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ONE HUNDRED D R A W

I N DRAWINGS G S

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A AND T E R C O L

O WATERCOLOURS U R S

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2 0 1 8 - 2 0 1 9 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century

WINTER Catalogue 2018–2019

to be exhibited at

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

Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk We are delighted to present our eleventh annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of both British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the late 16th century to the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas. The works we have selected for this catalogue will hopefully show that a fine drawing or watercolour – whoever the artist and whatever the date – is always worthy of note.

As the enclosed price list shows, the prices of the drawings in this catalogue are equally broad in scope – from well under £1,000 to around £15,000 – with most of the works at the lower end of this range. The catalogue aims to show that drawings and watercolours by well-established artists can be affordable, and interesting works by lesser-known artists especially so. We believe that there is much here for the novice collector, as well as for the more experienced connoisseur or curator. Indeed, we are pleased that a significant number of British, European and American museums have acquired drawings and watercolours from these annual Winter catalogues over the past decade.

Our respective individual catalogues of more significant drawings will be issued in January and May 2018, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months.

Stephen Ongpin Guy Peppiatt

The following catalogue contains drawings and watercolours from the stock of Stephen Ongpin Fine Art (SOFA) and Guy Peppiatt Fine Art (GPFA). Those of the former are marked SOFA and the latter GPFA in red at the top of each page; please direct any enquiries as appropriate.

For reasons of space, only a brief account of each drawing is given in the catalogue. Further information, artist’s biographies and full references, as well as high-resolution digital images of each of the works, are available on request, as well as on our respective websites.

The drawings are available for viewing from receipt of the catalogue. A price list is included. Please note that most, but not all, of the works are sold framed.

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1 ABEL STIMMER The younger brother of Tobias Stimmer, Abel Stimmer was Schaffhausen 1542-after 1606 Baden-Baden active as a portrait painter, printmaker and glass painter in Schaffhausen, Basel and Freiburg im Breisgau. He worked An Allegory of Touch: Design for a Stained-Glass Roundel on frescoes in the Haus zum Ritter in Schaffhausen, and became a citizen of Strasbourg in 1580. As an etcher he made several portraits of prominent sitters in the late Pen and black ink and grey wash, on paper trimmed 1570s and early 1580s. Abel Stimmer’s manner of drawing to an oval and laid down on a backing sheet was indebted to the example of his elder brother Tobias. Inscribed TACTVS at the top and Abel Sitmer v. Drawings by him are rare, however. Schaffhausen on the backing sheet 1 215 mm., 8 /2 in. diameter The present sheet is likely to be a design for a roundel of stained-glass, although it may also have been used as a model Provenance for a piece of silverware, such as a plate. The drawing was Dr. Hugo von Ziegler, Schaffhausen once in the collection of the lawyer and art historian Hugo Thence by descent. von Ziegler, who assembled a collection of 16th century Swiss drawings between the 1920s and the 1960s.

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2 SIENESE SCHOOL Provenance 16th Century The Earls of Crawford and Balcarres, Balcarres House, Colinsburgh, Fife A Draped Male Figure, Striding to the Right Thence by descent to a private collection

Black chalk on grey paper, laid down on an album page 3 238 x 127 mm., 9 /8 x 5 in.

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3 FRANCESCO MONTELATICI, called CECCO contributed to the decoration of the Casa Buonarroti. BRAVO In 1660 he was summoned to work at the court of the Florence c.1601-1661 Innsbruck Archduke Ferdinand Karl of Austria at Innsbruck. Cecco Bravo has only recently been recognized as one Two Standing Figures of the most distinctive artists of the Florentine Seicento. He was also a highly original and gifted draughtsman, and Red and black chalk the 18th century Florentine collector and art historian 1 1 131 x 109 mm., 5 /8 x 4 /8 in. Niccolò Gabburri wrote of his drawings that they ‘are sought and treasured by connoisseurs because they truly Provenance possess a spirit and wonderful expression beyond all human The Earls of Crawford and Balcarres, Colinsburgh, Fife understanding.’ The present sheet is a splendid example Thence by descent to a private collection of Cecco Bravo’s idiosyncratic manner of drawing, characterized by a combination of red and black chalk Relatively little is known of the early life and artistic and a feathery, seemingly insubstantial depiction of form. education of the Florentine painter Francesco Montelatici, Although a fairly large number of drawings by Cecco Bravo known as Cecco Bravo. He worked in Florence and survive – including numerous studies of male nudes, saints Tuscany for most of his career. Among his most significant and religious subjects, as well as a series of mysterious works were mural frescoes for the Sala degli Argenti in allegorical drawings known as the ‘sogni’ (‘dreams’) – only a the Palazzo Pitti, painted in the late 1630s, while he also handful can be related to surviving paintings.

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actual size

4a ERMENEGILDO LODI Ermenegildo Lodi was a pupil of the Cremonese painter Active in Cremona between 1598 and 1616 and architect Giovanni Battista Trotti, known as Il Malosso. Together with Cristoforo Magnani, Lodi worked on the Study of a Man Sheathing a Sword, Facing Right decoration of the vault of the church of San Pietro al Po in Cremona, as well as a painting of The Preaching of Saint John the Baptist for the baptismal font of the same church. Pen and brown ink, over an underdrawing in black A painting by Lodi of the Virgin with Saints Peter and Jacob, chalk signed and dated 1598, is in the church of San Rocco at Numbered 125 in pencil on the verso Bussetto, near Parma. 1 1 106 x 58 mm., 4 /8 x 2 /4 in. Noticeable in the underdrawing of the present sheet is that Provenance the proper left leg of the figure was originally drawn slightly Paul Sandby, London (Lugt 2112) further forward. Anonymous sale, London, Christie’s South Kensington, 21 April 1998, part of lot 35 P. & D. Colnaghi, London, in 1998 Private collection, Middlesex Thence by descent.

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actual size

4b ERMENEGILDO LODI Provenance Active in Cremona between 1598 and 1616 As No. 4a.

Study of a Man Sheathing a Sword, Looking Down Lodi’s draughtsmanship owes much to that of his master Malosso, and drawings by the artist are in the Uffizi, the Museo Civico in Cremona, and elsewhere. The present Pen and brown ink, over traces of an underdrawing pair of drawings may be compared stylistically with a small in black chalk group of pen and ink drawings by Lodi in the collection of 1 1 105 x 65 mm., 4 /8 x 2 /2 in. the Galleria dell’Accademia in Venice.

Watermark: Circle.

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5 GIOVANNI BATTISTA CAPPELLO Nothing is known about the artist of the present sheet, 17th Century Giovanni Battista Cappello, whose name is inscribed in Latin in a ribbon at the bottom of the composition. The Latin A Bird in an Extensive Landscape, in a Decorated inscriptions in the cartouches at the left and right sides of the circular frame can be roughly translated to ‘never darken.’ Surround The bird depicted could be a nightingale or an ortolan; a variety of finch common to Europe. Both are songbirds, Pen and brown ink on vellum and the symbolic message of the present sheet may be to Inscribed Nunquam and Offuscabitur in cartouches at encourage the viewer to never quiet or darken their song. the left and right edges Signed and dated A Ioanne Baptista Cappello, hec delineatio & Inventio A.D. 1670 in a ribbon at the bottom 3 3 199 x 188 mm., 7 /4 x 7 /8 in.

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6 ISAAC DE MOUCHERON Private collection, Middlesex Amsterdam 1667-1744 Amsterdam Thence by descent.

Italianate Landscape with Shepherds Dancing among Literature Nina Wedde, Isaac de Moucheron (1667-1744): His Classical Ruins Life and Works with a Catalogue Raisonné of his Drawings, Watercolours, Paintings and Etchings, Frankfurt, 1996, Vol.I, Pen and grey ink and watercolour p.375, no.W88, Vol.II., pl.141. 1 3 240 x 196 mm., 9 /2 x 7 /4 in. A particularly fine example of Isaac de Moucheron’s Provenance watercolour landscapes, which were much in demand by Christianus Johannes Nieuwenhuys, London collectors. Subjects depicted include topographical views, His posthumous sale, London, Christie’s, 15 July 1887, Arcadian landscapes, scenes in the manner of earlier Dutch part of lot 28 (as Frederick de Moucheron) artists and, in particular, fantasy views of parks and gardens, Anonymous sale, London, Phillips, 12 December 1990, known as hofgezichten. lot 63

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7a 7b FRENCH SCHOOL FRENCH SCHOOL Circa 1750 Circa 1750

A Laundress An Umbrella and Bellows Seller

Pen and brown ink and watercolour on laid paper Pen and brown ink and watercolour on laid paper 3 3 155 x 102 mm., 6 x 4 in. 148 x 95 mm., 5 /4 x 3 /4 in.

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From the late seventeenth to late eighteenth centuries, famous `Cries of London’ drawings were produced by there was a fashion, in both London and Paris, for depicting Paul Sandby in the 1750s. We are grateful to Peter Bower ordinary working people selling their wares on the city who has suggested that the paper used in these drawings is streets. They would shout what goods they were offering likely to be French and dating from the 1740s. so they became known as `street cries’ drawing. The most

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8a FRENCH SCHOOL From the late seventeenth to late eighteenth centuries, Circa 1750 there was a fashion, in both London and Paris, for depicting ordinary working people selling their wares on the city A Gentleman with a Muff 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 Pen and brown ink and watercolour on laid paper Paul Sandby in the 1750s. We are grateful to Peter Bower 1 1 143 x 93 mm., 5 /2 x 3 /2 in. who has suggested that the paper used in these drawings is likely to be French and dating from the 1740s.

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8b FRENCH SCHOOL Circa 1750

A Gentleman and his Servant

Pen and brown ink and watercolour on laid paper 1 128 x 109 mm., 5 x 4 /4 in.

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9 THOMAS WORLIDGE Dutch artist, and may be regarded as a leading figure in Peterborough 1700-1776 Hammersmith the Rembrandt revival in England in the 18th century. Best known as a draughtsman and etcher, Worlidge also Study of a Man Wearing a Turban worked as a miniaturist and portrait painter, although only a few paintings by him survive today.

Graphite, with stumping, on vellum Worlidge produced a number of finished portrait drawings 1 5 182 x 144 mm., 7 /8 x 5 /8 in. in graphite or chalk on vellum or paper, for which he would ask two guineas or more. The present sheet, like much of Active as a painter, draughtsman and printmaker, his work, is inspired by Rembrandt’s paintings and prints of Thomas Worlidge lived and worked in London and Bath. Oriental heads. Such finished drawings as this were sold as Throughout his career, the prime influence on both his independent works of art, and were popular among the style and his oeuvre were the prints and drawings of fashionable circles of London and Bath. Unlike his prints, Rembrandt. He made direct copies of Rembrandt prints however, drawings by Worlidge are relatively rare today. as well as compositions of his own in the manner of the

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10 HUBERT ROBERT Previously unknown and unpublished, this drawing is a study Paris 1733-1808 Paris for Hubert Robert’s painting Staircase with Columns, datable to the 1770s and today in the Hermitage in St. Petersburg. Figures in the Courtyard of an Italian Palazzo The painting was one of eight works that Robert sent to Czar Alexander I in 1803 by way of Count A. S. Stroganov, and may be regarded as among the finest of the group. Black chalk The painting was admired for Robert’s handling of light and 0 Inscribed Paul Anezi del. Cab. De Spengler N .11. on his ability to create the illusion of an expansive space in the old mount what is quite a small canvas. The present sheet is the only 3 1 172 x 135 mm., 6 /4 x 5 /4 in. known preparatory study by Robert for this painting.

Provenance Johan Conrad Spengler, Copenhagen (Lugt 1434) Benjamin Wolff, Engelholm, Denmark (Lugt 420) Thence by descent.

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11 FRENCH SCHOOL Anonymous sale, London, Sotheby’s, 14 December 1992, 18th Century lot 131 P. & D. Colnaghi, London and New York, in 1995 A Mounted Cavalier Private collection, Middlesex Thence by descent.

Black chalk, with stumping An attribution to François-Joseph Casanova (1727-1802) 1 1 470 x 389 mm., 18 /2 x 15 /4 in. has been suggested. A similar subject appears in Casanova’s painting of a Polish Cavalier, on the art market in Paris in Provenance 1991 (L’Oeil, March 1991, p.46, fig.13). Lady Witt, London (according to an inscription on the old mount)

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12 JEAN-BAPTISTE WICAR a successful career as a celebrated painter, art dealer and Lille 1762-1834 Rome collector, as well as a highly respected connoisseur of art and antiquities. A Sculpture of a Draped Woman, after the Antique Wicar’s best-known work of his first lengthy Italian sojourn came in his role as the principal draughtsman for Black chalk the Tableaux, statues, bas-reliefs et camées de la Galerie Signed Wicar del and numbered or dated 17-[cut-off] de Florence et du Palais Pitti. Published in Paris between at the lower right 1789 and 1807, the Galerie de Florence was made up of Inscribed Albâtre, Femme Drapée, and albâtre in the four lavish volumes of engravings based on Wicar’s drawn lower margin copies of painting, sculptures and cameos in the celebrated 7 280 x 125 mm., 11 x 4 /8 in. collections of the Grand Dukes of Tuscany in the Uffizi and the Palazzo Pitti in Florence. The present sheet greatly A painter, draughtsman and printmaker, Jean-Baptiste resembles the refined chalk drawings that Wicar executed Wicar worked for much of his career in Florence, Rome for La Galerie de Florence, both in style and content. and Naples. Known especially for his expertise in Italian The sculpture itself is likely one of Urania, the muse of art, Wicar was charged by Napoleon with selecting works astronomy. The gestures of the figure, one hand upturned to be confiscated and sent to Paris. The last thirty or so holding a sphere and the other pointed down, are closely years of his life were spent in Rome, where he enjoyed aligned with those of traditional depictions of Urania.

