BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 BRITISH PORTRAIT AND FIGURE DRAWINGS 2020 GUY PEPPIATT FINE ART

GUY PEPPIATT FINE ART LTD

Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU GUY PEPPIATT FINE ART 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 sales. Guy left Sotheby’s in 2004 to work as a dealer in early British watercolours and since 2006 he has shared a gallery on the ground floor of 6 Mason’s Yard off Duke St., St. James’s with the Old Master and European Drawings dealer Stephen Ongpin. He advises clients and museums on their collections, buys and sells on their behalf and can provide insurance valuations. He exhibits as part of Master Drawings New York every January as well as London Art Week in July and December.

Email: [email protected] Tel: 020 7930 3839 or 07956 968 284

Sarah Hobrough has spent nearly 25 years in the field of British drawings and watercolours. She started her career at Spink and Son in 1995, where she began to develop a specialism in British watercolours of the late 18th and early 19th centuries. In 2002, she helped set up Lowell Libson Ltd, serving as co- director of the gallery. In 2007, Sarah decided to pursue her other passion, gardens and plants, and undertook a post graduate diploma in landscape design. She established a landscape design company, which she continues to run, alongside her art consultancy practise. She has consulted for dealers and auction houses, helping Christie’s watercolour department for a number of years, as well private clients, helping them research and develop their collections. She is delighted to be joining Guy Peppiatt Fine Art as a consultant.

Email: [email protected] Tel: 07798 611 017 BRITISH PORTRAIT AND FIGURE DRAWINGS

30th March to 9th April 2020

Monday to Friday 10am to 6pm Weekends and evenings by appointment

Guy Peppiatt Fine Art Ltd Riverwide House, 6 Mason’s Yard Duke Street, St James’s, London SW1Y 6BU

Tel: +44 (0) 20 7930 3839 Mobile: +44 (0) 7956 968 284 Fax: +44 (0) 020 7839 1504 [email protected] www.peppiattfineart.co.uk INTRODUCTION

This is our third and largest catalogue of British portraits and figure drawings, the previous ones By 1806, both Russell and Gardner had died and the demand for large pastel portraits fell. Henry were in 2009 and 2016. While concentrating on landscapes, figure drawings often come our Edridge’s small pencil and wash drawings became popular (no. 44) and Samuel de Wilde was way either at auction or from private collections. The current exhibition follows the history of the actor’s portraitist of choice (nos. 50 and 51). Sir Thomas Lawrence reigned supreme for portrait painting in Britain from 1740 to 1850 and includes most of the best known portraitists of glamorous large-scale portraits in oil in the tradition of Gainsborough and his pupil George Henry the period. Harlow’s career was sadly brief but his pencil portraits are of great quality (no.45).

Hogarth (see no.2) was the first great British-born portrait painter - the 17th century had been John Linnell drew portraits in watercolour from circa 1815 (nos. 56 and 57) and George Richmond dominated by Van Dyck and Lely and the early 18th century by Kneller. Dating from the same from the 1830s (nos. 55 and 58). No. 58 comprises two chalk sketches by Richmond of John period is the only recorded portrait by Thomas Robins (no.1), one of the first British artists to Ruskin for a now sadly lost watercolour portrait and Daniel Maclise supposedly drew a thousand draw landscapes on paper, and a rare conversation piece by Thomas Worlidge (no.9) dated 1737. portraits in the early 1830s before concentrating on history painting. The brothers John and Cornelius Varley (nos. 59, 61 and 62) and William Mulready (no.60) were friends and sketched While Reynolds and Gainsborough dominated the market for portraits in oil from the 1750s, the together as young men. None specialised in portraiture but drew figure studies of friends and demand for more affordable portraits executed in pastel, increased. John Russell (nos. 31 and 32) each other. Paintings portraits in oil was not Constable’s forte but his pencil study, probably of his and Daniel Gardner (nos. 14-16) dominated the market for large scale pastel portraits in the late wife Maria (no.65), is especially delicate. eighteenth century and on a smaller scale, the Irishman Hugh Douglas Hamilton’s oval portraits (nos. 11-13) and John Downman’s distinctive combination of coloured chalks and watercolour A number of works in the exhibition were drawn by artists on their travels. Samuel Daniell, a were also popular (nos. 35 and 36). The city of Bath was the place to visit for a fashionable close relation of the Indian Daniells, was in South Africa in the early 1800s (nos. 46 and 47) while Georgian and if not Gainsborough, William Hoare of Bath was the man to paint your portrait, (see George Chinnery (nos. 48 and 49) was in India by 1802 before moving to Macao to escape nos. 17 and 18 for two of his chalk sketches). The catalogue includes seven drawings by George debts, and his wife, in 1825. John Frederick Lewis (no. 79) was in Egypt for most of the 1840s Romney. While his portraits in oil were traditional in style, his drawings were anything but and while Sir David Wilkie travelled to the Middle East in 1840 (nos. 72-73). show a different side to his character. Vigorously drawn in ink or pencil, they are often unrelated to his oils. One of the rarest drawings in the catalogue is a black and white chalk head study drawn We hope you enjoy the range and diversity of the catalogue. I have much enjoyed putting it by Joseph Wright of Derby in Liverpool the late 1760s. together over the last four years.

Satirical caricatures were popular in in the late eighteenth century especially those of Rowlandson Guy Peppiatt and Gillray and they achieved mass popularity in the form of engravings. While Gillray drawings are rare, Rowlandson was a prolific draughtsman (nos. 19, 21 and 22). His friend, the Irish merchant John Nixon became a more than competent caricaturist in a similar style (nos. 40-41) and Robert Dighton (no.39) was well known for his satirical portraits.

2 3 1 2 Thomas Robins the Elder (1715-1770) William Hogarth (1697-1764) Portrait of a Sportsman with two Spaniels in a Wooded Landscape Study of a Mother and Son

Gouache on vellum, in an 18th century carved pearwood veneer frame local grand houses. He returned to his home county drawing at least two Oil on canvas 22.2 by 26.3 cm., 8 ¾ by 10 ¼ in. panoramic views of the city of Cheltenham in 1748. 11.7 by 9.3 cm., 4 ½ by 3 ½ in.

This portrait is unique in Robins’s work and is likely to be of a Robins’s importance is as one of the earliest topographical artists working Provenance: Gloucestershire landowner. Cathryn Spence who dates the work to on paper (or vellum), recording gardens and country houses from 1747 Probably with the art dealer William Benoni White (1803-c.1878); 1740-45 suggests it may show Benjamin Hyett (1708-1762) who owned until the late 1760s when few others were doing so. His works are often John Postle Heseltine (1843-1929) by 1906, his Executor’s sale, Painswick House, Gloucestershire. Hyett inherited the house from this drawn within a framework of painted intertwining rococo flowers. John Sotheby’s, 29th May 1935, lot 315 (pt), bt. Turner for £22; father, Charles Hyett, M.P. in 1738 and built the Painswick Rococo Garden Harris describes him as `an artist who painted English houses and garden Anonymous sale, Sotheby’s, 15th July 1998, lot 45, bt. Agnew; which was painted by Robins in 1748. It may show Hunt Court near when they were most enchanting; whose eye captured the rococo garden Private Collection, Scotland, 2004; Badgeworth which Hyett acquired through a prenuptial settlement in at its perfection and when it was most whimsical; whose paintings are With Agnew’s, 2008; 1744. Near Crickley there is a Druid’s Table or Chimney which may be almost sensual in the sheer delight they give; such was Thomas Robins the Private Collection the unusual stones in the background of this work. Elder’ (op. cit. above, p.1). Literature: Thomas Robins was born at Charlton Kings near Cheltenham. Little is We are grateful to John Harris and Cathryn Spence who is working on a Elizabeth Einberg, William Hogarth – A Complete Catalogue of the Paintings, known of his early life but he was in Bath by 1760 where he established catalogue raisonné on Robins, for confirming the attribution. 2016, p.70, no.32, ill. his reputation as a topographical artist producing views of the city and Exhibited: London, Whitechapel Gallery, Georgian England, March 1906, no.1

Stylistically this sketch dates from circa 1730 and is probably a fragment of a larger, unfinished portrait. A similar small sketch `Two unknown Gentlemen in Conversation’ recorded in a private collection (Einberg, op. cit., no.31) may come from the same canvas.

It has been suggested that the sitters in this sketch may be Mary Edwards and her son Gerard who were sitters in other portraits by Hogarth (op. cit., nos. 70 and 162 the former and no.66 the latter) but the likeness is not conclusive and it would date the present work to nearer 1740.

4 5 3 4 5 6 French School, circa 1740 French School, circa 1740 French School, circa 1740 French School, circa 1740 A Hairdresser A Gentleman applying his Beauty Spots An old lady darning Stockings A Pack bearer

Pen and brown ink and grey wash on laid paper Pen and brown ink and grey wash on laid paper Pen and brown ink and grey wash and watercolour on laid paper Pen and brown ink and grey wash and watercolour on laid paper 15.2 by 9.5 cm., 6 by 3 ¾ in. 14.6 by 9 cm., 5 ¾ by 3 ½ in. 13.7 by 10.2 cm., 5 ¼ by 4 in. 14.5 by 9.4 cm., 5 ¾ by 3 ¾ in

From the late seventeenth to late eighteenth centuries, there was a fashion, in both London and Paris, for depicting ordinary working people selling their wares on the city streets. They would shout what goods they were offering so they became known as `street cries’ drawing. The most famous `Cries of London’ drawings were produced by Paul Sandby in the 1750s.

We are grateful to Peter Bower who has suggested that the paper used in these drawings is likely to be French and dating from the 1740s.

6 7 7 8 English School, circa 1745 Sir James Thornhill (1675-1734) Portrait of William Clayton of Harleyford House, Buckinghamshire, A Mythological Scene by a Classical Temple

Half-length, facing right The current Harleyford House was built for the sitter in 1753 by Sir Pen and brown ink and wash over traces of pencil Inscribed with identity of sitter on backboard Robert Taylor (1714 – 1788), one of the leading architects of the day, who 18 by 15 cm., 7 by 5 ¾ in. Black and red chalk on laid paper with a circular crowned watermark later designed the Bank of England. 20.3 by 18.2 cm., 8 by 7 in. Provenance: The present, elegant drawing appears on stylistic grounds, the style of the London, with Baskett & Day, 1971; William Clayton (c.1718 – 1783) was the second son of Sir William sitter’s costume and the age of the sitter, to date to the mid-1740s and London, with Colnaghi, 1972 Clayton 1st Baronet. He was educated at Middle Temple and became an although the attribution of the artist is as yet uncertain, the artist’s ability M.P., serving Bletchingly, Surrey, between 1745 and 1761 and then Great is evident in the sophisticated and confident handling. Attributions to Thornhill was the most important painter of interiors Marlow, Buckinghamshire, until 1783. He married three times, finally to Bartholomew Dandridge and Marcellus Laroon have been suggested. in the early eighteenth century and was the first Lady Louisa Fermor, daughter of the 1st Earl Pomfret. His son, also William British artist to be knighted, on his appointment succeeded to the Baronetcy on the death of his cousin Sir Robert, 3rd to sergeant-painter to the King in 1720. His most Baronet. celebrated works are the interior of the Great Hall at Greenwich and the dome of St. Paul’s, London. He also worked in a number of great English houses, including Blenheim, Hampton Court, Chatsworth, Easton Neston and Wimpole.

