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We have now been in our gallery in Mason’s Yard, St. James’s, for exactly a year, and this winter catalogue serves as something of an anniversary celebration. Our location ensures plenty of visitors and we have both enjoyed being based in the centre of the art market. While we maintain our separate businesses, the benefits of a shared gallery have proved to be considerable.

Traditionally the fields of British Watercolours on the one hand, and Old Master, 19th century and Modern Drawings on the other, have each had their own collectors, auctions and exhibitions. This is our first joint catalogue and its aim, and indeed the aim of the gallery as a whole, is to blur the distinction between these collecting areas, and hopefully show that a good drawing is always a good drawing, whoever the artist and whatever the date. The catalogue includes a wide range of British and European drawings and watercolours ranging in date from the early sixteenth century until the present day. As a glance at the enclosed price list will show, the prices of the drawings and watercolours are equally broad in scope, from £300 to £9,000, 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.

Our respective individual catalogues of more significant drawings will be issued in 2009 and will, as ever, 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 seeing you at the gallery over the coming months.

Guy Peppiatt Stephen Ongpin GP 001-010 20/10/08 14:21 Page 2

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures department in 1993. He soon 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 his gallery on Mason’s Yard, St James’s. Guy’s main yearly exhibition of early drawings and watercolours is in June and he also exhibits at the Watercolours and Drawings Fair at the Royal Academy in late January 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 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. He mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

The following catalogue is divided into two sections, with Guy Peppiatt’s British drawings and watercolours numbered from 1 to 50, and Stephen Ongpin’s Old Master, 19th and 20th Century drawings numbered from 51 to 100. A price list is included with the catalogue.

The drawings will be available for viewing from the receipt of the catalogue. GP 001-010 20/10/08 13:04 Page 3 GP 001-010 16/10/08 17:09 Page 4 GP 001-010 16/10/08 17:09 Page 5

GUY PEPPIATT FINE ART

British Drawings and Watercolours

WINTER CATALOGUE 2008-2009

Guy Peppiatt Fine Art Ltd Riverwide House 6 Mason’s Yard Duke Street, St James’s London SW1Y 6BU Tel [+44] (20) 7930 3839 Mobile [+44] (0) 7956 968284 e-mail: [email protected] GP 001-010 16/10/08 17:09 Page 6

1 PAUL SANDBY, R.A. Nottingham 1730-1809 London

Figures by the back door of a house, Bayswater

Grey washes over pencil on laid paper 1 100 by 143 mm., 4 by 5 /2 in.

Provenance: Henry S. Reitlinger (scipio collector’s mark verso); L.G. Duke

Sandby moved to 4 St George’s Row, Bayswater in 1772 and it remained his home for the rest of his life. He produced many sketches of Bayswater and Hyde Park

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2 PAUL SANDBY, R.A. Nottingham 1730-1809 London

Study of Horses and a Cart

Grey washes over pencil on laid paper 1 1 91 by 191 mm., 3 /2 by 7 /2 in.

Provenance: With P. & D. Colnaghi, London; Sir Trenchard Cox until April 1963

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3 Finch was the sixth son of the 3rd Earl of Aylesford and THE REV. AND HON. DANIEL FINCH was a pupil of the drawing master John Baptiste Malchair Packington, Warwickshire 1757-1840 (1731-1812) at Oxford. He was rector of Cwn, Flintshire and Harpsden, Oxfordshire and later became a Prebend Fishermen on the Thames at Erith, Kent of Gloucester and Senior Fellow of All Souls, Oxford. His elder brother, Heneage Finch (1751-1812) and other Inscribed on original washline mount: Erith members of his family were also amateur artists. Pen and brown and black ink and watercolour on laid paper Erith sits on the east of London, five miles 1 3 144 by 274 mm., 5 /2 by 10 /4 in. south-west of Woolwich

