20634 GP & SO Catalogue_v5 03/11/2011 13:01 Page 1

GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

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

WINTER CATALOGUE 2011–2012

to be exhibited at

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

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

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We are delighted to present our fourth annual Winter catalogue of One Hundred Drawings and Watercolours. By tradition the areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th century drawings, have been regarded as separate fields, each with their own enthusiasts and collectors, as well as auctions and exhibitions. Part of the purpose of this catalogue, and indeed 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 good 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 and watercolours, placed more or less in chronological order, ranging in date from the early 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 £1,000 to around £10,000 – with a large number of interesting works at the lower end of this range. Drawings and watercolours by well-established artists can be very affordable, and interesting works by minor or little-known artists especially so. There is much in this catalogue for the novice collector, as well as for the more experienced connoisseur or curator.

Our respective individual catalogues of more significant drawings will be issued in March and May 2012, and will each be accompanied by exhibitions at our gallery. 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 Lara Smith-Bosanquet

The following catalogue contains a combination of drawings 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 at the top of each page; please direct any enquiries as appropriate.

Only a brief account of each drawing is given in the catalogue. Further information on most of the drawings, as well as more complete biographical information on the artists, is available on request.

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

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SOFA

1 Attributed to FEDERICO ZUCCARO recorded in the inventory of Zuccaro’s studio after his Sant’Angelo in Vado 1543–1609 Ancona death. The contents of these albums comprised, for the most part, copies after the work of earlier artists that Two Studies of a Baby Zuccaro saw on his extensive travels throughout Italy. The albums also included, however, a number of other types of drawings – landscapes, studies of animals, genre subjects, Red and black chalk head studies and informal portraits – all in red and black 7 5 175 x 119 mm., 6 /8 x 4 /8 in. chalk and usually of small dimensions. Most of these drawings cannot be specifically related to finished paintings This charming drawing is close in style to a handful of by the artist, and seem to have been done for his own intimate studies of babies and young children, drawn in pleasure. both black and red chalk, by Federico Zuccaro. These studies may in turn be grouped with a large number of Attributions to Francesco Vanni (1563–1610) and drawings, generally executed in a combination of black and Cristofano Allori (1577–1621) have also been suggested for red chalks, which were pasted into albums and are the present sheet.

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2 Attributed to STEFANO DELLA BELLA seems to have often worked outdoors, and his lively Florence 1610–1664 Florence drawings display a keen observation of country life and pursuits. The artist filled several sketchbooks with scenes of Landscape with the Ruins of the Grotto of Egeria, Rome people, buildings and landscapes; all drawn on the spot and used as a stock of images and motifs for both his etchings and more finished drawings. Pen and brown ink and grey wash, laid down and mounted onto a large album page, with a grey wash Under the patronage of the Medici, Della Bella was sent to border Rome in 1633. The young artist was to spend a total of six A sketch of a fountain in front of two arches and years living and working in the city, living in the Medici palace with temples beyond in pen and brown ink on the and making drawings after antiquities and Renaissance verso masters, as well as numerous landscapes, vedute and scenes Inscribed Fontaine de la Nymphe Egerie. at the upper of everyday life and festivities. left and numbered 49 on the album sheet This is a view of the so-called grotto of the nymph Egeria (in Further inscribed Bartolomeus on the verso 3 1 actual fact part of the estate of the suburban villa of Herodus 138 x 185 mm., 5 /8 x 7 /4 in. Atticus), near the Via Appia to the southeast of Rome. The natural grotto was developed into a man-made arched A talented and prolific printmaker and draughtsman, Stefano interior, with a statue of Egeria set in a niche in the apse, della Bella produced countless works of considerable and the walls faced with mosaics and marble. energy and inventiveness, with an oeuvre numbering over a thousand etchings, and many times more drawings. He

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SOFA

3 JACOB VAN DER ULFT Houbraken states definitively that he did not, and claims that Gorkum (Gorinchem) 1627–1689 Noordwijk his Roman views were based on the work of other artists. Certainly, van der Ulft was profoundly influenced by the Figures in an Italianate Landscape work of another amateur artist, Jan de Bisschop (1628- 1671), whose drawings approach his own in both style and handling. An album of forty-three landscape drawings by Pen and brown ink and brown wash, within a both Jacob van der Ulft and Jan de Bisschop, mostly views drawn circle in or around Rome, is in the collection of the Dukes of Signed and dated Jac: vander Ulft Fe: 1686. in the Devonshire at Chatsworth. Another album of Roman views lower left and lower right margins by van der Ulft is in the Institut Néerlandais in Paris. 3 5 172 x 170 mm., 6 /4 x 6 /8 in. The present sheet belongs with a small and distinctive group Much of Jacob van der Ulft’s surviving painted and drawn of circular landscape drawings by Jacob van der Ulft, all of oeuvre is made up of Italianate landscapes, or antique approximately the same dimensions. Examples are in the Roman cityscapes and port scenes crowded with figures. collections of the British Museum, the Musées Royaux des He seems to have been an amateur artist and was quite Beaux-Arts in Brussels, the Saint Louis Art Museum, the possibly self-taught, as no guild membership is recorded. Fogg Art Museum in Cambridge, MA, and elsewhere. With Although there are many quite specific views of Rome its fluid, bold use of brown wash punctuated by white by the hand of the artist, many of which are inscribed highlights where the paper has been left to show through, and dated, it remains unclear whether van der Ulft ever the drawing displays the strong influence of Jan de Bisschop actually visited Italy. The contemporary biographer Arnold on van der Ulft.

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4 WILLIAM HOARE OF BATH, R.A. Provenance: Eye, Suffolk 1707–1792 Bath Sir Henry Duff Gordon (1866–1953)

a. Study of a Woman writing Hoare was a portrait painter in oil and pastel who was in Bath by 1739 and was the first fashionable and successful portrait painter to settle there. He produced a number of Black chalk on laid paper with a Pro Patria these chalk portrait drawings, which are mainly of his family watermark and friends. 3 1 150 x 163 mm., 5 /4 x 6 /4 in.

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b. Study of a Woman seated in a Chair

Black and white chalk on buff paper 1 3 Maximum size 267 x 225 mm., 10 /2 x 8 /4 in.

Provenance: Sir Henry Duff Gordon (1866–1953)

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5 RICHARD COSWAY, R.A. Provenance: Oakford, Devon 1740–1821 Edgware Maria Cosway (1760–1838), Lodi, Italy By descent until bought by an Italian dealer, his sale, Cupid unmasking False Love Christie’s, 1st June 1896, sold for £10.10s Private Collection, France

Signed on original washline mount: Rich.d Cosway Literature: R.A. Primarius Pictor Sereness.ma Wallia Princip.. George C. Williamson, Richard Cosway R.A., 1897, ill. Del.t 1779 opp. p.30 and p.87 Pen and brown ink on laid paper 1 Sheet 233 x 194 mm., 9 x 7 /2 in.

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6 GEORGE ROMNEY This belongs to a group of drawings of this subject by Dalton-in-Furness 1734–1802 Kendal Romney datable stylistically to circa 1792–3. Others from the group are in the Fitzwilliam Museum (M.D. 38a), the The Descent from the Cross Montreal Museum of Fine Arts (see George Romney in Canada, exhibition catalogue, 1986, no. 38, ill.), in an album in the Chicago Art Institute and recorded in the collection of Pencil on buff paper Mr and Mrs J.D. Dilworth Jr (see Patricia Milne-Henderson, 1 3 164 x 196 mm., 6 /4 x 7 /4 in. The Drawings of George Romney, 1962, pl. XXXIII).

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a. Above: 7 FRENCH SCHOOL (‘J. N. d. B.’) 1791 Facing page: a. Classical Ruins with Men Demolishing a Wall b. Classical Ruins with Men Excavating a Statue

Watercolour and gouache, over an underdrawing in Watercolour and gouache, over an underdrawing in pencil, within framing lines in black ink pencil, within framing lines in black ink Signed and dated J.N.d.B. 1791 in white gouache at Signed and dated J.N.d.B. 1791 in white gouache at the lower right the lower right 5 1 3 3 244 x 184 mm., 9 /8 x 7 /4 in. [image] 246 x 196 mm., 9 /4 x 7 /4 in. [image] 3 1 5 265 x 204 mm., 10 /8 x 8 in. [sheet] 267 x 218 mm., 10 /2 x 8 /8 in. [sheet]

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b.

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8 LADY DIANA BEAUCLERK days later. They moved in court circles and Lady Diana’s Blenheim 1734–1808 closest friends were the Countesses of Pembroke and Spencer and the Duchess of Devonshire. Children Playing with a Dove After her husband’s death, she moved into Devonshire Cottage in Richmond. She was well known for her drawings Watercolour over traces of pencil of children and infant cupids and bacchantes, some of which 3 1 148 x 189 mm., 5 /4 x 7 /4 in. were engraved by Bartolozzi, and she also produced designs for Wedgwood pottery. Horace Walpole was a Lady Beauclerk was born Lady Diana Spencer and was the great admirer of her work and built a room at Strawberry eldest daughter of Charles Spencer, 3rd Duke of Hill to house her drawings. Examples of her work are in the Marlborough. She grew up at Blenheim Palace and made V. & A., the Royal Collection and the British Museum. For a copies of the pictures there from a young age. In 1757 she similar drawing entitled ‘Cupids with Doves’, see Beatrice married the 2nd Viscount Bolingbroke but divorced him in Erskine, Lady Diana Beauclerk, her Life and Work, 1903, p.xii. 1768 and married Topham Beauclerk (1739–1780) two

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9 GIUSEPPE BERNARDINO BISON Scala and other theatres. Although his career lasted well into Palmanova 1762–1844 Milan the 19th century, his style invariably retains something of the flavour of the previous century; indeed, his work has Two Heads of Young Women been aptly described by one recent scholar as ‘a last late flowering of the Venetian Settecento’.

Pen and brown ink and brown wash Bison was an accomplished draughtsman, whose earliest A small sketch of the head of a young woman in pen works show the Venetian influence of Giambattista Tiepolo on the verso and Francesco Guardi, while his later drawings tend towards Signed Bison at the lower left, and initialled B on the Neoclassicism. His drawings encompass a wide and varied verso range of subjects, from religious narratives to genre scenes, 5 7 144 x 174 mm., 5 /8 x 6 /8 in. landscape capricci, and stage and ornament designs. Few of Bison’s drawings, however, were intended as preparatory Giuseppe Bernardino Bison received his artistic training in studies for paintings, and he produced a large number of Venice, and spent the early part of his career working as a drawings as independent works of art for sale. Bison’s fresco painter in villas and palaces around the Veneto. In the preferred medium was pen and ink, applied in a fluid latter half of his career he lived and worked in Trieste and manner and usually combined with rich tonal washes, of Milan, active as both a decorative fresco painter and a which this drawing is a fine example. Similar studies of heads scenographer, producing stage designs for the Teatro alla appear throughout the artist’s oeuvre.

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10 HUGH DOUGLAS HAMILTON Charlotte Musgrave (1751–1818) was the daughter of Sir Dublin 1740–1808 Dublin Philip Musgrave, 6th Bt., and his wife Jane Turton. She married the Reverend Charles Mordaunt, Rector of Portrait of Miss Charlotte Musgrave Massingham, the son of Sir Charles Mordaunt, 6th Bt., in 1774. She was painted by Sir Joshua Reynolds in 1774–75 (see David Mannings, Sir Joshua Reynolds – A Complete Head and shoulders Catalogue of his Paintings, 2000, no.1290, p.342). Signed lower right: Hamilton/delin.t 1772 Pastel over pencil on laid paper, oval Hugh Douglas Hamilton was born in Dublin and studied at 1 230 x 190 mm., 9 x 7 /4 in. the Royal Dublin Society from 1750 until 1756 until moving to London and finding success as a portrait painter in pastel and oil. In 1778 he went to Rome returning to Dublin in 1792.

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11 JOHN DOWNMAN, A.R.A. which was turned into a film The Duchess, starring Keira Ruabon, Wales 1750–1824 Wrexham Knightley. This previously unrecorded portrait study of Georgiana relates to Downman’s 1784 portrait of the Portrait of Georgiana, Duchess of Devonshire Duchess with Lady Elizabeth Foster, drawn when she was twenty-seven, the original of which is at Ickworth House.

Half-length For a print of the picture, see G.C. Williamson, John Watercolour, oval Downman, A.R.A., 1907, ill. p.19. Another study of the 3 200 x 151 mm., 7 /4 x 6 in. Duchess relating to this portrait was sold at the Coates sale at Sotheby’s on 15th February 1922, lot 1. Georgiana, Duchess of Devonshire (1757-1806) was a celebrated beauty, fashion icon and socialite and the wife of We are grateful to Charles Noble, the Curator at the 5th Duke of Devonshire. For more on her life, see Chatsworth House, for confirming the identity of the sitter. Amanda Foreman, Georgiana, Duchess of Devonshire, 1998

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12 NICOLAS II HUET draughtsman, and in 1804 was appointed painter to the Paris c.1770–1828 Paris Muséum d’Histore Naturelle and to the Ménagerie of the Empress Josephine, who was an avid collector of animal, A Kudu bird and plant specimens. He also took part in Napoleon’s scientific and artistic expedition to Egypt between 1798 and 1801. Huet continued to exhibit at the Salons until 1827, Watercolour, with touches of white heightening showing mainly drawings and watercolours of animals. He 5 3 118 x 163 mm., 4 /8 x 6 /8 in. also painted a series of 246 elaborate drawings on vellum – studies of mammals, reptiles, birds, insects and sea life – for Born into a family of artists, Nicolas Huet was the eldest son the library of the Muséum d’Histore Naturelle. and pupil of Jean-Baptiste Huet and the grandson of the animalier Nicolas Huet the Elder, and like both of them The present sheet would appear to depict a male kudu, a specialized in depictions of animals. The young Nicolas first species of antelope native to Southern and Eastern Africa. exhibited in 1788 at the Exposition de la Jeunesse, showing Huet may have either studied the animal at the Empress’s a still life, and made his Salon debut in 1802 with several Ménagerie, or worked from a stuffed specimen in the animal pictures. A gifted watercolourist and engraver, Huet collections of the Muséum d’Histore Naturelle. developed a particular reputation as a natural history

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SOFA

13 FRENCH SCHOOL Circa 1800

The Card Players

Pencil, pen and brown ink and brown wash Inscribed joueur(?) amis(?) / 4 croupier(?) de cadre rachiel(?) / Cadre Rachiel(?)/ thermometre on the verso Further inscribed, in a different hand, attribué à Isabey père on the verso 3 3 136 x 173 mm., 5 /8 x 6 /4 in.