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13a AIGNAN-THOMAS DESFRICHES P. & D. Colnaghi, London Orléans 1715-1800 Orléans Private collection, Middlesex Thence by descent. Horsemen in a Landscape with Classical Ruins Aignan-Thomas Desfriches studied in his native Orléans before moving in 1733 to Paris, where he completed his Black chalk, brush and grey ink and grey wash, with artistic training in the studios of first Nicolas Bertin and later extensive scratching-out, on prepared grey-blue Charles-Joseph Natoire. He returned to Orléans at the paper, backed end of the 1730s and worked there for the remainder of Signed and dated Desfriches 1783 at the lower left his career, founding the Ecole de Peinture, de Sculpture 3 3 87 x 145 mm., 3 /8 x 5 /4 in. et d’Architecture d’Orléans in 1786. Active primarily as a landscape painter and draughtsman, Desfriches was Provenance strongly influenced by the Dutch masters of the 17th An 18th century Parisian dealer’s label reading ‘Au Marechal century. He first visited the Netherlands in 1753, and began de Logis / Porte Royale du Louvre / Vallée / vend et achette collecting Dutch paintings and drawings soon afterwards, toutes sortes d’Estampes / Anciennes et modernes, et tient buying many works on a second trip in 1766. By 1778 the un assor- / tîment général de ce qui concerne son état. / A inventory of his collection listed a total of 114 paintings and Paria=’ on the reverse of the old backing board sculptures and between two and three hundred drawings. Anonymous sale, London, Sotheby’s, 14 April 1999, part A portion of his collection was given by his widow to the of lot 119 Musée des Beaux-Arts in Orléans in 1824.

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13b artist is a vast panorama of the city of Orléans itself, now in AIGNAN-THOMAS DESFRICHES the collection of the Musée des Beaux-Arts there. Orléans 1715-1800 Orléans This and the previous sheet are fine examples of a Washerwomen by a Lake, a Mill in the Background particular type of drawing adopted by Desfriches in the latter part of his career. Using a coated grey-blue paper he had invented, known as a papier à tablettes, the artist Black chalk, brush and grey ink and grey wash, with produced landscape drawings of marvelous precision and extensive scratching-out, on prepared grey-blue delicacy. These drawings, often mounted on wooden paper, laid down on a late 18th century mount snuffboxes, were regularly presented by him to particular Signed and dated Desfriches 1778 at the lower left friends. 1 3 88 x 147 mm., 3 /2 x 5 /4 in. Another small papier à tablette by Desfriches of the same Provenance house that is depicted on this sheet, seen from a nearly As No.13a. identical viewpoint but with different staffage and dated the following year, was on the art market in Paris in 1925. As a draughtsman, Aignan-Thomas Desfriches produced Another, very similar view by Desfriches, dated 1782, charming landscapes of the countryside around Orléans was part of the superb collection of 18th century French and the valley of the river Loire and its tributaries, peopled drawings assembled by Marius Paulme in the late 19th by acutely observed peasants and travellers. Prominent century and dispersed at auction in 1929. among a large number of topographical drawings by the

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14 BALTHASAR ANTON DUNKER The German landscape painter and etcher Balthasar Anton Saal 1746-1807 Bern Dunker studied in Paris with Jacob Phillip Hackert, Joseph- Marie Vien and Noël Hallé, and was also much influenced The Corner of a Terrace, with Flower Pots, Garden Tools by the German printmaker Johann Georg Wille. Dunker began his career as a reproductive etcher, and his etchings and a Straw Hat after the paintings in the collection of the Duc de Choiseul, executed between 1770 and 1771, may be regarded Pencil as his first significant works. From 1773, he lived and Signed Dunker ad nat: at the lower left worked in Bern, producing views of Swiss landscapes, Laid down on an old mount, which is in turn pasted as well as genre pictures, portraits and historical subjects. onto a mount or album page of grey paper Dunker was perhaps best-known as a printmaker, and also The album page numbered 75 [crossed out] and 77 produced vignettes and book illustrations for such works 3 7 as Louis-Sébastien Mercier’s Tableau de Paris. He wrote a 199 x 176 mm., 7 /4 x 6 /8 in. number of satirical texts, often illustrated by the artist and Provenance published anonymously. An outspoken opponent of the The Princes zu Oettingen-Wallerstein, Maihingen and French Revolution, Dunker published a number of anti- Harburg. revolutionary texts, and also drew political caricatures. He died in poverty in Bern in 1807.

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15 CHIPART and he remains a mysterious figure today. He seems to Paris 1774-c.1825 Copenhagen(?) have worked outside France for most of his career, and was active for several years as a scenographer, costume Fishermen by the Ruins of an Aqueduct, possibly the designer and painter of theatrical scenery at the Royal Danish Theatre in Copenhagen, between c.1794 and Aqua Anio Vetus c.1825. Three gouache landscape drawings by Chipart, one of which is dated 1801, are today in the Statens Gouache Museum for Kunst in Copenhagen, while a Landscape with Laid down on an old mount Ruins is in the Nasjonalmuseet in Oslo. Inscribed Chipard. del. Copenhague. at the lower left of the mount Although it is impossible to determine the exact location 3 484 x 376 mm.,19 x 14 /4 in. of the ruins depicted in the present sheet, it is likely to be the Anio Vetus aqueduct, built between 272 and 269 BC, Provenance which lies on the road to Tivoli. A stylistically comparable Benjamin Wolff, Engelholm, Denmark (Lugt 420) gouache landscape by Chipart, depicting the cascade in the Thence by descent. vaults of the Villa of Maecanas at Tivoli, is also with Stephen Ongpin Fine Art. The existence of two large views of sites Born in Paris in 1774, very little is known about the life in or near Tivoli by Chipart would suggest that the artist and work of French artist Chipart, including his first name, may have visited the area during his travels.

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16a THOMAS ROWLANDSON Racing is recorded at York from Roman times but was well London 1756-1827 London established at Clifton before moving to its current location on the Knavesmire in 1731. The first Grandstand, as depicted Horseracing on the Knavesmire, York here, was built by the York architect John Carr in 1754 and race days regularly attracted crowds of over 100,000. Inscribed in another hand lower left: Nottingham There are other views of the Knavesmire by Rowlandson Pen and grey ink and watercolour taken from the centre of the course showing the new 1 118 x 177 mm., 4 /2 x 7 in. grandstand with windmills on the hill behind it. Two drawings are in the Yale Center for British Art, New Haven, with Provenance: a more finished watercolour in York Art Gallery. It is also With Spink, London (K3 9390) depicted in an 1813 engraving after Rowlandson entitled `Dr Syntax loses his Money on the Race Ground at York.’

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16b THOMAS ROWLANDSON Rowlandson drew a number of watercolours of the English London 1756-1827 London cavalry being reviewed or inspected often by member of the Royal Family. `Review of the Light Horse Volunteers on A Cavalry Review Wimbledon Common’ dated 1798 is recorded in an English Private Collection (see John Hayes, The Art Of Thomas Rowlandson, exhibition catalogue 1990, p.166-7, no.69, ill.) Pen and grey ink and watercolour over pencil and a large watercolour `The English Review’ is in the Royal 1 3 165 x 223 mm., 6 /2 x 8 /4 in. Collection, Windsor Castle (op. cit., ill. fig. 69a, p.166).

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17 GEORGE KEATE Keate was a poet, writer and amateur artist. After time Trowbridge, Wiltshire 1729-1797 London in Geneva, where he befriended Voltaire, and Rome, he settled in London where he trained as a lawyer but never The Customs House, Margate practised. Keate exhibited a Margate view at the Royal Academy in 1772 and published engravings of Margate in 1779 in `Sketches from Nature; taken, and coloured, in a Watercolour over traces of pencil heightened with Journey to Margate’. His daughter Georgiana married John touches of bodycolour on laid paper Henderson, the early patron of Girtin and Turner. 180 x 255 mm., 7 x 10 in.

Provenance: With J.S. Maas & Co, London, 1961

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18 JOHN NIXON Sir James Mansfield (1734-1821) studied at the Middle 1755-1818 Ryde, Isle of Wight Temple from 1755 and was called to the bar in 1758. He was MP for Cambridge University from 1779 to 1784 and Portrait of Sir James Mansfield, SL, KC Solicitor General from 1780. As Chief Justice, he presided over the trial of John Bellingham in 1812 who was accused of the assassination of the Prime Minister Spencer Percival Signed lower right: JN/1810/common/Pleas./Sir James (1762-1812), the only Prime Minster to have been killed Mansfield while in office. He was shot in the lobby of the House of Pen and grey ink and watercolour Commons. Bellingham was found guilty and hanged. 1 186 x 129 mm., 7 /4 x 5 in.

Provenance: The French Hospital of La Providence, Rochester

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19 MOSES GRIFFITH The cromlech at Plas Newydd, the home of the Caernarvon 1749-1819 Anglesey Marquesses of Anglesey, sits on the lawn not far from the house. A cromlech is a Neolithic burial tomb. The Cromlech at Plas Newydd, Anglesey Moses Griffith was born at Trygain House in Lleyn, Caernarvonshire of poor parents. In 1769 he was employed Inscribed verso: cromleh at Plaisnewydd by the naturalist, writer and antiquarian Thomas Pennant Pen and grey ink and watercolour over pencil on laid 1726-1798 of Downing Hall near Whitford, Flintshire, and paper with pen and ink border encouraged to study drawing and engraving. Griffith became 3 178 x 275 mm., 7 x 10 /4 in. Pennant’s constant companion on his tours of the country recording what he saw. After Pennant’s death, he continued Provenance: to work for his son until 1813 and settled at Wibnant near Probably Sir William Forbes, 7th Bt. of Pitsligo; Holyhead, Anglesey and worked as an engraver. By descent in the Forbes family of Pitsligo, Fettercairn House, Kincardineshire, Scotland

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20 EDWARD DAYES This may be one of the watercolours based on sketches London 1763-1804 London by the antiquarian James Moore which were engraved for `Twenty-five Views in the southern Part of Scotland’ St Andrew’s Cathedral, Fife, Scotland published in 1794. Stylistically it dates from this period when Dayes was a particular influence on the young Girtin and Turner. Watercolour over pencil 1 1 163 x 214 mm., 6 /4 x 8 /4 in. St Andrew’s Cathedral was the largest church ever built in Scotland. During the Reformation the interior was Provenance: ransacked by followers of John Knox in 1559 and the Mrs L.M. Rivett-Carnac; church fell into ruin afterwards. L.G. Duke (no. D3283); With the Ruskin Gallery, Stratford-upon-Avon; Dr J.F. Wallace and Mrs M.E. Wallace, Alcester, Warwickshire

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21a ANTHONY DEVIS Exhibited: Preston 1729-1817 Albury, Surrey On loan to the Ashmolean Museum, Oxford, 1997 to 2018

View at Albury with the Artist’s Sketching House on the Devis lived at Albury House near Guildford from 1780 until his death in 1817 and he drew extensively in the grounds Hill, Surrey of the house.

Pen and grey ink and watercolour with original pen Devis built a mushroom-shaped painting studio on top of and ink border the hill at Albury which was known as Mushroom Hall. 3 151 x 225 mm., 6 x 8 /4 in.

Provenance: With Spink & Son, London, where bought by Bill and Joan Beale; By descent until 2018

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21b ANTHONY DEVIS Preston 1729-1817 Albury, Surrey

Albury House, Surrey

Pen and grey ink and watercolour with original pen and ink border 1 1 143 x 214 mm., 5 /2 x 8 /4 in.

Provenance: With Spink & Son, London, where bought by Bill and Joan Beale; By descent until 2018

Exhibited: On loan to the Ashmolean Museum, Oxford, 1997 to 2018

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22a SAMUEL HOWITT Howitt was born into a wealthy Quaker family in Chigwell, Nottinghamshire 1756-1822 London Essex and originally took up drawing as a hobby. He befriended the artists Rowlandson and George Morland Deer in a Wooded Landscape and his style is much influenced by the former, whose sister he married in 1779. He rapidly dissipated his fortune however and took up drawing professionally, specialising Watercolour over pencil on laid paper in scenes of hunting and other countryside pursuits. He is 1 168 x 229 mm., 6 /2 x 9 in. probably best known for his illustrations for Williamson’s Oriental Field Sports published in 1808.

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22b SAMUEL HOWITT Provenance: Nottinghamshire 1756-1822 London Simon Morrison; Penelope Dewhurst Thomas; Hare Coursing With Leger Galleries, London

Another watercolour of the same subject was in the Pen and grey ink and watercolour on laid paper collection of L. G. Duke and was engraved by S. Alken. 230 x 309 mm., 9 x 12 in.

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23a WILLIAM PAYNE Provenance: London 1760-1830 London Probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland, who in 1810 married Figures by the Sea, a Castle beyond James Murray, 1st Lord Glenlyon (1782-1837); Probably by descent to their son George, 6th Duke of Atholl (1814-1864); Signed verso: W. Payne By descent at Blair Castle, Blair Atholl, Scotland Watercolour over traces of pencil 1 1 Oval 142 x 184 mm., 5 /2 x 7 /4 in. The 1st Duke of Northumberland bought the estate of Werrington, near Launceston, Devon, which would explain his patronage of the Devon artist William Payne.

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23b WILLIAM PAYNE Provenance: London 1760-1830 London Probably inherited by Lady Emily Frances Percy, daughter of the 2nd Duke of Northumberland, who in 1810 married Pentillie Castle from the river Tamar, Devon James Murray, 1st Lord Glenlyon (1782-1837); Probably by descent to their son George, 6th Duke of Atholl (1814-1864); Signed with initials verso: Pentilly Castle W.P. By descent at Blair Castle, Blair Atholl, Scotland Watercolour over traces of pencil 1 1 Oval 144 x 187 mm., 5 /2 x 7 /4 in. Pentillie Castle stands on the banks of the river Tamar near St Mellion, Cornwall.

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24a NICOLAS HUET THE YOUNGER Among his most significant works were a series of elaborate Paris c.1770-1828 Paris drawings on vellum – studies of mammals, reptiles, birds, insects and sea life – for the Muséum d’Histoire Naturelle, A Striated Monkey on a Branch published in 1808. The striated monkey is native to South America. As an Pen and brown ink and watercolour, on vellum laid early 19th century description noted, ‘This animal is no down on board larger than a Squirrel. Its tail is long, thickly covered with Signed and dated Hüet. 1813. at the lower left fur, and beautifully marked, through its whole length, with Inscribed Ouistiti, Jacchus vulgaris. G. ST. H. at the alternate rings of black and white. The body is of a reddish lower right centre ash-colour, slightly undulated with dusky shades. The face is 1 5 463 x 347 mm., 18 /4 x 13 /8 in. flesh-coloured, and has on each side a large and thick tuft of milk-white hair, standing out before the ears. The paws, which A gifted watercolourist and engraver, Nicolas Huet earned are covered with hair, have sharp nails.’ a particular reputation as a natural history draughtsman.