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4 Amelia Long was the daughter of Sir Abraham Hume AMELIA LONG, LADY FARNBOROUGH (1749-1838), the amateur artist and collector, who was a 1762-1837 Bromley Hill friend of Sir Joshua Reynolds. She married Charles Long (1761-1838), a great friend of William Pitt, who held a View from the Gardens at Bromley Hill House, Kent, number of government positions and was created 1st London beyond Baron Farnborough in 1826. She was a pupil of and Henry Edridge in the 1790s. Inscribed verso: Carriage Approach/to Bromley Hill Watercolour on laid paper She and her husband bought Bromley Hill House in 1801 1 1 211 by 268 mm., 8 /4 by 10 /2 in. and proceeded to enlarge the original 1760s house to their own designs and improved the much-admired garden Provenance: which, by 1809, had two picturesque walks, each a mile Anonymous sale, Christie’s, 8th June 1976, lot 56 long, and the present view of St Paul’s Cathedral. She exhibited four views taken in the grounds of Bromley Hill at Engraved: the Royal Academy between 1811 and 1817. The gardens As a soft ground etching, no.7 in series `Views of have long since disappeared but the house, much altered, Bromley Hill’ survives as the Bromley Court Hotel on Bromley Hill

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5 This is one of a group of Thames views by Cleveley of the same size presumably originating from a sketchbook. Others include `Buccleuch House, Richmond’ (Christie’s, Deptford 1747-1809 Dover 5th June 2006, lot 17), `Barges at Mortlake’ (Christie’s, 14th December 1971, lot 21) and `Under Kew Bridge’ View of Richmond Hill from the Thames near Ham (Sotheby’s, 15th March 1984, lot 4). House, Surrey Robert Cleveley was the son of John Cleveley (1712- Watercolour over pencil 1786), a shipwright and painter from Deptford. He was a 3 3 123 by 197 mm., 4 /4 by 7 /4 in. clerk and purser in the Navy and first exhibited in 1767. He was appointed Marine Draughtsman to the Duke of Clarence and Marine Painter to the Prince of Wales

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6 JOHN `WARWICK’ SMITH Irthington 1749-1831 London

View on the Tiber,

Watercolour over traces of pencil 1 1 164 by 242 mm., 6 /2 by 9 /2 in.

Smith was in Italy from 1776 until 1781 under the patronage of the Earl of Warwick. The present watercolour is likely to date from after his return

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7 JOHN HENRY CAMPBELL Dublin 1757-1828

A Distant View of an Irish Town by the Sea

Watercolour heightened with touches of bodycolour 1 140 by 203 mm., 5 /2 by 8 in.

Campbell studied at the Royal Dublin Society’s School and established himself in Dublin as a landscape painter in oil and watercolours. He exhibited at the Royal Hibernian Academy in 1826 and 1828. His views appear to be exclusively of Irish subject matter. Strickland described him as follows: ‘Campbell’s works are pleasing and well painted, and as an artist he ranks high among contemporary Irish painters in water-colour’ (Walter Strickland, A Dictionary of Irish Artists , 1913, p.152)

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8 PAUL SANDBY MUNN Greenwich 1773-1845 Margate

Near Furness, Cumberland

Signed lower left and dated 1823 and signed, dated and inscribed with title on reverse of original washline mount Brown washes over pencil 3 176 by 248 mm., 7 by 9 /4 in.

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9 THOMAS ROWLANDSON London 1756-1827 London

The Courting Couple

Pen and grey and brown ink and watercolour 3 145 by 233 mm., 5 /4 by 9 in.

Provenance: Wilmington Museum, Delaware, U.S.A.; Richard Ivor; Private Collection, Yorkshire until 2008

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10 JOHN NIXON 1760-1818 Ryde

The Race Ground, Tremadoc Races

Inscribed with title lower left Tremadoc is an early nineteenth century planned village in Pen and grey and brown washes over pencil North Wales, created by William Madocks M.P. The 1 3 93 by 123 mm., 3 /2 by 4 /4 in. village was built on land recovered from marshes beside 1 Traeth Mawr in 1800. It stands 4 /2 miles north-east of Provenance: Criccieth. Nixon exhibited `Tremadoc, with a view of The French Hospital of La Providence; Taw-yr-Alt, North Wales, the seat of W.A. Madocks MP’ With Spink & Son, London at the Royal Academy in 1808, no.334

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11 JOSEPH BARBER Newcastle 1757-1811 Birmingham