Iolo Williams described his drawings as follows: `…. usually allegorical or classical subjects, with a strong architectural element in the setting, done in pen, pencil and wash, generally bistre, sepia or grey. They are often extremely stylish and attractive, with a pleasant freedom of touch about them, plenty of movement in the figures, and warmth and richness in the washes’ (Iolo Williams, Early English Water- colours, 1952, p.13-14).

This drawing closely relates to Thornhill’s `Classical Design with Temple` (see Iolo Williams, op. cit., fig. 22, pl. XI) and also to a design for a wall decoration `The Worship of Venus’ in the National Gallery of Canada (no. 6314).

8 9 9 10 collections including the Ashmolean Museum, British Museum, Royal Thomas Worlidge (1700-1766) Library, Windsor, Tate, Courtauld Gallery and Victoria Art Gallery, Bath. Hugh Douglas Hamilton (1740-1808) Portrait of a Family drinking Tea Highly finished drawings of this type are especially rare. A similar drawing Portrait of a Mother and Daughter `A Tea Party in a Pergola’, signed and dated 1736, is in the Royal Full-length seated at a table on a classical terrace Collection. Pastel over pencil on laid paper laid on canvas Signed lower left: Tho.s Worlidge fecit 1737 Oval 40 by 34.7 cm., 15 ¾ by 13 ½ in. Pencil on vellum with a drawn border The first advert for tea appeared as early as 1658, but it was the wife of Sheet 30.8 by 37.8 cm., 12 by 14 ¾ in. Charles II, Catherine of Braganza who introduced it to court circles and Provenance: made it a fashionable drink. By the mid-18th Century it was an important Anonymous sale, Sotheby’s, 29th November 1973, Initially trained by the Genoese refugee Alessandro Grimaldi (1659-1732) part of British Society and was served at concerts and balls, as well as at lot 73; and the printmaker Louis-Philippe Boitard (fl. 1733–1767), Worlidge home during the day. The tea itself was kept under lock and key in special With Martyn Gregory, 1977; established a multifaceted career as portrait painter, draughtsman and caddies and because of its cost was served by the hostess, often with Anonymous sale, Christie’s, 11th July 1995, lot 13; printmaker, living and working between London and Bath. some ceremony. Private Collection until 2018

As well as producing portraits in oils, Worlidge also created finished An inscription on the backboard may identify the sitters in the present Literature: portrait drawings in pencil or chalk on paper or vellum. Only a handful of portrait but is difficult to decipher. It appears to read `Robert & Edward Anne Crookshank and the Knight of Glin, The Painters paintings and some drawings survive, many of which are in institutional Harguzet’, which suggests Huguenot or French sitters. of Ireland circa 1660-1920, 1978, p.72, repr. pl.55

Hamilton was born in Dublin, the son of a wigmaker, and studied at the Royal Dublin Society from 1750. He set up a successful business there producing small oval portraits from the late 1750s until moving to London in around 1764. He painted the King and four of his sons in June 1769 and is reputed to have charged nine guineas for his small portraits. After achieving great success, he went to Rome in 1778 where he remained for thirteen years, before returning to Dublin. The use of small hatching strokes in pencil under the pastel makes his portraits very distinctive.

10 11 11 12 Hugh Douglas Hamilton (1740-1808) Hugh Douglas Hamilton (1740-1808) Portrait of a Lady Portrait of a Gentleman

Half-length turned to the left, wearing a black dress Half-length turned to the left, wearing a brown coat and white bonnet and a white stock Pastel over pencil on laid paper Pastel over pencil on laid paper Oval 25 by 19.8 cm., 9 ¾ by 7 ¾ in. Oval 23 by 18 cm., 9 by 7 in.

It has been suggested that this is a portrait of It has been suggested that this is a portrait of one Viscountess St Leger, née Mary Barry. She married of the three sons of Viscountess St Leger, Hayes, St Leger St Leger, 1st Viscount Doneraile and they Richard or James. had six children (see no.12). They lived at Doneraile Court, Co. Cork, Ireland.

Hamilton was born in Dublin, the son of a wigmaker, and studied at the Royal Dublin Society from 1750. He set up a successful business there producing small oval portraits from the late 1750s until moving to London in around 1764. He painted the king and four of his sons in June 1769 and is reputed to have charged nine guineas for his small portraits. After achieving great success, he went to Rome in 1778 where he remained for thirteen years before returning to Dublin. The use of small hatching strokes in pencil under the pastel makes his portraits very distinctive.

12 13 13 14 Hugh Douglas Hamilton (1740-1808) Daniel Gardner (1750-1805) Portrait of Lady Caroline Spencer Portrait of a Lady

Half-length Half-length, facing left, wearing a white dress Indistinctly signed lower left and blue shawl and a blue and white headdress Pastel over pencil on laid paper Gouache on laid paper Oval 22.8 by 18.8 cm., 9 by 7 ¼ in. 25.5 by 20.5 cm., 10 by 8 in.

Provenance: Provenance: By descent from the sitter to Victor, 3rd Viscount The Artist’s grand-daughter Anne Eliza Dixon Churchill (1934-2017) and family until 2018 by whom sold to Chichester Fortescue, Lord Carlingford, KP (1823-1898); Exhibited: By descent to Lady Strachey and presumably London, Society of Artists, 1775, no.108 one of the 63 portraits by Gardner sold at Christie’s on 17th July 1911; Lady Caroline Spencer (1763-1813) is the oldest B.T. Brough, his sale, Bonham’s, 27th daughter of George Spencer Churchill, 4th Duke November 1991, lot 61, one of two of Marlborough (1739-1817) and his wife Caroline Russell (d.1811). She married Henry, 2nd Viscount Born in Kendal, Cumbria, Gardner took Clifden of Gowran Castle, Co. Kilkenny in 1792. lessons from the young George Romney Their only son George was a successful politician before moving to London in about 1767. He and was created Baron Dover. This portrait dates entered the Royal Academy Schools in 1770 from 1775 when she was twelve. and worked briefly for Sir Joshua Reynolds in 1773. He quickly built up a successful practice in portraits so felt no need to exhibit. He invented his own technique which gives his portraits a rough appearance combining gouache and pastel. Along with John Russell (see nos. 31 and 32), Gardner dominated the market for pastel portraits in London in the late eighteenth century.

14 15 15 16 Daniel Gardner (1750-1805) Daniel Gardner (1750-1805) Portrait of Lady Portrait of a Lady

Half-length, facing left, wearing a white Half-length, wearing a white dress and blue dress and bonnet shawl with a blue and white headdress Pastel over pencil on laid paper Gouache on laid paper Oval 23 by 18.7 cm., 9 by 7 ¼ in. Oval 25 by 20.5 cm., 9 ¾ by 8 in.

Provenance: Provenance: Alice Stanley, Countess of Derby of Alice Stanley, Countess of Derby of Coworth Park (1862-1957) Coworth Park (1862-1957)

This may be a portrait of Susan Montagu, Duchess of Manchester (1774-1828), an ancestor of the Stanleys.

Born in Kendal, Cumbria, Gardner took lessons from the young George Romney before moving to London in about 1767. He entered the Royal Academy Schools in 1770 and worked briefly for Sir Joshua Reynolds in 1773. He quickly built up a successful practice in portraits so felt no need to exhibit. He invented his own technique which gives his portraits a rough appearance combining gouache and pastel. Along with John Russell (see nos. 31 and 32), Gardner dominated the market for pastel portraits in London in the late eighteenth century.

16 17 17 18 William Hoare of Bath (1707-1792) William Hoare of Bath (1707-1792) Study of a Boy reading Study of a Sleeping Man

Red chalk on laid paper Black chalk on laid paper 14 by 9.3 cm., 5 ½ by 3 ½ in. 11.4 by 8.1 cm., 4 ½ by 3 in.

Provenance: Provenance: Sir Henry Duff Gordon (1866-1953) Sir Henry Duff Gordon (1866-1953)

Hoare was a portrait painter in oil and pastel who was in Bath by 1739. He was the first fashionable and successful portrait painter to settle there. He produced a number of these chalk portrait drawings, which are mainly of his family and friends, as well the large scale portraits for which he is known.

18 19 19 20 Thomas Rowlandson (1756-1827) Attributed to James Dunthorne the Younger James Dunthorne was born in Colchester and established himself as an artist and print dealer in his native town. His father James was also an The Masked Ball (c.1758-c.1793) artist, as well as occasional mapmaker and surveyor. Dunthorne junior Tea in the Lower Assembly Rooms, Bath specialised in genre subjects and domestic scenes, especially of provincial Pen and grey ink over traces of pencil English society engaged in such pursuits as card parties, skating, concerts, 11.7 by 20.2 cm., 4 ½ by 8 in. Pen and black ink and watercolour over traces of pencil with pen and ink auctions and assemblies. Dubbed the ‘Colchester Hogarth’, his works border allows fascinating glimpses into Georgian life. Some of his works were This is a preliminary drawing, in reverse, for one of Rowlandson’s twenty- Sheet 40.2 by 55.4 cm., 15 ¾ by 21 ¾ in. engraved by Thomas Rowlandson and he exhibited regularly between six illustrations to William Combe’s `The Dance of Life’, published by 1782 and 1793 at the Royal Academy. Ackermann in 1817. The engraving is captioned: `The Mask, that scene of Provenance: wanton Folly/May convert Mirth to Melancholy.’ Anonymous sale, Sotheby’s, 23rd November 1966, lot 254; Walter Brandt was the elder brother of the celebrated photographer Walter Brandt (1902-1978); Bill Brandt (1904 - 1983). Walter, a merchant banker, formed a notable By descent until 2019 collection of British drawings and watercolours.

