detail. ’ Garden painted Born into a family of artists, William Fraser Garden exhibited several views of the narrow stone bridge, built around his watercolours at the Royal Academy, the Royal Scottish 1415, in the town of St. Ives, on the left bank of the river Academy and the Royal Institute of Painters in Water- Ouse. The chapel dedicated to St. Leger, constructed on Colours. The subjects of his watercolours were mainly the eastern side of the bridge, with an altar consecrated views of the fen villages along the river Ouse, such as in 1426, is one of only three surviving examples of bridge Holywell, Hemingford Grey and St. Ives, and are chapels in England. This watercolour depicts the upper characterized by a remarkable attention to detail and crisp, two-story extension to the chapel which was added cool lighting. Never a very prolific artist, Garden seems to in 1736, when the structure was converted to a house. have given up exhibiting in London by 1890, and from then The bridge chapel was returned to its original on relied on a small number of local collectors in appearance in 1930.

76 SOFA

73 FREDERICK CAYLEY ROBINSON, A.R.A. Drawn in 1908 and exhibited the same year, this drawing by Brentford-on-Thames 1862-1927 London Frederick Cayley Robinson was illustrated shortly thereafter in the magazine The Studio , in which it was noted of the artist that ‘ Even in his more everyday subjects…the The Two Sisters significance of the picture seems not to lie in the scene, but the feeling that the fates themselves are concealed – that Pencil and coloured chalks on buff paper something is portending. The figures seem to be standing at Signed CAYLEY ROBINSON at the lower left and the margin of an imaginary world, without passing into it, and signed and dated CAYLEY / ROBINSON . 1908 at the a knowledge of destiny is seen in their eyes. In the picture The lower right Two Sisters all the figures look as if they felt that they were 1 5 156 x 246 mm., 6 /8 x 9 /8 in. watched by some invisible watcher. ’

Provenance With some differences, the poses and arrangement of the Carfax & Co. Ltd., London, in 1908 three figures in this drawing was to be repeated as part of Samuel John Lamorna Birch, Lamorna, Cornwall two larger, finished compositions by Cayley Robinson; a Thence by descent until 1998 tempera painting entitled Reminescence , dated 1908, in the Private collection, Spain Leamington Spa Art Gallery and Museum, and a gouache drawing entitled The Renunciants , dated 1916, in the Literature Victoria and Albert Museum. T. Martin Wood, ‘Some Recent Work by Mr. Cayley Robinson’, The Studio , April 1910, pp.204-205, illustrated

77 SOFA

74 UBALDO COSIMO VENEZIANI and poster designer in the 1930’s and 1940’s, Veneziani Bologna 1894-1958 Milan eventually gave up a career in the advertising business to devote himself solely to art and design. Among his designs for book covers are several for the publishing house Edizioni La Morsa Alpes in the 1920’s, such as Alberto Moravia’s Gli Indiffirenti , published in 1929. Veneziani also designed the covers for Pen and black ink the first Italian editions of Théophile Gautier’s Ménagerie Signed VENE / ZIANI at the lower right intime , published in Rome in 1928, and G. K. Chesterton’s Faintly inscribed LA MORSA at the upper right The Napoleon of Notting Hill , which appeared in Milan a year Further inscribed base cm 17 / scontornato later. at the upper right 1 The present sheet is a drawing for the title page or 246 x 334 mm., 9 ¾ x 13 /8 in. frontispiece of a printing of the play La Morsa (The Vise ) by After completing his studies at the Accademia di Brera in Luigi Pirandello. Written in 1892 and first published in 1898 Milan, Ubaldo Veneziani became known as a fashion under the title L’epilogo in the cultural journal Ariel , La Morsa illustrator, and his drawings appeared in several women’s was not performed on stage until December 1910, at the fashion magazines. Active as a gifted painter, book illustrator Teatro Metastasio in Rome.

78 GPFA

75 THOMAS COLLIER Glossop 1840-1891 Hampstead

Black Rock Sands Beach, Morfa Bychan, North Wales

Signed lower left: T. Collier Watercolour over pencil 172 x 248 mm., 6 ¾ x 9 ¾ in.

This is an early work by Collier probably drawn when he was living in Bettws-y-Coed between 1864 and 1869. He is is the best known follower of David Cox and specialised in moorland scenes. Morfa Bychan is a small village with a long two mile beach known as Black Rock Sands. It is just west of Porthmadog on the south coast of the Lleyn peninsula.