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24b NICOLAS HUET THE YOUNGER Nicolas Huet made numerous elaborate and highly finished Paris c.1770-1828 Paris watercolour drawings of animals, usually on vellum, for private collectors. Writing at the end of the 19th century, A Common Squirrel Monkey on a Branch, Eating a Fruit one art historian noted of Huet that ‘The works on vellum by Nicolas Huet…[have] the gift of life; his animals, his birds, always have their familiar attitude, with which they are Pen and brown ink and watercolour, over an characterized: they live.’ underdrawing in black chalk, on vellum laid down on board The common or South American squirrel monkey (Saimiri Signed and dated Hüet. 1813. at the lower left sciureus) is a small monkey found mainly in the countries Inscribed Saimiri, Callithrix sciureus. G. ST. H. at the of the Amazon basin, notably Brazil, Ecuador, Colombia, bottom Guyana, Peru, Surinam and Venezuela. 1 5 463 x 347 mm., 18 /4 x 13 /8 in. [sheet]

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25a 25b JOHN WHITE ABBOTT JOHN WHITE ABBOTT Exeter 1763-1851 Exeter Exeter 1763-1851 Exeter

Study of Trees at Canonteign, Devon Trees at Fordland, Devon

Inscribed verso: Canonteign July 24. 1809 Inscribed lower left: Fordland/Sept.r 28. 1844 Pen and grey and brown ink and grey washes Pen and grey ink and wash 1 3 3 1 268 x 379 mm., 10 /2 x 14 /4 in. 378 x 263 mm., 14 /4 x 10 /4 in.

Provenance: Fordland was the estate of James White (1745-1825), White With Thos. Agnew & Sons, London; Abbott’s uncle and a close friend of Francis Towne. White With Heather Newman, where bought by the present Abbott inherited the estate on his uncle’s death in 1825. owner, 8th November 1996

Sir Edward Pellew, later Viscount Exmouth (1757-1833) bought the estate of Canonteign in the Teign valley, eight miles south-west of Exeter, from the Helyar family in the 1790s. White Abbott and his fellow artist Francis Towne were frequent visitors to its secluded woodland.

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26 ALBERTUS BRONDGEEST collections of his day. He began working as an art dealer, Amsterdam 1786-1849 Amsterdam broker and auctioneer, while continuing to paint and draw in his spare time. Each summer until around 1828 Studies of a Plow, Baskets and Agricultural Implements Brondgeest made drawings from nature on sketching trips lasting several weeks, visiting Germany, Belgium, France and England. A leading figure in the Amsterdam art market Black chalk, brown ink and brown wash in the middle of the 19th century, Brondgeest was also a Numbered 55(?) at the upper left noted art collector. As Robert-Jan te Rijdt has written, ‘As Further inscribed DB and numbered 45 on the verso. an artist, Albertus Brondgeest is today an all but forgotten 7 3 303 x 455 mm., 11 /8 x 17 /4 in. figure. And yet...some of his subtly wrought landscape drawings are of exceptional quality...Impeccable taste, a Provenance discerning reticence, and a particularly fine technique formed By descent to D. P. Brondgeest (Lugt 4331) the basis of his drawing style. Like almost all the draughtsmen Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) of his generation, he never seems to have attempted large, Thence by descent until 2015 stirring, or exceptionally ambitious drawings, but instead Van Regteren Altena sale, Amsterdam, Christie’s, 13 May consistently strived for a certain ‘decorum’ in his work.’ 2015, lot 64. The collector’s mark ‘D. P. Brondgeest’ that appears on Born into a wealthy family, Albertus Brondgeest made an the verso of this sheet would suggest that the drawing was intensive study of the work of 17th century Dutch artists – inherited by a descendant of the artist. Nothing further is primarily drawings – that could be seen in the Amsterdam known of D. P. Brondgeest, however.

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27 EDWARD VILLIERS RIPPINGILLE Rippingille moved to Bristol as a young man where he King’s Lynn 1790-1859 Staffordshire became associated with other Bristol School artists and especially Francis Danby and Edward Bird. He left Bristol Portrait of a Postman at Penshurst, Kent in 1830 and travelled to France and Germany before settling in London and exhibiting at the Royal Academy and elsewhere. His fellow artist George Cumberland With inscription by F.R. Lee: Penshurst Kent/An old described him as follows: `he is a sour tempered and Postman, who is said to have walked round/the world unpolished being with little religion and little regard for in the course of his daily duties./ I think it is a beautiful anyone. He keeps no friends and his politics are radical in portrait of a/beautiful old face./by Rippingille R.A. the extreme, but he dont [sic] want for talent in painting’ Watercolour heightened with bodycolour and gum (quoted in Francis Greenacre, The Bristol School of Artists, arabic exhibition catalogue, 1973, p.121). 202 x 179 mm., 8 x 7 in. This fine watercolour belonged to the landscape artist Provenance: Frederick Richard Lee. Frederick Richard Lee, R.A. (1798-1879)

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28 SAMUEL OWEN 1768-1857

Shipping off a Pier in rough Seas

Signed lower centre: S. Owen Watercolour over pencil heightened with touches of bodycolour 1 169 x 131 mm., 6 /2 x 5 in.

Little is known of Owen’s life before he exhibited a marine view at the Royal Academy in 1791. He specialised in small scale marine and coastal views.

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29 PAUL SANDBY MUNN Munn was the son of a minor landscape painter James Greenwich 1773-1845 Margate Munn and Paul Sandby R.A. was said to be his godfather. He visited Wales with his friend John Sell Cotman in 1802 Bala Lake with Cader Idris in the distance, Wales and his early work shows Cotman’s influence. He went to Yorkshire with Cotman in 1803 and was one of the founding members of the Watercolour Society in 1805. Signed lower right and dated 1833 Watercolour over pencil heightened with touches of This is a view from the town of Bala looking south-west bodycolour down Bala Lake or Llyn Tegid towards Cader Idris. 1 1 112 x 209 mm., 4 /4 x 8 /4 in.

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30 31a PAUL SANDBY MUNN PAUL SANDBY MUNN Greenwich 1773-1845 Margate Greenwich 1773-1845 Margate

Barmouth Estuary and Cader Idris, Wales A Bridge between Netherby and Langholme. Dumfries- shire, Scotland Inscribed lower right: Near Barmouth 1815 Watercolour over pencil Signed lower left: P.S. Munn/Between Netherby/& 1 150 x 294 mm., 6 x 11 /2 in. Langholme July 31. 1804 Pencil 3 This is a view taken from north-east of the town of 158 x 349 mm., 6 x 13 /4 in. Barmouth looking south-east across the estuary of the river Mawddach to Cader Idris. This may show Skipper’s Bridge on the river Esk south of Langholme. It dates from his tour in the summer of 1804 to Yorkshire, Scotland and the Lake District. The British Museum has a view of Kippax, Yorkshire dated 5th July and two Lake District views dated 18th and 20th August.

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31b PAUL SANDBY MUNN The British Museum has a view of Ambleside in the Lake Greenwich 1773-1845 Margate District also dated 1809.

Patterdale, Lake District

Signed lower left: P.S. Munn and inscribed lower right: Patterdale. 1809. Pencil 1 191 x 360 mm., 7 /2 x 14 in.

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32 DAVID COX In 1827 Cox returned to London from Hereford where he Birmingham 1783-1859 Birmingham remained until 1835. In the early 1830s, Cox began to visit the north of England for the first time with recorded visits to A Windmill in an Extensive Landscape Haddon, Hardwick, Bolsover, Bolton Abbey and Lancaster. In the summer of 1831, the date of the present work, Cox visited Haddon Hall in Derbyshire, with his son David Cox Signed lower centre: D. COX/1831 Junior (see no.45) and made a series of drawings of the Watercolour over pencil heightened with bodycolour house while staying at the Peacock Inn at Rowsley. 1 139 x 205 mm., 5 /2 x 8 in.

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33 DAVID COX Birmingham 1783-1859 Birmingham

Travellers by a Country Cottage

Watercolour over traces of pencil heightened with touches of bodycolour 1 214 x 335 mm., 8 /4 x 13 in.

Stylistically this watercolour dates from 1815-20.

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34a ROBERT HILLS Hills first exhibited at the Royal Academy in 1791 and was Islington 1769-1844 London a founding member of the Watercolour Society in 1805. He exhibited almost six hundred pictures there during A Forest Scene with Deer his lifetime with animals and farmyard scenes being his favourite subjects. Grey washes heightened with white on buff paper 3 1 252 x 218 mm., 9 /4 x 8 /2 in.

Provenance: Mrs S.H. Robinson, her sale, Sotheby’s, 22nd November 1961; Derek Lockett, Clonterbrook House, Cheshire; Private Collection

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34b ROBERT HILLS Islington 1769-1844 London

Study of an Apple Tree

Inscribed in artist’s shorthand lower left and inscribed verso: Apple Tree near Cumberbank/Moss.....very scanty Watercolour over pencil 1 1 214 x 187 mm., 8 /4 x 7 /4 in.

Provenance: Sir John Clermont Witt (1907-1982); By descent until 2017

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35 ROBERT HILLS Exhibited: Islington 1769-1844 London London, Thos. Agnew & Sons, 97th Exhibition of Watercolours, 2nd edition, 2nd to 20th February 1970, no.93; Stags in Knole Park, Kent London, Thos. Agnew & Sons, 104th Exhibition of Watercolours, 17th January to 18th February 1977, no.88

Signed lower right: R. Hills 1839 Hills exhibited `Beech in Knowle Park, with Fallow Deer’ Watercolour over traces of pencil at the Society of Painters in Water-colours in 1839, no.307. 3 1 379 x 499 mm., 14 /4 x 19 /2 in.

Provenance: The Artist’s Executor, John Garle, F.S.A.; By descent to Mrs Lavinia Garle; With Thos. Agnew & Sons, 1970; With Thos. Agnew & Sons, 1977

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36 NEWTON SMITH LIMBIRD FIELDING London 1799-1856 Paris

Roe Deer near Loch Rannoch, Scotland

Signed lower left : Newton Fielding and again verso: Roe Deer nr Loch Rannoch/N. Fielding 1846 Watercolour over pencil heightened with bodycolour and gum arabic 3 1 348 x 499 mm., 13 /4 x 19 /2 in.

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

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37 SÉBASTIEN CORNU for seven years. After his return to France, he became Lyon 1804-1870 Longport-sur-Orges known as a painter of religious works, both as easel pictures and in the form of large-scale decorations for churches. Portrait of a Young Boy Seated in a Chair Cornu worked in several Parisian churches between 1850 and 1870, including Saint-Merri, Saint-Louis-d’Antin and Saint-Séverin. He exhibited regularly at the Salons in Pencil Paris and Lyon, where he showed portraits, historical and Signed and dated SM Cornu / Paris, avril 1839 at the literary subjects, and genre and Orientalist scenes. lower left Inscribed cet enfant represente le petit fils de / An inscription on the reverse of the frame identifies the Elisabeth Duplay et de (Philippe Lebas) / (Deputé a la present sheet as a portrait of Leon Grujon Le Bas (1834- convention) / Philippe Lebas ami de Robespierre on the 1907) at the age of five. The son of the scholar and reverse of the frame archaeologist Philippe Le Bas and the grandson of the 7 5 French revolutionary Philippe-François-Joseph Le Bas and 328 x 245 mm., 12 /8 x 9 /8 in. [sheet] his wife Elisabeth Duplay, the daughter of Robespierre’s landlord in Paris, Leon Le Bas became the director of the A pupil of Fleury-Richard in Lyon in 1820, Sébastian- Salpêtrière hospital in Paris. Melchior Cornu later studied with Jean-Auguste Dominique Ingres in Paris. By 1828 he was in Italy, remaining in Rome

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38 HENRI LEHMANN as a painter of historical and religious subjects, portraits Kiel 1814-1882 Paris and genre scenes. During the Second Empire Lehmann painted a number of significant public decorative schemes in Paris, notably for the Hôtel de Ville, the Palais de Study of a Standing Draped Man Luxembourg and the Palais de Justice. He was also in great demand as a fashionable portrait painter and draughtsman, Black chalk and brown wash and exhibited his work at the Salons until 1877. Appointed Dated sept 43(?) at the lower left a professor at the École des Beaux-Arts in 1875, Lehmann 7 1 225 x 109 mm., 8 /8 x 4 /4 in. devoted much of the last years of his career to teaching, and among his students was Georges Seurat. The German painter Henri Lehmann settled in Paris in 1831, and the following year entered the studio of Jean- This drawing may be a first idea for one of the standing Auguste Dominique Ingres, becoming one the master’s figures at the extreme right edge of Lehmann’s large favourite pupils and assistants. He earned a number of painting of The Baptism of Christ in the Parisian church of important official commissions, establishing a reputation Saint-Merri, executed between 1842 and 1844.

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39 CARL LUDVIG MESSMANN Ferdinand Messmann. He studied at the Royal Danish Copenhagen 1826-1893 Gothenburg Academy of Fine Arts (the Kunstakadamiet) in Copenhagen between 1840 and 1844, and between 1850 and 1859 A Farm at Nærum near Søllerød, with Nærumgaard in exhibited landscape paintings and pencil drawings, several of which were purchased by King Frederik VII. In 1860 the Distance Messmann moved to Gothenburg in Sweden, where he became as well known for his views of the city as he had Pencil and watercolour, with framing lines in brown been for his earlier depictions of Copenhagen. He illustrated ink a series of views of Gothenburg and its surroundings for Signed L. Messmann at the lower right Viktor Rydberg’s Göteborg med dess omgifningar, published Indistinctly inscribed by the artist Tegnet d. 30 der. Mai in twelve volumes between 1859 and 1862. 1844 / om Formiddagen / den forn ? at the lower left Further inscribed or signed L. Messman. f. 1844 on the The present sheet, inscribed as having been drawn on the old mount, and Tegend af L. Messmann on the verso morning of the 30th of May 1844, was drawn towards 1 1 the end of Messman’s studies at the Kunstakadamiet in 160 x 210 mm., 6 /4 x 8 /4 in. Copenhagen. The district of Nærum, in the northern outskirts of Copenhagen, is dominated by the country Provenance estate of Nærumgaard (or Nærumgård), seen in the right Benjamin Wolff, Engelholm, Denmark (Lugt 420) background of this watercolour. Built in the late 18th century, Thence by descent. the house was converted into an orphanage in 1888, and the surrounding land sold to the municipality in 1906. Relatively little is known of the Danish landscape draughtsman, lithographer and painter Carl Ludvig

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40 PETER DE WINT Stone 1784-1849 London

Haymakers in a Country Landscape

Pen and brown ink, with figure drawings verso 3 124 x 203 mm., 4 /4 x 8 in.

This is a typical pen and ink drawing by de Wint. He often drew on scraps of paper or the back of letters or envelopes.