20 21 21 22 The extraordinary versatility and fluency of Rowlandson’s pen work, with Thomas Rowlandson (1756-1827) Thomas Rowlandson (1756-1827) its flowing and expressive qualities, characteristic of his most accomplished The Wurttemberg Artillery The Father’s Displeasure watercolours, is evident in the present work. As is his ability to adapt his pen line to help define mood, gender or importance. Here, he has Inscribed lower left: Wurtemberg Artillery, with collector’s mark verso and Württemberg became a French ally, until 1813, when they turned Bears signature lower left adopted a harder, thicker, darker line for the two males, whereas the Pen and grey ink and watercolour over traces of pencil against Napoleon. Although a small state, initially only able to supply 22 Pen and black ink and watercolour over traces of pencil on laid paper female figure, peeping around the shoulder of her lover, is drawn in with a 20.2 by 27.3 cm., 8 by 10 ¾ in. guns, the Württemberg army was regarded as one of the most efficient 21.7 by 24.2 cm., 8 ¼ by 9½ in. very fine pen, almost disappearing in places and thus rendering her more and most highly organised and the French had a very high opinion of the feminine, indeed almost ethereal. Rowlandson has taken evident pleasure Provenance: Württemberg artillery. Provenance: in the contrast between the three figures; the corpulent father, in his richly Gilbert Davis (b.1899) (Lugt. No. 757a); With Arthur Ackerman and Sons, London; brocaded, old fashioned costume and the elegant figures of the young L.G. Duke; Gilbert Davis, an actor, formed a large collection of over three thousand Anonymous sale, Christie’s New York, 17th June 1999, lot 42; man, and the fashionably attired daughter. Although somewhat unusually, Ruskin Gallery, Stratford-on-Avon British watercolours which included over 350 drawings by Rowlandson. With Spink-Leger, London, to 2000; the father’s features are not as exaggerated or as grotesque as some of the The Arts Council arranged two exhibitions of his collection, in 1949 and Private collection, UK artist’s works - are his sympathies entirely with the young couple? Württemberg was one of a number of German states that found itself 1955. Leonard Gordon Duke was also a well-known collector, serving at the centre of events during the Napoleonic Wars. As part of the Holy on the board of education with Paul Oppé. He gave away numerous Roman Empire it had initially fought against the French, but treaties in drawings during his lifetime and the rest of his collection was sold shortly 1802 and 1805 meant that a military alliance with France was formed before his death, in seven sales at Sotheby’s in 1970-1.

22 23 23 24 Francesco Bartolozzi, R.A. (1727-1815) George Romney (1734-1802) Hebe Cupid and Psyche

Coloured chalks on laid paper Pen and brown ink and washes on laid paper 21.8 by 17.4 cm., 8 ½ by 6 ¾ in. 37.7 by 27.7 cm., 14 ¾ by 10 ¾ in.

Engraved: Provenance: By the artist and published by T. Birchall, 7th September L. J. Florens Wijsenbeek, The Hague; 1781 Private Collection, London

This engraving was accompanied by lines from Milton’s This is a preliminary study for an oil painting in a UK private `Comus’: collection (see Alex Kidson, George Romney, 2002, no. 45, `This nectar’d cup, the sweet assurance gives/of present pp. 102-3). Romney appears to have started work on the and pledge of future bliss.’ painting shortly after his return from Italy in the summer of 1775, doubtless inspired by what he had seen abroad. He then Born in Florence, Italy, the son of a goldsmith, he studied abandoned work on it before finishing it in early 1798. The painting as a young man and later engraving in Venice. existence of this drawing and another drawing of the subject In 1764 he met Richard Dalton, the Royal Librarian, (Kidson, op. cit., p. 103, illustrated as fig. 33) suggest that the who invited him to come to London as Engraver to the reason for the delay is that Romney had problems resolving the King, a position he accepted. He remained in London positioning of the couple’s interwined legs. The two drawings for nearly forty years and was a founding member of the show the couple in reverse with Cupid looking into a mirror Royal Academy. He produced many engravings often whereas the finished oil shows the wedding of the reunited based on the works of Cipriani and Angelica Kauffman, couple. as well as producing his own portrait drawings in red or coloured chalks. In 1802, he moved to Lisbon to become Director of the National Academy there.

Hebe is the Greek goddess of Youth. Bartolozzi also engraved two pictures of Hebe after Cipriani.

24 25 25 26 George Romney (1734-1802) George Romney (1734-1802) Four Studies of a Woman Study for `Mirth’

Pen and brown ink on laid paper to depict scenes from all of Shakespeare’s plays, to be exhibited in a Pen and brown ink on laid paper, with sums verso With further pen and ink studies verso dedicated gallery open to the public. Prints of the paintings would be 11 by 7.2 cm., 4 ¼ by 2 ¾ in. 11.1 by 18.3 cm., 4 ¼ by 7 in. separately offered, available either on their own, or as part of a new lavish edition of Shakespeare’s work, the proceeds of which would fund Provenance: Provenance: the scheme. The gallery opened in 1789 and Romney’s vast, (10 x 15 ft) With Michael Spratt as `A Bacchante’; Alfred de Pass (1861-1952); ambitious and dramatic work, combining the events of the first two scenes Private Collection With William Drummond, London; in Act I, was completed almost a year later. Stephen Unwin Collection The present drawing appears to relate to a pair of paintings by Romney, The work, of which only a few fragmentary pieces survive, was not entitled ‘Mirth’ and ‘Melancholy’, exhibited at the Incorporated Society It has been suggested that this is a study for Miranda from Shakespeare’s regarded favourably. However, the related drawings and oil sketches are of Artists in 1770. These works were partly inspired by Milton’s pair of `The Tempest’. full of vigour, with an extraordinary sense of drama and movement. In poems, ‘L’Allegro’ and ‘Il Penseroso’, written circa 1633, in which the the finished painting, Miranda appears on the far right of the composition poet explores the contrasting pleasures brought about by the goddesses In late 1786, the print sellers and publishers, John and Josiah Boydell and her windswept nature, as well as her body position suggest that the of mirth and melancholy. However, the works were also inspired by a commissioned the leading artists of the day, Romney amongst them, present sheet may be related to this monumental work. painting by Sir Joshua Reynolds of ‘Mrs John Hale as Euphrosyne’, which had been re-titled ‘L’Allegro’. Reynolds had just been appointed President of the newly founded Royal Academy and Romney had discovered that he was not one of its founding members. Consequently, ‘Mirth’ and its companion ‘Melancholy’, were intended as deeply political statements and to demonstrate Romney’s prowess.

There are a several related sketches in various sketchbooks, including the first Barrow sketchbook, the Kendal sketchbook, a sketchbook in the Courtauld Gallery, an early Abbot Hall sketchbook and in a further sketchbook sold at Sotheby’s, 17 February 1988.

26 27 27 28 George Romney (1734-1802) George Romney (1734-1802) John Howard visiting the Lazaretto John Howard visiting the Lazaretto

Pencil Pencil Image 11.7 by 18.8 cm., 4 ½ by 7 ¼ in. Sheet 14 by 23.7 cm., 5 ½ by 9 ¼ in.

Provenance: Provenance: Possibly from Miss Romney’s sale 1894 Sabin Galleries, London, 1965; Private Collection, UK John Howard (1726-1790) was a prison reformer who worked for the improvement of condition in British jails. He visited prisons all over Similarly intense pencil drawings of the subject are in a sketchbook in the the country and in 1778 he appeared before a House of Commons Huntington Library, San Marino which dates from October 1792. The committee to put forward his thoughts on how to improve them. Howard album is numbered 3 which suggests that two other sketchbooks date never sat for a portrait but Romney’s drawings of his prison visits are one from this month alone. This originates from an album dated August 1793. of his principal projects of the early 1790s.

28 29 29 30 on in 1793. As with John Howard however, (see cat. nos 27 and 28) the scheme was never realised and by 1794, Romney had abandoned the George Romney (1734-1802) George Romney (1734-1802) subject. ‘The Birth of Man’ inspired by Jaques’ speech in Shakespeare’s Study of a Woman in profile Study for `The Birth of Man’ ‘As You Like it’, Act II, scene VII which recalls the stages of man from the ‘infant/Mewling and puking in the nurse’s arms’. Through his sketches, Pencil on laid paper Pencil Romney expanded and developed his ideas and here, although the infant Sheet 19 by 12 cm., 7 ½ by 4 ¾ in. 14 by 19.3 cm., 5 ½ by 7 ½ in. is present, the emphasis is on the recumbent figure, surrounding by grieving figures. As Alex Kidson points out, ‘Romney probably intended the This drawing originates from an album of From 1792, Romney began to draw almost exclusively in pencil and his spectator to understand that the mother is dead. In stressing the presence sketches by Romney dated to May 1777. sketches became smaller and were often characterised by a nervous of sorrow in joy and the cyclical nature of life, he consciously deepens and Portraits he was working on at the time include energy. He became increasingly interested in capturing effects of light and universalises the subject’s discourse’. (A. Kidson, George Romney 1734 - `The Dancing Gower Children’ and ‘Catherine shade, rather than in exploring feelings of movement, or the inherent 1802, 2002, p. 225). Vernon as Hebe’. Other intact sketchbooks beauty of line and form (such as demonstrated by cat. Nos. 25 & 26). from this period are in the Victoria and This sketch originates from an album dating to March 1793. A similar, Albert Museum and the Fizwilliam Museum, The present drawing relates to an ambitious suite of paintings based on smaller sketch was exhibited in a Romney exhibition at the Walker Art Cambridge. A sketchbook from late 1777/early subjects from British history and literature, which Romney began to work Gallery, Liverpool in 2002, no. 140. 1778 is in the Walker Art Gallery, Liverpool (see Alex Kidson, George Romney, exhibition catalogue, 2002, p.140-1, no.77).

30 31 31 32 John Russell, R.A. (1745-1806) John Russell, R.A. (1745-1806) Portrait of Philip Glover of Heacham and Portrait of Alexander Mitchell of Stow, Midlothian Sedgeford, Norfolk Half-length, in painted frame Head and shoulders Signed on painted frame lower left: J Russell R.A. Pastel and black chalk on blue laid paper pinx.t/1790 Approx. 26.7 by 21.1 cm., 10 ½ by 8 ¼ in. Pastel 60 by 44.5 cm., 23 ½ by 17 ½ in. Provenance: Probably Edwin Lawrence, 1894;. Provenance: Dr C.R. Rudolf (Lugt no. 2811b) (1884-1974); By descent from the sitter to Fanny Georgina Jane With the Maas Gallery, London, where bought Mitchell (d.1917); by Walter Brandt, 1963; Her second husband, Donald James Mackay, 11th By descent until 2019 Lord Reay (1839-1921); Given to his godson Captain Hubert Charles Poulet Lieutenant Philip Glover (1773-1816) served Hamilton of Moyne House, near Durrow, Co. Laios, in the 6th Inniskilling Dragoons. He married Ireland (1915-2007); Launce Campbell (b. 1770) of Scotland and By descent until 2017 they had six children. The present portrait dates from 1790, when he Born in Guildford, the son of a bookseller, was at the heights of his powers and had just been Russell was the pre-eminent portrait painter appointed Painter to the King. in pastel in London from the death of Francis Cotes in 1770 until his own death in 1806. He studied under Cotes in about 1767 and entered the Royal Academy Schools in 1770. He exhibited 329 pictures at the Royal Academy and at the height of his fame he charged 30 guineas for head portrait and £150 for large full-lengths, similar to the President of the Royal Academy, Sir Joshua Reynolds.

This drawing belongs to a group of quickly executed pastel sketches with an immediacy which his finished works lack. It is probably part of a portfolio of life-size head studies by Russsell recorded by Williamson in the collection of Edwin Lawrence (see G.C. Williamson, John Russell R.A., 1894, p.151). Drawings from this group are in the Yale Center for British Art and the Ashmolean Museum. Another was sold as part of the Colin Hunter collection at Sotheby’s on 11th July 1991, lot 77.