Lower Pond, Beckenham, Kent

Signed on original mount lower right: IB/1797 and This is probably a view taken in Beckenham Place Park, inscribed on reverse of mount: Lower Pond, now known as Lewisham Country Park. Barber was the Beckenham son of a Newcastle bookseller who settled in Birmingham Watercolour over pencil and taught drawing at the Grammar School and 3 430 by 299 mm., 17 by 11 /4 in. elsewhere. His best known pupil was David Cox

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12 WILLIAM ALEXANDER Provenance: Maidstone 1767-1816 Maidstone Bruce Ingram

A Country Church Alexander is best known for his views of China drawn on Macartney’s Embassy there in 1792 but he also produced Grey washes over pencil on laid paper wash drawings of English views like the present work. He watermarked: EDMEADS & PINE/1804 , with was Professor of Drawing at the Military Academy in collector’s mark verso Marlow from 1802 until 1808 when he was appointed 1 291 by 203 mm., 11 /2 by 8 in. Keeper of Prints and Drawings at the

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13 THOMAS HEARNE Brinkworth 1744-1817 London

The Manor House at Foxley, Wiltshire

Inscribed with title on reverse of original mount Grey washes over pencil 1 151 by 215 mm., 6 by 8 /2 in.

Foxley is a hamlet of stone cottages on the edge of Malmesbury Common. Foxley Manor is a five bay 18th century house with 17th century dovecote, derelict as of 1974. Henry Fox (1705-1774), the statesman, was raised to the House of Lords in 1763 as Baron Holland of Foxley

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14 ANTHONY DEVIS Preston 1729-1817 Albury

Gisburn Park, Pendle, Yorkshire Literature: Pen and grey ink and watercolour over pencil on S.H. Pavière, The Devis Family of Painters , 1950, p.93 laid paper, with original pen and ink border 310 by 435 mm., 12 by 17 in. Gisburn Park sits at the confluence of the Ribble and 1 Stockbeck rivers, 7 /2 miles north-east of Clitheroe. It was Provenance: built for the Lister family in the eighteenth century and J. Lomas, Isfield, Surrey by 1950; was the seat of Thomas Lister, 1st Baron Ribblesdale Anonymous sale, Christie’s, 20th March 1990, lot 103; (1752-1826). It was renowned for the wild hornless With Leger Galleries, London, June 1991 cattle which grazed in its grounds

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15 MOSES GRIFFITH Caernarvonshire 1747-1819

Llanidan Church, Anglesey

Signed with initials lower centre, dated 1806 and inscribed with title Watercolour over pencil 3 154 by 273 mm., 6 by 10 /4 in.

Llanidan is a parish sitting on the banks of the Menai Straits in south-east Anglesey which includes the village of Brynsiencyn. This shows old Llanidan church dedicated to St Aidan, a seventh century bishop

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16 JOHN HASSELL 1767-1825

Rustics walking by a River; Figures by a Pool near a House

A pair Watercolour 3 3 Each 98 by 170 mm., 3 /4 by 6 /4 inches

Hassell was an author as well as an engraver and drawing master. He exhibited at the Royal Academy from 1789 but is perhaps best known for his biography of his friend the artist George Morland, published in 1806

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Facing page top: 18 JOHN LINNELL Bloomsbury 1792-1882 Redhill

Sky study

Signed lower left: J Linnell Black and white chalk on grey paper 155 by 233 mm., 6 by 9 in. 17 GEORGE CHINNERY London 1774-1852 Macao Facing page below: 19 Study of a Chinese Figure JOHN LINNELL Bloomsbury 1792-1882 Redhill Pencil 1 3 82 by 73 mm., 3 /2 by 2 /4 inches Study of Harvesters

Provenance: Black and white chalk on grey paper 1 1 With Bill Drummond 194 by 286 mm., 7 /2 by 11 /4 in.