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14 RICHARD WESTALL, R.A. Exhibited: Hertford 1765–1836 London London, Appleby Brothers, Early English Watercolours, Oct.– Nov. 1961, no.105 The Three Witches appearing to Macbeth and New York, The Drawing Shop, English Drawings and Watercolours, Oct.– Nov. 1962, no.32 Banquo This shows the Three Witches appearing to Macbeth and Watercolour heightened with bodycolour and Banquo on the heath in Act I, Scene 3 of Shakespeare’s play. scratching out It may be an unused design for Boydell’s illustrated edition 1 269 x 202 mm., 10 /2 x 8 in. of Shakespeare’s plays, for which Westall produced a number of illustrations, including two subjects from Macbeth Provenance (as Fuseli): in the late 1790s. Canon Smythe, Sussex Appleby Brothers, London, November 1961 Bernard Black Gallery Castellane Gallery

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15 SIR ROBERT KERR PORTER Porter was the son of an Army surgeon and brought up in Durham 1777–1842 St Petersburg Edinburgh. In 1790 he entered the Royal Academy schools and quickly achieved success as a painter of large scale battle Russian Cavalry scenes. In 1804 he went to Russia as Historical Painter to the Tsar where he fell in love with a Russian princess, the daughter of Prince Theodor von Scherbatoff whom he Signed lower right with initials and dated 1810 eventually married in 1812. He travelled extensively Pen and black ink and watercolour through Scandinavia, the Middle East and accompanied Sir 3 248 x 304 mm., 9 /4 x 12 in. John Moore on his Corunna campaign during the Peninsular War. He published various books and was British Consul to Provenance: Venezuela from 1826 until 1841. By descent in the Burney Family until 2011

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16 CIRCLE OF PAUL SANDBY, R.A. Exhibited: Nottingham 1731–1809 London On loan to Laing Art Gallery, Newcastle, 1982

On the Road to Dover Previously fully attributed to Sandby, this is by a close follower. It may be by one of his many military pupils at the Royal Military Academy, Woolwich where he taught from Pen and grey ink and watercolour on Whatman laid 1768 until 1796. paper 1 1 365 x 523 mm., 14 /4 x 20 /2 in.

Provenance: Mr and Mrs John Fenwick

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17 JOSEPH FARINGTON, R.A. This drawing dates from Farington’s tour of north-west Leigh 1747–1821 Disbury England in the summer of 1786. A view of the same house, also dated 10th September is in the Whitworth Art Gallery, Study of a Manor House University of Manchester (see Joseph Farington – Watercolours and Drawings, exhibition catalogue, 1977,

th p.43, no.30, ill. p.85). A view of Lancaster from this tour, Signed lower left: Joseph Farington/Sept.r 10 1786 dated August 1786, is in the Fitzwilliam Museum, Pen and brown ink and watercolour with original Cambridge (op. cit., no.23) and a view ‘At Nunnery in pen and ink mount Cumberland’, dated 20th August, was sold at Sotheby’s on 3 192 x 246 mm., 9 x 14 /4 in. 6th June 2007, lot 179 for £6,240.

Provenance: Ruskin Gallery, Stratford-upon-Avon

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18 JOHN NIXON The George Inn, visible to the left, is the original pilgrim’s Inn 1760–1818 Ryde of Glastonbury Abbey. Pevsner described it as ‘one of the most sumptuous of the small number of surviving inns The High St, Glastonbury before the Reformation.’ Beyond is the Parish church of St. John’s dating from the fifteenth century with its tall west tower. Inscribed lower left: A Bath Parson/Mother Nash Pen and grey and brown ink and watercolour over Nixon was an amateur artist who was in business in London pencil, squared with his brother Richard as an Irish merchant. He travelled 3 303 x 460 mm., 11 /4 x 18 in. extensively on sketching tours including several trips to Ireland in the 1780s and 1790s often in the company of Exhibited: other artists such as Francis Grose or Thomas Rowlandson. Probably London, Royal Academy, 1812, no.546 as ‘The This is a later work and clearly show the influence of High St at Glastonbury, with a view of the Abbot’s inn, the Rowlandson under whose tutelage he became ‘a very Conduit, etc.’ professional amateur indeed’ (Huon Mallalieu, Dictionary of British Watercolour Artists, 2002, vol. II, p.77).

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19 ENGLISH SCHOOL Provenance: Circa 1790 Dover Street Arts Club, London

At the Races Traditionally attributed to Robert Dighton (1751–1814), this may be attributable to William Mason (1724–1797) who produced a number of horse-racing scenes in the late 18th Pen and grey ink and watercolour on laid paper with century, several of which were engraved. Whatman watermark 1 1 414 x 726 mm., 16 /4 x 28 /2 in.

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20 21 MOSES GRIFFITH THOMAS TUDOR Caernarvonshire 1747–1819 Monmouth 1785–1855 Wyesham

Llandegai Church and Bridge, Carnarvonshire, North a. Portland Island from the Chesil Bank Wales Inscribed with title lower right: Clifton and Inscribed verso: Llandegai Church & Bridge numbered 24 Pen and brown ink and watercolour over pencil on Pen and brown ink and brown wash heightened laid paper with scratching out 3 3 1 228 x 298 mm., 9 x 11 /4 in. 149 x 242 mm., 5 /4 x 9 /2 in.

3 Llandegai lies 1 /4 miles south-east of Bangor. In the far right Provenance: distance Penrhyn Castle is just visible in the trees. At this By descent from the artist until with Walker Galleries, 1961 date it was still a medieval manor house before being transformed into a 19th century neo-Norman fantasy castle Tudor was born in Monmouth, the son of Owen Tudor, a by the architect Thomas Hopper in 1827 by another bookseller. He started drawing at a young age providing member of the Pennant family, George Dawkins Pennant. plans and drawings of local houses and first exhibited at the

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a.

b.

Royal Academy in 1809. He continued exhibiting until 1819 b. A Pass in the Barmouth Road, Cader Idris in the but became a land agent, building Tudor House at distance Wyesham near Monmouth where he lived for the rest of his life. He was also a collector of paintings and owned Inscribed with title lower left works by Reynolds, Van Dyck and Turner whose studio his Brown washes and black chalk heightened with diary records he visited in June 1847. scratching out 3 1 247 x 313 mm., 9 /4 x 12 /4 in.

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22 23 THOMAS LEESON ROWBOTHAM PANCRACE BESSA Bath 1782–1853 Camberwell Paris 1772–1846 Ecouen

Harlech Castle, Wales Drawing for the Herbier général de l’amateur: A Roseleaf Bramble (Rubus Rosifolius) Inscribed lower right: Harlech Watercolour over pencil heightened with white on Watercolour and gouache, over a pencil buff paper underdrawing, heightened with gum arabic on 3 228 x 300 mm., 9 x 11 /4 in. vellum Signed P. Bessa in the lower left margin 1 5 Rowbotham was born in Bath and was working there as a 268 x 193 mm., 10 /2 x 7 /8 in. [sheet] drawing master in 1811 before moving to Dublin. By 1825 he was in Bristol where he remained for a decade and many Provenance: of his topographical views of the city are in Bristol City Art Commissioned by Charles X, King of France Gallery. In 1835 he moved to London where he was His daughter-in-law, the Duchesse de Berri, by 1826 appointed drawing master at the Royal Naval School in Her sister, Teresa Cristina, later Empress Consort of New Cross. Brazil, Rio de Janeiro Given to João Barbosa Rodrigues, Rio de Janeiro Thence by descent, until sold at auction in Brazil c.1922 Paulo Campos-Porto, Rio de Janeiro His sale, Beverly Hills, Lewis S. Hart Gallery, 17 November 1947

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Literature: artist worked on the series until 1827. Bessa’s beautiful Jean-Claude-Michel Mordant de Launay and Jean-Louis- watercolours were superbly reproduced for the book, in Auguste Loiseleur-Deslongchamps, Herbier général de the form of hand-coloured engravings by various l’amateur, contenant la description, l’histoire, les propriétés printmakers. The artist’s original watercolours for the et la culture des végétaux utiles et agréables, Vol.V, Paris, Herbier général de l’amateur remained together for over 1821, pl.352 120 years, and were shown as a group in exhibitions held in Rio de Janeiro, Boston, San Francisco and New York, One the leading painters of flowers and fruit in the first half before finally being dispersed at auction in 1947. of the 19th century, Pancrace Bessa’s most important commission was for a series of 572 watercolours on vellum Only rarely cultivated, the Roseleaf bramble (Rubus for Mordant de Launay’s Herbier général de l’amateur, Rosifolius) is a tropical plant with a white flower and edible commissioned by Charles X, King of France. The most fruit. It is found abundantly in the Brazilian rainforest and significant French flower periodical of the day and published also in the Himalayas, East Asia and Australia. in eight volumes, the project was begun in 1816 and the

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a.

24 JEAN-MICHEL CELS The 19th century Belgian artist Jean-Michel Cels remains The Hague 1819–1894 Brussels little known today. He was the son and pupil of the Neoclassical painter Cornelis Cels, director of the Académie a. Fallen Tree Trunks on a Forest Floor de Tournai, and also studied with the landscape painter Pierre Jean Hellemans. The younger Cels must have Oil on paper learned the practice of making plein-air oil sketches from his Signed, dated and inscribed Etude d’après na[ture] father, who is known to have made such studies during the seven years he spent living and working in Italy early in his JM Cels 1840 – environs de Bruxelles on the verso career. 5 1 192 x 362 mm., 7 /8 x 14 /4 in. These two landscape sketches are part of a group of b. A Clearing at the Edge of a Wood drawings and oil sketches by Jean-Michel Cels that appeared on the art market in London in 1997. Two oil sketches by Oil on paper, laid down on canvas Cels, executed in oils on paper and sharing the same Signed, dated and inscribed Chateau de Meisse près provenance as the present sheet, are in the collection of Bruxelles / JM Cels 7bre 1840 on the verso the National Gallery in London; one depicts a study of 5 1 clouds and the other a study of trees in a ravine. Another oil 237 x 182 mm., 9 /8 x 7 /8 in. sketch study of clouds and sky by Cels is in the Thaw Provenance: Collection at the Pierpont Morgan Library in New York. Private collection, Belgium, c.1950 Sale, London, Christie’s, 16 April 1997, lot 311 According to the inscription on the verso of Fallen Tree Kate de Rothschild, London. Trunks on a Forest Floor, this vibrant oil sketch was painted in

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b.

1840 on the outskirts of Brussels. In painting works such as reverse of A Clearing at the Edge of a Wood notes that the this, Cels may have been aware of the pioneering plein-air work was painted in September 1840 at Meise, on the painter Pierre-Henri de Valenciennes’s statement that artists northern of Brussels; the town is now home to the National should make oil sketches of trees, to study the bark and the Botanic Garden of Belgium. form of the tree closely. The artist’s inscription on the

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25 JOHN RUBENS SMITH the Royal Academy between 1796 and 1811, mainly London 1775–1849 New York portraits but also views of Reculver, Margate Pier and Brighton. In 1806 he emigrated to the USA and set up East View of Margate Pier from Cliff successful drawing schools in Boston, New York and Philadelphia.

Inscribed with the title on part of original mount Topographical watercolours by him are in the Library of Watercolour over pencil on two sheets of paper Congress, the Metropolitan Museum, New York and the joined National Gallery of Art, Washington. A panorama of 1 1 213 x 321 mm., 8 /4 x 12 /2 in. Margate Harbour by Smith dated 1803 was with Martyn Gregory (see Huon Mallalieu, The Dictionary of British This is a view looking west across Margate Harbour from Watercolour Artists up to 1920, 1979, vol. II, p.512, ill.) and the site of the new Turner Contemporary Museum. The a panorama of Ramsgate was with Guy Peppiatt Fine Art towers of Reculver church are visible in the distance. (summer catalogue 2011, no.26).

Smith was born in London, the son of the portraitist and engraver John Raphael Smith (1752–1812). He exhibited at

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26 PAUL SANDBY, R.A. Keeper’s Lodge, Easton Park are in the Victoria and Albert Nottingham 1731–1809 London Musem (Dyce 746) and the British Museum (1904,0819.23), which also has a ‘design for a window Page’s Farm, Easton Park, Essex blind, Easton Park’, dated 1809. The manor and estates of Little Easton, later Easton Park, Watercolour and bodycolour over pencil were granted to Henry Maynard, Lord Burleigh’s private 3 3 200 x 274 mm., 7 /4 x 10 /4 in. secretary in 1590. He was knighted in 1603. The house, Easton Park, was built in 1597 and burnt down in 1847 Sandby is often described as ‘the Father of English when it was rebuilt by Hopper. At the date of the present watercolour painting’ as he was probably the first British work, Easton Lodge was in the possession of Charles, artist in the eighteenth century to work commercially in the Viscount Maynard (1752–1824) who inherited the peerage medium. This is one of two pictures of this size exhibited by in 1775 and succeeded his father as 5th Baronet in 1792. Sandby at the British Institution in 1808 entitled ‘Part of He married but had no children so the estate was inherited Page’s Farm, near Easton Park, Essex’ (no.271) or ‘Page’s by his nephew. Farm, Easton Park, Essex, from the West.’ Views of the

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27 FRANÇOIS BONVIN François Bonvin rose to become one of the leaders of a Vaugirard 1817–1887 Saint Germain-en-Laye group of Realist painters in 19th century France who found inspiration in subjects and scenes taken from contemporary A Woman Sewing urban life. He earned a particular reputation as a painter of genre and interior scenes and still-life subjects, although his modern reputation rests largely on his drawings. Signed and Pen and brown ink and brown wash, with some dated 1850, this is a fine and typical example of the sort of watercolour and heightened with touches of white, finished drawing that Bonvin would have intended for sale. on light brown paper Intimate studies of women sewing appear occasionally in Signed and dated f. Bonvin 50 at the lower left Bonvin’s oeuvre, and it may be noted that the artist’s 1 3 317 x 239 mm., 12 /2 x 9 /8 in. mother, who died when he was just four years old, was a seamstress, while his stepmother ran a sewing workshop in his native town of Vaugirard.