32 33 33 34 John Raphael Smith (1752-1812) John Raphael Smith (1752-1812) Study of a Sportsman and his dog in Parkland Portrait of Elizabeth Hanford (1783-1844)

Black chalk on prepared paper Half-length in a black dress, a red curtain behind 39 by 25.9 cm., 15 ¼ by 10 in. with a view of a country village Signed verso: Painted at Overbury in August/1806 Provenance: by J.R. Smith of 33 Newman Street/London. With Spink and Son, London, circa 1985; Coloured chalks Private Collection until 2011 24 by 20.2 cm., 9 ½ by 8 in.

John Raphael Smith was a highly skilled Elizabeth Hanford, née Martin, was born at mezzotint engraver and print publisher as well Overbury Court, Worcestershire. Overbury had as a portraitist in chalks. He produced many been the seat of the Martins, a banking family, mezzotints and was `mezzotint engraver to since the 1730s and still belongs to the family. the Prince of Wales’ from 1784 but gave up Elizabeth married Charles Edward Hanford (1782- engraving in 1802 to concentrate on portraits. 1854) of nearby Woollas Hall and they had six He exhibited portraits at the Royal Academy children. from 1779 until 1805. He specialised in portrait drawings and later in his life much of his work was produced in the northern cities of York, Sheffield and Doncaster where he died.

Stylistically this relates to a self-portrait by Smith in the British Museum dating from the 1790s (P&D 1868,0328.327).

34 35 35 36 John Downman, A.R.A. (1750-1824) John Downman, A.R.A. (1750-1824) Portrait of Mrs Sarah King and her Daughter Portrait Study of the Turk who travelled with Mr West to Italy

Three-quarter length seated, wearing a red dress, a red curtain and The sitter, the daughter of Admiral Sir John Duckworth (1748-1817), was Signed on border lower right: Jo D and inscribed lower seascape behind married to Captain King,R.N. There are two studies for this portrait in an left: The Turk who travelled with/Mr West through Italy Signed centre left: JO Downman/1805 album in the British Museum, fourth series, vol. III, nos. 25 and 26 - one Black and white chalk on blue laid paper Coloured chalks and stump over pencil heightened with white of Sarah King and one of her daughter. 24.9 by 21 cm., 9 ¾ by 8 ¼ in. 30.2 by 25.2 cm., 12 by 9 ¾ in. From the late 1770s, at the same time as Hamilton was enjoying great Provenance: Provenance: success with small oval portraits in pastel (see nos. 10-12), Downman Anonymous sale, Bonham’s, 2nd October 1974 With J. Leger & Son, London, March 1946; was producing portraits in coloured chalks in his own distinctive manner. Anonymous sale, Sotheby’s, 27th November 2003, lot 221; His soft effect was achieved by smudging the applied chalk in a technique This is a rare drawing dating from Downman’s trip to Italy. Anonymous sale, Christie’s, 9th December 2015, lot 177; known as stumping. He left Exeter in November 1773 reaching Rome on Private Collection 3rd February 1774 in the company of Wright of Derby (see cat. no 37). He spent most of 1774 sketching in the Rome area and in spring 1775 he was in Florence where he sketched extensively in the Uffizi. This drawing is likely to date from that period as a `Mr West’ is recorded in Florence with the architect Christopher Ebdon (1744- 1824) in February 1775 (see John Ingamells, A Dictionary of British and Irish Travellers in Italy 1701-1800, 1997, p.328 under Ebdon.

It is tempting to think that `Mr West’ is Benjamin West, Downman’s teacher and later President of the Royal Academy, but West travelled in Italy only as a young man in the early 1760s.

36 37 37 Joseph Wright of Derby, A.R.A. (1734-1797) Study of a Young Man wearing a Turban and fur-trimmed Robe

Black and white chalk on laid paper 43.4 by 30.6 cm., 17 by 12 in.

Provenance: Henry Scipio Reitlinger (1882-1950) (L.2274a)

This is one of a small group of about fifteen black and white The models were usually part of Wright’s circle, or their children, such chalk portrait drawings drawn by Wright of Derby between as the surgeon William Turner’s daughters who appear to have sat for 1768 and 1771, while he was in Liverpool. They are all two of his drawings. Highly experimental in technique, Wright appears monochrome head and shoulder portraits and appear to have employed, black and white chalk and in some instances pastel as influenced by the mezzotints and black chalk drawings of the well, without the application of any fixative. The relatively delicate nature Irish-born artist Thomas Frye (1711/12–1762), who during of this medium, is demonstrated by the condition of a couple of these the last couple of years of his life, produced a small group of heads, including the present work and was acknowledged at the time. head studies in black chalk. Fry’s heads were characterised The collector, William Bemrose (who was also married to the artist’s by an extraordinary sense of realism, as well as by a sense of granddaughter), owned a number of this group and on a surviving label to drama, with bold contrasts of light and shadow. Fry in turn was the back of one of the drawings he had written, ‘NB This drawing will be influenced by the mezzotints produced by earlier artists such spoilt if touched by finger, brush or…’ as Piazzetta. Wright would probably have become familiar with Fry’s work through William Pether, Fry’s former pupil. The Wright appears to have only used pastel again rarely after leaving tradition of grisaille was popular in Ireland and used by other Liverpool. There is no evidence that he used it at all during his trip to Italy artists such Robert Healy (1743-1771) who produced similar between 1773 and 1775, which is perhaps unsurprising given the delicacy monochrome portraits in pastel. of the medium, which would not have been conducive to travelling. However, there are only a few surviving examples following his return; a The group includes three self-portraits, two in Derby Museum couple of monochromatic self-portraits and a couple of coloured pastels, and one in the Art Institute, Chicago. Others from the which Neil Jeffares, records as being much later in date. group are in the Speed Art Gallery, Louisville, the Fitzwilliam Museum, Cambridge, the Metropolitan Museum, New York and the Yale Center for British Art. A study of a boy reading was sold at Sotheby’s on 14th July 2010, lot 52 for a hammer price of £260,000. The portrait heads were intended as `têtes d’expression` rather than simple likenesses, explorations in the effects of light and shade on the human face and were all characterised by an intense realism and emotional intensity, with the sitter’s gaze holding that of the viewer. Most are dramatically lit, so that part of the face is in deep shadow in contrast to the bold highlights. The reduction of palette removes any distraction of colour and allows the artist and spectator to concentrate on the drama and beauty of the tonal effects of light and shade.

38 39 38 39 George Dance the Younger, R.A. (1741-1825) Robert Dighton (1751-1814) “This morn I’ve order’d for our Meal, sweet Maid, a Buttock o’ Beef!!’ The Pretended Elopement

Inscribed with title underneath George Dance was not only an accomplished architect and Professor Pen and grey ink and watercolour over pencil on laid Grey washes over pencil on laid paper watermarked 1794 of Architecture at the Royal Academy (of which he was a Foundation paper Member) between 1798 and 1805 but was also a talented musician, Oval 19.2 by 14.5 cm., 7 ½ by 5 ¾ in. 19.4 by 29.7cm., 7 ¾ by 11 ½ in. portrait artist and caricaturist. A group of seventy-two portraits of his Provenance: contemporaries was published as, ‘A Collection of Portraits sketched from Provenance: Sabin Gallery, London; the Life since the year 1793’. A further eighty-four prints, never published, Colin Hunter (1926-2013) With Bill Drummond are in the British Museum. His gently humorous caricatures, depicting amusing social situations, such as the present drawing, were produced for The son of a London printseller, Dighton was a man Exhibited: his own amusement and for that of his friends and family. of many talents – caricaturist, actor, writer and singer. Sabin Gallery, London, “The Sublime and Beautiful” Portraits and Other He is best known for his satirical portraits which he Drawings by Nathanial Dance R.A. and George Dance R.A., March 27th – exhibited at the Free Society and the Royal Academy. April 18th 1973, no 69. His sons Richard and Joshua were also caricaturists.

40 41 40 41 John Nixon (1755-1818) John Nixon (1755-1818) At King’s Auction Room, King St, Covent Garden A Feast of the Gods

Signed centre right: At Kings Auction Room/King S.t Covent Garden/J.N. ’97- Signed lower left: John C. Nixon fecit et Inven.t 1778 and inscribed with title and numbered 38 lower centre right on a cartouche on the border Pen and grey ink and washes Watercolour over pencil heightened with bodycolour on laid paper 14.9 by 23.2 cm., 5 ¾ by 9 in. Whole sheet 31.3 by 44.2 cm., 12 ½ by 17 ½ in.

King’s auction house was at 38 King St, Covent Garden, London. An Nixon was a wealthy Irish merchant based in London and a talented Provenance: auction house was started on the site in 1760 by Samuel Paterson who amateur artist and actor as well as being the Secretary of the Beefsteak Anonymous sale, 12th July 1988, lot 58, bought by the present owner is reputed to have read every book in the English language. He mainly Club. Later his successful business enabled him to buy an estate at Uphall sold books, prints and manuscript as did his successors at 38 King St, King, on the river Roding at Ilford, Essex. As an artist, he became well known The current drawing is an unusually early work showing the interior of a Collins and Chapman. In 1796, the year before the present drawing was for his caricatures of Georgian life and exhibited thirty-nine pictures at tavern which he has entitled `A Feast of the Gods.’ executed, it became King & Son. John Crace Stevens bought into the the Royal Academy between 1781 and 1815. He travelled extensively in business in the 1820s and in 1834 it became J.C. Stevens Auction Rooms. Ireland, Scotland, Paris and the Netherlands as well as England, sometimes It remained on the site until closing in the 1940s. in the company of his friend, the caricaturist Thomas Rowlandson (see nos. 19, 21-22) whose style he assimilated.

42 43 42 43 Paul Sandby, R.A. (1730-1809) Francis Wheatley, R.A. (1747-1801) The Artist’s Granddaughter and her Nurse Itinerant Potters outside the Deputy Ranger’s House, Windsor Great Park Signed lower left: F. Wheatley delt/1799. Watercolour over traces of pencil Watercolour over traces of pencil 37.5 by 31.7 cm., 14 ¾ in by 12 ½ in. 20.9 by 17.2 cm., 8 ¼ by 6 ¾ in. Provenance: Provenance: Arthur N. Gilbey (1861-1939), Folly Farm, Madame R. Levillier; Sulhampstead, Berkshire, his Executor’s sale, With Spink’s, London (K3 6808), 1980s; Christie’s, 26th April 1940, lot 214, bt. Fletcher for Private Collection, Suffolk 55 guineas

This shows the artist’s granddaughter Augusta Born in Covent Garden, the son of a tailor, Wheatley Sandby, and her nurse Sally Loman in Windsor studied painting at Shipley’s School and was one of Great Park. Sandby’s brother Thomas the early students at the Royal Academy Schools from occupied the Deputy Ranger’s Lodge in the 1769. Redgrave’s Dictionary recalls `In early life he heart of Windsor Great Park during his tenure made many theatrical acquaintances and was led into as Deputy Ranger from 1746 until 1798. The extravagance and debt.’ Partly to avoid his creditors original building was remodelled in 1811-13 and partly to escape an irate husband, he fled to and then pulled down in 1830. It is now the Dublin in 1779, with the wife of the watercolour site of Royal Lodge. painter John Alexander Gresse. He spent the next four years in Ireland, where he established a successful career as a portrait painter. On his return A more finished view of the Lodge, also to London towards the end of 1783, he specialised in including Sandby family members, was sold genre paintings in oil and watercolour, many of which at Christie’s on 14th July 1987, lot 139 and were engraved, such as his series ‘Cries of London’, a smaller sketch dated 1789 was with Guy which proved hugely popular in the late 1790s. He Peppiatt Fine Art in 2012 (see One Hundred exhibited regularly at the Society of Artists in London and Drawings, winter catalogue 2012-1013, and Dublin and at the Royal Academy, to which he no. 21a). was elected an Academician in 1791.