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20 JAMES GILES, R.S.A. 1801-1870

Loch-an-Eilean, Rothiemurchus, Inverness-shire This shows the much photographed Loch-an-Eilean with Indistinctly signed lower left and dated 1826, its ruined castle. It is two miles south of Aviemore station. inscribed with title lower centre James Giles learnt to draw from his father Peter Giles, a Watercolour over pencil pattern designer and drawing master in Aberdeen. In 1 253 by 366 mm., 10 by 14 /2 in. 1823, he went to London to complete his studies and this watercolour dates from shortly after his return in Provenance: 1826. He is best known for his Scottish views and With Andrew Wyld, London particularly those of castles

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21 WILLIAM ANDERSON Sutherland 1757-1837

Seamen and an Officer launching a boat

Pen and grey ink and wash on laid paper 181 by 305 mm., 7 by 12 in.

Exhibited: London, Martyn Gregory, Early English Watercolours , March 1985, no.2

Anderson was originally a shipwright who exhibited at the Royal Academy from 1787 to 1834. He specialised in marine watercolours and oils

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22 THOMAS MILES RICHARDSON, JNR. Newcastle-upon-Tyne 1813-1890 Newcastle- upon-Tyne

The village and bridge of Dunkeld on the Tay, Perthshire

Watercolour and pencil 1 362 by 533 mm., 14 /4 by 21 in.

Provenance: Eldon Collection

Dunkeld stands fifteen miles north of Perth on the River Tay. The bridge at Dunkeld was designed and built by Thomas Telford and opened in 1809

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23 THOMAS MILES RICHARDSON, JNR. Newcastle-upon-Tyne 1813-1890 Newcastle- upon-Tyne

View of Dunkeld on the Tay, Perthshire

Inscribed lower right: Dunkeld from the .... Watercolour over pencil heightened with white on buff paper 1 360 by 540 mm., 14 by 21 /4 in.

Provenance: Eldon Collection

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24 Provenance: JAMES STARK Private Collection, Norfolk 1794-1859 London This shows the old workhouse on Mouse Lane, Steyning. The Old Workhouse, Steyning, West Sussex The building still exists as privately owned cottages. This watercolour shows the roof partly thatched and partly Inscribed lower left: Old Union Steyning July 57 tiled (Stark’s inscription `Chaume’ is another word for Watercolour over pencil `thatch’) whereas a photo taken in the early 1900s 3 249 by 359 mm., 9 /4 by 14 in. shows it all tiled, as it is still today. Steyning is five miles north-west of Shoreham in West Sussex

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25 26 SAMUEL PROUT SAMUEL PROUT Diss 1783-1852 London Diss 1783-1852 London

Study of three Figures Study of two Figures in cloaks

Watercolour over pencil on grey paper Watercolour over pencil on grey paper 3 1 3 1 72 by 56 mm., 2 /4 by 2 /2 in. 72 by 56 mm., 2 /4 by 2 /2 in.

Prout was brought up in before moving to London in 1802. This sketch and no.26 date from one of his many tours to , Belgium and from 1819 onwards

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27 Engraved: EDOUARD HILDEBRANDT By R. Steinbeck as a chromolithograph for Hildebrandt’s Danzig 1818-1869 Berlin Aquarelle Auf seiner Reise um die Erde nach der Natur aufgenommen in Egypten, Indien, China, Japan, Manilla, Sunset on the Chow Praya River, Siam Amerika, published by R.Wagner, Berlin and Goupil & Co, London and Paris, 1867, no.5 Watercolour over pencil 1 209 by 308 mm., 8 /4 by 12 in. Hildebrandt studied in Berlin and Paris before travelling to Brazil in 1843. Subsequently he travelled extensively in Europe and the Far East. Siam is present day Thailand