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41a GEORGE FREDERIC WATTS, O.M., R.A. large-scale mural decorations, notably for the Palace of London 1817-1904 Compton Westminster and the Great Hall of Lincoln’s Inn in London. The 1860s found the artist also working as a portrait View of a Mountain Range painter, for which he achieved considerable fame. In 1867, at the age of fifty, Watts was elected to the Royal Academy by the acclamation of his peers, being named an Associate Watercolour and gouache on blue-grey paper, laid and achieving full membership within the same year, most down unusually. He exhibited at the Royal Academy throughout 3 3 70 x 138 mm., 2 /4 x 5 /8 in. [sheet] the next decade, showing both important easel pictures and portraits. One of the most famous artists of his day, George Frederic Watts travelled to Italy in 1843 and spent the next four The present sheet may depict the mountains near Carrara years living and working in Florence, also visiting Perugia, in Tuscany. Watts is known to have made watercolours of Milan, Rome and Naples. Back in London in 1847, Watts the view of the mountains from the top of the Leaning enjoyed considerable commercial success, aided by his Tower of Pisa, during his four-year stay in Italy in the early association with a large circle of eminent and influential part of his career. society patrons. In the 1850s he began working on

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41b GEORGE FREDERIC WATTS, O.M., R.A. Kensington to which he soon added a gallery displaying his London 1817-1904 Compton work, which was open to the public on weekends. Watts painted over eight hundred canvases, as well as numerous Vesuvius drawings and some significant works of sculpture. The four years that Watts spent in Italy in the 1840s were Watercolour and gouache on blue-grey paper, laid crucial to his artistic development. As Barbara Bryant has down noted of this period, ‘Landscape painting first engaged Inscribed Naples in pencil on the verso Watts during this time in Italy and it continued to feature 7 3 72 x 145 mm., 2 /8 x 5 /4 in. [sheet] in his work ever after…Travel often prompted him to turn to landscape; one visitor to his studio observed that he ‘filled In 1881 the Grosvenor Gallery mounted a retrospective his portfolios with precious memories of foreign lands’…For exhibition of over two hundred paintings by Watts, painted Watts such landscape studies provided the raw materials for over a career of some forty years; the first time that any his imagination.’ living artist had been honoured in this way. By this time a senior figure in the Victorian art world, Watts had moved into Little Holland House, a large home and studio in

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42 JOHN VARLEY Exhibited: Hackney 1778-1842 London London, Spink’s, The Old Watercolour Society and its Founder Members 1804-1812, 13th November to 1st a. A Tree by a Country Track December, 1973 This dates from 1810 to 1815 when Varley was particularly Signed lower right: J. Varley preoccupied with drawing country cottages. For a similar Watercolour over pencil heightened with gum arabic work, see C.M. Kauffmann, John Varley, 1984, pp. 128- 1 232 x 289 mm., 9 x 11 /4 in. 129, no.30, ill.

This dates from the 1830s. c. Landscape with Trees b. Study of a Cottage Inscribed verso: John Varley Grey washes on two sheets of joined paper With colour sketches verso With sketches of heads verso 1 Watercolour over pencil 108 x 243 mm., 4 x 9 /2 in. 3 177 x 197 mm., 7 x 7 /4 in. This rapid sketch is likely to be a late work. Provenance: With Spink’s, 1973

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43a JAMES STARK landscape artist John Crome for three years from 1811. Norwich 1794-1859 London In 1814 he moved to London and exhibited at the Royal Academy, Norwich Society of Artists and British Institution. Ill health forced him to return to Norwich where he The Old Workhouse, Steyning, West Sussex painted a series of views of Norfolk rivers but he returned to London in 1830 living in Chelsea and then Windsor. Inscribed lower left: Old Union Steyning July 57 Watercolour over pencil This shows the old workhouse on Mouse Lane, Steyning. 3 249 x 359 mm., 9 /4 x 14 in. The building still exists as privately owned cottages. This watercolour shows the roof partly thatched and partly tiled Provenance: (Stark’s inscription `Chaume’ is another word for `thatch’) Private Collection, Norfolk whereas a photo of the early 1900s shows it all tiled, as it is still today. Steyning is five miles north-west of Shoreham Born in Norwich, Stark became friendly with John Berney in West Sussex. Crome at school and was apprenticed to his father the

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43b JAMES STARK Norwich 1794-1859 London

Fuller’s Hole, St Martin at Oak, Norwich

Watercolour over pencil 1 1 261 x 362 mm., 10 /4 x 14 /4 in.

Fuller’s Hole was the popular name for the house of Alderman Fuller, Mayor of Norwich. Fuller’s Hole stood on the banks of the river Wensum next to Wensum Park. It was knocked down in the 1930s.

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44a FRENCH SCHOOL mid 19th century

Boats on the Bosphorus, Constantinople

Watercolour over pencil heightened with bodycolour 254 x 357 mm., 10 x 14 in.

This is a view taken on the river Bosphorus which divides Europe from Asia and leads from modern day Istanbul to the Black Sea.

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44b FRENCH SCHOOL mid 19th century

The Topkapi Palace and the Bosphorus from Galata, Constantinople

Watercolour over pencil heightened with bodycolour 254 x 356 mm., 10 x 14 in.

This is a view looking south from the Galata area (now known as Karakoy) taken from near the Arap Mosque with the Yeralti Mosque visible below. In the distance on the Asia side of the Bosphorus are the Selimiye Barracks, with the Topkapi Palace visible on the hill to the right.

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45 DAVID COX JUNIOR Cox Junior was taught by his father and as a young man Dulwich 1809-1885 Streatham accompanied him to the Continent in 1826. He first exhibited at the Royal Academy in 1827 and took over his Distant View of Windsor Castle father’s successful teaching practice in 1841. Inevitably his work is close stylistically to his father and their works are sometimes confused. The present watercolour dates from Watercolour over pencil heightened with bodycolour the 1830s. on wove paper watermarked: .....KENT 1 1 184 x 266 mm., 7 /4 x 10 /2 in. This is a view of Windsor Castle from the north with Eton College Chapel visible to the left. Provenance: Palser Gallery, London

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46 EDWARD WILLIAM COOKE, R.A. London 1811-1880 Groombridge, Kent

View from the Artist’s Study Window, Barnes, Surrey

Signed with initials and inscribed lower left: From my Study Window. EWC. Barnes. 1832 Pencil, with ruled border 1 113 x 205 mm., 4 /4 x 8 in.

Provenance: Frederick Richard Lee, R.A. (1799-1879)

The artist lived on Barnes Terrace, Barnes and this view is looking across the river Thames to Chiswick.

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47 GEORGE ARTHUR FRIPP, R.W.S. Bristol 1813-1896) London

A Cottage in a Windswept Landscape

Signed lower right: George A. Fripp/1866 Watercolour over pencil heightened with bodycolour, scratching out and stopping out 3 310 x 500 mm., 12 x 19 /4 in.

Fripp was a Bristol artist, the grandson of the marine artist Nicholas Pocock. He was taught to draw by the Bristol artists James Baker Pyne and Samuel Jackson. This is likely to be a Scottish view.

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48 JAMES DUFFIELD HARDING Deptford 1797-1863 Barnes

The Falls of the Tummel, Perthshire, Scotland

Watercolour over pencil heightened with bodycolour 1 360 x 516 mm., 14 x 20 /4 in.

Exhibited: Probably London, Society of Painters in Water-colours, 1841, no.121

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49 JOHANN HERMANN KRETZSCHMER Kretzschmer studied at the Art Academy in Dusseldorf Anklam, Germany 1811-1890 Berlin, Germany between 1831 and 1837. In 1838 he visited Rome and in 1840-41 he travelled to Sicily, Greece and Egypt. The Portrait of an Egyptian Warrior in the Desert present work is likely to date from this trip which was partly funded by painting portraits of local dignitaries including the Ottoman sultan Abdulmecid I. Signed lower right: JH Kretzschmer Watercolour over pencil heightened with bodycolour 1 3 362 x 277 mm., 14 /4 x 10 /4 in.

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50 JOHN FREDERICK LEWIS, R.A. This dates from Lewis’s two year stay in Italy in the late London 1804-1876 Walton-on-Thames 1830s. It is one of several studies he made of Italian musicians or pifferari as they were known, one of which An Italian Strolling Musician was exhibited at the Royal Scottish Academy in 1854 (no.520). Pifferari often played at shrines or religious buildings in Southern Italy but it is not known where the Watercolour over pencil heightened with bodycolour present drawing was made. A piffero was an oboe-like 3 1 427 x 287 mm., 16 /4 x 11 /4 in. instrument – here two pifferi are attached to a goat skin bag and played like a bagpipe. Provenance: Anonymous sale, Sotheby’s, 12th July 1984, lot 163

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51b THOMAS HARTLEY CROMEK London 1809-1873 Wakefield

The Cappella Maggiore, Santa Croce Church, Florence

51a Signed lower left: T.H. Cromek f. 1838 THOMAS HARTLEY CROMEK Watercolour over traces of pencil heightened with London 1809-1873 Wakefield bodycolour and gum arabic 1 493 x 303 mm., 19 /4 x 12 in. The Steps and Terrace at the Villa Torlonia, Frascati, Italy Cromek was born in London, the son of engraver, and was apprenticed to a portrait painter in Wakefield, Yorkshire. He soon became a landscape painter and lived and worked Signed lower left: T.H. CROMEK f on the continent, and mainly in Rome, from 1831 to 1849. Watercolour over pencil heightened with bodycolour He built up a successful teaching practice there until 1849 1 281 x 417 mm., 11 x 16 /4 in. when he was forced home by Garibaldi’s threatened attack on Rome. Villa Torlonia was originally built in the sixteenth century and its name dates from the nineteenth century when it The Cappella Maggiore is the central chapel of Santa was bought by Prince Torlonia. The villa was destroyed Croce and was decorated by Agnolo Gaddi with frescoes when Frascati was bombed on 8th December 1943 but telling the story of the Legend of the True Cross dating the gardens are now a public park. from circa 1380.

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52a EDWARD LEAR Lear left England on 10th July 1837 to make the long Highgate 1812-1888 London journey to Rome where he remained for ten years. He passed through Luxembourg, Germany and Switzerland Figures by a Fishing Boat on the Italian Lakes before spending September and October in the Italian Lakes, reaching Florence in November and Rome in early December. Signed lower left: Edward Lear del and inscribed lower right: Oct. 1837/53. W This depicts a typical fishing boat of the Italian Lakes Black chalk heightened with white on buff paper with wooden struts covered by blankets to protect the 1 168 x 255 mm., 6 /2 x 10 in. occupants from the sun or rain.

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52b EDWARD LEAR Highgate 1812-1888 London

A Castle by the Sea, Italy

Inscribed lower right: 59. W. Black chalk on grey paper 1 167 x 255 mm., 5 /2 x 10 in.

This dates from the mid1840s and may be an unused drawing for Lear’s `Illustrated Excursions in Italy’ published in 1846.

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53a EDWARD LEAR Highgate 1812-1888 London

Sunset in a Desert Landscape

Pencil heightened with white on buff paper 3 1 71 x 159 mm., 2 /4 x 6 /4 in.

Provenance: With Martyn Gregory, London

These are both studio works dating from his time in Rome.

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53b EDWARD LEAR Highgate 1812-1888 London

Landscape with Trees and Lake

Signed lower left: E Lear del. and dated 1846 lower right Pencil heightened with white on buff paper 3 1 95 x 160 mm., 3 /4 x 6 /4 in.

Provenance: With Martyn Gregory, London

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54 EDWARD LEAR Highgate 1812-1888 London

Girga on the Nile

Signed lower right: Edwd Lear del./Oct 14 1857 and inscribed lower left: Girgeh/On the Nile Pen and brown ink on laid paper stamped with a fleur de lys upper right 1 1 113 x 187 mm., 4 /4 x 7 /4 in.

Lear visited Girga on his second trip to Egypt from December 1853 to March 1854. Girga is a city on the west bank of the Nile south of Sohag. The present drawing is a studio work drawn in London on 14th October 1857 and is likely to have been a present for a friend.

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55 JULES ACHILLE NOËL of the Duke and his wife embarking on a ship at Brest. Quimper 1815-1881 Algiers Three years later, in a review of the Salon of 1846, Charles Beaudelaire noted of a seascape by the artist that ‘M. Jules Landscape with a Duck Hunter Noël has made a very beautiful marine, of a beautiful and clear radiant and cheerful colour.’ In 1847, through the Duc de Nemours, Noël obtained a post as a Professor of Design Watercolour, pen and brown ink and brown wash at the Lycée Henri-IV in Paris. During school vacations he Signed JULES NOËL at the lower left would return to Brittany or Normandy to paint, working 7 7 176 x 250 mm., 6 /8 x 9 /8 in. [sheet] at Brest, Dieppe, Douarnenez, Fécamp, Landerneau, Le Tréport, Morlaix, Quimper, Roscoff and elsewhere. In ill The landscape and maritime painter, as well as a gifted health after his retirement, he settled in Algeria with his watercolourist Jules Noël studied in Brest and Paris, and daughter and son-in-law, and died at Mustafa, near Algiers, worked for much of his career in Brittany and Normandy, in 1881. Paintings by Noël are today in the museums of at first supplementing his income by teaching drawing. Brest, Quimper, Lille, Vannes and Versailles, as well as the He made his Salon debut in Paris in 1840, exhibiting a National Maritime Museum in London. A major exhibition seascape. He eventually attracted the patronage of the of Noël’s work was mounted at the Musée des Beaux-Arts Duc de Nemours, who in 1843 commissioned a painting in Quimper in 2005.

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56 ISIDORE PILS success as a military painter led to further commissions, Paris 1813-1875 Douarnenez including a number of paintings for Napoleon III. He also executed a number of paintings for Parisian churches and A Soldier Pushing a Cannon, and other Studies of took part in the mural decoration of the Opéra. Soldiers Pils made numerous drawings, watercolours and oil sketches in preparation for each of his paintings, and Watercolour, heightened with touches of gouache, particularly for individual figures within the composition. over a pencil underdrawing The present sheet may be an early preparatory study A made-up area near the lower left corner for Pils’s large Crimean War painting of The Passage of Stamped with the atelier stamp I. PILS (Lugt 2030) at the River Alma by the Division of General Bosquet, 20th the lower right September 1854, completed in 1861 and today in the 1 7 240 x 430 mm. (9 /2 x 16 /8 in.) Chateau of Versailles. Pils worked for four years on the massive painting, which measured five metres by nine Provenance metres. Although none of the figures in this watercolour The vente Isidore Pils, Hôtel Drouot [Boussaton], 20 appear precisely in the finished painting, there are certain March-1 April 1876 similarities between the soldiers pushing a cannon in the Yvonne Tan Bunzl, London, in 2003 large canvas and those in the present sheet.