A print after Wheatley called `Itinerant Potters’ was published as a stipple engraving in 1797.

Arthur Gilbey was the second son of Sir Walter Gilbey, a well-known collector of angling books and pictures. His sale at Christie’s included 36 works by Francis Wheatley.

44 45 44 45 Henry Edridge, A.R.A. (1769-1821) George Henry Harlow (1787-1819) Portrait of William Edwardes, 2nd Baron Kensington Portrait of a Lady

Full-length in a landscape, holding a hat and cane Half-length Signed lower left: H. Edridge 1809 and inscribed on Signed lower left: GHH/1814 backboard: William 2d Baron Kensington Black and red chalk Watercolour over pencil 21.8 by 17.7 cm., 8 ½ by 7 in. 45.7 by 31.7 cm., 18 by 12 ½ in. Harlow was the best known and most talented William Edwardes (1777-1852) was the son of the 1st of Sir Thomas Lawrence’s pupils but a falling out Baron Kensington, who was MP for Haverfordwest for with Lawrence and an early death means he is over fifty years. He succeeded his father as 2nd Baron little known today. Harlow entered Lawrence’s Kensington in 1802 and as MP for Haverfordwest studio in 1802 and Joseph Farington noted in his from 1802 until 1818. He married Dorothy Thomas diary that `Lawrence has got a young pupil of 15 in 1797 and they had six sons and two daughters. years of age, who draws, Lane says, better than he Edwardes Square in Kensington was named after him. does. His name is Harlow.’ Harlow’s ambition and impetuosity meant however that he lasted less than Edridge was born in Paddington, London, and studied eighteen months with Lawrence and they parted on at the Royal Academy where he began to exhibit bad terms. Harlow found some success as a painter portrait miniatures from 1786 (he exhibited 260 of portraits and theatrical subjects however and pictures there during his lifetime). In 1790s he started first exhibited at the Royal Academy in 1805 aged drawing full-length portraits in pencil and subtle eighteen. His portrait drawings are of great quality washes. His subjects were seated or standing in a with a distinctive use of red chalk on the lips and landscape in the manner that Cosway had popularised cheek showing the influence of Lawrence. He went in the 1780s. He achieved considerable success on his own Grand Tour in June 1818 and died of a with these portraits in the late eighteenth and early throat infection shortly after his return aged 32. nineteenth centuries.

46 47 46 Samuel Daniell (1775 – 1811) An African seen from behind, with hands on hips

Grey washes and pencil 22.6 by 14.7 cm., 8 ¾ by 5 ¾ in.

Samuel Daniell was the nephew of the artist Thomas Daniell and the younger brother of William Daniell, who are well known for their Indian and Far Eastern views. Samuel was the only one of the three to visit South Africa. He arrived in December 1799 and remained for three years. In 1801-2 he accompanied Truter and Somerville on their expedition to Bechuanaland as secretary and draughtsman and most of his watercolours are based on his sketches made on that trip. In 1804 he published `African Scenery and Animals’ and in 1805 left for Ceylon where he remained until his death in 1811.

Samuel Daniell first visited South Africa in December 1799. His drawings from this trip were published in 1804 in African Scenery and Animals. His brothers were the artists William and Thomas well known for their Indian views. The Xhosa people are a Bantu ethnic group found in the central parts of South Africa.

47 Samuel Daniell (1775 – 1811) A Xhosa Boy

Dated upper right: 16 March 18.. Brown washes and pencil on laid paper 22.1 by 15.2 cm., 8 ¾ by 6 in.

Provenance: With Spink, London, March 1973

48 49 48 49 George Chinnery (1774-1852) George Chinnery (1774-1852) Study of a Tanka Girl Study for a Portrait of the Marjoribanks Family

Pen and brown ink and pencil Pen and black ink over traces of pencil on laid 13.9 by 7 cm., 5 ¼ by 2 ¾ in. paper 11.2 by 8.9 cm., 4 ¼ by 3 ½ in. Provenance: Bought at the Albany Gallery, London, in 1992; Provenance: By descent until 2019 Leonard G. Duke (D2535) (1890-1971); By whom given to Dudley Snelgrove (1906- Chinnery was a landscape and portrait painter who studied at the 1992), his sale, Sotheby’s, 19th November 1992, Royal Academy Schools and spent some time in Dublin before lot 332; abandoning his family and moving to Madras in 1802. He remained in By descent until 2019 India living in Madras, Calcutta, Dacca and Serampore before moving to Macao in 1825 to escape debts and his wife. He spent the rest This drawing appears to relate to a family portrait of his life in Macao, Canton and Hong Kong. He painted portraits of which has traditionally been identified as being European merchants and produced landscape drawings in pencil and of the Marjoribanks family (HSBC Holdings plc). watercolour often inscribed with his own shorthand. However, as Patrick Conner has pointed out, ‘Chinnery’s portraits of westerners on the China The Tanka people’s name derived from their ‘egg-boats’ – wide, coast pose …problems of identification’. (P. rounded sampans, with one or more curved rattan roofs in the centre Conner, George Chinnery 1774 – 1852, Artist of of the boats. The Tanka lived along the coast at Macau, Whampoa India and the China Coast, 1999, p. 218). and Hong Kong, largely in their boats, or as at Macau, creating temporary shelters by raising their boats onto stones or wooden stilts Charles Marjoribanks joined the Canton and added thatching or hurdles. They formed a distinct ethnic group office of the East India Company in 1813 and and consequently were discouraged by the Chinese authorities from became President of the Select Committee in assimilating into mainland China. The Tanka were a fishing community, 1830, responsible for the Company’s Chinese but by the early 19th century, also made their living by taking operations. He also owned the Hythe, the ship westerners from their larger ships, across the shallow straits in their by which Chinnery sailed to Macao from Calcutta flat-bottomed boats. in February 1825. Marjoriebanks fell ill and was invalided back to England in January 1832. We It was nearly always the women who rowed the boats and Chinnery know that the Marjoriebanks’ sat to Chinnery, made numerous studies and rapid sketches, as well as finished as on a drawing of the Factories at Canton, paintings of the Tanka women. Renowned for their gentle nature Chinnery noted, in his characteristic shorthand, and good humour, the Tanka women with their simple costume, red ‘Mr Marjoriebanks’ picture taken home on the headscarf and broad-brimmed straw hat, became almost a romantic York [the ship that the Marjoribanks themselves symbol of the Chinese coast for the western merchants and images of returned on] January 1832’ (P. Conner, op. cit, p. the Tanka became popular, sentimental souvenirs of their time in Asia. 220).

50 51 50 51 Samuel de Wilde (1748-1832) Samuel de Wilde (1748-1832) Portrait of Benjamin Wrench pointing to a Letter Portrait of Benjamin Wrench as Baron Willinghurst in `Age To-morrow’ Signed upper right: S. De Wilde del./N 21 1811. Watercolour over pencil on original washline mount Signed lower left: SDe Wilde. delin./October 1810 27.6 by 22.9 cm., 10 ¾ by 9 in. and inscribed on reverse of original washline mount: Wrench/Baron Willinghurst/of Age Tomorrow Born in Holland, de Wilde was bought to London as Watercolour over pencil a child. He was apprenticed to a Soho woodcarver 36.5 by 22.8 cm., 14 ¼ by 9 in. and entered the Royal Academy Schools in 1769. His career as a painter of actors began in 1791 when John Benjamin Wrench (1778-1843) came from a wealthy Bell employed him to illustrate his publication `British background but turned down a commission in the Theatre.’ He exhibited theatrical portraits at the Royal army to become an actor. He became a successful Academy from 1792 until 1821. Actors and actresses comic actor, starting in York and Edinburgh before came to sit for him in his studio in Drury Lane and his joining the Bath theatre. From 1809 until 1815 he portraits, generally in watercolour, appeared in many worked at the Drury Lane Theatre – these two publications. In 1810 and 1811 he is recorded as portraits, dated 1810 and 1811, come from this charging £2 12s. 6d. for a watercolour drawing. period. After spells in Birmingham, Bristol and Dublin, he returned to London in 1826 working at Covent Garden, the Lyceum and the Adelphi. Two other portraits of him are in the Garrick Club, another by de Wilde as Sir Freeman in `Free and Easy’, the other by Sharpe, and a portrait of him as Belmour after Wageman was published as an engraving in 1818.

52 53 52 53 Daniel Maclise, R.A. (1806-1870) Daniel Maclise, R.A. (1806-1870) Portrait of a Gentleman Portrait of Mr and Mrs MacGregor and their child Half-length, wearing a white bowtie Watercolour heightened with white and scratching out Full-length, seated in a interior 16 by 12.2 cm., 6 ¼ by 4 ¾ in. Signed with monogram under mount and inscribed: LIGHT ON THE RIGHT OF THE Maclise was born in Cork, Ireland but moved to London DRAWING in 1827 where he trained at the Royal Academy Schools. Watercolour over pencil heightened with Both nos. 52 and 53 date from the early 1830s when he bodycolour and scratching out claimed to have painted a thousand portraits. He drew 43 by 33.5 cm., 16 ¾ by 13 in. portraits of popular literary figures forFraser’s Magazine in the early 1830s including Paganini, Thackeray and his Provenance: close friend Charles Dickens whom he depicted on a David Daniells and Stevan Beck Baloga; number of occasions. From 1846, he began work on Anonymous sale, Christie’s, 19th May 2000, frescoes for the newly built House of Lords and from lot 129; then on concentrated on large scale history pictures Private Collection until 2019 and frescoes. Exhibited: London, Royal Academy, 1832, no. 612; New York, Shepherd Gallery, English Realist Watercolours, 1830-1915, October to December 1997, no.24

54 55 54 55 William Blake (1757-1827) George Richmond, R.A. (1809-1896) Queen Philippa from Gough’s ‘Sepulchral Adam and Eve Monuments of Great Britain’ Pen and black ink over pencil Line engraving, proof impression without 21 by 12.7 cm., 8 ¼ by 5 in. lettering but with written instructions Sheet 49.5 by 27.8 cm., 19 ½ by 10 ¾ in. Provenance: Private collection since 1999 This is a proof, lacking some shading George Richmond, along with Samuel Palmer and in the image, of a plate engraved by Edward Calvert, formed the core of a group of young James Basire and published in Gough’s artists who became known as ‘The Ancients’ and were Sepulchral Monuments in 1786. During his close to and deeply influenced by the artist and poet apprenticeship with James Basire, Blake was William Blake towards the end of his life. ‘The Ancients’ asked to make pencil drawings of various were so called due to their belief that ancient man was monuments in Westminster Abbey between superior to modern man. They sought inspiration from 1773 and 1776. Blake’s original drawings religion, literature, especially the poetry of Milton and along with some proofs and the copperplates Spencer, and the work of Shakespeare, as well as the for the engravings are part of the Gough natural world. Two of Richmond’s early exhibited works collection in the Bodeian Library, Oxford. at the Royal Academy were religious subjects, ‘Abel the The ink inscription could be eighteenth Shepherd’ and ‘Christ and the Woman of Samaria’ in century but appears not to be the hand of 1825. James Basire. It could be an early collector or print seller. The pencil inscriptions appear of As Richmond’s reputation as a portrait painter grew, later date. he had less time to indulge his interest in landscapes and literary works, which became increasingly rare in We are grateful to Bob Essick and Mark his oeuvre, and were produced largely as a means of Crosby for their help in cataloguing this relaxation. engraving.

