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One Hundred Drawings and Watercolours ONE HUNDRED DRAWINGS AND WATERCOLOURS 1 We are delighted to present the thirteenth edition of our annual Winter catalogue of One Hundred GUY PEPPIATT FINE ART Drawings and Watercolours. Although this small catalogue has been a hallmark of our yearly exhibition calendar for over a decade, this is the first year that we are presenting both the catalogue and exhibition STEPHEN ONGPIN FINE ART digitally. Given the challenges we have all faced in the wake of COVID-19, we shall be disappointed to not see many of you at our gallery during what is usually a very lively time of the year. For this reason, a virtual tour of the exhibition, as it is hung on the walls of our gallery, will be available by the time you read this. We hope you enjoy this catalogue and exhibition, and encourage those of you who are able to visit us in person in London to please do so, by appointment. The exhibition in the gallery continues until the 18th of December. ONE HUNDRED This digital catalogue presents a wide range of British and European drawings and watercolours, placed more or less in chronological order, dating from the first half of the 16th century to the present day. DRAWINGS AND WATERCOLOURS The areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th Century dating from the 16th Century to the 21st Century drawings have long been regarded as disparate fields, but part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will hopefully show that a fine drawing or watercolour – whatever the date and whoever the artist – is always worthy of note. The prices of the works in this catalogue range from a few hundred pounds to around £14,000, with most of the works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well-established artists can be affordable, as can interesting works by lesser-known WINTER CATALOGUE artists. We believe that there is much here for the novice collector, as well as the more experienced 2020–2021 connoisseur or curator. Indeed, a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past twelve years. All of the drawings in this digital catalogue are available for viewing at the gallery, by preferably appointment. Further information on any of the drawings, as well as high-resolution and framed images of each of the works, are available on request. Please note that most of the works are sold framed. to be exhibited at We are pleased to present this new Winter catalogue of moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months. Riverwide House 6 Mason’s Yard Stephen Ongpin Duke Street, St. James’s Guy Peppiatt London SW1Y 6BU The following catalogue contains drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA in Stephen Ongpin Fine Art Guy Peppiatt Fine Art red at the top of each page; please direct any enquiries as appropriate. Prices (in GBP) are given in red Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 at the end of each catalogue entry. or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 2 3 SOFA SOFA 1 GIULIO CAMPI This small but highly finished pen and ink sketch may Cremona c.1502-1573 Cremona have been created by Campi in preparation for a part of the extensive program of ephemeral decorations Design for an all’antica Military Trophy – in the form of monumental triumphal arches decorated with statues - executed for the route of the Pen and brown ink, with framing lines in brown ink ceremonial entry of Emperor Charles V into the city 3 3 163 x 112 mm., 6 /8 x 4 /8 in. of Cremona on 18 August 1541. Designed by Campi and Bocaccino, the elaborate decorations were later Provenance described by the former’s younger brother Antonio W. Hackenbruch, South Germany Campi in his book Cremona fedelissima città et Galerie Arnoldi-Livie, Munich nobilissima colonia de’ Romani, published in 1585. Private collection The present sheet can be compared, on stylistic Part of a Cremonese family of painters, Giulio grounds, with a number of pen and ink drawings by Campi probably received his initial artistic training Giulio Campi for the 1541 decorations, such as two with his father Galeazzo Campi. His first signed and studies of kneeling captives in the British Museum. dated painting was an altarpiece executed in 1527 Also similar are two closely-related grisaille drawings for the Cremonese church of SS. Nazaro e Celso, for decorative friezes; one with two kneeling and in 1530 he was commissioned to paint the high satyrs flanking a trophy of arms and armour, in the altarpiece and surrounding frescoes in Santa Maria Szépmüvészeti Múzeum in Budapest, and another delle Grazie in Soncino. For the remainder of his of a military