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28 as plate XIII of `Sketches of the Age of Francis I’ in 1841, WILLIAM JAMES MÜLLER but with differing figures. Bristol 1802-1845 Bristol J.E. Taylor, who owned the present work by 1868, was The Room of Marie de Medici, Château of Blois, the son of the founder of the Manchester Guardian and France was the sole owner of the paper by 1856. He was the most important collector of the work of J.M.W. Turner in Signed and dated 1841 lower left the second half of the nineteenth century, owning both Watercolour heightened with touches of the Red and Blue Rigis. He gave watercolours to the bodycolour and scratching out Whitworth Institute, Manchester and the Victoria and 3 1 195 by 271 mm., 7 /4 by 10 /2 inches Albert Museum in London but it still took twelve days to sell his collection at Christie’s in July 1912 In the Spring of 1840, Müller was commissioned by Messrs Hodgson and Graves of Pall Mall to produce forty Provenance: watercolours of French views relating to the Renaissance John Edward Taylor (1830-1905) period of Francis I. Of these forty, twenty-six were to be lithographed for a book `Sketches of the Age of Francis I’. Exhibited: Müller left from Southampton, with his pupil Edward Leeds City Art Gallery, National Exhibition of Works of Art , Dighton, in early June and visited various sites in 1868, no.15; Normandy, reaching Paris on the 17th. After a month Birmingham City Museum and Art Gallery, a Loan there and at Fontainebleau, he visited Orleans, Blois and Collection of Paintings in oil and water-colours by the Loire valley before returning to England from St Malo William J. Müller , 1896 in September. A watercolour of this view was published

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29 Deptford 1797-1863 Barnes

View of Sorrento, Italy

Pencil, black chalk and watercolour on blue paper 3 178 by 122 mm., 7 by 4 /4 in.

Provenance: Clarissa Sophia Harding, 1843

Harding first visited Italy in 1824 and returned there in 1831 and 1834. Sorrento stands on the south-east side of the Bay of Naples

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30 This is a preliminary sketch for an engraving by Harding JAMES DUFFIELD HARDING based on an on-the-spot sketch by Count Leon de Deptford 1797-1863 Barnes Laborde for Edward Finden’s Landscape illustrations of the Bible , published 1832-35. Turner produced twenty-eight Tiberias and the Sea of Galilee illustrations for the same publication

Black chalk heightened with white on grey paper Provenance: 127 by 178 mm., 5 by 7 in. Clarissa Sophia Harding, 1843

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31 WILLIAM PAYNE London 1760-1830 London

Marine Barracks, Longroom and Mt Edgcumbe taken from near Stonehouse Hill,

Watercolour over traces of pencil 1 360 by 522 mm., 14 by 20 /2 in.

A smaller version of this watercolour is in Plymouth Art Gallery and an engraving of this subject by Payne was published by John and Josiah Boydell on 1st January 1789

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32 JOHN VARLEY Hackney 1778-1842 London

Caernarvon Castle, North Wales

Signed lower right: J. Varley Watercolour over pencil 1 1 134 by 190 mm., 5 /4 by 7 /2 in.

This is a view of Caernarvon from the south-west. A smaller version of this view was with John Spink (see Timothy Wilcox, John Varley 1778-1842 , John Spink exhibition catalogue, 2008, no.13)

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33 HENRY BARLOW CARTER Scarborough 1795-1867 Torquay

On the River Ouse, York

Signed lower left Watercolour heightened with touches of bodycolour and scratching out on wove paper with a Whatman watermark 3 1 170 by 242 mm., 6 /4 by 9 /2 in.

This is a view looking south-east down the river Ouse. In the foreground to the left is an old Roman tower with the fifteenth century Guildhall beyond. In the distance is the tower of St. Mary’s Church

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34 HENRY BARLOW CARTER Scarborough 1795-1867 Torquay

Robin Hood’s Bay, North Yorkshire

Signed lower left Watercolour heightened with bodycolour and scratching out 1 1 165 by 240 mm., 6 /2 by 9 /2 in.

Robin Hood’s Bay is five miles south-east of Whitby. Carter was born in Scarborough and lived there from the 1830s drawing many views on the Yorkshire coast

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35 Exhibited: WILLIAM CALLOW, R.W.S. London, Society of Painters in Water-colours , Winter 1862 Greenwich 1812-1908 Great Missenden Campsie Glen is near Lennoxtown in East Campsie Glen, East Dunbartonshire, Scotland Dunbartonshire. It is an area of great natural beauty, famous for its picturesque series of thundering waterfalls Signed lower right and inscribed verso: No and rocky pools, and was opened to the public in 1785 6/Campsie Glen for the benefit of local industrial workers Watercolour over pencil heightened with gum arabic 3 358 by 272 mm., 14 by 10 /4 in.