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28 DANIEL GEVRIL A gifted portrait painter and draughtsman. Daniel Gevril Carouge 1794–1875 Carouge received his artistic training at the Ecole de Dessin in Geneva. His earliest exhibited works were portrait A Young Girl Asleep drawings, shown in 1820 and 1826. From 1830 onwards, however, he concentrated mainly on painted portraits, which he exhibited regularly. Gevril was appointed a Pencil professor of drawing at the Collège in his native Carouge in Inscribed Souvenir from Mr. A to Mrs. A at the 1847. Writing shortly after the artist’s death, one critic noted bottom of the sheet of him that ‘Ses portraits, peints finement et largement, sont Further inscribed Gevril de Carouge and, in a toujours d’une parfaite ressemblance, grâce à son habilité different hand, Gevril a Swiss Artist, on the verso comme dessinateur. Ils ont, en général, beaucoup de vie et de 1 1 192 x 155 mm. (7 /2 x 6 /8 in.) relief; ils donnent à Gevril, dans l’école genevoise, une place distinguée.’

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Facing page: Above: 29 30 THOMAS RICHARD UNDERWOOD WILLIAM HENRY PYNE 1772–1836 Chamarande, near Paris London 1769–1843 London

A Group of views of Druids Lodge Black Lion Lane, Canterbury

Three, one signed and inscribed verso: the ...... Inscribed with title verso ...... /From the Book Room Window at/Druids Lodge/T R Watercolour heightened with stopping out and Underwood touches of bodycolour 3 3 Watercolour over pencil on wove Whatman paper 124 x 173 mm., 4 /4 x 6 /4 in. 1 Each approx 127 x 212 mm., 5 x 8 /4 in. Provenance: This may be a view of Druids Lodge, a house on the Plas L.G. Duke (D4128) Newydd Estate, Anglesey. The house was recorded in the With Spink & Sons, London 1810s and 1820s as the house of John Sanderson, the agent Private collection, London, until 2010 of the 1st Marquess Anglesey who owned Plas Newydd.

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31 ALFRED EDWARD CHALON, R.A. Lady Clementina Augusta Wellington Villiers (1824–1858) Geneva 1780–1860 London was one of the seven children of the 5th Earl of Jersey and the goddaughter of the Duke of Wellington. Her mother Portrait of Lady Clementina Villiers aged eight Lady Jersey was one of the Grandes Dames of London Society at the time and Clementina was a famous beauty. Many men asked for her hand in marriage, the most Full-length in a garden, holding a hat persistent being the Duke of Osasuna. She was taken ill with Signed in gold lower right: A.E. Chalon R.A. 1832. a fever however while in Germany in 1858 and returned to Watercolour heightened with stopping out the family home at Middleton Park, Oxfordshire where she 3 1 404 x 267 mm., 15 /4 x 10 /2 in. died.

Engraved: By H.T. Ryall for Heath’s Gallery, 1834

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32 MARY SMIRKE The artist was the daughter of the painter Robert Smirke, London 1779–1853 Eton R.A. (1752–1845) and the brother of the architect of the same name. Mary used to accompany her father and his The Grove at Stanmore, Middlesex friend Joseph Farington (see no.17) on sketching tours. She exhibited at the Royal Academy from 1809 until 1814 and gave drawing lessons. These may originally have been part A pair, one signed with initials lower right and of the group of twelve views in a leatherbound album which inscribed on border: The Grove – St Albans in were with the dealer Cyril Fry in the 1970s. Two views distance from this group were also of The Grove and are now in Watercolour over pencil the British Museum (see Kim Sloan, ‘A Noble Art’ – Amateur 1 Each 140 x 228 mm., 5 /2 x 9 in. Artists and Drawing Masters c.1600–1800, 2000, p.204–5, no.147, ill.). Provenance: Bought by J.A. Dormer from Cork Street Gallery, London, March 1972

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33 ROBERT HILLS Islington 1769–1844 London

a. Deer in a Wooded Landscape

Watercolour over pencil 3 504 x 380 mm., 19 /4 x 15 in.

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b. Deer and Horses in a Wooded Landscape

Watercolour over pencil 1 532 x 415 mm., 21 x 16 /4 in.

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a.

34 JOHN CHESSELL BUCKLER c. The High Street, Oxford 1793–1894 Signed on washline border lower right: Drawn by a. The Interior of the Sheldonian Theatre, Oxford J.C. Buckler 1812. Watercolour over traces of pencil 1 1 Signed lower right: Drawn by J. Buckler. A.D. 1815, 418 x 622 mm., 16 /4 x 24 /2 in. with a dedication to Lord Grenville, Chancellor of the University of Oxford underneath Provenance: Watercolour over pencil heightened with traces of Private Collection, Suffolk bodycolour John Chessell Buckler was the eldest son of John Buckler Image 435 x 613 mm., 17 x 24 in. (1770–1851), the architect and architectural draughtsman and, having worked with his father from 1810, took over his b. Tom Tower, Christ Church, Oxford architectural practice in 1826. He produced architectural views of towns, villages and country houses and died aged Signed on washline border lower right: J. Buckler 100. 1830.. Watercolour over traces of pencil 3 1 354 x 267 mm., 13 /4 x 10 /2 in.

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b.

c.

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35 36 ANTHONY VANDYKE COPLEY FIELDING JOHN MARTIN Sowerby Bridge 1787–1855 Worthing Hexham 1789–1854 Douglas, Isle of Man

View of Snowdon from the Head of the Valley, above Figures by a Waterfall, a Town on a hill beyond Capel Curig, Caernarvonshire Watercolour heightened with scratching out and Signed lower left: Copley Fielding/1844 gum arabic 1 1 Watercolour over pencil heightened with 212 x 160 mm., 8 /2 x 6 /4 in. bodycolour, scratching out and stopping out 1 589 x 878 mm., 23 x 34 /2 in. Provenance: Anonymous sale, Christie’s, 8th April 1997, lot 56 Provenance: Private Collection John Martin, 14 Berkeley Square, London, bought for 12 gns, 1845 John Martin was one of the best known and most original With Frost and Reed, London artists of the first half of the nineteenth century, often Anonymous sale, Christie’s 14th June 1983, lot 93 depicting cataclysmic events on a large scale. The depiction Allan Jacobs Gallery, London of humanity dwarved by nature as seen in the present work Private Collection is typical. He is currently the subject of an exhibition at Tate Britain. Exhibited: London, Society of Painters in Water-colours, 1845, no.157 Michael Campbell dates this drawing to circa 1811–12

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which would make it an early work. At the time Martin was Oblivion’ which was accepted by the Royal Academy and training as a glass and china painter at William Collins’s he was beginning to establish himself as a drawing master. workshop on the Strand and in the evenings he studied as a painter. In 1811, he exhibited his first picture at the Royal In the present work, although Martin has clearly drawn on Academy, ‘Landscape Composition’ and left Collins’s the many eighteenth century views of the town and workshop the following year. In 1812, he painted one of waterfall at Tivoli near Rome which he would have known, his first major paintings, ‘Sadak in search of the Waters of the topographical details are incorrect for Tivoli.

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37 GIACINTO GIGANTE region, where fertility and wildness meet, ...where at every Naples 1806–1876 Naples turn some feature, soft or savage, forms a seductive or striking frame to the distant landscape, Sig. Gigante finds the subjects Casarlano, near Sorrento of those studies, which, for freedom of handling, fidelity of colour, transparency, perspective, and effect, have no parallel on his own more ambitious canvass, or on the canvass of any Watercolour, heightened with touches of gouache, living painter of his country.’ Significant groups of drawings on buff paper and watercolours by Gigante are today in the Museo Signed and dated Gia Gigante 1850 at the lower left Nazionale di Capodimonte and the Museo Nazionale di 7 7 276 x 379 mm., 10 /8 x 14 /8 in. San Martino, both in Naples.

Giacinto Gigante was trained in the Neapolitan studio of the This watercolour depicts a view near the forested mountain Dutch artist Antoon Sminck Pitloo, who encouraged his village of Casarlano, above the town of Sorrento, students to paint all’aperto, or out of doors. He was soon overlooking the Tyrrhenian Sea. Gigante spent much of established as a successful landscape painter and 1848 and 1849 living and working in Sorrento, and the view draughtsman, with a particular penchant for views of Naples from Casarlano and the woods surrounding it appears in a and the surrounding region, and became the acknowledged number of drawings and watercolours of this period. A leader of a group of Neapolitan landscape artists later larger variant of this composition, also dated 1850 but with known as the Scuola di Posillipo. Writing in 1853, one different staffage, is in a private Neapolitan collection. contemporary English critic noted of Gigante that, ‘There is Another, smaller gouache of the same view by Gigante, no portion of the Neapolitan scenery, to which he has not been again dated 1850, was in the Statella collection in Naples in a frequent, patient, enthusiastic visitant . . . In this tempered 1930.

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38 WILLIAM WYLD A diplomat and later wine-merchant who spent most of his London 1806–1889 Paris life in France, Wyld began his career in 1826 as Secretary to the British Consul in Calais, where he was a pupil of Francia. A Bridge over a Continental River Strongly influenced by Bonington whose work he knew, Wyld visited Algeria in 1833 in the company of the French artist Horace Vernet. He travelled extensively in Europe and Signed lower right this may be a view on the Rhine. Watercolour over pencil heightened with bodycolour 104 x 156 mm., 4 x 6 in.

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39 40 WILLIAM WYLD JAMES HOLLAND, O.W.S. London 1806–1889 Paris Burslem 1799-1870 London

Venice a. View of San Giorgio Maggiore, Venice

Signed lower left Pencil on paper; a page from a sketchbook Watercolour over pencil Signed with initials, inscribed and dated JH Venice 57 1 57 x 180 mm., 2 /4 x 7 in. at the lower right 1 3 131 x 197 mm., 5 /8 x 7 /4 in. See no.38 for a note on the artist. b. A Sheet of Studies of Gondolas and Figures

Pencil and watercolour on paper; a page from a sketchbook Signed with initials, inscribed and dated JH Melons .26.Sept.57 at the lower right 1 3 131 x 198 mm., 5 /8 x 7 /4 in.

Provenance: Probably the Holland studio sale, London, Christie’s, 26 May 1870 John Appleby, Jersey

James Holland made his first visit to Venice in 1835, and displayed a lifelong fascination with the architecture of the city. He first exhibited a watercolour view of Venice at the Old Water-Colour Society in 1836, and continued to show Venetian subjects throughout his later career. A photograph of another page from the same 1857 Venice sketchbook, depicting fishing boats moored on a quayside and dated October 3rd, 1857, is in the Witt Library, London.

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a.

b.

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41 EDUARD BENDEMANN In 1834 he received a commission from the Prussian crown Berlin 1811–1889 Düsseldorf prince for a painting of Jeremiah on the Ruins of Jerusalem, and three years later painted an allegorical fresco for the A Young Boy Reading at a Table house of the sculptor Johann Gottfried Schadow in Berlin. In 1838 Bendemann was appointed a professor at the Dresden Akademie, and soon afterwards received a Pencil on paper commission for the fresco decoration of three large rooms A sketch of the head of the same boy in pencil on in the royal palace in Dresden, a project that was to occupy the verso the artist for the better part of fifteen years. In 1859 he was Inscribed and dated Df. July 68 at the lower left appointed Director of the Akademie in Düsseldorf, and was 1 7 191 x 227 mm., 7 /2 x 8 /8 in. established as a leading figure among the cultured elite of the city. The year after Bendemann’s death in 1889, a large Provenance: retrospective exhibition of his work was held at the Possibly Richard Schöne, Berlin Nationalgalerie in Berlin. A sizeable group of drawings by Friedrich Schöne, Essen and Berlin (Lugt 3622), his stamp the artist is today in the collection of the Kupferstichkabinett on the verso in Berlin.

Eduard Julius Friedrich Bendemann received his training in This charming, informal drawing bears the collector’s mark the studio of Wilhelm Schadow. Between 1830 and 1831 of the lawyer Friedrich Schöne (1882-1963), part of whose he visited Italy, and on his return to Düsseldorf painted his collection of 19th century German drawings may have been first major work, a canvas of Captive Jews in Babylon, which inherited from his father, the archaeologist and museum was exhibited with considerable success in Berlin in 1832. director Richard Schöne (1840–1922).

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42 JAMES THOMAS LINNELL The second son of the landscape painter John Linnell, James Hampstead 1823–1905 Thomas Linnell studied at the Royal Academy Schools alongside his two brothers John and William. He exhibited A Log Stack almost annually at the Royal Academy between 1850 and 1888, showing at first religious subjects in which the landscape predominated. By the middle of the decade, Black chalk, with touches of white chalk on blue however, he was exhibiting mainly landscapes with peasants paper; a page from a large sketchbook and farm labourers and it is for these pastoral landscapes Signed and dated J. Linnell 1865 at the lower right that he is best known today. Writing in 1872, one critic 7 3 430 x 289 mm., 16 /8 x 11 /8 in. [sheet] noted that ‘James Thomas Linnell . . . is entitled to share with his brother William the estimation in which their pictures are Provenance: held by the amateur and collector, sometimes rivalling even By descent in the family of the artist those of his father.’ Stephen Somerville, London, in 1980 Charles Ryskamp, New York

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43 HENRY EDRIDGE, A.R.A. portraitist in the late eighteenth and early nineteenth Paddington 1769–1821 London centuries – his portraits are executed in pencil with subtle tints of colour. These are examples of his landscapes drawn a. The Inauguration of the Equestrian Statue of Henry in a similar style to Hearne and Girtin, his friends and fellow artists. IV on the Pont Neuf, Paris The statue of Henry IV which stands on the Pont Neuf th Inscribed with title lower left and dated 25 August where it crosses the Ile de la Cité was originally 1818 commissioned from Giambologna by the King’s widow, Pencil Marie de Medici in 1614. However Giambologna died and 1 1 285 x 492 mm., 11 /4 x 19 /4 in. it was completed by his assistant Pietro Tacca and erected in 1618. It was destroyed in 1792, during the French Edridge was born in Paddington, London, and studied at the Revolution, but was rebuilt on the restoration of the Royal Academy where he began to exhibit portrait Bourbon monarchy in 1818. This shows its inauguration on miniatures from 1786 (he exhibited 260 pictures there 25th August 1818 which Edridge witnessed. during his lifetime). He achieved considerable success as a

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b. Notre Dame from the Quai de la Tournelle, Paris These drawings date from the first of Edridge’s three trips to Paris and Northern France in the summers of 1818, Inscribed lower left: Pont au Double Notre Dame/& 1819 and 1820. He exhibited nine French views at the the Pont de la Cite, from the/Quai de la Tournelle, Royal Academy in 1820 and 1821, the year of his death. A sketchbook of his French tour of 1819 is in the British Aug.t/11.th 1818. Museum and other French views by him are in the Royal Pen and brown ink over pencil on buff paper Collection, Courtauld Institute, the Yale Center for British 1 1 285 x 489 mm., 11 /4 x 19 /4 in. Art and Birmingham City Art Gallery.