trophy flanked by chained prisoners, in career Campi was active mainly as a fresco painter in the British Museum. Two stylistically comparable pen the churches of Cremona, notably at Sant’Agata and and ink drawings, each depicting a frieze of putti, are San Sigismondo, where he worked alongside Camillo in the Uffizi and at Christ Church in Oxford, both of Boccaccino. The two artists again collaborated on which seem to be related to a frieze painted in the the temporary decorations erected to celebrate the church of San Sigismondo in Cremona. A drawing entrance of the Emperor Charles V into Cremona of a frieze with a lion and a putto among acanthus in 1541. leaves, in the Biblioteca Riccardiana in Florence, is also comparable. Like the present sheet, all of these Campi also worked as an architect, and as such was drawings are largely monochromatic, the better to involved in the rebuilding and fresco decoration of the imitate sculpted reliefs. church of Santa Margherita in Cremona, completed in 1547, which is perhaps the work for which he £7,500 is best known. The artist received a number of significant commissions beyond Cremona, notably in Milan - where his work was to have an influence on the young Caravaggio - and in Brescia, where he painted a number of canvases for the Palazzo della Loggia from 1549 onwards. Giulio is likely to have made a trip to Rome in the middle of the 1550s. Near the end of his career he painted several works for the Duomo in Cremona, notably the large organ shutters, and worked in the church of Santa Maria di Campagna in Piacenza. 4 5 SOFA SOFA 2 Attributed to LUZIO LUZZI, called LUZIO stuccoes in the Castel Sant’Angelo, notably on the ROMANO walls and ceiling of the Sala della Biblioteca and Todi and Rome, Active between 1528 and 1575 the so-called Cagliostra rooms. Luzio worked in a chapel in the Roman church of Santa Maria in Via in A Design for the Grotesque Decoration of a Quarter 1548 and, alongside Daniele da Volterra, decorated Section of a Ceiling, with a Landscape with a Ruin the ceiling of San Giovanni in Laterano from 1563 onwards. He also received payments for paintings Pen and brown ink and brown wash, laid down on and stucco work in the Vatican in 1565 and at the an old mount Palazzo dei Conservatori in 1575. Inscribed Io aucuno [...] confece / anc. recente a [...] ama / che si confiar […] di [...] / il mese […] o di […] This drawing for the decoration of a ceiling is, as on the verso Peter Fuhring has pointed out, very closely related to 3 3 211 x 288 mm., 8 /8 x 11 /8 in. another drawing of similar dimensions – also triangular in shape, with the same decorative elements, and Provenance undoubtedly for the same project – in the Royal Major A. Merz Collection at Windsor Castle. Like the present sheet, P. & D. Colnaghi, London, in 1966 the Windsor drawing was associated by A. E. Popham Lodewijk Houthakker, Amsterdam (Lugt 3893) with Giovanni da Udine (1587-1564), but was later attributed by Anthony Blunt to an artist in the circle of Literature Perino del Vaga. As Fuhring has noted of the present Roeland D. Kollewijn, ed., Wanden en plafonds: sheet, as well as the related drawing at Windsor, ‘The Tekeningen uit de verzameling Lodewijk Houthakker, existence of two drawings of the same subject poses exhibition catalogue, Nijmegen, 1985, p.15, no.9 (as the problem of their relationship, as well as that of Italian School, mid 16th century) the designer and of their link with the executed work. Peter Fuhring, Design into Art: Drawings for Was one of the drawings the preparatory design for Architecture and Ornament. The Lodewijk Houthakker a frescoed ceiling decoration? Or were both drawings Collection, London, 1989, Vol.I, p.165, no.130 (as made after a now-lost, or not-yet published, painted Circle of Perino del Vaga, and dated c.1540-1550) ceiling decoration? Was one of the drawings made after the other, or were both made after an untraced original Exhibited drawing?…The [present] drawing can be dated to the Nijmegen, Museum ‘Commanderie van Sint Jan’ and period 1540-50, it was executed in Rome and can be Haarlem, Frans Halsmuseum, Wanden en plafonds: linked with the decoration of the apartment of Pope Paul Tekeningen uit de verzameling Lodewijk Houthakker, III in the Castel Sant’Angelo by Perino del Vaga and his 1985, no.9 workshop.’ Stylistically comparable drawings by Luzio Romano are in the Uffizi, the British Museum and Bert Meijer has attributed the present sheet to the the Victoria and Albert Museum, the Metropolitan Roman painter, stuccatore and draughtsman Luzio Museum of Art, the Biblioteca Comunale in Palermo Romano.
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