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36 JOHN CALLOW Greenwich 1812-1908 Lewisham John Callow was the younger brother and pupil of William Callow (see no.35). William took him to Paris in Low Tide, Hastings 1835 where he took over his elder brother’s drawing practice returning to England in 1844. He was a Signed lower left: John Callow/1862 successful drawing master in London and was Professor at Watercolour Queen’s College, London. He is best known for his 1 228 by 164 mm., 9 by 6 /2 in. coastal scenes

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37 This shows the White Tower with St Thomas Tower HENRY GASTINEAU along the river to the left. The buildings on the river in 1791-1876 Camberwell front of the White Tower are no longer there. A smaller wash drawing by Gastineau of the Tower of London was The Tower of London from the Thames sold at Sotheby’s Olympia on 26th September 2001, lot 123. Gastineau’s choice of brown wash as a medium Brown washes heightened with stopping out suggests that he intended to produce an engraving of the 1 3 189 by 250 mm., 7 /4 by 9 /4 in. subject

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38 EDWARD DUNCAN, R.W.S. London 1803-1882 London

Waterloo Bridge, London Duncan depicts Waterloo Bridge from the east with the Signed, inscribed with title and dated 1840 lower Shot Tower (built 1826) beyond, on what is now the site right, with studio stamp lower left of the Royal Festival Hall. The Bridge was designed by Watercolour over pencil heightened with touches John Rennie (1761-1820) and was opened on 18th June of bodycolour on grey paper 1817, the second anniversary of the Battle of Waterloo. It 1 150 by 268 mm., 6 by 10 /2 in. was demolished in 1936 after it became unsafe

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39 THOMAS HOSMER SHEPHERD London 1793-1864

Roseland Cottage, Cromwell Lane, South Kensington, London

Signed lower left and dated 1852 Watercolour over pencil 1 152 by 240 mm., 6 by 9 /2 in.

Cromwell Lane is now called Harrington Road and runs west from South Kensington tube station. The younger brother of George Sidney Shepherd (1784-1862), Thomas Hosmer Shepherd specialised in London views

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40 Provenance: WILLIAM RICHARDSON With Henry Potts, Northumberland York fl.1842-1877 Richardson was the son of a York cabinetmaker and The Lower Courtyard, Haddon Hall, Derbyshire became an architect. His watercolours tend to be of abbeys, country houses and ruins. Haddon Hall is two Signed lower centre: W. Richardson and inscribed miles south-east of Bakewell on the river Wye. It lower left: OUTER QUADRANGLE AT HADDON originally dates from the twelfth century and is the home Watercolour over pencil heightened with touches of the Manners family of bodycolour 3 272 by 407 mm., 10 /4 by 16 in.

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41 WILLIAM LEIGHTON LEITCH Glasgow 1804-1883 London

View on a North Italian Lake

Signed and dated 1882 lower left Watercolour heightened with bodycolour 1 3 137 by 224 mm., 5 /4 by 8 /4 in.

Leitch visited Italy in 1833 paid for by a stockbroker and client Mr Anderden. He remained there until July 1837. On his return he built up a successful practice as a drawing master, his pupils including

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42 JAMES HOLLAND Burslem, Staffordshire 1800-1870 London

The Dome and Campanile of the Church of Santa Maria Formosa from near the Palazzo Malipiero,

Signed with monogram c.l. and inscribed: Church/Venice Watercolour over pencil heightened with white on buff paper 1 1 261 by 165 mm., 10 /4 by 6 /2 in.

Holland first visited Venice in 1835 and returned there on many occasions between then and 1865

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43 DAVID COX JUNIOR Dulwich 1809-1885 Streatham

Calais Beach with Fort Rouge, Low Tide

Watercolour 1 1 108 by 235 mm., 4 /2 by 9 /4 in.

Provenance: By descent from the artist to Colonel J.D. Hills; Colonel J.D. Hills; With Thos. Agnew & Sons

Cox Junior accompanied his father on many sketching tours. The present watercolour probably dates from their visit to Belgium and Holland in 1826

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44 EDMUND MORISON WIMPERIS Chester 1835-1900 Southbourne

Carting Sand

Signed with initials lower left Watercolour over pencil 3 3 97 by 173 mm., 3 /4 by 6 /4 in.