Born into a family of artists, Isidore Pils spent the early part of his career as a painter of religious subjects, although he began to paint military scenes after the Crimean war. His

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57 EUGÈNE CICERI Fontainebleau and the banks of the Seine and Marne rivers Paris 1813-1890 Marlotte – at the Salons from 1851 onwards. Often drawn on a very small scale, his watercolours also included views from Landscape at Quimperlé, Brittany his travels in Switzerland, Germany, England and North Africa. He contributed illustrations to Alexandre Bida’s Souvenirs d’Egypte, published in 1851, and also worked Black chalk on light grey paper as a lithographer, winning a bronze medal in this medium Signed and inscribed Quimperlé / Eug Ciceri at the at the Salon of 1876. In 1882, Ciceri published his Cours lower left d’aquarelle; a practical guide for amateur watercolourists. 3 7 222 x 302 mm., 8 /4 x 11 /8 in. He died in 1890 at Marlotte, a village on the edge of the forest of Fontainebleau, where he had lived since 1849. The son and pupil of the illustrator and décorateur Pierre- Luc-Charles Ciceri, Eugène Ciceri began his career as a Along with Théodore Géricault and Richard Parkes designer of mural paintings, as well as theatre and stage Bonington, Ciceri provided illustrations for several volumes sets. He was mainly active as a landscape painter, however, of Baron Taylor’s monumental series of Voyages pittoresques and in this field was influenced by the work of his uncle et romantiques dans l’ancienne France, published between and teacher, Eugène Isabey. Ciceri exhibited paintings, 1820 and 1875, and in particular for the volume devoted gouaches and watercolour views – usually of the forest of to Brittany, which appeared in 1845.

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58a JOHN CALLOW John Callow exhibited several views of the Channel Islands, Greenwich 1822-1878 Lewisham including one of Sark, at the Society of Painters in Water- colours in 1850 and 1851. He was the younger brother Fisherman’s Huts on a Beach, Sark and pupil of William Callow (see nos. 59 and 60).

Signed lower left: Callow and inscribed verso: Sark Watercolour over traces of pencil heightened with bodycolour and scratching out 1 234 x 157 mm., 9 /4 x 6 in.

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58b JOHN CALLOW Greenwich 1822-1878 Lewisham

A Pier, Sark

Signed lower right: Callow and inscribed verso: In the Island of Sark Watercolour over traces of pencil heightened with bodycolour and scratching out 1 1 235 x 161 mm., 9 /4 x 6 /4 in.

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59 WILLIAM CALLOW, R.W.S. had been connected would be of interest to the public, so Greenwich 1812-1908 Great Missenden I wrote to the Duchess Augustus of Saxe-Coburg, formerly my pupil, Princess Clementine, asking her to obtain The Fortress, Coburg permission for me to sketch at these palaces, which she readily obtained. In August 1863 we arrived at Coburg.... (at the Palace) I was welcomed by the Duke and Duchess Signed lower right: W. Callow and with initials lower and their daughters, to whom I showed my sketches. The left and inscribed lower centre: The Fortrefs Coburg./ Duchess requested me to leave them with her, as she was Augt 18. ‘63 going to Rosenau to see Queen Victoria...’ Watercolour over pencil 1 1 257x 359 mm., 10 /4 x 14 /4 in. Callow was summoned to see the Queen at the Chateau, where he was..... `duly presented, but Her Majesty Provenance: graciously said, `I remember Mr Callow perfectly.’ After By descent from the artist until sold at Sotheby’s, 16th looking through my sketches, and expressing her admiration September 1999, lot 293; for them, the Queen told me of a number of places of Private Collection, UK interest which I ought to visit and sketch.’ (H.M. Cundall, William Callow – An Autobiography, 1908, p.121). This is one of a series of watercolours by Callow of royal palaces drawn in the summer of 1863. Prince Albert had The Queen commissioned eight watercolours, including recently died and Callow records in his autobiography: a view of Coburg, for which he was paid £105 on 22nd `.....I thought that some drawings of Coburg, January 1864. Rheinhardsbrunn and other royal palaces with which he

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60 WILLIAM CALLOW, R.W.S. This shows the Gravensteen Castle from Geldmunt and Greenwich 1812-1908 Great Missenden is based on a pencil sketch drawn in the late summer of 1850 (Tate Gallery (A00149). Another Callow drawing The Vegetable Market, Ghent of Ghent in the Tate, of the Place St. Pharailde, is dated 29th September 1850. Callow recalls in his autobiography: `Afterwards we made a very interesting excursion through Signed lower left: Wm Callow/1863 Belgium for the purpose of sketching. We visited Lille, Watercolour over pencil heightened with bodycolour Courtrai, Tournai, Bruges, Ghent and Antwerp. At all of 1 1 342 x 493 mm., 13 /2 x 19 /4 in. these towns I had little time for seeing the sights, as I found so many architectural subjects admirably suited for my pencil’ (William Callow – an Autobiography, 1908, p.105).

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61a 61b ANDREW NICHOLL, R.H.A. ANDREW NICHOLL, R.H.A. Belfast 1804-1886 London Belfast 1804-1886 London

Wild Flowers by a River with Cattle grazing and Mallard Fingal’s Cave, Staffa, Scotland in Flight – Sunset Signed lower left: Andrew Nicholl R.H.A. Signed in red lower left: A. Nicholl R.H.A. Watercolour over pencil heightened with bodycolour, Watercolour heightened with bodycolour, stopping stopping out and scratching out 1 out and scratching out 614 x 473 mm., 24 x 18 /2 in. 3 3 480 x 780 mm., 18 /4 x 30 /4 in. Fingal’s Cave is a large natural cave on the uninhabited Provenance: island of Staffa which is off the Isle of Mull. It is named after Anonymous sale, Christie’s, 26th April 1988, lot 120 the hero of an 18th century poem by James Macpherson. It became a tourist destination in the 19th century thanks Nicholl was born in Belfast and apprenticed to a printer to Mendelssohn’s `Fingal’s Cave overture’ written after before moving to London where he taught himself to paint. the composer’s visit in 1829. Other famous visitors include He left for Dublin and exhibited at the Royal Hibernian Queen Victoria, J.M.W. Turner, Wordsworth, Keats, Academy from 1832. The present watercolour is likely Tennyson and Jules Verne. to date from that period when he specialised in views of Ireland seen through a fringe of wild flowers. He returned Another version of this watercolour is in the Royal to London in the late 1830s and exhibited at the Royal Collection at Osborne House, Isle of Wight. Academy from 1832 until 1854.

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62 HENRY GASTINEAU 1791-1876 Camberwell

View on the River Esk at Hawthornden, Scotland

Signed lower left: H Gastineau Watercolour over pencil heightened with bodycolour, stopping out and gum arabic 1 1 289 x 393 mm., 11 /4 x 15 /2 in.

Gastineau exhibited `Hawthornden, near Edinburgh’ at the Society of Painters in Water-colours in 1825, no.178, but stylistically this watercolour is more likely to date from the 1830s.

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63 CHARLES BRANWHITE Bristol 1817-1880 Clifton

A Rocky River

Signed with initials lower right Watercolour over pencil heightened with bodycolour 360 x 533 mm., 14 x 21 in.

Branwhite lived in Bristol all his life where he was taught by William James Müller (1812-1845). The present watercolour is reminiscent of Müller’s Devon river views and is typical in its lavish use of bodycolour.

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64 JAMES THOMAS LINNELL Provenance: London 1826-1905 Sir Bruce Ingram; Near Pen-y-Coed, North Wales Michael Ingram, his sale, 8th December 2005, lot 183; Private Collection, UK Inscribed on part of old backing attached: near James Thomas Linnell was the son of John Linnell (1792- Penycoryd in the vale that leads from Beddgelert to 1882) and studied at the Royal Academy Schools with his Capel Curig brothers John and William. He was the most talented of Coloured chalks on buff paper his siblings and exhibited at the Royal Academy between 1 3 243 x 352 mm., 9 /2 x 13 /4 in. 1850 and 1888.

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65 FRANÇOIS-LOUIS FRANCAIS met the artist Camille Corot, who would become one Plombières-les-Bains 1814-1897 Paris of the biggest influences on his work. The next phase in his career came during the middle of the 1840s. In 1846 Portrait of Henri-Joseph Harpignies he travelled south to Italy with his close friend François- Auguste Ravier, and he was to remain in Italy for three years. Travel would remain a large influence on his life and Pencil. art, and Français often went on sketching expeditions with Signed with the artist’s initials in pencil at the lower other artists, including Corot, Gustave Courbet and Henri- left Joseph Harpignies. Although Français was mainly active Inscribed Portrait de Harpignies. / fait pendant une as a landscape painter, he also painted a number of fine séance du / Jury de peinture par / Louis Français. on portraits and a few still life subjects. the verso 1 3 84 x 111 mm., 3 /4 x 4 /8 in. Français not only exhibited regularly at the Salons, but was also often asked to participate on its jury. The inscription at François-Louis Français began his artistic career as an the bottom of this sheet notes that this portrait of his close illustrator, utilizing the mediums of lithography and wood friend Henri Harpignies (1819-1916) was drawn while engraving. In 1834 he entered the the Ecole des Beaux both artists were serving on the Salon jury. The drawing is Arts, where he studied under Jean Gigoux. He exhibited a fine example of a quick sketch that captures the essence at the Salon for the first time in 1837, and the same year of the sitter.

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66 MARCELLIN DESBOUTIN for the next seventeen years, enjoying a luxurious lifestyle Cérilly 1823-1902 Nice and amassing a collection of paintings and furniture. The collapse of his family’s fortunes led to a sudden change in Study of a Left Hand Desboutin’s lifestyle, and he was back in Paris by 1873, living poorly and attempting to make a living from his art. One scholar has recently described the artist as ‘a sociable Pencil, heightened with white, on grey-green paper man who frequented the most popular salons and cafés in A partial study of the crossed legs of a seated figure in Paris and developed lifelong friendships that placed him at pencil on the verso the heart of literary and artistic circles…Desboutin was an 3 1 147 x 108 mm., 5 /4 x 4 /4 in. engaging character and as a bon vivant who fell on hard times, he became the archetype of the bohemian artist.’ A A painter, printmaker and writer, Marcellin Desboutin was close friend of Edgar Degas, for whom he posed for the born into a wealthy family, and for the first part of his life painting L’Absinthe in 1876, Desboutin was, like him, a gifted enjoyed a comfortable existence. Giving up a career in printmaker. He sent paintings and etchings to the Salons, and law in favour of becoming an artist, in 1854 he and his in 1890 was a founder member of the Société Nationale family settled in Italy, living at the Villa dell’Ombrellino at des Beaux-Arts, where he exhibited regularly until his death. Bellosguardo, overlooking Florence. He was to live there

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67 CLÉMENT-AUGUSTE ANDRIEUX specialty of battle scenes, notably episodes from the Franco- Paris 1829-1880 Samois Prussian war, the Crimean War and Napoleonic campaigns. Andrieux exhibited at the Salons in Paris from 1850 until A Cavalry Skirmish his death, and also published a number of lithographs and engravings, including a set of thirty scenes illustrating the siege of Paris during the Franco-Prussian war of 1870-1871. Red and black chalk on grey paper He was also highly regarded as an illustrator, and was an 5 3 169 x 148 mm., 6 /8 x 5 /4 in. accomplished watercolourist. His death in 1880, at the age of fifty, left a young son, for whose benefit an auction of Provenance the contents of his studio was held the following year. The The vente Andrieux, Paris, Hôtel Drouot, 16-17 May 1881 posthumous vente Andrieux included several mixed lots (Lugt 15). containing a total of over 1,600 drawings and sketches by the artist, including the present sheet. A painter, draughtsman and engraver, Clément-Auguste Andrieux studied in Liège and Paris. He made a particular

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68 WILLIAM LEIGHTON LEITCH Born in Glasgow, he was apprenticed to a lawyer before Glasgow 1804-1883 London turning to painting in the early 1820s. He painted scenery at the Theatre Royal, Glasgow from 1824 to 1826 before Cattle watering by a ruined Castle and Bridge moving to London in about 1828. In 1833 he was given the money by a patron, the stockbroker Mr Anderden, to visit Italy and the continent. On his return in July 1837 he set Signed lower right: WL Leitch 1878 up a successful drawing practice numbering Queen Victoria Watercolour over touches of pencil and other members of the Royal Family among his pupils. 3 233 x 376 mm., 9 x 14 /4 in.

Provenance: With Thos. Agnew & Sons, circa 1940 as `Stranraer’

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69 GEORGE PYNE London 1800-1870 Oxford

Magdalen Bridge, Oxford

Signed lower left: G Pyne 1871 and inscribed verso: Henley Road/Magdalen Coll & Bridge Watercolour over pencil heightened with bodycolour 3 145 x 206 mm., 5 /4 x 8 in.

Pyne specialised in depicting views of Oxford and Cambridge colleges, views of Eton as well as interiors of student rooms at Oxford colleges.

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70a WALLER HUGH PATON, R.S.A. Paton was born in Dunfermline, the son of a damask Dunfermline 1828-1895 Edinburgh designer, for whom he worked as an assistant before becoming a pupil of J.A. Houston. Ruskin and Millais were A Road at Largo, Fife both friends of his brother Noel and Paton has been described as the leading exponent of the Pre-Raphaelite landscape in Scotland. Signed lower right: W.H. Paton and inscribed lower left: Largo/24th Sept 1860 Lower Largo is a village on the Fife coast across the Firth of Watercolour over pencil heightened with bodycolour Forth from Edinburgh. on buff paper, with arched top 3 1 248 x 361 mm., 9 /4 x 14 /4 in.

Provenance: With the Fine Art Society, London, December 1971, no. 9668

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70b WALLER HUGH PATON, R.S.A. Dunfermline 1828-1895 Edinburgh

Loch of Park near Banchory, Aberdeenshire

Signed lower centre: Waller H. Paton R.S.A. and inscribed lower right: Loch of Park/8th August 1879 Watercolour over pencil heightened with bodycolour 1 Sheet 282 x 392 mm., 11 x 15 /4 in.

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72 BENJAMIN RICHARD GREEN London 1808-1876 London

Picnicking at Dryburgh Abbey, Scotland 71 GEORGE FREDERICK PROSSER Signed lower right: B.R. Green London 1805-1882 Winchester Watercolour over traces of pencil heightened with bodycolour and gum arabic St. Catherine’s Hill from the Water Meadows, Winchester 1 498 x 407 mm., 19 /2 x 16 in.