56 57 56 57 John Linnell (1792-1882) John Linnell (1792-1882) Study of the Head of a Man, probably William Mulready’s Father Study of Fanny Sheppard playing the Guitar

Signed lower right: J Linnell/1808 and inscribed in pencil lower centre: Timber in Autumn’ and the main figure is known to be a portrait of Signed lower right: Miss Fanny Sheppard/Linnell fe./The Ridge Isley/ Exhibited: Sketch of William Mulready Mulready’s father’ (see David Linnell, Blake, Palmer, Linnell & Co, 1994, Glostershr./Mifs Fanny Sheppard London, Martyn Gregory, John Linnell, Truth to Nature: A Centennial Black and white chalk on brown paper p.16). Black, red and white chalk on grey paper Exhibition, 1982-3, no.78 17.2 by 20 cm., 6 ¾ by 7 ¾ in. 27.8 by 38.3 cm., 10 ¾ by 15 in. Linnell met Mulready at a young age when they were both studying under Linnell’s portrait sketchbook records a painting in oil of this sitter, but this This inscription `Sketch of William Mulready’ suggests this is a portrait of John Varley (see no.60). In 1808, the date of the present drawing, they Provenance: drawing does not relate to it. The present drawing dates from 1825 when Linnell’s friend William Mulready, R.A. (1786-1863) (see no.60). However were sharing lodgings, with Mulready’s family, at no. 30 Francis Street, A gift from the artist to the sitter; Linnell was employed to paint portraits of Fanny’s sister Caroline, and her this drawing, dated 1808, clearly shows an older man. It is likely to be a Bedford Square. Mulready and his family occupied two rooms on the first With Martyn Gregory, London brother Edward at their home in Isley, Gloucestershire. There are several study of Mulready’s father whose first name is unknown. Linnell exhibited floor and Linnell had the top floor. references in Linnell’s journal of 1825-7, of Fanny Sheppard coming to a painting at the British Institution in January 1809 entitled `Removing Literature: watch Linnell paint in his London studio. This drawing is rare, if not unique, A.T. Story, The Life of John Linnell, 1892, vol. 2, p.257, recorded in a list of in being a portrait given by Linnell to the sitter. his portrait drawings

58 59 58 George Richmond, R.A. (1809-1896) Two Portrait Studies of John Ruskin

Red and black chalk on grey-blue laid watermarked paper These two studies relate to a portrait by Richmond of Ruskin dating from 31.2 by 18 cm., 12 ¼ by 7 in. 1857 when Ruskin was 38. The artist and sitter had originally met in Rome in 1840 and were close friends afterwards. Ruskin liked Richmond who Provenance: `confirms my first impression of him. He is a most gentlemanly man, and Henry Yates Thompson (1838-1928); of fine mind’ (quoted in Dearden,op. cit., p.28). By descent to Sir Christopher Chancellor C.M.G. (1904-1989), his sale, Christie’s, 19th March 1985, lot 40, one of two; In February 1857, Ruskin’s father John James suggested that Richmond By descent to the present owner paint his son in watercolour and Richmond accepted the commission on 5th February. There were seven sittings for the portrait between Literature: 24th February and mid March of which these sketches were the result. James S. Dearden, John Ruskin – A Life in Pictures, 1999, pp. 49-51, no.41, The portrait was finished on 28th March at a cost of £42 and John ill. James Ruskin also sent Richmond a case of wine as thanks. He was evidently pleased with the portrait as he had it engraved by Francis Holl Exhibited: the following year. The portrait hung at Brantwood, Ruskin’s home at Sheffield, Ruskin Gallery,The Portraits of John Ruskin, 9th September to Coniston, until the dispersal sale there in 1931 where it was bought by 29th October 2000; the American bookseller Charles Goodspeed, but was later destroyed in a Oxford, Ashmolean Museum, The Portraits of John Ruskin, 21st November fire. Holl’s engraving is a record of the portrait which has the same pose as 2000 to 24th January 2001 the current drawings.

Richmond also drew a head study of Ruskin in chalk at around this date which remained in the artist’s collection until his death when it was bought by the National Portrait Gallery. He had also drawn James John Ruskin in 1848.

60 61 59 60 Cornelius Varley (1781-1873) William Mulready, R.A. (1786-1863) Study of two Girls Seated, Reading a Book Joan of Arc

Pencil Inscribed with title lower left and numbered 282 25.2 by 18.4 cm., 9 ¾ by 7 ¼ in. upper left With a black chalk study of a woman verso Exhibited: Black and white chalk on blue paper London, Colnaghi, Cornelius Varley, March 33.0 by 20.2 cm., 13 by 8 in. 1973, no.9 Born in Ireland, Mulready moved to London as a This drawing appears to have been made child with his family. He entered the RA schools in with the aid of Varley’s drawing aid, his 1800, at the age of fourteen. He became a pupil- Graphic Telescope. Developed during the teacher with John Varley (cat no. 61) and married early years of the 1800s and patented in John and Cornelius’ (cat. no 59) sister, Elizabeth, 1811, it was intended to be more practical also a landscape painter. Although now principally and portable than other optical drawing known as a genre painter, depicting scenes of aids. As demonstrated here, Varley used contemporary life, he was also a successful the Graphic Telescope when producing illustrator of children’s literature. rapid portrait studies, in order to capture the outlines of the figures efficiently and The present drawing shows Mulready’s attention accurately. He then sketched in the details to detail in his careful studies, with the careful freehand. shading and slight white heightening, bringing the form of the figure and her drapery to life.

62 63 61 62 John Varley (1778-1842) Cornelius Varley (1781-1873) Two studies of a Boy Phidias working on a sculpture of Poseidon

Signed lower left Signed lower right: C Varley Cornelius Varley was there at the first meeting on 6th January 1808 and Pencil and washes on buff paper Brown washes over pencil attended on 148 occasions as a member between 1808 and 1813 so 18.9 by 21.5 cm., 7 ¼ by 8 ½ in. 33 by 40.4cm., 13 by 15 ¾ in. this drawing is likely to date from that period. The subject matter was appropriate for the period as the Elgin Marbles arrived in London in 1808 This drawing was produced at a meeting of the Chalon Sketching Society and stimulated a great deal of interest in classical subjects. Sketching which was founded by the Chalon brothers, Alfred and John in 1808 Society drawings by Varley are in the V. & A., Laing Art Gallery, Newcastle, and replaced the original Sketching Society which had began in 1799. and six in an album in the British Museum, all dating from 1809 and 1810. Meetings were either weekly or fortnightly during the winter, alternating at the houses of members. The host chose the subject for the evening Phidias is acknowledged as the greatest ancient Greek sculptor living from which he announced at six o’clock and the artists would spend the next circa 490 BC until 430 BC. No originals of his work exist but he was three hours producing a drawing, in monochrome, of that subject. At nine, much praised by writers of the period and was best known for his two bread, cheese and beer was provided and the drawings were discussed. enormous sculptures, of Athena in the Parthenon and of Zeus at Olympia. The host was allowed to keep the drawings produced. The society met When his friend Pericles rose to power in Athens in 449 BC, Phidias was between 1808 and its disbandment in 1851. The subject was usually made superintendant of public works and commissioned to build major based on classical or historical literature. statues for the city. He supervised the construction of the Parthenon and the design of the sculptures is his.

64 65 63 64 Joshua Cristall (1768-1847) Joshua Cristall (1768-1847) A Girl with a Basket at Hastings A Girl seated by a River

Signed lower left: J. Cristall 1807 - at Hastings - Signed lower left: J Cristall 1824 Watercolour over pencil on laid paper Watercolour heightened with 15.7 by 15.9 cm., 6 by 6 ¼ in. bodycolour and stopping out 25.3 by 20.2 cm., 10 by 8 in.

Cristall was the son of a Scottish sea captain and was brought up in Rotherhithe, London. Apparently self- taught, he was working as an artist from the mid 1790s and befriended John and Cornelius Varley with whom he sketched in North Wales in 1802 and 1803. He achieved little success however and suffering from depression, he visited the Kent and Sussex coast in 1807. In Hastings, he started sketching the fisherfolk he saw on the beach and his exhibition watercolours of these figures were received with acclaim at the Old Watercolour Society in 1808.

In 1823 Cristall moved to Goodrich on the river Wye where he lived until 1841. By this date, his figure studies were more highly finished and sentimental. The same girl in the same pose features in a watercolour dated 1822 entitled `A Welsh Peasant Girl, Dolgelly, Merionethshire’ sold at Christie’s on 17th November 2005, lot 52.

66 67 65 John Constable, R.A. (1776-1837) Portrait Study, probably of Maria Constable

Pencil 7.5 by 10.8 cm., 6 ¾ by 4 ¼ in.