Provenance: L.G. Duke

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45 WILLIAM BURGESS OF DOVER Canterbury 1805-1861 Dover

Barge Horses grazing by the river at Sandwich, Kent

Watercolour heightened with bodycolour, scratching out and gum arabic 3 197 by 283 mm., 7 /4 by 11 in.

Provenance: With Martyn Gregory, London

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46 HENRY THOMAS ALKEN London 1785-1851 London

Jumping a Fence

Watercolour over pencil heightened with bodycolour 1 1 242 by 343 mm., 9 /2 by 13 /2 in.

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47 Conrade was born in Leeds and studied at the Düsseldorf ALFRED CHARLES CONRADE Academy and in Paris and Madrid. He established a Leeds 1863-1955 Heywood reputation as an architectural painter – his extensive use of pencil underdrawing is typical – and travelled widely in The Garden of Statues Europe and Japan. He was chief artist at White City, the site of the enormous Franco-British exhibition of 1908 Signed on base of statue: A.C. CONRADE and the London Olympic Games of the same year, from DELINEAT/ACQUARELL.. 1911 to 1914 when the site was taken over by the Watercolour over pencil heightened with government bodycolour 1 370 by 535mm., 14 /4 by 21 in.

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48 ALFRED CHARLES CONRADE Leeds 1863-1955 Heywood

Elephants by a Mosque, India

Signed on base of steps and dated 1933 Watercolour over pencil heightened with bodycolour 1 337 by 533 mm., 13 /4 by 21 in.

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49 CECIL ARTHUR HUNT, R.W.S. Torquay 1873-1965 Burnham

The Blue Moor

Signed lower right Watercolour and bodycolour 3 1 298 by 370 mm., 11 /4 by 14 /2 in.

Provenance: With the Fine Art Society, 1919; Given as a wedding present to Seymour and Joan Whidborne, December 1919

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50 Exhibited: RAY HOWARD-JONES London, Leicester Galleries, Exhibition of Works by Ray Lambourn 1903-1996 Pembrokeshire Howard-Jones , May 1959, no.23, bt. D.N. Chester

The Well, Skomer Island Ray Howard-Jones was born in Lambourn, Berkshire of Welsh parents. From 1920 to 1924, she studied at the Signed lower left: Ray 56 Slade, but her career as an artist did not take off until she Watercolour and bodycolour became one of the few accredited female war artists – 3 37.8 by 55.8cm., 14 /4 by 22 inches many of these works are now in the Imperial War Museum. She is best known for her views of the Island of Skomer off the Pembrokeshire coast where she spent long periods of time between 1949 and 1958

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INDEX OF ARTISTS

ALEXANDER , W. no.12 LEITCH , W.L. no.41 ALKEN , H.T. no.46 LINNELL , J. nos.18-19 ANDERSON , W. no.21 LONG , A. no.4

BARBER , J. no.11 MÜLLER , W.J. no.28 BURGESS , W. no.45 MUNN , P.S. no.8

CALLOW , J. no.36 NIXON , J. no.10 CALLOW , W. no.35 CAMPBELL , J.H. no.7 PAYNE , W. no.31 CARTER , H.B. nos.33-34 PROUT , S. nos.25-26 CHINNERY , G. no.17 CLEVELEY , R. no.5 RICHARDSON Jnr, T.M. nos.22-23 CONRADE , A.C. nos.47-48 RICHARDSON , W. no.40 COX Jnr., D. no.43 ROWLANDSON , T. no.9

DEVIS , A. no.14 SANDBY , P. nos.1-2 DUNCAN , E. no.38 SHEPHERD , T.H. no.39 SMITH , J. no.5 FINCH , Rev and Hon D. no.3 STARK , J. no.24

GASTINEAU , H. no.37 VARLEY , J. no.32 GILES , J. no.20 GRIFFITH , M. no.15 WIMPERIS , E.M. no.44

HARDING , J.D. nos.29-30 HASSELL , J. no.16 HEARNE , T. no.13 HILDEBRANDT , E. no.27 HOLLAND , J. no.42 HOWARD-JONES , R. no.50 HUNT , C.A. no.49

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