Watercolour over pencil Provenance: 3 1 148 x 240 mm., 5 /4 x 9 /2 in. With William Rodman & Co, Belfast, 1944

Prosser was born in London and worked in Surrey before The son of the portrait painter James Green (1771-1834), moving to Winchester in the early 1850s. He lived and Green studied at the Royal Academy Schools from 1826 worked at 80 High Street, Winchester where he also and exhibited from 1832 as well a working as a drawing taught drawing, and specialised in local views. master and lecturer.

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73 EDME ALEXIS ALFRED DEHODENCQ years, producing paintings and drawings of scenes from Paris 1822-1882 Paris Spanish life. In 1854 Dehodencq visited Morocco for the first time. He became the first Western artist to work Studies of Arab Horsemen extensively in the country, and divided his time between Cadiz and Tangiers until his return to France in 1863. A number of his genre scenes, depicting life in the Arab and Pen and brown ink and brown wash Jewish communities of Morocco, were sent to Paris for 3 77 x 146 mm., 3 x 5 /4 in. exhibition at the Salons. After his early successes, however, Dehodencq died in obscurity. He left a large group of Provenance drawings, many of which are now in the Louvre and the Possibly Alfred Dehodencq fils, Paris. Musée des Beaux-Arts in Lille, while others are in the collection of the Israel Museum in Jerusalem. The French Orientalist painter Alfred Dehodencq was a pupil of Léon Cogniet, entering the Ecole des Beaux- The present sheet is a fine example of Dehodencq’s Arts in Paris in 1839. He made his Salon debut five years expressive draughtsmanship in pen and ink. later. In 1849 he travelled to Spain, where he spent five

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74 ALBERT BALLU also competed unsuccessfully for the reconstruction of Paris 1849-1939 Paris the Sorbonne. During the 1880s, he travelled to Algeria, charged with the restoration of religious buildings in the A Street in Algiers French colony. In 1889 Ballu was appointed chief architect of the historical monuments department in Algiers, a post he would hold for the next thirty years, during which he Watercolour oversaw the excavations of numerous Roman ruins. He Signed, dated and dedicated à Mme. Roujon / was tasked with designing the Algerian pavilions for the hommage respecteux / 1883 A Ballu at the lower left Paris Expositions of 1889 and 1900. While most of Ballu’s 5 1 245 x 140 mm., 9 /8 x 5 /2 in. drawings are of an architectural or scientific nature, the present sheet, a colourful scene from daily life in Algiers, The architect Albert Ballu entered the Ecole des Beaux-Arts showcases a different aspect of his oeuvre. in Paris in 1868. He designed several buildings, including the Faculty of Medicine and Pharmacy in Bordeaux, and

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75 FRANÇOIS CLÉMENT SOMMIER, called HENRY of Belle Epoque Paris. Somm was one of the graphic SOMM artists who fell under the spell of Japonisme, which first Rouen 1844-1907 Paris emerged in France in the early 1860s. At the invitation of Edgar Degas, he took part in the fourth Impressionist exhibition of 1879. Somm’s finished drawings are often A Group of Elegant Figures related to his more commercial work as an illustrator for magazines or books. Although he died in relative obscurity, Watercolour on paper laid down on card a retrospective exhibition of his work was mounted at the Signed Hy. Somm at the lower right Galerie Berthe Weill in Paris in 1911. 7 151 x 226 mm., 6 x 8 /8 in. Somm is best known for his depictions of Parisian society. After studying at the École Municipale de Dessin in Rouen, As one scholar has noted, the artist ‘has been termed a François Clément Sommier settled in Paris in the late “petit impressioniste” by art critics and historians. While 1860s, training briefly with Isidore Pils and adopting the some of his works – mainly scenes of leisure in the city of name Henry Somm. He was to enjoy a successful career Paris – exhibit stylistic qualities that support this designation as an illustrator and draughtsman, contributing regularly in a broad sense, careful examination of his drawings reveal to such popular journals as Le Monde Parisien, Le Rire and that Somm is a transitional figure between Impressionism and L’Illustration Nouvelle. Somm was also active as a graphic Symbolism, whose subject matter is principally concerned designer, providing menus, theatre programs, invitations with contemporary life in Paris.’ and announcements for the many fashionable events

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76 WALTER CRANE exhibited a painting of The Lady of Shalott at the Royal Liverpool 1845-1915 Horsham Academy, to critical acclaim. Later submissions to the Academy were rejected, however, and Crane chose Landscape near Tunbridge Wells, Kent instead to exhibit at the Grosvenor Gallery. Strongly influenced by Japanese colour prints, Crane worked as an illustrator of children’s books between 1869 and 1875, Watercolour and gouache on brown paper and it is as a book illustrator – particularly of fairy tales, of Signed and dated Walter Crane 82 at the lower left which several books were published each year – that he Signed and inscribed Walter Crane / 63 / View nr. was best known, not only in England but also in Germany Tunbridge Wells on the old backing board and elsewhere. A founder member of the Arts and Crafts 3 3 237 x 340 mm., 9 /8 x 13 /8 in. Exhibition Society in 1888, Crane was elected master of the Art Worker’s Guild in 1888 and 1889. He worked with A painter, draughtsman and writer who may be regarded William Morris on books published by Morris’s Kelmscott as one of the most significant figures of modern decorative Press and also produced designs for wallpaper. He taught art, Walter Crane was born in Liverpool and settled in at the Manchester School of Art, Reading College and the London in 1857. There he came into contact with the Royal College of Art. works of the Pre-Raphaelites and the writings of John Ruskin, and began working as an apprentice in the studio Dated 1882, this watercolour is a fine example of Crane’s of the wood-engraver William James Linton. In 1862 he interest in a naturalistic depiction of landscape.

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77 LUIGI LOIR at the Accademia de Belle Arti. He eventually rejoined Gorritz 1845-1916 Paris his family in Paris in 1863, and made his Salon debut in 1865, continuing to exhibit there until 1914. Loir painted A Naval Parade mainly views of Paris, in all seasons and at different times of the day or night, and these works proved both popular and commercially successful. By the end of the 1880s Gouache and pencil, with framing lines in pencil several of his paintings had been acquired by French and Signed LOIR. LUIGI at the lower left centre foreign museums. Although best known as a painter of 1 75 x 107 mm., 3 x 4 /4 in. [sheet] Parisian scenes, Loir travelled extensively throughout France, painting landscapes characterized by an attention Provenance to detail and an interest in light. He also worked as a Galerie du Carlton, Cannes commercial graphic artist, theatrical and poster designer, Private collection, France. book illustrator and lithographer, and designed the cover of the official catalogue of the Exposition Universelle of 1900. Born in Austria to French parents who served the exiled A member of both the Société des Aquarellistes and the French Bourbon royal family, Luigi Loir moved with Société de Peintres-Lithographes, as well as a jury member his family and the Bourbons to the Duchy of Parma in of the Société des Artistes Français and the Société des Arts 1847. In 1860 his family returned to Paris, but Luigi Décoratifs, Loir rose to a position of some prominence in remained in Parma, having enrolled, at the age of eight, the Parisian art world.

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78 PIERRE-GEORGES JEANNIOT and the following year exhibited his first painting, a Geneva 1848-1934 Paris landscape. At first known for military subjects, he soon turned his attention to the elegant Parisian genre scenes A Cat and studies of the society women of the Belle Epoque for which he became best known. He exhibited regularly at the Salons of the Société des Artistes Français in Paris and Black chalk on buff paper the Société Nationale des Beaux-Arts in Nantes, while 3 5 163 x 245 mm., 6 /8 x 9 /8 in. [image] between 1893 and 1903 he also exhibited at the Munich 1 1 209 x 268 mm., 8 /4 x 10 /2 in. [sheet] Secession. Jeanniot was highly successful as an illustrator, working on more than thirty books between 1884 and Provenance his death, and also worked as a cartoonist. Shortly after Molly Klobe, Chamberlin Gallery, New York. his death in 1934, a retrospective exhibition was held at the Galerie Georges Charpentier, and in the same year a Born in Geneva to French parents, Pierre-Georges selection of his works was gifted to the Musée des Beaux- Jeanniot was a student of his father, Pierre-Alexandre, who Arts in Dijon by his widow. served as the director of the Ecole des Beaux-Arts in Dijon for many years. Although he attended the military college Jeanniot occasionally included animals in his paintings at Saint-Cyr and began his career in the army, he painted and drawings, and they can often be found featured and drew in his spare time. In 1872 Jeanniot made his prominently in the foreground. debut at the Salon, where he showed some watercolours,

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79a HENRI EVENEPOEL Literature Nice 1872-1899 Paris Philippe Roberts-Jones, ‘Evenepoel et l’art de son temps’, in Eliane De Wilde et al, Henri Evenepoel 1872-1899, Adolphe Crespin Painting at an Easel exhibition catalogue, Brussels, 1994, illustrated p.92. A portrait of the Belgian painter, decorator and poster Charcoal designer Adolphe Crespin (1859-1944), who was Henri Stamped with the artist’s monogram he in a circle Evenepoel’s teacher at the Académie des Beaux-Arts in and numbered No.777 on the verso Brussels. Crespin remained close to the artist throughout 1 1 384 x 243 mm., 15 /8 x 9 /2 in. his life, and was the only one among his friends to know the actual parentage of Evenepoel’s illegitimate son, Charles Provenance De May. Evenepoel painted a portrait of Crespin in 1894, Probably the artist’s cousin, Louise De May-van today in a private collection. Mattemburgh, Brussels By descent to their son, Charles De May, Brussels Roland Leten, Ghent Private collection, England

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79b HENRI EVENEPOEL Describing a visit to Lautrec’s Parisian studio, in a letter to Nice 1872-1899 Paris his father in 1895, Evenepoel wrote that, ‘More than ever, I maintain that Toulouse-Lautrec is an artist of immense value A Seated Artist, Possibly Henri de Toulouse-Lautrec, and even that he is a complete artist.’ (After another visit to Lautrec’s studio, Evenepoel had noted that, ‘Toulouse-Lautrec Drawing at an Easel does not much care what anybody thinks of his painting, but he would not forgive any slighting remarks about his American Charcoal drinks.’) The subject of this drawing, however, is unbearded, Stamped with the artist’s monogram he in a circle unlike Toulouse-Lautrec throughout most of his life. and numbered No.744 on the verso 3 305 x 212 mm., 12 x 8 /8 in. These two drawings belonged to Evenepoel’s illegitimate son Charles De May, born in 1894 to the artist’s cousin, Provenance Louise De May-van Mattemburgh. The drawings may As No.79a. be compared stylistically with several sketches of figures formerly in the collection of Roland Leten in Ghent, who This may be a portrait of Henri de Toulouse-Lautec (1864- also owned the present pair. 1901), of whose work Evenepoel was a great admirer.

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80 CLAUDE-EMILE SCHUFFENECKER He began to achieve some commercial success around Fresne-Saint-Mamès 1851-1934 Paris 1888, after Theo van Gogh held an exhibition of his work in Paris. Although by no means wealthy, Schuffenecker Study of a Young Boy Lying on his Stomach was able to support the careers of Gauguin and other artists, whose works he purchased. In time he came to own a large number of works by Gauguin, as well as Pastel paintings and drawings by Cezanne, van Gogh and Redon, Stamped with the atelier monogram at the lower although he was forced to sell his collection following his right divorce in 1903. As an artist, Schuffenecker remains little 3 154 x 237 mm., 6 x 9 /8 in. known today in comparison to Gauguin and some of his contemporaries, and only a handful of exhibitions have Provenance been devoted to him outside of France. The estate of the artist Probably his daughter Jeanne Schuffenecker, Paris This a fine example of Schuffenecker’s use of pastel, a medium he favoured and which he used with considerable Émile Schuffenecker met Paul Gauguin when both worked skill throughout his career. The drawing can be related to a at a stock brokerage firm, and they remained close friends small oil painting of figures on a beach of c.1888, in which throughout his life. The stock market crash of 1882 led appears a similar boy lying on the ground, but in reverse. him to abandon his career as a stockbroker, and to support A closely comparable study of a seated young boy, also in himself as an art teacher; a career he maintained until 1914. pastel, is in the Van Gogh Museum in Amsterdam.

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81 HENRI ADAM by day in a bank in Rouen, and it was not until he was forty- Rouen 1864-1917 Rouen(?) five that he was able to devote himself full time to painting. He remains an obscure figure, however, and very little is Woodland Scene known of his career. Adam was employed as a professor of drawing at the Collège de Normandie, and painted views along the coast between Brittany and Ostend in Belgium. Watercolour Two watercolour views of Rouen by the artist are today in Stamped with the Henri Adam atelier stamp (not in the collection of the Musée des Beaux-Arts in Rouen. Lugt) on the verso 1 3 313 x 213 mm., 12 /4 x 8 /8 in. The present sheet is a fine example of Adam’s watercolour technique. The artist here depicts the forest through a A student of Philippe Zacharie at the Ecole des Beaux-Arts balance of lightly washed areas in the background to more in Rouen, Henri Adam was an amateur artist who worked developed trees in the foreground.

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82a HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Kent

Mt Etna from Taormina, Sicily

Signed with initials lower left and inscribed lower right: from Taormina Watercolour 1 187 x 284 mm., 7 /4 x 11 in.

106 GPFA

82b HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Kent

The Burning of the Houses of Parliament – after J.M.W. Turner

Coloured chalks 1 140 x 183 mm., 5 /2 x 7 in.

The Houses of Parliament burnt down on the evening of the 16th October 1834. This is a copy of a watercolour of the subject by J.M.W. Turner in the Turner Bequest, Tate Gallery (TB CCCLXIV 373).