79 SOFA

76 HENRI LE SIDANER kilometres north of Paris, where he eventually settled. He Port-Louis (Mauritius) 1862-1939 Versailles worked there until the end of his life, painting numerous scenes of his cottage and its extensive gardens. In 1930 he was admitted into the Académie, a triumph for a painter A Fountain in a Village Square who chose to work outside official circles for most of his career. Le Sidaner delighted in capturing transient effects of Black chalk, on white paper light, and would paint scenes in bright sunlight, at twilight or A study of houses around a square in pencil, in moonlight. While he often made sketches and drawings with touches of yellow, green and red chalk, sur le motif , his paintings were generally done from memory on the verso rather than direct observation. Signed Le Sidaner at the lower right 5 Le Sidaner achieved remarkable effects of solitude and 194 x 247 mm., 7 /8 x 9 ¾ in. serenity in his pictures, and chose his compositions carefully Literature to heighten the poetic mood. As one contemporary critic Yann Farinaux-Le Sidaner, Le Sidaner: L’oeuvre peint et wrote, ‘ corners of small towns in winter, glum suburbs, a farm gravé , Paris, 1989, p.336, no.1019 (where dated c.1912) with pallid windows, streets with echelons of feeble, pensive lights form a decor which gives the best possible expression to Exhibited Le Sidaner’s exquisite sensitivity. ’ The artist’s landscapes and Paris, Musée Galliera, Rétrospective Henri Le Sidaner , April town scenes are almost always devoid of figures. The 1948 painter Paul Signac noted of him that ‘ his entire work is influenced by a taste for tender, soft and silent atmospheres. Henri Le Sidaner received relatively little academic training, Gradually, he even went so far as to eliminate from his and only had his first one-man gallery show in 1897. Around paintings all human figures, as if he feared that the slightest 1901 he visited the village of Gerberoy, about a hundred human form might disturb their ruffled silence. ’

80 SOFA

77 ALBERT HUYOT were done in a generic Post-Impressionist manner, but he Paris 1872-1968 Paris soon became influenced by Cubism. He exhibited regularly at the Salon des Indépendants, the Salon d’Automne and the Salon des Tuileries. He also participated in the Grande A Collage on the Theme of the First World War Exposition in Brussels in 1910, and the same year spent some time in Russia. Huyot was a friend of Henri Matisse, Black chalk, pencil, oil and mixed media collage, and around 1912 his work reveals the influence of Fauvism; on grey paper from a large sketchbook André Derain was another particular influence. After 1920, Signed, dated and inscribed A. Huyot 1917 / however, Huyot seems to have abandoned the rigour of Souvenir de Poperinghe at the lower centre his earlier work in favour of landscape painting. 3 340 x 488 mm., 13 /8 x 19 ¼ in. The Belgian town of Poperinghe was the main military Provenance centre for Allied forces in Flanders during the First World Possibly the posthumous Huyot studio sale, Paris, Hôtel War, and was surrounded by camps, headquarters, Drouot, 19 April 1982, as part of lot 24 (‘ env. 54 dessins hospitals and supply depots. A few kilometers west of “Croquis de Guerre 1914-1918” (Alsace, Lorraine, Vosges) ’ Ypres, Poperinghe was frequently the recipient of heavy German artillery bombardment but remained in Allied The son and grandson of artists, Albert Huyot was a pupil hands for most of the war. A military cemetery remains in of Diogène Maillart and Gustave Moreau. His first paintings the town today.

81 GPFA

78 JOHN WILLIAM INCHBOLD Leeds 1830-1888 Headingley

View at Innsbruck, Austria

Inscribed lower right: Innsbruck Watercolour over pencil 178 x 265 mm., 7 x 10 ¼ in.

Inchbold first visited the Alps in 1856 in the company of John Ruskin, who was an early champion of his work. He returned in 1857 and 1858 when he again met up with Ruskin at Fluelen. He settled in Switzerland in 1879 and spent the last years of his life on the north shores of Lake Geneva. This is clearly an on-the-spot sketch originating from a sketchbook.

82 SOFA

79 WILLIAM SUHR where he soon took up the practice of painting conservation Kreutzburg 1896-1984 Mt. Kisco and restoration. Within a few years Suhr had established a thriving practice as a paintings conservator in Berlin, working on pictures in the collection of the Kaiser Friedrich Museum Portrait of Gertrude Schulman in the 1920’s. In 1927 he left Germany to work at the Detroit Institute of Arts, and in 1935 transferred to the Frick Black chalk, with touches of red chalk, red and Collection in New York, where he worked for over forty green watercolour, and white heightening on buff years until his retirement in 1977. Suhr also worked paper, laid down on card for numerous private and institutional clients, including Signed SUHR at the upper right and dated 1917 museums in Chicago, Cincinnati, Cleveland, New York, San at the lower right Francisco, Toledo and elsewhere. He conserved many of 273 x 230 mm., 10 ¾ x 9 in. the most significant Old Master paintings in American collections, and was particularly noted for his work on Provenance Rembrandt paintings. Given by the artist’s wife, Henriette Granville Suhr, to a private collector The present sheet dates from the period of William Suhr’s studies at the Akademie in Berlin. He had begun painting One of the leading painting conservators working in and drawing as a youth, and continued to draw throughout America in the 20th century, William Suhr was born in his life, working mainly in watercolour. Germany and trained as a painter at the Akademie in Berlin,