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44 HENRY EDRIDGE, A.R.A. Paddington 1769–1821 London

a. The Cathedral at Evreux from the Rue de L’Eveche

Inscribed with title lower left Pen and grey and brown ink over pencil 3 1 425 x 344 mm., 16 /4 x 13 /2 in.

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b. The Entrance to the Palais de Justice from the Rue aux Juifs, Rouen

Inscribed with title lower left and dated July 16.th 1819 Pencil 1 3 466 x 326 mm., 18 /4 x 12 /4 in.

For more information on these drawings, see no.43.

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a.

b.

45 JOHN VARLEY b. A Boat on a River Hackney 1778–1842 London Watercolour over pencil heightened with a. A Castle by a Lake in a Mountainous Landscape bodycolour and gum arabic 3 1 95 x 135 mm., 3 /4 x 5 /4 in. Signed lower right Watercolour over pencil Provenance: 1 126 x 193 mm., 5 x 7 /2 in. With Thos. Agnew & Sons Ltd (no.28531) Dr W. Gordon, Birmingham

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46 LAZARE MEYER Very little is known of the artist Lazare Meyer. Born in Fegersheim 1847–1896 Paris Germany, he settled in France, studying in Paris with the painters Alexandre Cabanel, Emile Lévy and Alexandre Head of a Man Laemlein. He exhibited genre paintings and portraits at the Salons between 1870 and 1882. He also contributed to the decoration of the Maison Pichenot ceramic factory, built Oil on canvas between 1880 and 1884 on the rue de la Pierre Levée in Signed and dated LAZAR-MEYER / 1868 at the Paris. For the facade of the building, Meyer painted a series lower left of large ceramic panels depicting various arts and crafts, 3 203 x 186 mm., 8 x 7 /8 in. based on designs by his teacher Emile Lévy, which are still in situ today. Provenance: W. M. Brady & Co., New York, in 1994 This small oil sketch may be a self-portrait, depicting the Charles Ryskamp, New York young artist in his student days.

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47 PAUL JACOB NAFTEL, R.W.S. In 1870 Naftel decided to leave Guernsey and settle in St. Peter Port 1817–1891 Twickenham London, where he lived and worked for the remainder of his career. He traveled extensively around Scotland, North A Moorland Scene, possibly near Killin, Perthshire Wales and Ireland, and also made several visits to Italy. In 1889 a one-man exhibition of his work, comprising sixty-six watercolours, was held at the Fine Art Society in London, Watercolour, heightened with gouache, on paper marking the high point of the artist’s career. One review of laid down on board the exhibition noted that ‘There is a delicious quality about Signed and dated Paul Naftel 1873 at the lower left Mr. Paul Naftel’s best work, which it would be hard to convey Inscribed (by Cochrane) J.P.C. No 179.B. / PAUL in words. Something in the delicacy and skill of his handling NAFTEL on the verso and something in his choice of projects and accentuation of 7 227 x 458 mm., 8 /8 x 18 in. parts produces an aerial quality quite delightful to behold.’ Naftel died two years later, at the age of seventy-five. The Provenance: remaining contents of his studio, amounting to some four J. P. W. Cochrane, London hundred works, were dispersed at auction at Christie’s in Thence by descent until 2010 London in April 1892.

Born on the island of Guernsey, Paul Naftel was from an During the early and mid-1870s Naftel made several visits early age devoted to painting and drawing, in which he was to Scotland, and the present sheet may depict a Scottish self-taught. His earliest works are views of Guernsey, which view. Indeed, it may tentatively be identified as one of were reproduced as lithographs and sold to tourists visiting several views of the moor near Killin in Perthshire, sent by the island. In 1850 he exhibited for the first time at the Old Naftel to the 1873 and 1874 exhibitions of the Old Watercolour Society in London, showing five views of Watercolour Society. Guernsey and one of North Wales. Naftel continued to send finished watercolours to the annual exhibitions of the O.W.S., often previewing the works in his studio in St. Peter Port before they were dispatched to London.

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48 WILLIAM HAMILTON YATMAN A barrister by profession, William Hamilton Yatman was also London 1819–1913 Bournemouth an amateur artist. He was educated at Winchester College and at Caius College, Cambridge, for whom he rowed in Two Star Corals the Boat Race in 1839. Yatman was admitted to the Inner Temple in 1840 and called to the bar four years later. He served as a Justice of the Peace in Gloucestershire, Wiltshire Watercolour, over a pencil underdrawing, within a and Warwickshire, and in 1864 acquired Highgrove House, drawn border in black ink near Tetbury, today the country home of the Prince of 5 1 220 x 318 mm. (8 /8 x 12 /2 in.) Wales. An amateur draughtsman, Yatman had a preference for natural history subjects, and drawings such as the present Provenance: sheet, executed with a refined and delicate watercolour Albany Gallery, London, in 1983 technique, reflect his interest in the world around him.

Exhibited: London, Albany Gallery, An Exhibition of 19th Century Watercolour Drawings of Sea Shells from the Indian, Pacific and Mediterranean Oceans, December 1983, no.2

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49 ALEXANDRE THOMAS FRANCIA Exhibited: Calais 1815–1884 Brussels London, Anthony Reed Gallery, Louis Francia and his son Alexandre, 1985, p.87, no.56, illustrated p.32. A Still Life of Letters, Cards, an Envelope, a Pencil, a Match and a Cigar Stub The son and pupil of the emigré French watercolourist François Louis Francia, Alexandre Francia travelled extensively throughout Europe, particularly in Scotland and Watercolour the Low Countries, and eventually settled in Brussels. He Signed with a depiction of the artist’s visiting card, specialized in marine subjects, notably views of ports, fishing inscribed Mr A. FRANCIA. / 6 rue de Berceau and scenes and storms. Francia made his Salon debut in Paris in P. P. C . 1835, and exhibited in Paris, London, Antwerp and Brussels Dated 1880 twice, on a letter and a banknote throughout his career, receiving numerous honours and 3 3 171 x 214 mm., 6 /4 x 8 /8 in. prizes.

Provenance: This charming still life watercolour is unusual in Alexandre Nicholas Meinertzhagen, London Francia’s oeuvre, which is dominated by landscapes and King Street Galleries, London, in 1987 seascapes. When the present sheet was exhibited in Mr. and Mrs. Jerrold Ziff, Urbana, Illinois London in 1985, it was noted that ‘Painted not long before the artist died, it carries, with its cigar stub and the black- edged visiting card ironically marked P.P.C. (parti pour congé), a suitably valedictory message.’

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50 EMILE DE SPECHT Wilhelm Émile Charles Adolphe de Specht was a pupil of Born Saint-Denis 1843 Léon Cogniet and Félix-Joseph Barrias at the Ecole des Beaux-Arts in Paris, which he entered in 1861. He exhibited A Presumed Portrait of Edgar Degas at the Salon des Artistes Français from 1865 to 1897, showing mainly views of Paris, genre scenes and portraits. He also exhibited one work at the Salon des Refusés in Black chalk, with stumping 1873 and at the Salon des Indépendants in 1888. Signed and dated Le 22 Novembre 1878 / Émile de Specht / Paris at the lower right The present sheet would appear to be a casual portrait of 1 305 x 232 mm., 12 x 9 /8 in. the artist Edgar Degas (1834–1917) at the age of forty-four. A similar portrait drawing in black chalk by Émile de Specht, depicting Dr. Paul Gachet and dated the 19th of December 1895, is now lost, but is known from an engraving by Gachet himself, under the name Paul van Ryssel.

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51 SAMUEL PROUT This is a fine example of Prout’s early style before he visited Diss 1783–1852 London the Continent in 1819. It is likely to be the picture of this title exhibited at the Society of Painters in Water-Colours in Near Plymouth 1815, no. 349 which was bought by Lord Buckinghamshire for 4 guineas. Signed on prow of boat lower centre and inscribed verso: near Plymouth Watercolour over traces of pencil heightened with touches of bodycolour 3 247 x 227 mm., 9 /4 x 9 in.

Provenance: Private collection, London, until 2010

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52 SAMUEL JACKSON the left of Mont Blanc. Jackson visited Switzerland twice, in Bristol 1794–1869 Clifton 1854 and 1858, when Chamonix was still a small village. Although the first luxury hotel was built in 1816, it only Mont Blanc and the Valley of Chamonix gained proper road access in 1866 under the reign of Napoleon III, when the first horse-drawn coaches alighted in the village square. Signed lower right: S Jackson and inscribed in an old hand verso: Mont Blanc and Valley of Chamounix/by Jackson was one of the best known artists of the Bristol Sam.l Jackson School. He was born in Bristol, the son of a merchant and Watercolour heightened with bodycolour worked for his father until 1820 when he became a 1 1 338 x 518 mm., 13 /4 x 20 /4 in. professional artist. He became a well known drawing teacher in Bristol and travelled extensively in Britain. Jackson painted this view of Mont Blanc from the top of the Mallalieu described him as ‘the father figure and mainstay of Chamonix valley above Argentière. The Aiguilles de the Bristol school’ (Huon Mallalieu, Dictionary of British Chamonix, or Needles of Chamonix can be clearly seen to Watercolour Artists, 2002, p.330).

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53 EDWIN DALTON SMITH Provenance: 1800–1883 Lord Courthope, Whiligh, Wadhurst, East Sussex; By descent until 2011 a. Portrait of Anna Deacon Anna Deacon married George Courthope Esq. Of Whiligh in January 1841. She was the eldest daughter of John Full-length in a doorway Deacon of Mabledon, Tonbridge. Deacon made his fortune Signed lower right: Edwin D. Smith pin.t 1839 in Deacon’s Bank and bought Mabledon from the Burton Watercolour heightened with bodycolour, with family in 1828. corners cut 3 1 301 x 243 mm., 11 /4 x 9 /2 in.

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b. Portrait of Frances Deacon

Three-quarter length seated at a table holding a guitar Signed lower right: Edwin D. Smith pin.t 1839 Watercolour heightened with bodycolour, with corners cut 1 330 x 246 mm., 13 x 9 /2 in.

Frances Deacon later married Col. Arthur Ramsden of Steneness, Ashurst.

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54 EDWIN DALTON SMITH Provenance: 1800–1883 Lord Courthope, Whiligh, Wadhurst, East Sussex; By descent until 2011 a. Portrait of Lady Sophia Deacon aged seven Lady Sophia Deacon died, aged twenty-one, in 1852. Full-length in a garden carrying a basket Signed lower left: Edwin D. Smith pin.t 1838 Watercolour heightened with bodycolour, with corners cut 335 x 257 mm., 13 x 10 in.

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b. Portrait of William Samuel Deacon

Three-quarter length, holding a fishing rod Signed lower left: Edwin D. Smith pin.t 1838 Watercolour heightened with bodycolour, with corners cut 335 x 257 mm., 13 x 10 in.

William Deacon married Miss Mary Sophia Currie.

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55 HENRI ZUBER Provenance: Rixheim 1844–1909 Paris Pierre Miquel, Paris Private collection, Paris a. Landscape with a Stormy Sky Born in Alsace, Jean Henri Zuber spent most of the 1860s serving in the French navy, and it was during this time that Watercolour, over a pencil underdrawing he began producing watercolour sketches. When he left Stamped with the Zuber atelier stamp (not in Lugt) the navy in 1868, he decided to embark on a career as an on the verso artist, and entered the atelier of the painter Charles Gleyre. 3 1 122 x 190 mm., 4 /4 x 7 /2 in. In 1869 he exhibited at the Salon des Artistes Français for the first time and, apart from 1871 and 1872, showed there b. Study of Sky and Clouds every year thereafter until his death in 1909. Working from a studio on the rue de Vaugirard in Paris, Zuber came to Watercolour, over a pencil underdrawing specialize in views of the city – in both oil and watercolour – as well as scenes elsewhere in France. He exhibited at the Signed with initials H.Z. at the lower right Salons from 1869 onwards, and from 1884 also showed Inscribed Claude and Marc on the verso with the Société des Aquarellistes Français. He would Stamped with the Oeuvre Henri Zuber / catalogue sometimes go on sketching tours in the company of his général stamp (not in Lugt) on the verso, as Serie f, fellow painter Paul Lecomte, and would spend each No.123 and entitled prairie summer in the town of Ferrette in Alsace. In 1910, the year 5 7 91 x 150 mm., 3 /8 x 5 /8 in. after his death, a large retrospective exhibition of Zuber’s

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work was held at the Ecole des Beaux-Arts in Paris. Works As one contemporary critic wrote, shortly after Henri by the artist are today in the Louvre and the Musée d’Orsay, Zuber’s death, ‘For twenty years he contributed largely to the as well as in many provincial museums in France. success of the Société des Aquerellistes Français. He understood thoroughly the fundamental principles of aquarelle, Zuber is noted to have often said that, “The language of the and his trained vision enabled him to endow each of his sky, the earth, and the sea is eternal!”, and this is particularly drawings with the atmosphere and character peculiar to the evident in many of his watercolours. As a watercolourist, subject. He was equally successful with diverse subjects, Zuber’s work at times comes close to that of his older whether it was Venice, the shores of the Lake of Como, Antibes, contemporary, Henri-Joseph Harpignies, and like him was Versailles, among the Jura Mountains, or simply an evening greatly admired by English collectors. (In a review of an effect in the Luxembourg Gardens, at the Pont Royal, or the exhibition of Zuber’s watercolours held at the Goupil Place de la Concorde . . . Henri Zuber’s art, at once so galleries in London in 1883, a critic in the Pall Mall Gazette delicate, so subtle, and so personal, places this painter among noted of the artist that ‘His treatment of water-colour is much the masters, such as Corot, Daubigny, and Cazin, who infused more English than French...It is evident that his sympathies into their art something of their own very soul, that indefinable are with the younger English school, to whom, however, the quality, call it genius or what you will, that makes of a simple purity and freshness of his tones might often be objects of picture a masterpiece.’ envy.’)