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83 SIGISMOND JEANèS landscapes in watercolours and tempera, with a particular Nancy 1863-1939 emphasis on atmospheric light effects. Writing of a view of Venice exhibited by the artist at the Salon d’Automne A November Evening on Lake Garda, Val du Col Loppio, of 1906, the author Maurice Guillemot noted, ‘Jeanès will perhaps equal Turner with his painting Sunrise in Venice: he Trentino uses watercolour in a very particular way, in imprecise blonde shades, with warm tones, like cotton wool, in an apotheosis Watercolour on silk, mounted on panel of Wagnerian colouring.’ In 1911 Jeanès participated in Signed Jeanes at the right centre the Exposition de la Société Internationale de la Peinture Inscribed by the artist Lac de Garde / Vue du col di à l’Eau. Works by the artist are in the collections of the loppio / soir de Novembre on the backing panel Louvre and the Musée d’Orsay in Paris. 1 1 332 x 409 mm., 13 /8 x 16 /8 in. An exhibition of thirty watercolours by Jeanès, held at The landscape painter Sigismond Jean-Ernest Jeanès was the art gallery of the John Wanamaker department store largely self-taught as an artist. The early part of his career in New York in 1921, led one critic to note that ‘These seems to have been spent travelling extensively around paintings, of Venice, the Dolomites, the côte d’azure, and Europe, and as far afield as China and India. Jeanès worked other romantic spots of France and Italy, are characteristic extensively in Italy and the South Tyrol, painting views of of this great master of the water-color medium. Rarely does the Dolomites, the Alps and Venice. He exhibited at the one see color combined with line to produce effects of such Salon d’Automne from 1906 onwards, and also at the power. In oil they would be remarkable pictures, in water color Société des Artistes Indépendants, showing mountain they are prodigious.’

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84 AUGUSTO SEZANNE decoration at the Accademia between 1882 and 1893. Florence 1856-1935 Venice In 1893 he moved to Venice, where he taught at the Accademia di Belle Arti and exhibited at the first Biennale Portrait of a Young Boy in Profile in 1895. In 1898 he joined the Aemilia Ars society, an applied arts manufactory, to which contributed designs for furniture, ceramics and stained-glass windows. Pencil, with stumping Signed and dated AS 99 at the lower right The present sheet may tentatively be related to the 3 1 223 x 231 mm., 8 /4 x 9 /8 in. decorative mosaic frieze designed by Sezanne for the Stucky family funeral chapel in the Venetian church of San Michele Provenance in Isola, commissioned by the Venetian-Swiss businessman Private collection, Bologna, in 1977. and mill owner Giovanni Stucky. Sezanne designed the cartoons for the decorative scheme, superbly painted in Exhibited a Pre-Raphaelite manner, which were then translated into Bologna, Galleria d’Arte Moderna, Il Liberty a Bologna e mosaics by the firm of Salviati-Jesurum and the mosaicist nell’Emilia Romagna, 1977, no.AG 314 Antonio Castaman, between 1903 and 1905. Although the youth in this drawing does not appear in the final mosaic A painter, engraver, ceramicist and sometime architect, decorations, this type of beatific head finds stylistic parallels Augusto Sezanne lived and worked in Bologna in the in the numerous angels in the mosaic frieze. first part of his career, serving as professor of ornamental

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85 WILLIAM STRANG, R.A. pastoral subjects, as well as portraits of prominent artistic Dumbarton 1859-1921 Bournemouth and literary figures. The realism and psychological intensity of his etched portraits was carried through into the paintings Portrait of a Man Strang began to produce around the turn of the century, and which came to dominate his output.

Red, black and white chalks on buff paper From early in his career, Strang was recognized as a brilliant Signed and dated W. STRANG / 1906. at the lower draughtsman. He was in particular much admired for his right portrait drawings, inspired by those of Hans Holbein in 1 1 410 x 261 mm., 16 /8 x 10 /4 in. the Royal Library at Windsor Castle, which he had studied closely. Between 1898 and 1909 Strang produced some The Scottish artist William Strang was a student of Alphonse five hundred portrait drawings of this ‘Holbein’ type, Legros at the Slade School of Art between 1876 and 1880. characterized by the use of red and black chalks on paper Much of the first two decades of his career was spent as washed pink or beige, for which each sitting took about a printmaker, and he produced etchings of landscape and three hours.

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86 JESSIE MARION KING commission to produce ninety-five illustrations for William New Kilpatrick 1875-1949 Kirkcudbright Morris’s The Defence of Guinevere and Other Poems, drawings characterized by fine detail and meticulous technique. King Back of Tenements, Paris also worked as a designer of textiles, jewellery, wallpaper, posters, wall tiles, theatrical costumes, ceramics and book covers. In 1908 she married a fellow artist, Ernest Archibald Watercolour, pen and brown ink and brown wash Taylor, and in 1911 the couple moved to Paris, where they 1 3 190 x 273 mm., 7 /2 x 10 /4 in. established an art school known as the Shearling Atelier. With the outbreak of the First World War, they moved Provenance back to Scotland, living near Kirkcudbright. Although King The artist, and by descent to her daughter, Merle Elspeth remained active for the remainder of her career, she died in Taylor, Kirkcudbright relative obscurity in August 1949. Her sale, Glasgow, Sotheby’s at the Charles Rennie Mackintosh Society, 21 June 1977 While putting together illustrations for a planned book on Aitkin Dott & Son, Edinburgh Paris views, King went on sketching walks around the city, Private collection, Scotland. and the present sheet is likely to have originated on one of these outings. She drew not only the major monuments and Jessie Marion King studied at the Glasgow School of Art in sights, but was also attracted by out of the way streets and the early 1890s, concentrating on drawing and illustration. the architectural details of rooftops or shopfronts. Some of Much admired for her highly individual illustrative style, King’s drawings of Paris were reproduced in Paris Past and by 1902 she was the subject of an admiring article in Present, a book edited by E. A. Taylor and published in 1915. the magazine The Studio. Two years later she gained a

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87 MATHURIN MÉHEUT A decorative mural painter, book illustrator, tapestry Lamballe 1882-1958 Paris designer and ceramic painter, the Breton artist Mathurin Méheut established his career in Paris, but returned Peacocks: Notes de Céramique frequently to Brittany, working at Douarnenez, Quimper, Roscoff, Paimpol and elsewhere.

Watercolour, pen and brown and black ink with The present sheet may have been intended as a design brown and grey wash. for a book cover. In the Courrier de Rennes newspaper Signed MM at the lower right of 20 June 1903, it was noted that ‘Mlle. Juliette Thierry, Inscribed Mlle / JULIETTE / THIERRY / RENNES at the dessinateur, élève de notre école’ had won an honorable top, NOTES / DE / CÉRAMIQUE at the bottom and mention in the 13th annual concours de composition En Souvenir des Vacances . MM on the verso decorative, organized by the Société d’Encouragement à 7 3 l’Art et à l’Industrie. 328 x 237 mm., 12 /8 x 9 /8 in.

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88 THEO VAN RYSSELBERGHE Sunday Afternoon on the Island of La Grande Jatte at the eighth Ghent 1862-1926 Saint-Clair impressionist exhibition in Paris. This led Van Rysselberghe to experiment with the pointillist technique; and from 1886 Portrait of the Artist’s Mother-in-Law, Mme. Sylvie onwards he was working in a Neo-Impressionist manner, Monnom-Descamps becoming one of the leading exponents of the movement in Belgium. Regarded in particular the finest portrait painter among the Neo-Impressionists, he continued working in a Pencil on laid paper, laid down on board pointillist manner until around 1907. Inscribed and dated Jersey / 31 juillet 07 and signed with the artist’s monogram VR at the lower right The subject of this drawing is Sylvie Monnom-Descamps Further inscribed Mme. Monnom and Monnom / [?] (1836-1921), the artist’s mother-in-law and the head on the reverse of the backing board of the Monnom publishing company. Van Rysselberghe 202 x 255 mm., 8 x 10 in. painted at least six portraits of his mother-in-law, as well as a number of drawings. Drawn in 1907, the present sheet is Literature a preparatory study for a small, unfinished painting ofMme. Ronald Feltkamp, Théo Van Rysselberghe 1862-1926: Monnom Reading in a private collection in Paris, which, like Catalogue raisonné, Brussels, 2003, p.365, no.1907-019 the present sheet, was painted in Jersey in 1907. A closely related pencil drawing of Sylvie Monnom reading, dated A gifted painter and draughtsman, Theo van Rysselberghe July 1891 but perhaps more likely to be of the same date encountered Georges Seurat’s monumental canvas A as the present sheet, is in a private collection.

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89 HENRI-JOSEPH HARPIGNIES regularly throughout his very long and productive career. Valenciennes 1819-1916 Saint-Privé His luminous landscape paintings, depicting both rural and urban views, were inspired by his first meetings with A Stream in an Arid Landscape Camille Corot in the early 1850s. Harpignies continued to maintain an emphasis on a distinctive manner of tonal landscape, inspired by the example of Corot, in the paintings Watercolour, pen and grey ink and grey wash and drawings that he produced well into the early years of Signed h. harpignies 1912 at the lower right the 20th century. In 1898 the critic G. Frederic Lees wrote 7 151 x 226 mm., 6 x 8 /8 in. that ‘Harpignies...[has] the power of producing the most powerful effects by teints unies; his sobriety of colour, breadth Provenance of treatment, firmness of touch, and precision of drawing Arnold & Tripp, Paris (Lugt 3279) placing him in the front rank of water-colour artists.’ Despite Marlborough-Gerson Gallery, New York his increasing fame and success, Harpignies seems to have H. A. Robinson, London, by 1947 remained at heart a man of simple tastes, committed to his Private collection, Scotland. art. As Agnes Mongan has written, ‘Clearly, his happiness was in recording, whether in drawings, watercolor, or paint, It was not until 1848, when he was in his late twenties, the landscapes he saw around him…his ninety-seven years that Henri-Joseph Harpignies abandoned a career as were productive of a large number of landscapes in a variety a travelling salesman and begin training as an artist. He of media that have delighted and continue to delight those made his Salon debut in 1853, and he continued to exhibit who enjoy their sensitive and particular artistic qualities.’

114 SOFA

90 LÉO-PAUL ROBERT medal, while the following year he won a silver medal at Biel/Bienne 1851-1923 Orvin the Exposition Universelle. A Symbolist for the early part of his career, Robert drew on music by composers such River Landscape with Small Boats as Schubert and Beethoven for inspiration. In 1883 he visited Palestine, and after spending a year there his artistic production shifted away from Symbolism towards a more Watercolour over a pencil underdrawing religious sentiment. This is reflected in what is perhaps his Signed and dated Paul Robert Vieu[?]-1911 at the best-known work; three large murals for the stairwell of lower right the museum in Neuchâtel. Measuring seven meters by 1 7 261 x 453 mm., 10 /4 x 17 /8 in. nearly six meters, the paintings took the artist eight years to complete. As well as painting decorative murals for such Provenance public buildings as the museums of Neuchâtel and Bern, Galerie Jacques Fischer-Chantal Kiener, Paris Robert established a reputation as a landscape painter, Private collection, New York. while also developing a particular speciality as a painter of birds and caterpillars. His sons Paul-André and Philippe Born into a family of Swiss artists, Léo-Paul Robert was the were also active as botanical and natural history artists, and son of the painter Aurèle Robert and nephew of the genre a large group of works by the Robert family is today in the painter Léopold Robert. He studied at the Kunstakademie collection of the Neues Museum in the artist’s native town in Munich, and also in Florence and Paris. Robert exhibited of Biel/Bienne in Switzerland. at the Salon for the first time in 1877, winning a gold

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91 ROBERTO FRANZONI A lifelong exponent of the Art Nouveau style, known Bologna 1882-1960 San Marino in Italy as the ‘Stile Liberty’, Roberto Franzoni enjoyed a long and productive artistic career, working in the fields An Allegory of Fame, in Honour of Giuseppe Verdi of painting, sculpture and the graphic arts. In 1908 he decorated the Rizzi chapel in the cemetery of the Certosa in Bologna with an elaborate decorative scheme involving Pen and black and grey ink, extensively heightened painting, stucco, glass and ironwork, all in an Art Nouveau with white, on card style. He also decorated rooms in the Palazzo Ronzani, A printed portrait of Verdi inserted into an oval the Palazzo Saraceni and the Credito Fondario in Bologna. opening at the top of the sheet As well as paintings and drawings, Franzoni produced Inscribed (signed?) R. FRANZONI on the verso designs for film and travel posters, stamps, and the applied Inscribed GIUSEPPE VERDI - BUSSETTO 1813 – arts. He spent the last years of his career in the republic MILANO 1901 – in the margin of the oval portrait of of San Marino, where he designed a large number of the Verdi and with the titles of Verdi’s operas along the country’s stamps. Franzoni remains relatively little-known top and right edge of the sheet today, however, particularly outside Italy. Inscribed massima lunghezza / del cliche cm. 12 1/2 / in proporzione la / larghezza massima cm. 7 at the lower right 1 280 x 184 mm., 11 x 7 /4 in.

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92 ANDERSON the front of the old mount. 3 3 Early 20th Century 350 x 518 mm. (13 /4 x 20 /8 in.) [image] 5 1 421 x 586 mm. (16 /8 x 23 /8 in.) [sheet] Air Polo, The Next Thing in Games: Illustration for Puck Magazine Provenance The publishers Keppler & Schwartzman, New York (with Pen and black ink, over a pencil underdrawing, with their stamp on the verso) framing lines in black ink Private collection, New York. Signed Anderson at the lower left An illustration for a 1911 issue of Puck, an American Inscribed Air polo. in the lower margin weekly humour magazine of political and social cartoons Inscribed Air polo / the next thing in games on the verso and caricatures, published between 1871 and 1918. Stamped and inscribed OVERLAY DEPT. / 215 TUES Founded in 1871 in St. Louis, Missouri by the Austrian- MAY 2 1911 and / 845 A.[M]. Wed – [3] – [1911] on born cartoonist Joseph Keppler, Puck was printed in both the verso German and English language editions, and by 1877 was Stamped KEPPLER & SCHWARTZMAN / “PUCK” / being published in New York. From 1887 until its demise APRIL 38 1911 / NEW YORK on the verso in 1918, the magazine was based at the Puck Building on Inscribed and dated AIR POLO: THE NEXT THING IN the corner of Lafayette and Houston streets in New York. GAMES. / 1911 on a typewritten label pasted onto

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93 EDMUND STEPPES Steppes had begun to enjoy some success, selling his work Burghausen 1873-1968 Deggendorf to private collectors and state museums and enjoying the support of a number of influential figures in the art world. Study of a Toad He studied the art of the Old Masters, particularly of the late Gothic period, and produced numerous drawings with detailed observations of nature, made mainly on Pen and grey-black ink on paper washed grey sketching expeditions around southern Germany. These Signed with a monogram and dated Edm. St. / 1916. drawings – of flowers, plants and leaves, trees and fantastic at the bottom centre rock formations – account for some of his most distinctive Further inscribed München on the verso works. In January 1945 his studio was destroyed by an 3 178 x 224 mm., 7 x 8 /4 in. [sheet] Allied bomb, leading to the loss of numerous drawings and paintings. A retrospective exhibition of Steppes’s work was The landscape painter Edmund Carl Ferdinand Steppes held in Tuttlingen in 1963, on the occasion of the artist’s studied at the private art school established by the genre 90th birthday. and portrait painter Heinrich Knirr in Munich, and in 1893 exhibited his work at the Kunstverein in Munich. A closely-related pencil drawing of a toad by Steppes, The following year he left the academy, and completed dated October 1917 and showing more of a landscape his artistic training on his own. By the turn of the century setting, was recently on the art market in Germany.