Provenance: Ronald Brymer Beckett (1891-1970); By descent until 2019

This portrait drawing is considered to depict the artist’s wife Maria in the This previously unrecorded drawing was in the family collection of the early 1820s. Maria Bicknell (1788-1828) was the daughter of a Solicitor to art historian R.B. Beckett. Beckett worked for the English Government in the Admiralty and her maternal grandfather, Dr Rhudde, was the Rector India until he retired in 1946 and began to study English artists, publishing of East Bergholt. They first met there in 1800 and by 1809 they were in cataloguing on Hogarth, Lely as well as Constable. John Constable’s love. However Maria’s family disapproved of the match and they did not Correspondence was published in six volumes between 1962 and 1968 marry until 2nd October 1816. In February 1816, Constable wrote to and Constable and the Fishers: the Record of a Friendship in 1952. her: `How unfortunate that I should have [been the] cause of bringing all into [the] situation I did with the wretched Doctor – but let us for We are grateful to Anne Lyles and Peter Bower for their comments on this ever dismiss the grievous side of the subject…. I am happy in love – an drawing. affection exceeding a thousand times my deserts, which has continued so many years, and is yet undiminished …. Never will I marry in this world if I marry not you. Truly can I say that for the seven years since I avowed my love for you, I have never done anything I have never considered could have made you in any way uncomfortable….’ (R.B.Beckett, ed., John Constable’s Correspondence, vol. II, 1964, p.179). They eventually had seven children but Maria died of tuberculosis in 1828. In a letter to his brother Golding of 18th December 1828, Constable wrote ` I shall never feel again as I have felt, the face of the World is totally changed for me’ (A. Shirley, Memoirs of the Life of John Constable, 1937, p.234).

Peter Bower has dated the wove paper the drawing is executed on to the early to mid1820s when Maria was in her mid thirties. A drawing of the young Maria by Constable, dated to 1805-9, is in the Tate Gallery (T03900). It is also just a head study and is drawn from the same angle. A drawing of her in later life is recorded in the Constable family collection. The Tate also owns two oil portraits of Maria, one head and shoulders and the other a sketch of her and two children (N02655 and T03903). The intimacy of the present drawing as well as its relationship with other known drawings and paintings strongly suggests that this depicts Maria Constable.

68 69 66 67 Richard Parkes Bonington (1802-1828) Richard Parkes Bonington (1802-1828) A Page Arming a Knight Two Swiss Girls Seated near Trees

Signed with initials lower left Signed with initials lower right Pencil Pencil 11.5 by 8.5 cm., 4 ½ by 3 ¼ in. 11.5 by 8.5 cm., 4 ½ by 3 ¼ in. Provenance: Provenance: Thomas Creswick (1811-1869), Christie’s, London, 1 Thomas Creswick (1811-1869), his sale, Christie’s, May 1870, lot 134; London, 1 May 1870, lot 134; Anonymous sale, Christie’s, London, 14 November Anonymous sale, Christie’s, London, 14 November 1967, lot 131; 1967, lot 131; Anonymous sale, Christie’, London, 22 March 1988, Anonymous sale, Christie’s, London, 22 March 1988, lot 30; lot 30; Private Collection, London Private Collection, London Literature: Literature: Patrick Noon, Richard Parkes Bonington, the Complete Patrick Noon, Richard Parkes Bonington, the Complete Drawings, 2011, p. 181, no 345 Drawings, 2011, p. 202, no 390 Bonington returned through Switzerland on his way This is dated by Noon to circa 1826. back to France from Italy in 1826. This finished vignette is likely to have drawn in his Paris studio based on sketched made in the Bernese Oberland. For a similar drawing drawn at Meiringen, Switzerland, see Noon, op.cit., no.332, p.177).

70 71 68 69 Richard Parkes Bonington (1802-1828) David Cox (1783-1859) Study of Three Valets Study of a Fisherman

Inscribed lower right: 44 Watercolour over pencil Pencil 15.8 by 6.6 cm., 6 ¼ by 2 ½ in. 8 by 7 cm., 3 by 2 ¾ in. Provenance: Provenance: By descent in an album from the artist to his grand-daughter Hannah Cox With Cyril Fry, 1965; until April 1904; Anonymous sale, Sotheby’s, 21st March 2002, lot With Squire Gallery, Portman Square, London, 1946, when bought by 220; Samuel Carr, 46 Paulton Square, London SW3 Private Collection A sketch of the same figure by Cox is in the Fitzwilliam Museum, Literature: Cambridge. Patrick Noon, Richard Parkes Bonington - the complete drawings, 2011, no.227, ill.

This is likely to be a copy of a Florentine painting or engraving.

72 73 70 71 Sir Edwin Henry Landseer, R.A. (1802-1873) Sir David Wilkie, R.A. (1785-1841) A Ghillie looking into a River Study for `The Bride at her Toilet on the Day of her Wedding’ Inscribed in the hand of F.R. Lee lower right: by E. Landseer R.A./1835 Pen and brown ink, with artist’s notes verso Pen and brown ink on laid paper watermarked with a crown 8.6 by 6.8 cm., 3 ¼ by 2 ½ in. 18.4 by 11.6 cm., 7 ¼ by 4 ½ in. Provenance: Provenance: Bought at the Gerald Norman Gallery, London, Frederick Richard Lee, R.A. (1798-1879) March 1976; By descent until 2019 Landseer sketched constantly, not only in order to explore compositions, or to deepen his understanding of a subject but The present lively drawing is a study for an also as a form of relaxation or entertainment. The spontaneity oil painting, now in the National Galleries of and emotional response so evident in his drawings has helped Scotland which was exhibited at the Royal cement Landseer’s reputation as one of the most skilled Academy in 1838. Wilkie was a superb draughtsmen of the 19th Century. Landseer’s ability to capture draughtsman, whose technique was heavily the character, as well as the appearance of the sitter, with a influenced by the work of earlier 17th century, few deft strokes of the pen is amply illustrated in the present particularly Dutch old masters, such as drawing. Rembrandt and Rubens.

The present drawing probably depicts one of the Scottish It was characteristic of Wilkie’s practice, that he ghillies or gamekeepers that Landseer knew. He admired their produced numerous sketches and studies, both deep knowledge and understanding of the landscape in which rapid, slight sketches to more carefully worked they lived and the animals who inhabited it and they often up compositional studies, when working out the formed the subject of his paintings and drawings. He painted compositions of his paintings. He worked in a the 4th Duke of Atholl’s gamekeeper, John Crerar, on several range of media from highly finished coloured occasions, including a portrait of the man with his pony, (now drawings, to rapid pencil studies to lively in the Perth Museum and Art Gallery) and variously with the compositional studies in pen and ink, such as the Duke of Atholl. present work.

The present drawing was once in the collection of the eminent landscape artist, Frederick Richard Lee, R.A. (1798 – 1879). Landseer and Lee were friends and occasional collaborators for much of their adult life, sharing the same interests, friends, and patrons. The two were both keen sportsmen, particularly fishing and shooting and consequently were often at the same country house parties. The two men eventually fell out, apparently over ‘accusations of cheating at a game of billiards; the two men never spoke to each other again’ (Campbell Lennie, ‘Landseer, the Victorian Paragon’, 1976, p. 201). Whose fault the argument was is unclear, but Landseer, especially later in life, was highly sensitive, imagining slights and picking arguments.

74 75 72 73 Sir David Wilkie, R.A. (1785-1841) Sir David Wilkie, R.A. (1785-1841) A Jewish Synagogue, Jerusalem Study of a Jewish Family, Jerusalem

Inscribed lower left: no.55 and on part of old mount: A Inscribed lower left: no.57 and on part of old mount: A Jewish Family - Wilkie found much to inspire him during visit to the Holy Land and he Jewish Synagogue, Jerusalem/1841 Jerusalem/1841 produced a vast number of drawings which were intended to serve as With a study of a church verso Black chalk on blue paper, with cut corners inspiration for later works. The present rapidly executed, spontaneous Black chalk on blue paper 15.6 by 27.9 cm., 6 by 11 in. study is intended to capture the posture and costumes of the figures, as 41.8 by 29.4 cm., 16 ¼ by 11 ½ in. well as their way of life. He worked rapidly in order to fix the scene and Wilkie arrived in Jerusalem on 27th February in what he calls in his journal this method was typical of Wilkie’s drawings during this trip. In August 1840, Wilkie set off on an extended tour of the entry for that day `the most interesting city in the world.’ He had been Holy Land, where he believed he would find inspiration travelling through Europe for six months and Jerusalem was one of his final for religious subjects as well as ‘fresh proof of the stops. He remained there until 6th April when he headed south to Beirut correctness of the sacred narrators’ (Allan Cunningham, and on to Alexandria. There he was taken ill and set off home via Malta The Life of Sir David Wilkie, vol. III, 1843, p. 426). His dying on a ship off Gibraltar on 1st June. friend, David Roberts had recently returned from the region and his stories and work would have inspired his fellow artist. Although Wilkie, unlike many of his contemporaries, including Roberts, had little interest in the topography of the region, preferring to concentrate on the figures that he encountered. The influence of old masters such as Rembrandt, Bol and Rubens was very much ingrained in Wilkie’s ideas, and although he did not live to work up any of his drawings into finished paintings, it seems likely that Wilkie planned on producing works in this vein.

Wilkie was keen to see Jewish life in Jerusalem. His journals and letters recall several visits to Synagogues in Jerusalem. His Journal for 3rd March 1841 relates: `…went to Mount Zion; visited the Synagogue; much struck’ and for 17th March: `Went out early with Mr Woodburn and Reuben to the Synagogue; made drawing’ (see A. Cunningham, op. cit, p.411). He made several oil sketches of Jewish life especially of religious observances. One of these drawings is especially rare and unusual for being taken inside a synagogue. An oil sketch `Jews Praying at the Wailing Wall’ is in the museum of the University of Dundee (see Nicholas Tromans, David Wilkie – Painter of Everyday Life, exhibition catalogue, 2002, no. 31, pp. 112-3, ill.).

76 77 74 William Henry Hunt (1790-1864) Girl Reading a Letter by Lamplight

Signed lower left: W. Hunt 1827 Born in London, Hunt was apprenticed to John Varley in about 1804. He Watercolour over pencil heightened with bodycolour and scratching out showed talent as a landscape artist but having been born with deformed 38.2 by 27.2 cm., 15 by 10 ¾ in. legs, he concentrated on interior scenes and still-lives of fruit and flowers from the mid1820s. This is one of his best known works showing a Provenance: woman who appears to have recently returned home to find an eagerly Bought by Sir John and Lady Witt, 1970; awaited letter. She has rushed into the room without removing her coat, Their sale, Sotheby’s, 19th February 1987, lot 147, illustrated on cover, bonnet or both gloves. sold £23,000 hammer; Private Collection until 2019 Sir John Witt (1907-1982) was the son of Sir Robert Witt, lawyer and art historian, collector, co-founder of the Courtauld Institute and the Art Literature: Fund and founder of the Witt Library. Sir John, also a lawyer, was a senior John Witt, William Henry Hunt (1790-1864) – Life and Work with a partner of his father’s law firm served as Chairman of Trustees of the Catalogue, 1982, no.548 National Gallery, London as well as of the Management Committee of the Courtauld Institute of Art. Exhibited: Probably London, Society of Painters in Water-colour, 1829, no. 13 or no.214; Wolverhampton Art Gallery and Museum, Preston Harris Museum and Art Gallery and Hastings Museum and Art Gallery, William Henry Hunt 1790- 1864, 1981, no.101

78 79 75 76 Edward Duncan (1803-1882) Edward Duncan (1803-1882) Study of a Girl standing Study of Children

With artist’ studio stamp l.r., Signed l.r. and with artist’ studio stamp l.r., Pencil and brown washes Pencil 22.3 by 11.5 cm., 8 ¾ by 4 ½ in. 10.5 by 17.9 cm., 4 by 7 in.