83 SOFA

80a ANNIE FRENCH watercolour on vellum. Her work was often on a small scale Glasgow 1872-1965 Jersey and was drawn in an elaborate Art Nouveau style that displays the particular influence of the work of Aubrey Beardsley. French’s work was first exhibited in 1903, while Flowers she was still a student, at the Salon in Brussels, and in later years she exhibited at the Royal Scottish Academy and the Pen and brown ink on a thin card, laid down on a Royal Glasgow Institute of Fine Arts, where she showed paper mount decorated with a border of petals, until 1924. In 1909 French succeeded Jessie M. King in the leaves and (on the reverse) flowers in pen and ink Department of Design at the Glasgow School of Art, Signed Annie French at the upper right teaching ceramic decoration. Both French and King had a Inscribed With / Our loving / Greetings to / Dear penchant for line drawings and romantic subject matter, but Bobbie & Agnes in the lower centre and Notes whereas King’s output became more varied, French in the centre of the lower margin remained devoted to this particular mode of expression 5 1 throughout her career. 270 x 208 mm., 10 /8 x 8 /8 in. [with mount] This and the following three drawings are examples of Encouraged in her artistic ambitions by her parents, Annie greeting cards that Annie French produced for friends and French was trained at the Glasgow School of Art under F. H. family members. Such glimpses into the artist’s private (‘Fra’) Newbery and the Belgian Symbolist painter Jean correspondence are rare; she is known to have produced Delville, and was active as an illustrator in the first quarter of many postcards but only a few such works survive, including the 20th Century. She produced book illustrations, designs one example in the Victoria and Albert Museum. for greeting cards – for which she was perhaps best known in her lifetime – and independent compositions in

84 SOFA

80b ANNIE FRENCH Inscribed With loving wishes for the New Year. 1924. Glasgow 1872-1965 Jersey at the bottom and with the artist’s address Eaglesmere. 25 Trinity Rise Tulse Hill London. S.W.2. A Girl with a Blue Coat: New Year’s Greeting Card, in the lower margin 1924 179 x 122 mm., 7 x 4 ¾ in. [image]

Pen and brown ink and watercolour, on a folded card with a pale blue ribbon

85 SOFA

80c ANNIE FRENCH composition and a delicacy of handling. As one modern Glasgow 1872-1965 Jersey scholar has noted, ‘ Her backgrounds are extremely detailed, full of flowers, green swards, plants, trees. Mechanisms and industry do not appear. There is considerable variation in tone, A Bunch of Flowers: New Year’s Greeting Card, 1927 which is achieved by fine and finer pen lines, dots and dotted lines, hatching. The darkest patches are usually complex Pen and brown ink, on a paper mount decorated hatching, not plain solid black. It is a style requiring time, with a border of petals in pen and ink patience, and considerable invention. Where colour is used it Signed and dated Annie French / 27 Dec. 1927 is generally applied decoratively, with an eye to pattern. The at the right centre and inscribed A Merry / New Year work is a line drawing with colour, not a watercolour with lines, / to Bobbie / & Agnes. at the lower right although sometimes lines are used over the colour again. ’ 3 288 x 227 mm., 11 /8 x 9 in. The dedication on this drawing may refer to one of the The drawings of Annie French are usually quite small in artist’s sisters, Agnes. scale, and are characterized by both an intricacy of

86 SOFA

80d ANNIE FRENCH 1905: ‘ It will be noticed in these drawings that, in place of the Glasgow 1872-1965 Jersey strength and the variety of the Beardsley line, in exchange for the expressiveness with which genius informed it, we have an exquisite pattern woven from a fanciful usage of the dots and A Woman and Child in a Landscape lines his method suggested. The drawings are much more to Miss French’s credit than any imitation of the qualities of the Pen and brown ink and watercolour on a thin card, Beardsley line; as it is, they are not an imitation, but a device, laid down on a paper mount decorated with a charming, original, and dainty. One motif from Beardsley’s work border of leaves and flowers in pen and ink has been retained, rearranged, and used for the sake of itself, Signed Annie French. at the lower left combined with many qualities that entirely are Miss French’s 114 x 90 mm., 4 ½ x 3 ½ in. [image] own. ’ Drawings by Annie French are today in the Scottish 1 1 National Gallery of Modern Art in Edinburgh, the Victoria 208 x 181 mm., 8 /8 x 7 /8 in. [sheet] and Albert Museum in London, the Laing Art Gallery in The influence of Aubrey Beardsley on the draughtsmanship Newcastle and the Glasgow Museums and Art Galleries at of the young Annie French was already noted in an early Kelvingrove, which houses a small album of her drawings. appraisal of her work, published in The Studio magazine in

87 SOFA

81 TSUGUHARU FOUJITA decided to settle in Paris, where he arrived in 1913. He Tokyo 1886-1968 Zurich soon made his mark in the artistic milieu of bohemian Paris, becoming friendly with such artists as Picasso, Matisse, Modigliani, Soutine and Gris. Although he was associated Portrait of a Young Woman with the artists of the School of Paris, and in 1920 became a permanent member of the Salon d’Automne, Foujita Pencil, with stumping, on light brown paper created his own individual style, characterized by a Signed Foujita and in Japanese at the lower left combination of Japanese, French and European influences. centre 3 280 x 262 mm., 11 x 10 /8 in. Datable on stylistic grounds to the second half of the 1920’s, this is a preparatory study for a small oil painting by Foujita, A painter, draughtsman and printmaker, Tsuguharu Foujita of similar dimensions, in a private collection in San Francisco. studied in his native Tokyo but, disappointed by the The drawing also served to prepare a lithograph, in the conservative nature of the training he received there, same direction as the present sheet.