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94 PAUL ALLIER known in particular for highly refined, hand-coloured stencil Paris 1883-1953 Paris prints known as pochoirs, which were often issued in series. Each image signed by the artist and individually numbered, Le Billet Doux (Incroyable and Merveilleuse) Allier’s pochoirs were published in limited editions and came to be much prized by collectors. Dated 1920, the present sheet is a design for a pochoir entitled Le Billet Doux. The Pen and black ink and gouache subject depicts an ‘Incroyable’ receiving a surreptitiously Signed and dated PAUL ALLIER / 1920 at the lower passed note from a female counterpart, a ‘Merveilleuse’, left during the period of the Directoire in France, at the very 3 5 300 x 220 mm., 11 /4 x 8 /8 in. [image] end of the 18th century. ‘Incroyables’ and ‘Merveilleuses’ were members of a fashionable aristocratic subculture A pupil of Fernand Cormon at the Ecole des Beaux-Arts, in Paris in the years just after the Reign of Terror, who – Paul Allier was active mainly as a fashion illustrator. His perhaps in a reaction to having survived the bloody events work appeared in such magazines as L’Assiette au Beurre, of 1793-1794 – dressed in an affected or exaggerated style Femina, Flirt, Le Jardin des Modes and Vogue, while he also and acted in a decadent, devil-may-care manner. produced book illustrations and theatre designs. Allier was

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95 ODILON ROCHE homme fastueux dans une époque médiocre.’ In 1917 Châteauneuf-sur-Loire 1868-1947 Six-Fours Léonce Bénédite, the executor of Rodin’s will and soon to be the first curator of the Musée Rodin, asked Roche to Study of a Standing Draped Woman, Seen from Behind classify the entire contents of the sculptor’s studio, including countless boxes of loose drawings and watercolours.

Pencil and watercolour The decade Roche spent on this immense project gave Inscribed A Rodin at the lower right him ample opportunity to study Rodin’s distinctive style Stamped with a variant of the Roche mark (Lugt and technique as a draughtsman. As a result, Roche’s own 2007e) at the lower right drawings and watercolours, especially of female nudes, 1 3 337 x 274 mm., 13 /4 x 10 /4 in. display the profound influence of those of the great sculptor. (He also assembled around 160 drawings by Rodin for his An amateur artist and a disciple of Auguste Rodin, Odilon own collection; most of these were dispersed at auction Roche was one of the more fascinating characters in Paris in in 1933.) On his retirement in 1931, Roche settled in Six- the first quarter of the 20th century. He actually began his Fours-les Plages, in the Var, southwest of Toulon, where he professional career as a wine taster, before opening a shop continued to paint his watercolours, now including coastal in Montmartre selling artists’ supplies, where he counted scenes and landscapes. He does not seem to have ever among his customers Pissarro, Renoir and Steinlen. A sold or exhibited his work, and it was not until the early second shop selling Persian and Chinese antiques became 1970s, some twenty-five years after his death, that a group a fashionable rendezvous for cultured Parisians, among of Roche’s drawings was discovered at a framer’s shop in them the novelist Colette, who described Roche as ‘un Saint-Tropez.

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96 EDOUARD VUILLARD known as the Square Berlioz, at its centre. In 1926 he and Cuiseaux 1868-1940 La Baule his mother moved to an apartment on the square itself, at 6 Place Vintimille. As one scholar has noted, ‘Vuillard’s name The Square Berlioz on the Place Vintimille, Paris has become almost synonymous with the Place Vintimille… He obviously delighted in the view from his windows overlooking the leafy enclosure dominated by the statue of Hector Berlioz, Pencil and pastel, on a page from a small sketchbook who had lived nearby, and across to the shabby dignity of Stamped with the Vuillard atelier stamp (Lugt 909c) the yellowish houses also confronting the little public garden at the lower right with its strollers sunning themselves.’ This page from a small 1 133 x 102 mm., 5 /4 x 4 in. sketchbook is a preparatory study for a square-format painting of modest dimensions. Both the drawing and In 1907 Vuillard and his mother settled into a fifth-floor the painting can be dated fairly precisely to between late apartment on the rue de Calais, close to the Place Vintimille October and early November 1919, as each depicts, at (today the Place Général Adolphe-Max), in the 9th the bottom of the composition, several colourful election arrondissement of Paris. The artist soon began producing posters attached to the railings of the park. These were for numerous paintings, pastels and drawings of views of this the general election held on the 16th of November 1919. picturesque small square, and the oval public garden,

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97 ERICH LINDENAU A German painter of flowerpieces and landscapes, Bischofswerda 1889-1955 Dresden working mainly in watercolour, Erich Lindenau studied at the Kunstgewerbeschule in Dresden, but was otherwise Study of Bullrushes largely self-taught. An exhibition of his work was held in 1931 at the Józef Sandel’s Galerie junge Kunst in Dresden. In February 1956, not long after Lindenau’s death the Watercolour, over a pencil underdrawing, on previous year, a retrospective exhibition of his work was Fabriano paper held at the Albertinum in Dresden. Signed and dated EL. 29. at the lower left centre Inscribed “Binsen” on the verso 1 1 384 x 267 mm., 15 /8 x 10 /2 in.

122 GPFA

98 ARCHIBALD THORBURN Dumfries 1860-1935 Godalming

Guillemots on a Cliff with Puffins flying

Signed lower left: A. Thorburn Watercolour heightened with bodycolour on buff paper 1 1 135 x 188 mm., 5 /4 x 7 /4 in.

123 GPFA

99 CHARLES KNIGHT Schools. There he discovered the work of John Sell Cotman Hove 1901-1990 Ditchling (1782-1842) which was a lifelong influence and led him to concentrate on working in watercolour. He exhibited Trevor Rocks near Llangollen, North Wales widely and taught on and off at the Brighton School of Art for many years becoming, in 1959, the Vice-Principal and Head of the Drawing and Painting Department. In 1944 Signed lower left: CHARLES KNIGHT ‘33 he was asked by the Queen Mother to give lessons in Watercolour over pencil watercolour painting to Princess Margaret which he did 1 3 363 x532 mm., 14 /4 x 20 /4 in. for three years. He is probably best known for the forty drawings of Sussex which he produced for the Recording Knight studied at Brighton School of Art from 1919 to Britain project in the late 1930s. 1923 before winning a scholarship to the Royal Academy

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100a ANNE CONNELL in its creation, characterized by a painstaking technique Born 1959 of oil, silverpoint and gold leaf on prepared panels. As a review of an exhibition of her work in the New York Times A Little Sanctuary noted, ‘Borrowing patterns and fragmentary images from Italian Renaissance painting for her small, lovingly made panel paintings, Connell creates a quietly luminous symbolist poetry Collage and gouache on hand-marbled paper that seems as once antique and post-modern.’ mounted on panel 255 × 255 mm., 10 × 10 in. The architectural details were appropriated from two paintings by the 15th century Sienese painter Giovanni di Painted in 2018. Paolo; the column is from Saint Catherine Dictating Her Dialogues of c.1447-1449 in the Detroit Institute of Arts, The artist Anne Connell lives and works in Portland, while the pink facade is taken from Saint Clare of Assisi Oregon. She has spent much time in Italy, and her work Blessing the Bread before Pope Innocent IV of c.1455, in reflects her abiding love of the art of the early Renaissance. the Yale University Art Gallery, New Haven. The pointing Connell’s paintings sample images and patterns from hand was inspired by that of the archangel Gabriel in Fra Quattrocento sources, while at the same time representing Angelico’s Annunciation of c.1430-1431 in the Museo these elements within a distinctively modern idiom. Diocesano in Cortona. Another feature of her work is the craftsmanship involved

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100b ANNE CONNELL The tiny villa can be found in the landscape on the south Born 1959 wall of Benozzo Gozzoli’s Chapel of the Magi in the Palazzo Medici-Riccardi, Florence. The ladder is an adaptation of The Scheme of Things that in the armorial bearings of the medieval tilers’ guild of Paris.

Collage and gouache on hand-marbled paper For further information about Anne Connell, or to view mounted on panel images of her recent paintings and drawings, please visit 255 × 255 mm., 10 × 10 in. the page dedicated to her work on the gallery’s website. Two exhibitions of her work have been held at Stephen Painted in 2018. Ongpin Fine Art in London, in 2009 and 2014, and copies of the catalogues of both exhibitions may be obtained from ‘In essence, just about everything I’ve ever made has been the gallery on request. a collage of some sort or other. I always expect my literal collages – the paper and glue ones – to come together more easily than my paintings, yet they never do.’ (Anne Connell).

126 Stephen Ongpin has over thirty years of experience as a dealer in Old Master, 19th and 20th Century drawings. He began his career in 1986 at the long-established gallery of P. & D. Colnaghi, working at the firm’s New York branch for ten years before moving to London in 1996. Working closely with Jean-Luc Baroni, Stephen was responsible for organizing the drawings exhibitions mounted by the gallery, and for researching, writing, and editing their annual catalogues of Master Drawings. In 2001 he joined Baroni in forming Jean-Luc Baroni Ltd. in London, with Stephen continuing to assume responsibility for the new firm’s drawing department, organizing their successful drawings exhibitions and writing the accompanying catalogues. He has to date researched and written nearly thirty scholarly catalogues of drawings. Since 2006 Stephen has worked as an independent dealer and consultant in the field of Old Master, 19th century and Modern drawings, assisted by Megan Corcoran and Alesa Boyle, and sharing a gallery in St. James’s in London with Guy Peppiatt. The gallery exhibits at several art fairs, including the Salon du Dessin in Paris and TEFAF in Maastricht in March, and Frieze Masters in London in October. Stephen Ongpin Fine Art mounts annual exhibitions of drawings in both London and New York, and also issues regular catalogues.

Guy Peppiatt started his working life at Dulwich Picture Gallery before joining Sotheby’s British Pictures department in 1993. He quickly specialised in early British drawings and watercolours and took over the running of Sotheby’s Topographical and Travel sales. Topographical views, whether they be of Britain or worldwide, have remained an abiding passion. Guy left Sotheby’s in early 2004 and has worked as a dealer since then, first based at home, and now in a gallery in St James’s, which he shares with Stephen Ongpin. Guy’s main yearly exhibition of early drawings and watercolours is in May and June and he also exhibits at the Works on Paper Fair in early February and the BADA Fair in March. In January he exhibits in a gallery in New York as part of Master Drawings New York. He is Chairman of the Vetting Committee at the Works on Paper Fair and also does the vetting at a number of other fairs. He advises clients on their collections, buys and sells on their behalf and can provide insurance valuations.

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

127 INDEX OF ARTISTS

ADAM, Henri no.81 DUNKER, Balthasar Anton no.14 ALLIER, Paul no.94 ANDERSON no.92 EVENEPOEL, Henri no.79 ANDRIEUX, Clèment-Auguste no.67 FIELDING, Newton Smith Limbird no.36 BALLU, Albert no.74 FRANÇAIS, François-Louis no.65 BRABAZON, Hercules Brabazon no.82 FRANZONI, Roberto no.91 BRANWHITE, Charles no.63 FRENCH SCHOOL, 18th century BRONDGEEST, Albertus no.26 nos. 7-8, 11 FRENCH SCHOOL, 19th century no.44 CALLOW, John no.58 FRIPP, George Arthur no.47 CALLOW, William nos. 59-60 CAPPELLO, Giovanni Battista no.5 GASTINEAU, Henry no.62 CECCO BRAVO, Francesco Montelatici no.3 GREEN, Benjamin Robert no.72 CHIPART no.15 GRIFFITH, Moses no.19 CICERI, Eugène no.57 COOKE, Edward William no.46 HARDING, James Duffield no.48 CONNELL, Anne no.100 HARPIGNIES, Henri-Joseph no.89 CORNU, Sébastien no.37 HILLS, Robert nos. 34-35 COX, David no.32-33 HOWITT, Samuel no.22 COX JUNIOR, David no.45 HUET, Nicolas no.24 CRANE, Walter no.76 CROMEK, Thomas Hartley no.51 JEANÈS, Sigismond no. 83 JEANNIOT, Pierre-Georges no.78 DAYES, Edward no.20 DEHODENCQ, Alfred no.73 KEATE, George no.17 DESBOUTIN, Marcellin no.66 KING, Jessie Marion no.86 DESFRICHES, Aignan-Thomas no.13 KNIGHT, Charles no.99 DEVIS, Anthony no.21 KRETZCHMER, Johann Hermann no.49 DE WINT, Peter no.40

128 LEAR, Edward nos.52-54 ROWLANDSON, Thomas no.16 LEHMANN, Henri no.38 RYSSELBERGHE, Theo Van no.88 LEITCH, William Leighton no.68 LEWIS, John Frederick no.50 SCHUFFENECKER, Claude-Emile no.80 LINDENAU, Erich no.97 SEZANNE, Augusto no.84 LINNELL, James Thomas no.64 SIENESE SCHOOL no.2 LODI, Ermenegildo no.4 SOMM, Henri no.75 LOIR, Luigi no.77 STARK, James no.43 STEPPES, Edmund no.93 MEHEUT, Mathurin no.87 STIMMER, Abel no.1 MESSMANN, Carl Ludvig no.39 STRANG, William no.85 MOUCHERON, Isaac de no.6 MUNN, Paul Sandby nos. 29-31 THORBURN, Archibald no.98

NICHOLL, Andrew no.61 VARLEY, John no.42 NIXON, John no.18 VUILLARD, Edouard no.96 NOËL, Jules Achille no.55 WATTS, George Frederic no.41 OWEN, Samuel no.28 WHITE ABBOTT, John no.25 WICAR, Jean-Baptiste no.12 PATON, Waller Hugh no.70 WORLIDGE, Thomas no.9 PAYNE, William no.23 PILS, Isidore no.56 PROSSER, George Frederick no.71 PYNE, George no.69

RIPPINGILLE, Edward Villiers no.27 ROBERT, Hubert no.10 ROBERT, Léo-Paul no.90 ROCHE, Odilon no.95

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P E P P I A T T

Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2 0 1 8

Riverwide House - 2 0

6 Mason’s Yard 1 Duke Street, St James’s 9 London SW1Y 6BU