Provenance: Provenance: Probably the artist’s studio sale, 11th March 1885; Probably the artist’s studio sale, 11th March 1885; With the Hampshire Gallery, 1994 With the Hampshire Gallery, 1994

Duncan was born in St Pancras, London, and apprenticed as a young man to Robert Havell, who specialised in aquatint engravings, and his brother the watercolourist William Havell. After his apprenticeship he set up his own studio working principally for Fores of Piccadilly. In 1826 he embarked on a project to engrave maritime scenes after paintings by the artist William Huggins and this appears to have sparked his interest in marine subject matter.

He married Huggins’s daughter and embarked on a successful career as a marine and coastal painter exhibiting over 500 watercolours at the New and Old Watercolour Societies from 1833, as well as at the Royal Academy and the Society of British Artists. He also produced country scenes, mainly of the South of England.

Each of these drawings has the artist’s studio stamp which means they were in his studio on his death in 1882. It would also suggest they were included, perhaps as part of an album, in the artist’s studio sale at Christie’s in 1885.

80 81 77 78 Edward Duncan (1803-1882) Edward Duncan (1803-1882) Study of two seated Girls Hop-packing

Signed with initials l.r. and with artist’ studio stamp l.r., Signed l.r., with artist’ studio stamp l.r. and inscribed with title l.l., Pencil and brown washes Pencil and brown washes on buff paper 11.4 by 13.7 cm., 4 ½ by 5 ¼ in. 12.1 by 17.6 cm., 4 ¾ by 6 ¾ in.

Provenance: Provenance: Probably the artist’s studio sale, 11th March 1885; Probably the artist’s studio sale, 11th March 1885; With the Hampshire Gallery, 1994 With the Hampshire Gallery, 1994

82 83 79 John Frederick Lewis, R.A. (1804-1876) Portrait study of a European in Turkish Dress, probably Sir John Gardner Wilkinson (1797-1875)

Watercolour over pencil and black chalk heightened with bodycolour of ‘Sir G. Wilkinson’ is also listed in a letter of 14 April 1857 from Lewis Sheet 37.3 by 27.3 cm., 14 ¾ by 10 ¾ in. to another dealer, John Scott (Private Collection). Another similarly sized version of the portrait that is here identified as likely to be of Wilkinson, This intriguing portrait of a European man in Oriental dress by John exists in the Ashmolean Museum, Oxford (WA.OA966), currently titled Frederick Lewis is likely to have been made during the artist’s decade- Study of a Seated Oriental Man, smoking. The figure is almost identical, long sojourn in Egypt, 1841-51. During this time, Lewis lived in a large but added, lower right, is a brass-mounted glass nargile (or hookah) from wooden, Ottoman-style house, in a district of Cairo ‘far away’, according which the man is smoking. to William Thackeray, ‘from the haunts of European civilisation’. A prominent member of the expatriate community during the mid-19th The sitter in these two portraits is a fair-skinned man with a long flowing century was Sir John Gardner Wilkinson (1797-1875), who by the 1840s moustache and blue eyes, whose hooded eye-lids droop down at the had gained acclaim and fame for his ground-breaking studies in Egyptology. corners. He wears a red fez over a white skull-cap, over the top of During and after his 12 year sojourn in Egypt between 1821 and 1833, which is the hood of his large cloak or wrap. He seems to acknowledge when he was based mainly at ancient Thebes (Luxor), Wilkinson published this awkward accumulation of Oriental garb with wry amusement, several articles and books on the subject. His most famous work was accentuating his youthful looks. Another portrait by Lewis shows an Manners and Customs of the Ancient Egyptians, published in 1837, which unidentified man with the same features, notably the bushy moustache established him as the ‘Father of British Egyptology’. Its description of and the heavily-lidded eyes, wearing a fez and more conventional ancient Egyptian society, with numerous illustrations, caught the popular Ottoman attire (with Spink & Son, London, 1985-86, titled An Englishman imagination, and passed through many editions during the course of in Greek Dress), who, on the basis of the argument made here, is also likely the 19th century. In 1839 his achievements were recognised with a to represent Wilkinson. knighthood. Wilkinson’s fame during his lifetime resulted in several known portraits of Wilkinson revisited Egypt another four times between 1841 and 1856, him. Among these, made at around the same time as the Lewis portraits, and during the first of these return trips he met Lewis at least twice. On are drawings by William Brockedon, 1838, and Alfred, Count d’Orsay, 8 December 1841, he was among those gathered at Lewis’s house for 1839 (both, National Portrait Gallery, NPG 2515(86) and NPG 4026(28)), a séance of the notorious Egyptian magician, Shaykh Abd al-Qadir al- and by Godfrey Thomas Vigne, 1844 (Victoria and Albert Museum, Maghrabi. Later that month, a brief entry in Wilkinson’s Journal for 1841- SD.1156). These show a man with very similar facial characteristics 42 reads: ‘Saty 18 Dec dined with Col. Barnet at 6. Met Mr Lewis and Mr to the sitter in the portraits by Lewis, most significantly the fine walrus Coste’ (The Griffith Institute, University of Oxford, Wilkinson MSS. 1.69). moustache, with the ends twirled upwards slightly to a point. The most In January 1844 both men are in Cairo and moving in the same circles, widely known portrait of Wilkinson is a painting by Henry Wyndham since both are mentioned in a letter written by Bonomi to a friend. Later Phillips, Sir John Gardner Wilkinson, aged 46, in Turkish Dress, 1844 (The in the decade, Murray’s Handbook for Travellers in Egypt was published National Trust: Calke Abbey, Derbyshire). His features, youthful, despite (1847) and in it Wilkinson, who was its author, writes of the drawings of his 46 years, are also strikingly similar to those of the man in the Lewis Cairo, ‘this truly Eastern capital, which we may shortly hope to receive portraits. Moreover, his waistcoat and shirt, and his left arm cradling the from the hand of Mr. Lewis’. Most pertinent of all is the evidence in a sale Ottoman curved sabre known as a kilij, seem to be reflected in the second from Lewis’s studio held in 1855, a few years after his return from Egypt, portrait by Lewis (ex Spink’s), identified here as of Wilkinson. in which lot 129 is ‘Sir Gardiner[sic] Wilkinson, in Oriental Costume’ We are grateful to Briony Llewellyn for this note with thanks to Charles (Christie’s, 5 July 1855, bought by the dealer, William Vokins). A portrait Newton.

84 85 80 81 Charles West Cope, R.A. (1811-1890) Walter Greaves (1846-1930) Portrait study of the Artist’s son Harry Cope aged six Portrait of James McNeill Whistler (1834- 1903) at his Easel Inscribed lower right: Harry Cope/aged 6/1861 Black and red chalk on grey-blue laid paper Signed upper right: W. Greaves Approx. 22.3 by 14.5 cm., 8 ¾ by 5 ¾ in. Pen and black ink and pencil heightened with white chalk on buff paper Provenance: 22.8 by 15.5 cm., 9 by 6 in. By descent in the family the artist’s great- granddaughter, Miss M.P. Burt, her sale, Christie’s, 6th Provenance: February 1968, lot 35 (part); Bought at J.S. Maas & Co, London, 1968; With Sabin Galleries, London; By descent to the present owner Anonymous sale, Christie’s South Kensington, 6th December 2012, lot 203 Exhibited: London, J.S. Maas & Co., Christmas This rapidly drawn on-the-spot sketch shows the Exhibition, 1968, no.71 artist’s son Harry although in contrast Cope is best known for his historical paintings. He studied at the Walter Greaves was the son of a Chelsea Royal Academy Schools and was made R.A. in 1848. boat-builder who used to ferry Turner In 1833 he left for Italy where he spent two years across the river. He and his brother Henry returning in 1845. Like Daniel Maclise (see nos. 52 did the same for Whistler from 1863 when and 53), he painted a number of frescoes for the new the latter moved into Lindsey Row, Chelsea Houses of Parliament. (now Cheyne Walk). Walter and Henry soon became Whistler’s studio assistants, assisting with the preparation of his colours and learning to paint. Walter, the most talented artist of the two, adopted Whistler’s style and dress and specialised in painting views of Chelsea. Apart from an exhibition at the Goupil Gallery in 1911, he achieved little success and died penniless in a poorhouse.

86 87 82 83 Harold Speed (1872-1957) Henry Lamb, R.A. (1863-1960) The Lady of Shalott Study of a Sleeping Woman

Black and white chalk on buff laid paper Signed upper right: H. Lamb 46.5 by 32.5 cm., 18 ¼ by 12 ¾ in. Pencil 19.7 by 20.3 cm., 7 ¾ by 8 in. Provenance: Anonymous sale, Sotheby’s, 10th July This may be a study of Lamb’s first wife 1995, lot 298; Euphemia whom he married in 1906. Private Collection, UK Their marriage was stormy and they soon separated. However this highly finished ‘The Lady of Shalott’ is a ballad by English drawing is more typical of Lamb’s work Poet Alfred, Lord Tennyson (1809 - 1892) of the 1920s or 1930s and this study is and was a source of inspiration for the evidently of a sitter with whom he was Pre-Raphaelites who were fascinated with intimate. Arthurian subject matter. Harold Speed studied at the Royal Academy between 1891 and 1896, where he was awarded a travel scholarship in 1893. In 1896, he was elected as a member of the Royal Society of Portrait Painters. Speed’s instruction manuals, which combine pragmatic advice with reflection on the meaning of artistic practice, have long been considered valuable resources for artists and editions of ‘The Practice and Science of Drawing’ (1913) remain in the public domain today.

88 89 INDEX

Bartolozzi, F. 23 Lamb, H. 83 Blake, W. 54 Landseer, E.H. 70 Bonington, R.P. 66-68 Lewis, J.F. 79 Linnell, J. 56-57 Chinnery, G. 48-49 Maclise, D. 52-53 Constable, J. 65 Cope, C.W. 80 Nixon, J. 40-41 Cox, D. 69 Cristall, J. 63-64 Richmond, G. 55, 58 Robins, T. 1 Dance, G 38 Romney, G. 24-30 Daniell, S. 46-47 Rowlandson, T. 19, 21-22 De Wilde, S. 50-51 Russell, J. 31-32 Dighton, R. 39 Downman, J. 35-36 Sandby, P. 42 Duncan, E. 75-78 Smith, J.R. 33-34 Dunthorne, J. 20 Speed, H. 82

Edridge, H. 44 Thornhill, J. 8 English School 7 Varley, C. 59, 62 French School 3-6 Varley, J. 61

Gardner, D. 14-16 Wheatley, F. 43 Greaves, W. 81 Wilkie, D. 71-73 Worlidge, T. 9 Hamilton, H.D. 10-13 Wright of Derby, J. 37 Harlow, G.H. 45 Hoare of Bath, W. 17-18 Hogarth, W. 2 Hunt, W.H. 74

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