88 SOFA

82 GERALD SPINK An accomplished artist and illustrator, Gerald Spink also Active between 1920 and 1940 worked an aeronautical engineer for Hawker Engineering in Kingston-on-Thames. He designed artwork for a number of travel and advertising posters, for such clients as Southern Southern Electric Railways, the London and North Eastern Railway and MG cars, as well as Shell, Castrol, the British Steel Corporation Gouache on paper and Hawker Engineering. In 1933 Spink won a prize for his Signed G. MACK SPINK at the lower left artwork exhibited at the Competition of Industrial Designs at 710 x 520 mm., 28 x 20 ½ in. the Imperial Institute. Shortly after the Second World War, Spink also designed and built a 500cc racing car, nicknamed the ‘Squanderbug’, a project he completed in 1947.

89 GPFA

90 SOFA

83 84 ALFRED CHARLES CONRADE Circle of JOAQUÍN SOROLLA Y BASTIDA Leeds 1863-1955 Heywood Valencia 1863-1923 Madrid

The Scuola Grande San Giovanni Evangelista, Venice Beaching the Boat

Signed on pediment lower right: AC CONRADE Watercolour, over a pencil underdrawing 1 Watercolour over pencil heightened with 217 x 308 mm., 8 ½ x 12 /8 in. bodycolour 556 x 387 mm., 21 ¾ x 15 ¼ in.

This shows one of the five ‘Scuole Grande’ or confraternities of Venice, located in the San Polo area of Venice. Originally founded in 1261, the marble screen was added by Pietro Lombardo in 1478-81and incorporates the eagle of St. John. Conrade studied at the Dusseldorf Academy as well as in Paris and Madrid. He established a reputation as an architectural painter – his extensive use of pencil underdrawing is typical – and travelled widely in Europe and Japan. He was chief architect at White City from 1911 to 1914, the site of the enormous Franco-British exhibition of 1908 and the London Olympic Games of the same year.

91 SOFA

85 GEORGE BARBIER Among the leading illustrators of the Art Deco movement, Nantes 1882-1982 Paris George Barbier first came to public attention with an exhibition of his drawings in Paris in 1911. Characterized by a refinement and elegance which epitomized the Art Deco La tasse de thé: Séraphine en rose et noir era, much of Barbier’s work took the form of fashion illustrations for such magazines as La Gazette du Bon Ton , Pen and black ink and grey wash and watercolour, Fémina , Costumes parisiens , Vogue and the Journal des dames over a pencil underdrawing et des modes . He provided fashion plates for some of the Signed and dated GEORGE / BARBIER / 1925 leading couturiers of the period, notably Paul Poiret, Jeanne at the right centre Lanvin and Madeleine Vionnet. He also produced designs Variously inscribed and titled cg 1029 / Juliette / for stage sets and theatre costumes, as well as fabrics, fans Séraphine / ref. / Taille / “La tasse de thé / Séraphine and wallpaper. Drawn in 1925, this is a costume design for en rose et noir” on the verso a theatrical production. As the critic Edmond Jaloux noted 3 of such drawings, ‘ When I look at Barbier’s costumes for the 263 x 204 mm., 10 /8 x 8 in. stage, I see the characters of those magical stories come to life before me and tempt my imagination .’

92 SOFA

86 PAUL-ÉMILE PISSARRO By the 1920’s he was sharing a studio with Kees van Eragny 1884-1972 Clécy Dongen in Paris, and exhibiting at the Salon des Indépendants, the Salon des Tuileries and the Salon d’Automne. Study of Willow Trees As noted by the artist on the verso. this watercolour was Watercolour, over a pencil underdrawing drawn in 1926 at Lyons-la-Fôret in Upper Normandy, Signed and dated Paulémile Pissarro. 1926. where Paul-Émile Pissarro had settled two years previously. at the lower left The drawing displays the particular influence of Paul Inscribed Saules à Lyons on the verso. Cézanne on the young Pissarro, who would have met 5 482 x 320 mm., 19 x 12 /8 in. Cézanne several times in Paris, and who would have also known the master’s work from the paintings which hung in The fifth and youngest child of Camille Pissarro, Paul-Émile the Pissarro home in Eragny. Cézanne’s influence on Paul- (or Paulémile, as he preferred to sign his work) Pissarro was Émile is evident in the overall tonality of many of his nineteen years old when his father died in 1903. As a young paintings and watercolours, as well as his preference for a boy he had accompanied his father on painting trips, and palette knife over a paintbrush in later years. also took painting lessons with his godfather, Claude Monet.

93 SOFA

94 SOFA

87 LÉON BENIGNI Signed BRUNELLESCHI at the lower right 7 1892-1948 250 x 324 mm., 9 /8 x 12 ¾ in.

Design for the Cover of La Donna magazine Literature Cristina Nuzzi, Umberto Brunelleschi: fashion-stylist, Gouache, over a pencil underdrawing, on paper illustrator, stage and costume designer , 1979, p.20 laid down on board Italian by birth, Umberto Brunelleschi lived and worked in Signed and dated lbénigni / 1929 at the lower left France for almost his entire career. Admired in particular for Inscribed La Donna on the backing board his fashion illustrations, he is also regarded as one of the 3 350 x 264 mm. (13 ¾ x 10 /8 in.) [sheet] finest book illustrators of the Art Deco period. Between the two World Wars, Brunelleschi worked mainly for the stage, designing costumes and sets for the Folies-Bergère, the 88 Théâtre du Châtelet and the Casino de Paris between 1919 UMBERTO BRUNELLESCHI and 1939. He created costume designs for the American Montemurlo 1879-1949 Paris star Josephine Baker, and also provided stage designs for La Scala in Milan and the Roxy Theater in New York. Datable Design for a Stage Set: America to c.1935, this stage design has been tentatively related to The Girls in Uniform , a Bluebell Girls revue of that year. Gouache and watercolour on paper laid down on card