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56 FRANÇOIS CLÉMENT SOMMIER, called group of artists associated with the cabaret Le Chat Noir, for HENRY SOMM whose eponymous journal he published reviews and Rouen 1844–1907 Paris articles. In the latter part of his career, Somm’s draughts- manship became both more economical in line and more self-assured. Study of a Young Woman The subject matter of Henry Somm’s watercolours tend Watercolour, with pen and black ink towards elegant, often wistful young women, depicted with 1 3 106 x 163 mm., 4 /4 x 6 /8 in. a particular delicacy of touch. The critic Louis Morin, writing in 1893, noted of the artist that ‘His pastels and water colors Henry Somm settled in Paris in the late 1860s, and enjoyed are much sought after; he has the painter’s eye to the highest a successful career as an illustrator and draughtsman, degree imaginable...More than any other artist Somm is the contributing to such popular journals as Le Monde Parisien painter of the Parisienne; not the society woman, but the and L’Illustration Nouvelle. He was also active as a graphic prettily dressed girl who runs about the streets, her nose in the designer, providing designs for menus, theatre programs, air, laughing unceremoniously at the compliments of the invitations and announcements for the many fashionable passers-by, and who sometimes enters the Moulin Rouge or events of Belle Epoque Paris. At the invitation of Edgar the Elysée-Montmarte. It is by Somm’s works that she will live, Degas, Somm took part in the fourth Impressionist this masterpiece of roguish grace, the grisette of Paris.’ exhibition of 1879. The 1880s found him linked with a

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57 PAUL-ALBERT BESNARD important portrait commissions. By the 1880s Besnard was Paris 1849–1936 Paris one of the most highly regarded and fashionable society portrait painters in Paris. He developed a particularly Portrait of a Young Man in Profile evocative manner of depicting his sitters that relied on luminous, vibrant colours, dramatic (and at times artificial) lighting and bold brushwork. These elements also found Oil on board their way into the artist’s other main activity; his work as a Signed with the artist’s monogram and dated AB 77 decorative mural painter. Besnard painted large decorative at the lower left. schemes for several public buildings, including the Sorbonne 1 113 x 101 mm., 4 /2 x 4 in. and the Pavillion des Arts Décoratifs at the Exposition Universelle of 1900, as well as ceiling decorations for the Provenance: Hôtel de Ville, the Comédie Francaise and the Petit Palais. David and Constance Yates, New York, in 1992 Besnard exhibited regularly at the Salons, and at the Societé Charles Ryskamp, New York Nationale des Beaux-Arts from 1890 onwards.

Albert Besnard entered the École des Beaux-Arts in 1866 Painted in 1877 during Besnard’s stay at the French and two years later made his debut at the Salon. In 1874 he Academy in Rome, this small portrait may depict a fellow won the Prix de Rome. His five years at the Villa Medici in pensionnaire at the Villa Medici. Rome were followed by three years in London, between 1879 and 1881, during which he obtained several

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58 EDWARD LEAR These drawings date from Lear’s first tour of Europe in the Highgate 1812–1888 San Remo summer of 1837. Having spent the early summer of 1837 in Devon, Lear returned to London in early July. From there a. A market, Koblenz he set off for the Continent on the Antwerp packet boat on 10th July in the company of his sister Ann, with whom he travelled as far as Brussels. He then passed through Inscribed upper left: ..blenz. 1837./August 12. Luxembourg, Germany and Switzerland before spending Pencil heightened with white on grey paper, with September and October in the Italian Lakes, reaching corners cut Florence in November and Rome in early December. For 1 169 x 258 mm., 6 /2 x 10 in. most of the next ten years, Lear spent the winter in Rome and visited the rest of Italy in the summer.

Koblenz is a large town sitting at the confluence of the Mosel and the Rhine. Lear travelled north-east up the Mosel from Luxembourg to Koblenz then south down the Rhine. He was at Schloss Eltz on the 7th and 8th August, then Koblenz on the 12th and Kaub on the 22nd.

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b. View of Sion, Switzerland The town of Sion is the capital of the Swiss canton of Valais and is approximately fifty miles east of Geneva. Above the Inscribed lower right: Sion. 17. Sept. 1837 sixteenth century buildings of the town stands the Basilique Pencil heightened with touches of white on grey de Valère, a fortified church dating from the twelfth and thirteenth centuries and on the hill beyond is the ruined paper, with cut corners 3 1 Château de Tourbillon. In the foreground the church with 250 x 346 mm., 9 /4 x 13 /2 in. the spire is the Cathedral Nôtre-Dame du Glarier with, to its right the small church of St Théodule. Lear was in Geneva on 8th September, reached Sion by the 17th and Lake Maggiore in the Italian Lakes by the 28th.

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Above: 59 WILLIAM ROXBY BEVERLY Provenance: Richmond, Yorkshire 1811-1889 Hampstead Appleby Bros., London

Fishermen on the Beach, Hastings Beverly was a son of a family of northern actors and began his career as a scene painter and actor for his father. Typically he produced beach scenes with beached boats and sunsets Watercolour heightened with bodycolour, stopping with strong colours often depicting the north-east coast of out and scratching out England. 3 1 657 x 927 mm., 25 /4 x 36 /2 in. b. Moonrise over Moorland Facing page: 60 Inscribed verso: Moonrise and in another hand: by WILLIAM ROXBY BEVERLY W Beverly Richmond, Yorkshire 1811–1889 Hampstead Watercolour heightened with stopping out 3 146 x 255 mm., 5 /4 x 10 in. a. Study of a Sky

Watercolour over traces of pencil 1 162 x 257 mm., 6 /4 x 10 in.

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b.

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61 JAMES BAKER PYNE The size of the river depicted suggests this is likely to be a Bristol 1800–1870 London view on the Thames. The church tower looks like the church of St. Nicholas, Chiswick but there was no bridge a. A View on the Thames over the Thames at Chiswick until 1933.

Signed lower left: JBPyne/1833 Watercolour over pencil heightened with scratching out and gum arabic 1 210 x 284 mm., 8 /4 x 11 in.

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b. A View in the Lake District, possibly the Banks of the Derwent, Borrowdale

Signed lower left: PYNE/1833 Watercolour over pencil heightened with bodycolour 180 x 255 mm., 7 x 10 in.

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62 GEORGES ANTOINE ROCHEGROSSE This radiant watercolour is a preparatory study for the Versailles 1859–1938 El-Biar, Algiers nymph at the lower left of Rochegrosse’s monumental canvas Le Chevalier aux Fleurs (The Knight of the Flowers), A Woman Reclining in a Field of Flowers: Study for Le painted in 1892. The painting was first exhibited in Munich in 1892 and, two years later, in Paris, where it was acquired Chevalier aux Fleurs by the State; it is today in the Musée d’Orsay. The subject of the painting is taken from Wagner’s opera Parsifal, and Watercolour depicts the chaste hero Parsifal who walks through the Signed G Rochegrosse at the lower right enchanted garden of the castle of the magician Klingsor, deaf 3 1 237 x 241 mm., 9 /8 x 9 /2 in. [sheet] to the entreaties of the beautiful and seductive flower maidens, bodies barely covered with flowers, who call to One of leading exponents of Orientalism in France, Georges him (‘Komm, komm, holder Knabe!’). Rochegrosse’s large Rochegrosse made his debut at the Salon de la Société des painting was much praised by critics, one of whom Artistes Français in 1882. His earliest exhibited works described it as a ‘bouquet of fireworks.’ tended towards scenes from literature, legend and history, often tinged with violence, but the 1890s found the artist Many of Rochegrosse’s paintings of the period between working in a more Symbolist vein, exemplified by his large 1890 and 1920 feature his favourite model; his wife Marie painting The Knight of the Flowers of 1892. He also received Leblond, who is likely to have posed for the present sheet. several commissions for public decorations. By the turn of Another watercolour study of the same figure is illustrated the century, however, Rochegrosse had come to be best in a deluxe edition of Octave Charpentier’s poem Le known as a fashionable painter of Orientalist and exotic chevalier aux fleurs, inspired by Rochegrosse’s painting, subjects. published in 1941.

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63 PAUL LECOMTE A landscape painter and watercolourist, Paul Lecomte made Paris 1842–1920 Paris his debut at the Salon in 1868, gaining an honourable mention two years later and thereafter exhibiting yearly until The Beach at Brighton 1912. Lecomte worked mainly in Paris, where he produced numerous urban views of the city, and in Normandy and Brittany, as well as the South of France, the Basque region Watercolour and England. Signed and inscribed Paul Lecomte / (Brighton) at the lower left This view of Brighton beach may be dated to 1887, the date 3 1 237 x 233 mm., 9 /8 x 9 /8 in. of two other views of the town by the artist. Another watercolour of the beach at Brighton by Lecomte appeared at auction in England in 1992, while a watercolour titled ‘Souvenir de Brighton’ and dated ‘30 Mai 1887’ was sold in New York in 1984.

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Facing page: Above: 64 65 HENRY JUTSUM WILLIAM LEIGHTON LEITCH London 1816–1869 London Glasgow 1804–1883 London

Trees by a River A Windmill by a Country Road

Signed lower right: Henry Jutsum Signed and dated 1856 lower left Watercolour heightened with touches of Watercolour over pencil heightened with bodycolour bodycolour 3 3 375 x 282 mm., 14 /4 x 11 in. 225 x 356 mm., 8 /4 x 14 in.

Jutsum was born in London and having gone to school in Devon, he returned to London where he began to sketch in Kensington Gardens. In 1839, he took lessons from the Norwich School artist James Stark. Through Stark, Jutsum absorbed the influence of Norwich School artists such as his friend Henry Bright and John Middleton.

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66 EDWARD DUNCAN, R.W.S. Duncan trained as an aquatint engraver under the Havells London 1803–1882 London and was introduced to marine painting, which became his speciality, by William Huggins whose pictures he engraved A Wreck off the Gower Coast and whose daughter he married. His marine scenes usually depict south coast views often in rough seas. He exhibited at the Royal Academy and prinicipally the Old and New Signed lower left and dated 1869 Watercolour Societies from 1830 until 1882. Watercolour over pencil heightened with scratching out 1 1 213 x 517 mm., 8 /4 x 20 /4 in.

Provenance: Anonymous sale, Christie’s, 25th November 1969, lot 139 Anonymous sale, Sotheby’s, 28th April 1983, lot 130

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67 HENRY BARLOW CARTER Scarborough 1804–1868 Torquay

The Dovecote Rock, Flamborough, Yorkshire

Signed lower right: H.B. CARTER Watercolour over pencil heightened with scratching out and gum arabic 1 1 312 x 468 mm., 12 /4 x 18 /4 in.

Provenance: Private collection since the 1970s

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68 WILLIAM LIONEL WYLLIE, R.A. Wyllie is known for his elaborate shipping scenes in London 1851–1931 London watercolour and oil, often of Thames views. This on-the- spot sketch shows his more spontaneous side. A Three-Masted Ship moored off the Coast

Watercolour 1 1 144 x 238 mm., 5 /2 x 9 /4 in.

Provenance: Given by the artist to his daughter By family descent Private collection, London, until 2010

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69 ALFRED WILLIAM HUNT This is a view taken from the north-west across the mouth Liverpool 1830–1896 London of the River Esk towards Whitby Abbey and it is a subject which Hunt drew on a number of occasions. Hunt first View of the Town and Abbey of Whitby, Yorkshire visited Whitby in about 1874 and returned repeatedly. A finished view taken from the same point dates from 1881 and is entitled ‘A Fine Evening at Whitby’ (see Christopher Watercolour heightened with bodycolour Newall, The Poetry of Truth – Alfred William Hunt and the 1 Sheet 246 x 310 mm., 9 /2 x 12 in. Art of Landscape, 2004, no.55, ill.). A similarly sketchy version of this view, signed and dated 1874, was sold at Christie’s in the Dawson sale, 3rd June 2004, lot 6. This on-the-spot sketch shows the influence of J.M.W. Turner.

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70 WILLIAM FRASER GARDEN Provenance: Gillingham 1856–1921 Huntingdon The Broderick family, Lytham St. Annes, Lancashire

The Manor House by the River Ouse at Hemingford Born into a family of landscape artists, William Fraser Garden painted watercolour views of his native Huntingdonshire Grey, Huntingdonshire and the fen villages along the Great Ouse river in Bedfordshire which are masterpieces of clarity and detail. Watercolour The manor house at Hemingford Grey, situated close to Signed and dated W. F. GARDEN: ‘95. at the lower the 12th century church of Saint James, is noted by Pevsner left as being ‘of very special interest’ for its central hall, which also Inscribed Manor-house, Hemingford Grey. on the dates from the 12th century. The gardens of the house verso extend down to the Ouse, with a moat enclosing the 1 grounds on the other three sides. 229 x 181 mm., 9 x 7 /8 in.

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71 SIR WILLIAM ORPEN, R.H.A., R.A. Another critic, writing at the same time in The Ladies’ Field, Stillorgan, Co. Dublin 1878–1931 London noted that ‘Mr. Orpen may be described as a tender draughtsman, tender in his care of and love for his materials. Study of a Sleeping Baby Girl His hand is so marvellously delicate. His pencil hovers over the paper with the grace of a butterfly…He does not strive for the beauty of feature, as the French draughtsmen of the Pencil eighteenth century tried to capture those qualities. At times he Signed and dated William Orpen ‘03 at the lower left is almost ugly and brutal; but he never loses the beauty of 1 205 x 318 mm., 8 x 12 /2 in. form.’

