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S D R E U S R G O D L N D I N O N U W C A A H R R E E T D N A O W ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT 2018-2019 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. 2 SOFA 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. 3 SOFA 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. 4 SOFA 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. 5 SOFA 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. 6 SOFA 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. 7 SOFA 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. 8 SOFA 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.