95 SOFA

89 SAMUEL JOHN ‘LAMORNA’ BIRCH, R.A., friend Greta Sequeira, an amateur painter Birch met in R.W.S. 1937, when she was aged twenty-eight and staying at a Egremont 1869-1955 Lamorna holiday cottage in Cornwall with her parents. They soon became friends and spent much time together, often travelling to London to visit exhibitions and artist’s studios. A Flower of November The close friendship between Greta and Birch, despite the significant age difference between them, seems to have led Pen and brown ink and watercolour to occasional gossip about the nature of their relationship. Inscribed A flower of November , and signed, dated At the time he made this small drawing for her, Birch seems and dedicated To Greta from John. / S.J Lamorna Birch to have been somewhat infatuated with the young woman, 1939 at the bottom writing poems to her and taking great pleasure in her 3 constant company. Yet, as the artist’s biographer has noted, 111 x 89 mm., 4 /8 x 3 ½ in. ‘The attractions of Greta Sequiera for Birch went beyond her Provenance good looks. He was stimulated by her enthusiasm for painting Given by the artist to Greta Sequeira Valentine in 1939. and travel. Her energy, he told her, was like oxygen, giving him the drive to pursue his painting with unflagging vigour…Birch’s S. J. ‘Lamorna’ Birch was a superb watercolourist, and friendship with Greta continued to be a rather odd mixture of worked in the medium to the end of his life. In a review of serious endeavour and high-spirited excitement, cemented by a 1911 exhibition of his watercolours, one critic wrote that a shared enjoyment of the earthiness of life. ’ Although in 1941 ‘This artist is becoming one of our best watercolourists with a Greta married the artist’s patron, the publisher Ranald quite personal method and habit of looking at things. ’ This Valentine, she remained close to BIrch throughout his life, small, charming sketch is dedicated to the artist’s longtime and corresponded with him until his death.

96 SOFA

90 SIR FRANK BRANGWYN, R.A. an exhibition of Brangwyn’s watercolours in 1934, a critic Bruges 1867-1956 Ditchling noted of him that ‘ He is English , perhaps in the skill with which he handles water-colours, but he is far from being readily related to the so-called English Tradition. He is not as realistic as A Hilltop Castle at Sunset Constable, nor as romantic as Turner, nor as “flat” as Cotman, nor as atmospheric as Cox, nor as architectural as Roberts, nor Watercolour over a pencil underdrawing; the sheet as delicate as Steer. He is one thing that none of these water- folded over at the bottom colourists ever were: primarily decorative…every water-colour A sketch of a tree in black chalk on the verso here strikes the spectator at a distance. ’ Another scholar has Signed FB at the lower right, and again on the noted of Brangwyn that ‘ The variety and excellence of his overlap and inscribed white (?) stalks and laib coll on water-colours gives them the right to be considered entirely the overlap upon their own high merits, as great works of art carried out in 1 a medium which is more difficult, more exacting, more 171 x 358 mm., 6 ¾ x 14 /8 in. [image] 5 1 spontaneous and more revealing than any other. ’ 219 x 359 mm., 8 /8 x 14 /8 in. [sheet] This vibrant watercolour sketch belonged to William de Provenance Belleroche (1913-1969), a longtime friend of the artist, who Count William de Belleroche, Brighton owned a large number of works by Brangwyn, including more than eighty watercolours, and promoted his work Frank Brangwyn’s numerous watercolours were mainly tirelessly. He organized several exhibitions of the artist’s devoted to landscapes and townscapes, and were generally work, notably the retrospective exhibition held at the Royal more subdued in tonality than his oil paintings and murals, Academy in 1952; the first to be devoted to a living artist. and less dominated by figures. Many of his watercolours are As Sir Gerald Kelly, the President of the Royal Academy, actually works of mixed media, enlivened with the addition of referred to him in a letter of that year, ‘ Count de Belleroche, touches of gouache, tempera, pencil, chalk, pastel or pen whose love of Brangwyn passes many men’s understanding. ’ and ink, and are often very large in scale. In a brief review of

97 SOFA

91 HUMPHREY JENNINGS characterized by a spare, almost Oriental, use of line. As his Walberswick 1907-1950 Poros friend Kathleen Raine recalled, ‘ Sometimes he would paint some apparently naively simple, realistic object…only a few brushmarks, of infinite delicacy of touch and subtlety of colour, The Purple Yacht on canvases largely left bare – so left because every brushmark must be made with meaning, deliberately placed according to Pencil, black chalk and watercolour a complex imaginative operation, involving both conscious on oatmeal paper thought and instinctive sensibility…French in visual perception, Stamped with the Jennings studio stamp English in his sense of the poetic image, Chinese in his on the verso philosophy of how an action (painting in particular) should be 3 314 x 240 mm., 12 /8 x 9 ½ in. performed, he sought simultaneously for three kinds of truth; in his mature work, so it seems to me, all these are achieved. ’ Best known as one of the leading documentary filmmakers of the 1930’s and 1940’s, Humphrey Jennings was also a Relatively few paintings and drawings by Jennings are signed, painter, draughtsman, photographer and poet. Indeed, dated or titled, and only a handful of his works are today in as a friend noted of him, ‘ He always regarded himself as, public collections, including the Tate. This watercolour may before everything, a painter; film-making was of secondary be dated to 1949, and is a study for a small oil painting, of importance. ’ Both his paintings and drawings are identical dimensions and dated 1949-50.