Throughout his career, William Orpen was admired as one The present sheet is likely to depict the artist’s eldest of the finest draughtsmen of his day. He drew for long hours daughter Mary, born in September 1902 and known in the every day, and left behind a large corpus of drawings and family as ‘Bunnie’. Between 1902 and 1904 Orpen sketches. As the critic of The Art News commented of a produced a series of drawings of his wife Grace and Mary, publication of a portfolio of ten photogravure reproductions based around the baby in her crib or at bath time. These of his drawings in 1915, ‘These drawings are remarkable not studies culminated in the painting Bath Hour, exhibited at only for their delicacy of handling, but for the loving care with the New English Art Club in 1904 and today in the William which the pencil has revelled in beauty of form. Mr. William Humphries Art Gallery in Kimberley, South Africa. Orpen is thoroughly modern, yet he continues a tradition which has been handed down from the great draughtsmen of the past. His work does not suffer when placed by the side of the work of the Old Masters, a supreme but dangerous test.’

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72 ALCESTE CAMPRIANI b. A Fisherman in his Boat Terni 1848–1933 Lucca Oil on panel a. A Fishing Boat Inscribed Dipinto autentico di Alceste / Campriani Gli eredi / Marzia Mattioli Borckeky(?) and numbered (2) Oil on panel on the reverse Inscribed Dipinto autentico di Alceste / Campriani Gli Stamped with the panel-maker’s stamp Giosi Napoli eredi / Marzia Mattioli / Borckeky(?) / (2) velluto rosso on the reverse. 1 3 mattone / scodellina a lato on the reverse 131 x 222 mm., 5 /8 x 8 /4 in. Stamped with the panel-maker’s stamp Giosi Napoli on the reverse. Provenance: 7 The artist’s studio, Naples 101 x 227 mm., 4 x 8 /8 in. Thence by descent in the family of the artist

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b.

Alceste Campriani studied at the Accademia di Belle Arti in occasional still life subject, and also produced a number of Naples from 1862 to 1869. There he befriended the views of Paris. Around the turn of the century he worked on painter Giuseppe de Nittis, with whom he painted decorations for the Caffe Gambrinus and the Stock landscapes in the open air as part of a group of artists known Exchange in Naples. He was employed as a teacher at the as the Scuola di Resina, regarded as the successors to the Accademia di Belle Arti in Lucca between 1891 and 1921, Neapolitan landscape artists of the previous generation, led eventually rising to the post of director in 1911. His son and by Giacinto Gigante, who had been known as the Scuola di pupil Giovanni was also a landscape artist, and also worked Posillipo. Through de Nittis, Campriani gained an for some time in Paris. Paintings by Alceste Campriani are in introduction to the influential Parisian art dealer Adolphe the Galleria d’Arte Moderna in Rome and elsewhere. Goupil, who in 1871 signed a contract with the artist that lasted until 1884. This allowed his work to be better known This pair of oil sketches were among the contents of the elsewhere in Europe and also in America, although he was artist’s studio at the time of his death and have remained in never to achieve the same international reputation and the possession of his descendants until recently. Scenes of commercial success as such contemporary Italian artists as fishermen and fishing boats appear throughout Campriani’s de Nittis, Giovanni Boldini and Federico Zandomeneghi. oeuvre. Similar boats appear, for example, in a large Campriani worked for several years in Paris, and also painting, signed and dated 1900, which appeared on the art participated in the annual exhibitions organized by the market in London in 1984, while a comparable small oil Società Promotrice di Belle Arti in Naples, becoming a sketch of a Neapolitan fishing boat appeared at auction in member of the jury in 1885. He painted seascapes, Rome in 2007. Neapolitan landscapes and genre scenes, as well as the

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73 VLADIMIR VASILIEVICH PEREPLETCHIKOV and characterized by a heightened sense of colour. Paintings Moscow 1863–1918 Moscow by Perepletchikov were often illustrated in the leading art magazine Mir iskusstva and were owned by artists such as Sunset over a River Isaak Levitan and Sergei Vinogradov. Perepletchikov’s diaries record much of interest in the artistic life of Moscow around the turn of the century, including visits to the homes of the Pastel and gouache on paper collectors Ivan Morozov and Sergei Shchukin, all recorded Signed in Russian at the lower right and numbered in a highly opinionated and at times somewhat acidic tone. or dated 3/4 VII. in the lower right margin When the First World War broke out in August 1914 and Further signed in Russian and dated 1909. on the Russian men faced compulsory conscription into the army, backing sheet Numbered N49 – 1940 on the like many artists and intellectuals Perepletchikov found the backing sheet situation almost intolerable; as he wrote during this period Stamped with a Russian stamp on the verso of crisis, ‘I am no longer a painter. I have almost forgotten how 3 5 to paint.’ The artist was to spend the last years of his career 247 x 373 mm. (9 /4 x 14 /8 in.) unable to practice his profession, and died in Moscow shortly before the war ended. Paintings by Vasily A landscape painter and draughtsman, Vasily Perepletchikov Perepletchikov, whose appearance is recorded in a 1912 was a pupil of Alexander Kiselev at the School of Fine Arts pastel portrait by Sergei Malyutin, are today in the collection in Moscow and Vasily Polenov at the Moscow School of of the State Tretyakov Gallery in Moscow, and elsewhere. Painting, Sculpture and Architecture. A founding member of the conservative Union of Russian Artists in 1903, A stylistically related watercolour view of the river Dvina by Perepletchikov exhibited with the group in Moscow, St. Perepletchikov recently appeared at auction in England. Petersburg and elsewhere, and his work was dominated by lyrical Russian landscapes painted in an Impressionist vein

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74 ORESTE CORTAZZO among the books he illustrated were Eugène Muller’s La Rome 1836–1910 Paris Mionette, published in 1885, and Guy de Maupassant’s Yvette, published in 1902. Together with Lodovico A Parisian Boulevard at Night, with a Newspaper Marchetti and Lucio Rossi, Cortazzo also provided drawings for a lavish illustrated edition of Shakespeare’s Romeo and Vendor Juliet, published in London around 1900.

Engraved wood block This engraved wood block was used for an illustrated 1 7 102 x 82 x 23 mm., 4 x 3 /4 x /8 in. edition of Guy de Maupassant’s Yvette, a collection of short stories published in Paris in 1902, with illustrations by Literature: Cortazzo. Maupassant’s story Yvette was first published in Le Guy de Maupassant, Yvette, Paris, 1902, p.9 Figaro in 1884, and was reprinted as a book the following year. Cortazzo’s image was used to illustrate the beginning Born in Italy, Oreste Cortazzo spent most of his career in of the story, in which the two friends Jean de Servigny and France as a painter of historical and genre scenes, many of Léon Saval leave the Café Riche and walk along the streets which were produced on commission for the art dealer of Paris: ‘A restless crowd was moving along the boulevard, Adolphe Goupil. He exhibited infrequently at the Salons that throng peculiar to summer nights, drinking, chatting, and between 1874 and 1885, and also at the Exposition flowing like a river, filled with a sense of comfort and joy. Here Universelle in 1878 and 1889. His sentimental narrative and there a cafe threw a flood of light upon a knot of patrons compositions were likely influenced by the rise of drinking at little tables on the sidewalk, which were covered photography in the second half of the 19th century. with bottles and glasses, hindering the passing of the hurrying Cortazzo also worked as a printmaker and book illustrator; multitude.’

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75 ALETHEA GARSTIN by the Royal Academy Summer exhibition; at the time the Penzance 1894–1978 Zennor youngest artist ever to be so honoured. She accompanied her father when he undertook the summer schools of A Breton Girl painting which he held almost every year in Brittany and Northern France between 1899 and 1927, and in which she also participated. She continued to exhibit widely; at Black chalk on paper; a page from a sketchbook group shows in galleries and at open exhibitions in England A slight sketch of a standing youth on the verso and elsewhere until just before her death. Her first gallery 3 300 x 229 mm., 11 /4 x 9 in. exhibitions were joint shows with her father, held in London in 1921 and 1924, and she did not have her first solo Provenance: exhibition until 1940. Garstin lived for most of her life in From one of the artist’s sketchbooks, and thence by Penzance, but travelled widely throughout England, Ireland, descent in the family of the artist. and Scotland, often using her small red Morris Eight car as a mobile studio and producing small paintings of the sites The daughter and pupil of the painter Norman Garstin, she visited. She remained active well into old age, with her Mary Dochie Alethea Garstin began painting seriously at the final painting trip abroad – a journey around Brittany – age of sixteen, and two years later she had a work accepted undertaken at the age of eighty-two.

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76 GIUSEPPE CASCIARO have first been inspired to take up the medium of pastel in Ortelle 1863–1941 Naples 1885, when a series of pastel drawings by the artist Francesco Paolo Michetti was shown in Naples. Two years A Coastal Landscape later, in 1887, Casciaro exhibited a series of eleven pastel landscapes of his own, and he remained devoted to the medium throughout his career. Indeed, he may be regarded Pastel, over an underdrawing in pencil, on brown as one of the finest practitioners of the art of the pastel paper landscape working in Italy during this period. Faintly signed and dated GCasciaro / 6 08(?) 07 at the lower left Casciaro settled on the hillside quarter of Naples known as Signed, dated and inscribed a Paride / De Marco(?) / the Vomero, sharing a studio with the painter Attilio Pratella, l’amico / GCasciaro. / 1 luglio 1916 napoli at the and for much of his life his preferred subject matter were lower right views in and around Naples and the islands of Capri and Stamped G. CASCIARO / NAPOLI in a circle in blue Ischia. Between 1892 and 1896 he travelled regularly to Paris, where he had a one-man exhibition and received ink on the verso 5 commissions from the dealer Adolphe Goupil. Appointed a 168 x 331 mm., 6 /8 x 13 in. professor at the Accademia in Naples in 1902, by 1906 he was engaged as a tutor in pastel drawing to the Queen of Born in the province of Lecce, Giuseppe Casciaro enjoyed Italy, Elena di Savoia. Casciaro exhibited frequently in Naples a long and successful career of some sixty years. He was a and at the Biennale in Venice, and won a bronze medal at pupil of Filippo Palizzi, Gioacchino Toma, Stanislao Lista and the Exposition Universelle in Paris in 1900. His work was Domenico Morelli at the Accademia di Belle Arti in Naples, also exhibited throughout Europe; in Munich, Barcelona, where he won numerous prizes. Casciaro developed a Prague, Athens and St. Petersburg, as well as in San particular proficiency for landscape drawings in pastel, Francisco, Tokyo and in South America. although he also painted a handful of oil paintings. He may

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77 JOHN DUNCAN FERGUSSON were particularly influenced by French art of that period. Leith 1874–1961 Edinburgh Their work has had a lasting influence on Scottish contemporary art.

Boats in the Harbour, Cassis This is likely to date from Fergusson’s first stay in Paris from 1907 until 1914 when he spent a lot of time in the south of Black chalk France. In 1913, he persuaded his fellow Colourist Samuel 1 3 112 x 200 mm., 4 /4 x 7 /4 in. John Peploe (1871–1935) to accompany him to Cassis. He recalled: ‘I had grown tired of the north of France; I wanted Provenance: more sun, more colour; I wanted to go south to Cassis . . . The Artist’s partner, Margaret Morris (1891–1980) we had his [Peploe’s] birthday party there and, after a lot of Private Collection consideration, chose a bottle of Château Lafitte instead of champagne. Château Lafitte to me now means that happy Fergusson is one of the best known of the Scottish lunch on the veranda overlooking Cassis bay sparkling in the Colourists along with Peploe, Cadell and Hunter. They sunshine’ (see Roger Billcliffe, The Scottish Colourists, 1990, were active in the first half of the twentieth century and p.37).

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78 SIR GEORGE CLAUSEN, R.A., R.W.S. London 1852–1944 Cold Ash

Study of Trees

Coloured chalks on brown paper 3 298 x 233 mm., 11 /4 x 9 in.

Provenance: By descent from the artist to his daughter-in-law Mrs Hugh Clausen Anonymous sale, Sotheby’s, 30th September 1992, lot 7

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a. 79 ANNA AIRY b. Blue Tit’s Breakfast Greenwich 1882-1964 Playford, nr. Ipswich Pen and black ink and watercolour, on paper a. Land of Plenty washed a pale grey Signed with the artist’s monogram at the lower Pen and black ink and watercolour, on paper centre washed a pale grey Numbered 15 and inscribed and titled sight 12 1/2 x Signed with the artist’s monogram at the lower 8 / “Blue tit’s breakfast” / (to fit frame) on the verso. 3 centre 330 x 212 mm., 13 x 8 /8 in. [sheet] Numbered 11 and inscribed and titled sight 12 x 9 “Land of Plenty” / (to fit frame) at the bottom of the Exhibited: sheet London, The Fine Art Society, Exhibition of Paintings and 1 1 Pen and Colour Drawings by Anna Airy, R.E., R.I., R.O.I., 338 x 257 mm., 13 /4 x 10 /8 in. [sheet] November 1920, nos.31 and 32.

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b.

A student at the Slade School of Art in London between sprays of blossom, bees, birds, butterflies, struggling twigs or 1899 and 1903, Anna Airy was a gifted and prolific artist, insect-eaten leaves.’ adept in a variety of media and techniques. She first exhibited at the Royal Academy in 1905, and continued to Anna Airy was particularly admired as a draughtsman, and do so almost every year until 1956, showing a total of her interest in botanical studies was manifest from the around eighty works. By the time of her first one-man show earliest years of her career. On the occasion of an exhibition at the Carfax Gallery in London in 1907 was regarded as of her work in 1915, one critic noted that ‘We have then in one of the most promising young female painters of her these drawings the expression of passionate sympathy with the generation. Airy also exhibited her work at the New English refinements of leaf and stem-forms. We have here the realism Art Club, the Royal Institute of Painters in Water-Colours that alone can satisfy an eager love of Nature for herself. What and the Royal Society of Portrait Painters. In 1952 a is novel is the careful art, almost Japanese in spirit, with which retrospective exhibition of Airy’s paintings, drawings and naturalism is controlled and exploited on behalf of prints was held in London, and in the preface to the decoration…An artist has not such a conscience for truth to catalogue the critic Martin Hardie praised her ‘untiring nature as Miss Airy’s for nothing; not a line is drawn by her patience, a Durer-like analysis, an almost Pre-raphaelite except in the presence of nature. The pen-work is done out of precision, in recording the minutest detail and the material doors direct from the “model” branch as it grows on a tree, structure and anatomy of living organism in pendant fruit, and the colouring is done in the same circumstances.’

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80 HENRI ROYER the same year in which he was admitted into the Légion Nancy 1869–1938 Neuilly-sur-Seine d’Honneur. He travelled extensively throughout Europe, as well as in North and South America. A Sheet of Studies of Women At the time of an exhibition of Royer’s work at the Galerie Jean Charpentier in Paris in 1928, the critic Roger Dardenne Black and red chalk, with touches of white noted that, ‘It is perhaps with the female portrait, however, heightening, on paper laid down on a thin board that M. Henri Royer shows the fullest measure of his mastery. Signed Henri Royer. at the lower right centre The delicacy of temperament, a natural elegance, combined 3 3 476 x 629 mm., 18 /4 x 24 /4 in. with a great confidence in his profession, allow him to render, with a truth full of charm, the faces of women and young girls.’ Exhibited: This sheet of studies may be regarded as preparatory Mulhouse, Exposition de Mulhouse, 1914 exercises for the sort of finished drawing in coloured chalks exemplified by a portrait of a woman reproduced as a Henri Paul Royer was active as a portraitist and genre full-page illustration in colour in the Christmas 1923 issue painter, as well as a draughtsman and book illustrator, and of the magazine L’Illustration. In comments which may exhibited frequently at the Salon des Artistes Français from equally be said to be relevant to the present sheet, the text 1890 onwards. In 1896 he made his first of many visits to accompanying the drawing in L’Illustration noted that ‘This is Brittany, where he produced genre paintings of the life and one of the pastels in which Henri Royer excels, to whom we customs of the people of Cap-Sizun, south of Finistère, and owe, in addition to his fine work as a painter, some admirabe the Ile de Sein, a small island off the western tip of Brittany. drawings in coloured chalks. A portrait of a young woman, He became particularly known for his views of Brittany and treated with astonishing descriptive confidence, light fabrics, scenes of Breton life, which he showed at the Salons. Royer intangible, veiling and revealing the body, the face lit by a won a gold medal at the Exposition Universelle in 1900, smile...A work of expressive grace and luminous harmony.’

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81 EDWARD JOHN BURROW Originally trained as a chemist and pharmacist, Edward John Wellington 1869–1935 Cheltenham Burrow was born in Somerset and studied at Cheltenham College, later settling in the spa town. Active as a A London Nocturne topographical etcher and draughtsman, he established a cooperative publishing business in Cheltenham in 1900, through which he wrote and published several books of Watercolour, heightened with touches of local interest, such as The Ancient Entrenchments and Camps bodycolour of Gloucestershire, first published in 1919, and Around and Signed and dated Ed J Burrow / 1918 and titled A About Cheltenham, published in 1921. Many of Burrow’s London Nocturne in at the lower left and centre. etchings are commissioned views of public schools and 3 1 238 x 164 mm., 9 /8 x 6 /2 in. colleges such as Marlborough, Rugby, Eton and Haileybury.

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82 TAMARA DE LEMPICKA Literature: Warsaw 1898-1980 Cuernavaca Alain Blondel, Tamara de Lempicka: Catalogue raisonné 1921-1979, Lausanne, 1999, p.433, no. A.23 A Seated Female Nude Recognized today as an iconic painter of the Art Deco era, Tamara de Lempicka exhibited for the first time at the Salon Pencil d’Automne in 1922. Her work as a portraitist was greatly Signed de Lempicka at the lower left admired, and the late 1920’s and early 1930’s found the 1 5 236 x 142 mm., 9 /4 x 5 /8 in. artist at the height of her career, enjoying an exalted position in Parisian society. De Lempicka’s studies of female nudes Provenance: were strongly influenced by the figure style of her teacher Private collection, in 1972 André Lhote. Datable to around 1923, the present sheet Barry Friedman Ltd., New York may have been drawn from a posed model in Lhote’s Private collection, Spain studio on the rue de Départ in Paris. This drawing may tentatively be related to a small painting of a similarly posed female nude, also seen from below and wearing a necklace, in a private collection.

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83 GUSTAVE LOISEAU such as Maxime Maufra and Henry Moret. He joined the Paris 1865–1935 Paris Société des Artists Indépendants in 1893 and exhibited six paintings at the group’s annual exhibition; he continued to Still Life with a Dish of Fried Eggs exhibit at the Salon des Indépendants nearly every year thereafter. In Pont-Aven in 1894 Loiseau met Paul Gauguin, who, impressed with the young artist’s work, gave him a Pencil, watercolour and gouache on buff paper still life of fruit and flowers. In 1897 he entered into a A sketch of a church and surrounding buildings on contract with the Galerie Durand-Ruel, which allowed the the verso artist a measure of financial freedom. For the remainder of Dated 1923 at the upper left his career, Loiseau travelled tirelessly in Brittany, Normandy The verso inscribed and dated cour de la / ??? / and the Ile-de-France, painting numerous landscapes along Pontoise / 1922 the Seine and elsewhere. 1 3 206 x 273 mm., 8 /8 x 10 /4 in. Loiseau produced several paintings of still-life compositions, Abandoning a career as a house painter, Gustave Loiseau many of which were done at Pont-Aven between 1922 and took up painting around 1884 and had devoted himself to 1928. The present sheet is dated 1923, while the sketch of it entirely by 1887. Apart from a year at the Ecole des Arts a church in Pontoise on the verso bears a date of the Décoratifs, he was mostly self-taught. In 1890 he stayed for previous year. The ceramic dish in which the eggs are some months in the town of Pont-Aven in Brittany, joining placed is found in several still life compositions by Loiseau of the little artistic community there and befriending painters the 1920s and early 1930s.

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84 RUSKIN SPEAR, R.A. Drawn in 1932, the present sheet is a portrait of the artist’s Hammersmith 1911–1990 London father Augustus Spear. The drawing was singled out for praise by Ruskin Spear’s biographer Mervyn Levy: ‘It is in The Artist’s Father Seated in an Interior his portraits of his family and his friends that his essential humanity is most apparent, although his empathy with his subject is always conveyed with restraint. This applies in Pencil and black chalk, with stumping, with touches particular to his portrayals of old age. The emotive content is of orange and white chalk, on buff paper always tightly controlled – concise and contained...There is 1 3 307 x 366 mm., 12 /8 x 14 /8 in. compassion without sentimentality. Even in the study of the painter’s father, drawn in 1932 when the artist was only Provenance: twenty-one, there is no excess of feeling, no self-indulgence. It Lady Gwendolen Herbert is a statement about old age, brilliantly drawn and strikingly objective. I know of no better example of the artist’s powers of Literature: draughtsmanship. The opposition of tension and relaxation is Mervyn Levy, Ruskin Spear, London, 1985, p.31, superbly realized in the relaxed, bowed head, the tension in illustrated p.12, fig.4 the resting arm and left leg, and the relaxation of the left arm and the right leg.’ Exhibited: London, Royal Academy of Arts, Ruskin Spear R.A.: A Retrospective Exhibition, 1980, no.79

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85 ODILON ROCHE une époque médiocre.’ In 1917 Roche’s friend Léonce Châteauneuf-sur-Loire 1868–1947 Six-Fours Bénédite, the executor of Rodin’s will and soon to be the first curator of the Musée Rodin, asked him to classify the Study of a Standing Draped Woman, Seen from entire contents of the sculptor’s studio, including countless boxes of loose drawings and watercolours. Behind The decade Roche sent on this immense project gave him Pencil and watercolour ample opportunity to study Rodin’s distinctive style and Inscribed A Rodin at the lower right technique as a draughtsman. As a result Roche’s own Stamped with a variant of the Roche mark (Lugt drawings and watercolours, especially of female nudes, 2007e) at the lower right display the profound influence of those of the great sculptor. 1 3 337 x 274 mm., 13 /4 x 10 /4 in. (He also assembled a large number of drawings by Rodin for his own collection; most of these were dispersed at An amateur artist and a disciple of Auguste Rodin, Odilon auction in 1933.) On his retirement in 1931, Roche settled Roche was one of the more fascinating characters in Paris in in Six-Fours-les Plages in the Var, southwest of Toulon, the first quarter of the 20th century. In 1902 he opened a where he continued to paint his watercolours, now shop in Montmartre selling artists’ supplies, counting among including coastal scenes and landscapes. He does not seem his customers Pissarro and Renoir. A second shop selling to have ever sold or exhibited his work, and it was not until Persian and Chinese antiques soon became a fashionable the early 1970’s, some twenty-five years after his death, rendezvous for cultured Parisians, among them the novelist that a group of Roche’s drawings was discovered at a Colette, who described Roche as ‘un homme fastueux dans framer’s shop in Saint-Tropez.

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86 RAYMOND 1933

Philips Radio: Design for a Poster

Watercolour Signed and dated RAYMOND. 1933 at the upper right 1 3 490 x 340 mm., 19 /4 x 13 /8 in.

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87 RICHARD BARRETT TALBOT KELLY 1896–1971

A Hovering Kingfisher

Signed with monogram centre left Pen and brown ink and watercolour on oatmeal paper 1 1 194 x 143 mm., 7 /2 x 5 /2 in.

Kelly served in the Artillery until 1929 and concentrated on drawing birds in watercolour from the 1920s. He was art master at Rugby School.

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88 STEPHEN ROWLAND PIERCE, F.R.I.B.A., F.S.A. City Hall in Norwich, designed with James and completed 1896–1966 in 1938. In the same year Pierce was elected a Fellow of the Royal Institute of British Architects, and later served as its The Bombed House Vice-President between 1951 and 1955. He also worked in the field of town planning, and published Planning: The Architect’s Handbook, which was issued in several editions. Watercolour on thick card Pierce served as a planning consultant in Norwich, Signed and dated S. Rowland Pierce 1941 at the Southampton, Malta and elsewhere, and taught at the lower right British School in Rome. Pierce owned a large collection of 5 5 345 x 271 mm., 13 /8 x 10 /8 in. early English drawings and watercolours, dispersed at auction after his death. An architect and town planning consultant, Stephen Rowland Pierce was awarded the Rome Scholarship in The present sheet was probably drawn during the Blitz in Architecture in 1921 and studied at the British School at London. At the time Rowland Pierce made the drawing, he Rome. Much of his architectural work was in the form of was serving as Director of Architectural Studies at the civic buildings, often in partnership with the architect Charles Hastings School of Art, a post he held between 1936 and Holloway James, such as the town hall of Slough, 1942. Between 1941 and 1942 he was also a lecturer at constructed in 1936, and the Hertford County Hall, built in the School of Architecture at Manchester University. 1940. His best-known work as an architect, however, is the

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89 ERICH WOLFSFELD devoted to printmaking, but by 1912 had begun painting in Krojanke 1884–1956 London oils, although he seems to have always preferred to work on treated paper, rather than canvas. He travelled widely, Study of an Arab Girl and was drawn in particular to North Africa and the Middle East. Although he was a popular and respected teacher at the Akademie in Berlin, as a German Jew Wolfsfeld was Oil, black chalk and coloured chalks, with traces of forced to resign from the school in 1935, and three years squaring in pencil, on buff paper later settled in England, bringing much of his work with him. Signed Erich Wolfsfeld at the lower right 1 1 359 x 286 mm., 14 /8 x 11 /8 in. The present sheet was included in the seminal retrospective exhibition of Wolfsfeld’s work held at the Derby Art Gallery Provenance: in 1953, three years before the artist’s death. The exhibition Among the contents of the artist’s studio at his death included a total of 163 paintings, drawings and etchings, Thence by descent to his stepson, Dr. Max Block, dating from as early as 1913. As one modern critic has Mossley Hill, Liverpool, until 2009 noted of Wolfsfeld, ‘The simple reality of what he saw on his travels did not move him either to exaggerate or caricature Exhibited: his subject matter . . . His compassionate vision records the Derby, Derby Art Gallery, Erich Wolfsfeld, 1953 dignity of peoples thoroughly accustomed to adversity . . . In [oil paint] and other media, such as chalk or pen and wash, Erich Wolfsfeld studied at the Berlin Academy of Arts and Wolfsfeld demonstrated a wonderful certainty yet fluency in the Académie Julien in Paris. His early career was largely his drawing.’

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90 STANLEY ROY BADMIN, R.W.S. contrives, with the aid of washes of tender colour, to preserve Sydenham 1906–1989 Bignor a seemly order in all his drawings.’ Badmin is today best known for his watercolour landscapes; charming and St. Ives, Cornwall affectionate depictions of the English countryside. In the 1940s and 1950s he illustrated a number of books on pastoral or topographical themes, notably Village and Town, Watercolour, heightened with touches of gouache Trees in Britain and The British Countryside in Colour. Among Signed and inscribed St. Ives. / S.R. Badmin at the his other commercial projects were designs for Shell posters lower right depicting the various counties of England, as well as covers 3 1 287 x 386 mm., 11 /8 x 15 /4 in. [sheet] and illustrations for Reader’s Digest and Radio Times magazines, advertising images, calendars and greeting cards. A gifted watercolourist and printmaker, S. R. Badmin As one recent author has noted of Badmin, ‘his craft has became, at the age of twenty-six, one of the youngest been based on hard work and experience, and his talent on a Associate members of the Royal Society of Painters in love for and deep knowledge of the British countryside.’ Watercolours. At the exhibition of the Society in 1932, the first to which he contributed, his work was singled out for Badmin produced a handful of views of the picturesque particular praise by several reviewers, one of whom wrote fishing port of St. Ives in Cornwall. Another view of the that ‘The most interesting drawings in this show are provided town, inscribed by the artist ‘A Corner of St. Ives’ and ‘The by S.R. Badmin, a young etcher who uses line with almost an Room with the View’, was on the London art market in 1985, etcher’s delicacy and precision. Badmin is almost miniaturist while a watercolour of St. Ives from Porthminster was in the fineness of his work he packs into a small picture area, included at the Autumn 1953 exhibition of the Royal but in spite of all this wealth of beautifully designed detail, he Watercolour Society.