98 GPFA

92 JOHN NORTHCOTE NASH, R.A. Kensington 1893-1977 Colchester

Combining

Variously inscribed with colour and other notes Washes and biro over pencil on laid paper 227 x 309 mm., 9 x 12 in.

Provenance: The Artist’s Estate

The use of biro suggests this drawing dates from the 1960s.

99 SOFA

93 DEWITT HARDY 1973, and his watercolours are represented in several Born 1940 American museums, as well as in the British Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin. At the time of an exhibition of Hardy’s work in a New York Oranges gallery in 1981, the art critic John Russell noted that, ‘ There is something peculiar about the watercolors of DeWitt Hardy. Watercolour on paper, laid down In many respects they could have been done 50 and even 100 Signed D. Hardy at the upper right years ago. Slipped into a survey of the English 19th century 267 x 330 mm., 10 ½ x 13 in. watercolor school, many of them would not look at all out of place. If there is something specifically American about them, Born in Missouri, the watercolour artist DeWitt Hardy lives it may be the austerity with which the color is laid on the paper, and works in Maine. He has been exhibiting his work since as if water were about to be rationed among watercolorists. ’

100 SOFA

94 ANNE NEWLAND The following year she was awarded a full scholarship, Warminster 1913-1997 London(?) which allowed her a further two years in the city. Newland was particularly influenced by the work of Italian Renaissance artists, especially Andrea Mantegna. Her chief work while in Drapery Study Rome was a cartoon for a large mural of The Legend of Ceres . Intended as the central panel of a triptych, the Pencil and watercolour. painting was never brought to fruition when the outbreak of 7 374 x 276 mm., 14 ¾ x 10 /8 in. the Second World War interrupted her studies in Italy. This fine drawing is a study for the drapery of a woman standing Anne Newland studied at the Byam Shaw School of Art in by a well in a later version of The Legend of Ceres , painted London, between 1936 and 1938, when she won an by Newland in the late 1940’s. Abbey Scholarship to study at the British School in Rome.

101 SOFA

95 FLEUR COWLES of them as a child at zoos, but my husband has a different New York 1908-2009 Sussex answer and I agree that he’s partially right. He once gave me an Abyssinian cat…the sleek animal stayed long enough for me to absorb him and his ways in my mind’s eye. He used River Rendezvous our home as a jungle, prowling (never strolling) through and round the furniture, and never in a straight line. He would fly Oil on board to the top of a high armoire in our bedroom, to stare down Signed and dated FLEUR 75 at the lower right at me intently. Sometimes he would jump into my office Titled River / Rendez / vous on a piece of paper wastebasket to continue to stare, a friendly beast but no pasted on the reverse. house cat, he. I obviously did mentally photograph his jumps, 7 278 x 717 mm., 10 /8 x 28 ¼ in. his walk and his eyes. ’

The artist, socialite, writer and editor Fleur Cowles lived a Of her working method, Fleur Cowles has written that, long and fascinating life in New York and London, and was ‘There are probably few painters (other than the Chinese perhaps best known as a magazine editor and publisher. She who paint their scrolls on a flat surface) who use no easel, use began to paint seriously in the late 1950’s, producing richly no palette and have no studio. The absence of all three colourful works that combine wild animals, birds and describes in a very few words how I paint. My lap replaces the flowers in a kind of romantic dream world. The first of over easel; the tubes of paint are in themselves my palette (I paint sixty solo exhibitions of her paintings took place in London directly from them); my library couch in Sussex is my studio. in 1959. As the artist noted, ‘ My paintings seem to make I paint with either tubes or jars of acrylic paint gathered up people happy, They represent my private world, a peaceful one by my brush as a bow would the strings of a violin…I never that rejects the unpleasant, the ugly and the frightening, and think about or compose a painting in advance (in my mind or dredges up no horrible dreams. ’ on paper). I never draw. I never use a model or copy a thing. I paint what has been packed away in my computer-memory, Leopards and tigers appear in many of Cowles’ paintings: ‘ I those animals, flowers and scenes which wait for my brush to am continually asked why I paint these jungle beasts. I don’t give them life. ’ think there is anything more to it than a vivid memory I have

102 SOFA

96 RENÉ GRUAU Arguably the finest fashion illustrator of the 20th century, Covignano 1909-2004 Rome René Gruau produced numerous designs for the covers of fashion magazines, notably Vogue , International Textiles , Club , Sir , Elle and L’Officiel de la Couture et de la Mode de Woman in a White Dress: Design for the Cover of Paris . The present sheet is a design for the cover of the International Textiles Magazine, August 1985 August 1985 issue of the trade magazine International Textiles . This was, in fact, among the very last covers for Gouache, watercolour, brush and black ink the magazine to be designed by Gruau, who had produced on paper laid down on board bold, vibrant cover drawings for almost every issue of the Signed with the initial *G at the lower right monthly periodical since 1946. 3 355 x 265 mm. (14 x 10 /8 in.) [sheet]