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91 JOHN NORTHCOTE NASH, R.A. Kensington 1893–1977 Colchester

Olive Trees near Clavier, Grasse, France

Inscribed with colour notes Watercolour over pencil on laid paper, squared for transfer 3 3 224 x 171 mm., 8 /4 x 6 /4 in.

Provenance: New Grafton Gallery

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92 MAXWELL ASHBY ARMFIELD, R.W.S. He was also a prolific and accomplished illustrator and Ringwood 1881–1972 Dorset decorative artist, and found the time to publish a number of books of poetry, travel accounts and technical guides to Three Feathers tempera painting. Although his work was largely forgotten after the Second World War, Armfield lived to see a reassessment of his oeuvre take place in the 1970s. Tempera on board Signed with the artist’s monogram and numbered The present work is numbered by the artist as Opus 253, OP / 253 at the upper right which would suggest an approximate date of 1948; it was 253 x 305 mm., 10 x 12 in. first exhibited the following year. Writing a few years later, Armfield described the particular appeal of tempera, noting Provenance: that ‘only in this apparently most material and restricted Kensington Art Gallery, London, in 1949 medium could I learn to express in this age, those fundamental Purchased from them by Mrs. Carrow, London things which could not at the present time find acceptance in Mrs. Gladys Lilian Grant and thence by descent until 2006 a direct or ostensible way.’ In another publication, Armfield wrote, ‘Tempera because of the exigencies of material is Maxwell Armfield began experimenting with painting in specially suitable for smallish pictures, gay and rich in tempera while a student in Birmingham, although he only colour...the peculiarities of the medium itself render it most began taking up the medium more seriously around 1910. suitable for the presentation of flowers, fruit, and the small Best known for his portraits, landscapes and still life paintings beasts naturally associated with them: for sky, pebbles, and in tempera, Armfield exhibited at the Royal Academy, the generally, the smaller details of nature. . .’ New English Art Club and the Royal Watercolour Society.

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a. c. b.

93 CHARLES FREDERICK TUNNICLIFFE, R.A. Literature: Langley 1901–1979 Anglesey Robert Gillmor, Charles F. Tunnicliffe. RA: The Composition Drawings, London, 1986, p.48, no.269 a. Spider Monkeys Charles Tunnicliffe was arguably the most important British b. De Brazza’s Guenon wildlife artist of the second half of the 20th century. As his c. Spider Monkeys close friend and fellow artist Kyffin Williams noted of him, ‘The whole of nature absorbed him and he was more sensitive Watercolour, heightened with gouache, over an to it than any man I have ever met; but it was nature in the underdrawing in pencil particular that motivated his probing eye and forced him to a. 102 x 50 mm., 4 x 2 in. [sheet] live a life of obsession that produced a body of work that has 3 7 b. 163 x 73 mm., 6 /8 x 2 /8 in. [image] hardly been equalled by any British artist.’ c. 102 x 50 mm., 4 x 2 in. [sheet] The largest of these three drawings is a preparatory study Provenance: for Tunnicliffe’s painting De Brazza’s Guenon, exhibited at Bunny Bird Fine Art, London the Royal Academy in 1967. The two studies of spider monkeys are related to a finished watercolour of Spider Monkeys shown at the Royal Academy in 1973.

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b.

94 CHARLES FREDERICK TUNNICLIFFE, R.A. These two drawings date from the mid 1960s. Langley 1901–1979 Anglesey The drawings in nos. 94 and 95 were in the artist’s studio a. Red-Breasted Mergansers on his death in 1979 and were subsequently exhibited in `Charles F. Tunnicliffe, RA – The Composition Drawings’ at the Tryon and Moorland Gallery, Cork St., London from Watercolour and bodycolour over pencil 3 3 5th to 26th March 1986. Since then they have been in a 97 x 171 mm., 3 /4 x 6 /4 in. private European collection.

b. Black-headed and Common Gulls

Watercolour and bodycolour over pencil 1 3 85 x 149 mm., 3 /4 x 5 /4 in.

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b.

95 CHARLES FREDERICK TUNNICLIFFE, R.A. This dates from the 1960s. Langley 1901–1979 Anglesey b. Roseate Terns displaying a. Black-headed Gulls asleep Watercolour and bodycolour over pencil 1 1 92 x 111 mm., 3 /2 x 4 /4 in. Watercolour and bodycolour over pencil 1 This is a sketch for a watercolour exhibited at the Tryon 63 x 105 mm., 2 /2 x 4 in. Gallery, Bird Artists of the World, 1963.

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a.

96 JOHN LANGLEY HOWARD b. Apples on Earth Montclair 1902–1999 San Francisco Watercolour on paper, laid down on board a. Succulent Signed and dated JOHN LANGLEY HOWARD ’67 at the lower right 3 1 Grey ink and wash on paper 214 x 285 mm., 8 /8 x 11 /4 in. [sheet] Signed with initials and dated JLH ’49 at the lower right centre Provenance: Further inscribed PW 700 / 1949 / Mill Valley / 300- Garzoli Gallery, San Rafael, California, in 1996 Charles Ryskamp, Princeton. on the verso 203 x 230 mm., 8 x 9 in. [sheet]

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b.

Born into a family of artists and architects, John Langley California’s achievements in industry and agriculture, and Howard was raised in California and studied at the California the artist’s decision to devote his Industry mural to the Guild of Arts and Crafts in Oakland before completing his depiction of a group of unemployed workers, combined training at the Art Students League in New York in 1924. with the subjects chosen by some of the other equally He worked mainly in tempera, watercolour and oil, and politicized artists working on the same project, led to also took up etching. Howard held his first one-man considerable controversy. After the outbreak of World War exhibition at the Modern Gallery in San Francisco in 1927, II, however, Howard’s work began to move away from and the following year shared a joint exhibition with his social commentary and towards a renewed focus on older brothers Charles and Robert; in a review of the show landscapes, devoid of human figures, as well as still life and one critic noted that, of the three Howard brothers, ‘John natural history subjects. Between 1953 and 1965 he Langley is the poet, the mystic and the most complex...there worked as an illustrator for Scientific American magazine, predominates in his work a certain quality, an element of creating many covers that emphasized the delicacy and sentiment that escapes definition but is the unmistakable trait beauty of objects found in the natural world. He lived for by which one recognizes deeper art.’ some time in Mexico, Greece and London before settling in California for good in 1970. With the onset of the Depression, Howard began to engage in political discourse and incorporate Marxist themes The artist once noted that ‘I think of painting as poetry and I in his work, which often emphasized the plight of the think of myself as a representational poet. I want to describe working classes. This was perhaps most explicit in a my subject minutely, but I also want to describe my emotional commission he received in 1934 for a mural to decorate response to it...what I’m doing is making a self-portrait in a part the interior of the Coit Tower on Telegraph Hill in San peculiar kind of way.’ Francisco. The frescoes were intended as a celebration of

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97 RENÉ GRUAU drawings of the latest fashions for the newspaper Le Figaro Covignano 1909–2004 Rome and the fashion magazine Femina. He also recorded the collections of such designers as Pierre Balmain, Jacques Fath, Design for the Cover of Sir Magazine (No.4, 1964) Jeanne Lanvin, Jean Patou and, in particular, Christian Dior. By the end of the Second World War his reputation was firmly established, and had spread beyond France and Italy. Brush and black ink, gouache, and green film, over a Gruau produced numerous designs for the covers of fashion pencil underdrawing, on paper magazines, notably Vogue, International Textiles, L’Officiel de Signed with the initial *G at the lower right la Couture et de la Mode de Paris and Club. 1 1 410 x 287 mm., 16 /8 x 11 /4 in. This drawing is a design for the cover of a 1964 issue of the Arguably the most famous fashion illustrator of the 20th magazine Sir, a quarterly publication devoted to male century, René Gruau was born in Italy and settled in Paris in fashion. Between 1957 and 1972 Gruau produced many the early 1930s, where he found employment providing cover designs, as well as illustrations, for the magazine.

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98 PAUL HOGARTH, R.A. The architectural historian Peter Blake has noted that ‘Paul Kendal 1917–2001 Cirencester Hogarth is not exactly a recorder of architecture, he is a lover of buildings. He idealises them, romanticizes them, makes fun Art Nouveau Apartment Building, Geneva of them, and ultimately identifies with them. His drawings and watercolour washes are like love letters to buildings; and, like love letters, they exaggerate. They make you smile. Not many Watercolour over an underdrawing in pencil, on artists know how to get a building to make you smile. Hogarth thick white paper knows.’ A similar sentiment was expressed by the architect Signed, dated and inscribed Paul Hogarth ’87 Art Sir Hugh Casson, who has said that ‘There’s nobody to touch Nouveau apartment house, Quai Wilson, Geneva at Paul Hogarth for catching a building’s likeness – dead right the lower left centre without a trace of laborious correctness.’ Further inscribed Constance’s flat / Sebastian at the lower left 1 1 572 x 463 mm., 22 /2 x 18 /4 in. [sheet]

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99 MICHAEL KOTASEK Born in upstate New York in 1962, P. Michael Kotasek Born 1962 received his degree in Fine Art from Syracuse University and works in and around the town of Sag Harbor on Long Try Pots Island, New York. His landscapes and still life subjects are executed primarily in watercolour and tempera, although more recently he has been working in oils. The subject of Watercolour, over an underdrawing in pencil much of his work, which has won several prizes, is devoted Signed and dated PM KOTASEK 05 at the lower left to the landscapes, farms and houses of the eastern end of 3 1 492 x 673 mm., 19 /8 x 26 /2 in. [sheet] Long Island.

Provenance: A try pot is a large cast iron vessel used to remove and Grenning Gallery, Sag Harbor, New York render down the oil from whale blubber. Try pots were used extensively in the New England whaling industry in the 18th and 19th centuries.

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100 MARK ADLINGTON Based in London, Mark Adlington studied at the City and Born 1965 Guilds of London School of Art, and is best known as a painter and draughtsman of wild animals. This watercolour An Arabian Leopard is part of a recent series of drawings and paintings of the animals of the Arabian peninsula. The artist has spent part of the last few years in the Middle East, studying animals in Watercolour Oman, which has some of the last wild habitats of several Signed with initials and dated MA/08 at the lower left endangered species native to the region, and at the 1 1 285 x 419 mm., 11 /4 x 16 /2 in. Breeding Centre for Endangered Arabian Wildlife in Sharjah in the United Arab Emirates. The Arabian leopard, once found throughout the peninsula, now survives in the wild only in very small numbers – thought to be less than two hundred mature individuals – and remains in danger of extinction.

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INDEX OF ARTISTS

ADLINGTON, Mark no.100 EDRIDGE, Henry nos.43–44 AIRY, Anna no.79 ENGLISH SCHOOL, circa 1790 no.19 ARMFIELD, Maxwell no.9 FARINGTON, Joseph no.17 BADMIN, Stanley Roy no.90 FERGUSSON, John Duncan no.77 BEAUCLERK, Lady Diana no.8 FIELDING, Anthony Vandyke Copley no.35 BENDEMANN, Eduard no.41 FLORENTINE SCHOOL, 16th Century no.1 BESNARD, Albert no.57 FRANCIA, Alexandre Thomas no.49 BESSA, Pancrace no.23 FRASER GARDEN, William no.70 BEVERLY, William Roxby nos.59–60 FRENCH SCHOOL, 1791 (J.N.d.B) no.7 BISON, Giuseppe Bernardino no.9 FRENCH SHCOOL, circa 1800 no.13 BONVIN, François no.27 BUCKLER, John Chessell no.34 GARSTIN, Alethea no.75 BURROW, Edward John no.81 GEVRIL, Daniel no.28 GIGANTE, Giacinto no.37 CAMPRIANI, Alceste no.72 GRIFFITH, Moses no.20 CARTER, Henry Barlow no.67 GRUAU, René no.97 CASCIARO, Giuseppe no.76 CELS, Jean-Michel no.24 HAMILTON, Hugh Douglas no.10 CHALON, Alfred Edward no.31 HILLS, Robert no.33 CLAUSEN, Sir George no.78 HOARE OF BATH, William no.4 CORTAZZO, Oreste no.74 HOGARTH, Paul no.98 COSWAY, Richard no.5 HOLLAND, James no.40 HOWARD, John Langley no.96 DELLA BELLA, Stefano no.2 HUET, Nicolas II no.12 DE SPECHT, Emile no.50 HUNT, Alfred William no.69 DOWNMAN, John no.11 DUNCAN, Edward no.66 JACKSON, Samuel no.52

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JUTSUM, Henry no.64 ROMNEY, George no.6 ROWBOTHAM, Thomas Leeson no.22 KELLY, Richard Barrett Talbot no.87 ROYER, Henri no.80 KOTASEK, Michael no.99 SANDBY, Paul nos.16 & 26 LEAR, Edward no.58 SMIRKE, Mary no.32 LECOMTE, Paul no.63 SMITH, John Rubens no.25 LEITCH, William Leighton no.65 SMITH, Edward Dalton nos.53–54 LEMPICKA, Tamara de no.82 SOMM, Henry no.56 LINNELL, James Thomas no.42 SPEAR, Ruskin no.84 LOISEAU, Gustave no.83 TUDOR, Thomas no.21 MARTIN, John no.36 TUNNICLIFFE, Charles Frederick nos.93–95 MEYER, Lazare no.46 UNDERWOOD, Thomas Richard no.29 NAFTEL, Paul Jacob no.47 NASH, John no.91 VAN DER ULFT, Jacob no.3 NIXON, John no.18 VARLEY, John no.45

ORPEN, Sir William no.71 WESTALL, Richard no.14 WOLFSFELD, Erich no.89 PEREPLETCHIKOV, Vasily no.73 WYLD, William nos.38–39 PIERCE, Stephen Rowland no.88 WYLLIE, William Lionel no.68 PORTER, Sir Robert Kerr no.15 PROUT, Samuel no.51 YATMAN, William Hamilton no.48 PYNE, James Baker no.61 PYNE, William Henry no.30 ZUBER, Henri no.55

RAYMOND no.86 ROCHE, Odilon no.85 ROCHEGROSSE, Georges Antoine no.62

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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 Lara Smith-Bosanquet, 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 Art Antiques London in June. 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

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