103 SOFA

97 HUGH BUCHANAN evoked. You feel yourself inside, not merely particular spaces, Born 1958 but in those spaces as first conceived by the great architects who designed them. ’ Dusty Sunlight at Syon House Buchanan’s watercolours are characterized by a strong sense of atmosphere, allied to an abiding interest in the Pencil and watercolour forms of classical domestic architecture as seen in diffused Signed and dated Buchanan 2004 at the lower right light. The present sheet depicts a view of the interior of 287 x 380 mm., 11 ¼ x 15 in. Syon House in west London, the residence of the Dukes of Northumberland, designed by Robert Adam in the 1760’s. Hugh Buchanan studied at the Edinburgh College of Art, As noted in a catalogue of Buchanan’s watercolours, ‘ At Syon from which he graduated in 1980. He has made a House the interiors created by Robert Adam for the first Duke particular specialty of watercolour views of the interiors of of Northumberland have a superlative finish which tests all stately homes and historic buildings in England, Scotland, Buchanan’s most developed skills in his chosen medium. He France and throughout Europe. Buchanan has received evidently reveled here in extravagant detail such as the ivory commissions from the National Trust, the Houses of inlay on doorframes, indulging his passion for the fall of light Parliament and the Prince of Wales, for whom he painted on rich fabric, exploring areas where different textures meet, views of the interiors of Balmoral in 1987 and Highgrove sometimes resulting in almost abstract patterns. Oak House in 1994. As A. N. Wilson has written of the artist, floorboards are set against intricate mouldings framing tattered ‘Hugh Buchanan’s paintings do not merely depict, they stretches of brocade damask wallpaper and flaking gold leaf, inhabit an architecture. You feel yourself in these rooms and illuminated by a hesitant, milky sunlight. ’ houses which he has, over thirty years, so incomparably

104 SOFA

98 BERNDT DAMS AND ANDREW ZEGA Tent and a Philosopher’s Pavilion, all since destroyed – were Born 1964 and Born 1961 laid out by Bélanger in collaboration with the Scottish gardener Thomas Blaikie. Bagatelle survived the Revolution largely intact, and in 1835 was purchased by Lord Hertford The Entrance Facade of the Château de Bagatelle to house his collection, today the nucleus of the Wallace Collection in London. Now owned by the city of Paris, the Watercolour château remains in the park today, albeit considerably 3 313 x 532 mm., 12 /8 x 21 in. altered, and this watercolour drawing records its original appearance. Literature Berndt H. Dams and Andrew Zega, Pleasure Pavillions This is one of a series of watercolours, by the architectural and Follies, In the Gardens of the Ancien Régime , Paris historians and illustrators Berndt Dams and Andrew Zega, and New York, 1995, p.116. of significant examples of garden architecture in France in the century and a half before the Revolution. As the late The Château de Bagatelle, in the Bois de Boulogne in Paris, Charles Ryskamp has noted of these works, ‘ The paintings was a small neoclassical château built in 1777 by the are brilliant and original. The author/artists, American and architect François-Joseph Bélanger for the Comte d’Artois, German, have captured the French genius of these buildings the brother of Louis XVI. Marie-Antoinette, the Comte’s through the medium of watercolor, which enables the sister-in-law, famously wagered 100,000 livres that the new rendition of various building materials and surfaces with château could not be completed within nine weeks. The remarkable versatility and sensitivity…The paintings are Comte won the bet, with the house completed in only abstractions of the elevations of the main facades of each sixty-four days by a team of nine hundred workers, at the building; yet they are also informative of the architectural cost of three million livres . The interior of the château, also peculiarities of the entire structure. The resulting designed by Bélanger, included landscape paintings illustrations both document the architectural past and are commissioned from Hubert Robert, while the extensive modern works of art in their own right. ’ gardens – incorporating numerous architectural follies, including a Chinese Bridge, an Egyptian Obelisk, a Chinese

105 SOFA

99 VICTOR KOULBAK medium of silverpoint, which features in his work from Born 1946 1990 onwards. The present sheet was drawn in 2005.

‘When I saw silverpoint for the first time, I was bowled over. I Model read that the masters used to prepare their gesso by burning chicken bones and mixing them with glue made of rabbit skins. Silverpoint, with touches of watercolour This creates a rough surface to which the particles of silver 318 x 259 mm., 12 ½ x 10 in. adhere and act like microscopic mirrors reflecting the light. As the drawing progresses, the layer of silver thickens and begins Victor Koulbak was born in Moscow and studied there, to act like a mirror. It becomes increasingly difficult to gauge beginning his career as a commercial draughtsman and how far away from the drawing you’re standing. It ‘floats’ in illustrator. In 1975 he left Russia and settled first in Vienna the air, suffused with life and energy. Leonardo considered it and later in France. He established a reputation for drawing the finest technique of all. ’ (Victor Koulbak). in the techniques of Renaissance masters, in particular the

106 SOFA

100 ‘Galileo was the first astronomer to reveal the moon’s craters CAROLINE CORBASSON and mountains. His watercolour sketches from 1609 struck Born 1990 me by their beautiful simplicity and strength. For this drawing I used a combination of different blue inks – mostly indigo, Galileo Prussian blue and cobalt – that reacted on the paper that was almost like a photographic process. I wanted to capture the very moment of looking through a telescope and being silenced Pen and blue ink on paper by the tireless vision of the sky. What also appears is the Signed with initials and dated CC 2011 question of scale, as the planet could be mistaken for a at the lower right mineral, a cell. ’ (Caroline Corbasson). 5 5 500 x 500 mm., 19 /8 x 19 /8 in.

107 INDEX OF ARTISTS

AUBRY, Etienne no.8 DAMS, Berndt and ZEGA, Andrew no.98 DE WINT, Peter no.31 BAKER OF LEAMINGTON, Thomas no.66 BARBIER, George no.85 EVENEPOEL, Henri no.67 BENIGNI, Léon no.87 FARINGTON, Joseph no.7 BESNARD, Paul-Albert no.63 FENZONI, Ferrau no.1 BIRKET FOSTER, Myles no.59 FEROGIO, François no.27 BOUDIN, Eugène no.53 FIELDING, Anthony Vandyke Copley no.40, 48 BOURGEOIS, Constant no.14 FIELDING, Newton Smith Limbird no.25 BOYCE, George Price no.71 FRASER GARDEN, William no.72 BRABAZON, Hercules Brabazon no.54 FRENCH, Annie no.80 BRANGWYN, Frank no.90 FOUJITA, Tsuguhar no.81 BRUNELLESCHI, Umberto no.88 FRENCH SCHOOL, 18th Century no.9 BUCHANAN, Hugh no.97 FRENCH SCHOOL, 19th Century no.28 BULLEID, George Lawrence no.56 FROST, George no.12

CARTER, Henry Barlow no.58 GOBAUT, Gaspard no.30 CAYLEY ROBINSON, Frederick no.73 GRANDVILLE, J. J. no.24 CLAIRIN, Georges no.61 GRUAU, René no.96 COLLIER, Thomas no.75 COLLINGWOOD, William no.41 HARDING, James Duffield no.42 CONRADE, Alfred Charles no.83 HARDY, DeWitt no.93 CORBASSON, Caroline no.100 HAVELL, William no.17 COWLES, Fleur no.95 HILLS, Robert no.22 COX, David nos.33, 34 HINE, Harry T. no.47 CROMEK, Thomas Hartley no.44 HUNT, Alfred William nos.68, 69 CROSS, Henri Edmond no.64 HUNT, William Henry no.32 CURNOCK, James Jackson no.62 HUYOT, Albert no.77

108 INCHBOLD, John William no.78 POYNTER, Ambrose no.50 ITALIAN SCHOOL, circa 1700 no.3 PYNE, George no.49

JENNINGS, Humphrey no.91 RICCI, Marco no.5 JOHNSON, Harry John no.65 RICHARDSON SENIOR, Thomas Miles no.57 ROOKE, Noel no.55 KOULBAK, Victor no.99 SAND, George no.35 LAMORNA BIRCH, Samuel John no.89 SANDBY, Paul no.10 LARGILLIERE, Nicolas de no.4 SOROLLA, Joaquín no.84 LEAR, Edward nos.51, 52 SPINK, Gerald no.82 LEMAN, Robert no.38 SUHR, William no.79 LE SIDANER, Henri no.76 LINNELL, John no.20 TOMKINS, Charles no.11 LORRAIN, Claude Gellée, called no.2 LOUND, Thomas no.37 UWINS, Thomas no.13

MAINELLA, Raffaelle no.60 VARLEY, John nos.18, 19, 39 MOREAU, Jean-Michel no.16 VEITH, Robert no.15 MORELLI, Domenico no.43 MULLER, William James nos.45, 46 VENEZIANI, Ubaldo Cosimo no.74

NASH, John no.92 WARD, James no.26 NEWLAND, Anne no.94 WATTS, Frederick William no.23 WEEKS, Edwin Lord no.36 PATON, Waller Hugh no.70 WOOD, Thomas Peploe no.29 PAYNE, William no.21 PETITOT, Ennemond-Alexandre no.6 PISSARRO, Paul-Emile no.86

109 Stephen Ongpin has more than twenty years of experience as a dealer in Old Master and 19th 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 Lavinia Harrington, 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 The European Fine Art Fair 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 Watercolours and Works on Paper Fair in early February, the BADA Fair in March, the Art Antiques London Fair in June and the Winter Olympia Art and Antiques Fair in November. He also 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

110 O N E

H U N D R E D

ONE HUNDRED D R A W I N DRAWINGS G S

&

W

A AND T E R C O L

O WATERCOLOURS U R S

S T E P H E N

O N G P I N

G U Y

P E P P I A T T

Stephen Ongpin Fine Art

Guy Peppiatt Fine Art Ltd. 2 0 1 3 -

Riverwide House 2 0

6 Mason’s Yard 1 Duke Street, St James’s 4 London SW1Y 6BU