N UDE RWNS&WTROOR TPE NPN U EPAT 2016-2017 ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

ONE HUNDRED DRAWINGS AND WATERCOLOURS

Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd.

Riverwide House 6 Mason’s Yard Duke Street, St James’s London SW1Y 6BU GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART

ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 20th Century

WINTER CATALOGUE 2016–2017

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

1 We are delighted to present our ninth annual Winter catalogue of One Hundred Drawings and Watercolours, which will, as usual, be accompanied by an exhibition in our London gallery. This catalogue includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to the first half of the 20th century. Although the areas of Old Master drawings, early British drawings and watercolours, and 19th and 20th Century drawings have long been regarded as disparate fields, each with their own enthusiasts, 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 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 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 very pleased that a significant number of British, European and American museums have acquired works from these annual Winter catalogues over the past eight years.

Our respective individual catalogues of more significant drawings will be issued in January and May 2017, accompanied by exhibitions in New York and London. In the meantime, we are delighted to present this Winter catalogue of more moderately priced works. We hope you find something in it to interest you, and look forward to greeting you at our gallery over the coming months.

Guy Peppiatt Stephen Ongpin

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 references, as well as high-resolution digital images of each of the works, are available on request.

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

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1 flowers of the Marchigian region, and became one of the GHERARDO CIBO foremost botanists of his day. A gifted artist, despite his lack Genoa or Rome 1512-1600 Rocca Contrada of any formal training, he produced a large number of colourful and scientifically accurate botanical illustrations. As Landscape with a Farmhouse on a Hillside an amateur landscape draughtsman, Cibo worked mainly in the provinces of Ancona, Pesaro, Macerata and Perugia. His Pen and brown ink and brown wash landscape drawings can be divided into two distinct types; 1 1 129 x 210 mm., 5 /8 x 8 /4 in. views of actual sites in the Marches and purely imaginary landscapes. The drawings made on the spot are often Provenance: inscribed with the location depicted and with astrological Cardinal Gaspari(?) symbols to denote the specific day of the week. While Cibo Rafael Valls, London sent some of his drawings to family members and fellow P. & D. Colnaghi, London, in 1969 botanists, most seem to have been done for his own Private collection, New York pleasure.

Born into the Genoese nobility, Gherardo Cibo studied in The present sheet was part of a group of twelve landscape Rome and Bologna, receiving a fine humanist education, drawings from a now-dismembered sketchbook that and showed a talent for drawing from an early age. He appeared on the London art market in 1971. The flyleaf of became a soldier and diplomat attached to the papal court the sketchbook was dated 24 October 1567, while some in Rome. In 1540, aged just twenty-eight, Cibo retired from of the drawings are dated 1567 or 1568. A long inscription his papal duties and settled in the small town of Rocca in the sketchbook noted that the drawings contained in it Contrada in the Apennines. He dedicated the rest of his life were made by Cibo during walks in the countryside. to the study, collection and illustration of the plants and

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2 HENDRICK GOUDT Goudt is thought to have travelled to Italy in 1604, and by The Hague c.1583-1648 Utrecht 1607 is recorded as living in the house of the German painter Adam Elsheimer in Rome, although it remains Three Orientals in Conversation unclear whether he was formally a pupil of the elder artist. Goudt made a handful of superb prints after Elsheimer’s paintings which served to spread the posthumous Pen and brown ink on buff paper, laid down reputation of the German painter and, by extension, his Irregularly trimmed and made up at the left edge and own. Following Elsheimer’s death in 1610, Goudt returned upper left corner to the Netherlands and by 1611 had settled in Utrecht. A small made up section at the lower right However, he seems to have stopped working after the last 5 3 91 x 60 mm., 3 /8 x 2 /8 in. of his prints after Elsheimer was published, in 1613. Around 1620 Goudt became severely mentally ill, and by 1625 had Provenance: been declared legally incompetent. He died in 1648, Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) suffering from mental derangement. Thence by descent As a draughtsman, Goudt worked primarily in pen and ink, Literature producing figural groups, landscapes and Biblical subjects. Hans Möhle, Die Zeichnungen Adam Elsheimers. Das Werk He also made a number of highly detailed pen and ink des Meisters und der Problemkreis Elsheimer – Goudt, Berlin, drawings on vellum for collectors. His drawings are difficult 1966, p.56, illustrated pl.9, no.G16 to accurately date, however, since only one sheet is dated. While Goudt’s early drawings show the influence of Jacques Little is known of Hendrick Goudt’s artistic training, but it is de Gheyn II, his mature draughtsmanship is indebted to the thought that he studied calligraphy and engraving with Jan manner of Elsheimer; indeed, the figure drawings of the two van de Velde the Elder, and printmaking with Simon Frisius. artists have long been confused.

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3 STEFANO DELLA BELLA This drawing was once part of a sketchbook used by Stefano Florence 1610-1664 Florence della Bella on a trip to the Low Countries between 1647 and 1650. The drawing shares much of its provenance with The Heads of Two Women from Aalkmar a similar and slightly larger sheet from the same sketchbook, depicting what seems to be the same woman and showing Pen and brown ink and grey wash, over a pencil more of her costume, on which the artist further noted that the drawing was made in Aalkmar on the 6th of May 1647. underdrawing This would suggest that the present sheet was drawn at the Inscribed Anabatiste d’ hollanda at the top same time and place. The Italian inscription at the top of the 3 1 94 x 130 mm., 3 /4 x 5 /8 in. present sheet describes the subjects as Anabaptists from Holland. Another drawing from the same period and quite Provenance: possibly part of the same sketchbook, showing two Dutch Possibly Giuseppe Vallardi, Milan or Flemish women wearing distinctive headpieces, was part Possibly William Mayor, London of an important album of drawings by Stefano della Bella P. & D. Colnaghi, London assembled by the 18th century English calligrapher Thomas Sir Bruce Ingram, Chesham (Lugt 1405a) Tomkins, and dispersed at auction in 1975. Other drawings Carl Winter, Cambridge by the artist from this Dutch period are in the British Private collection, London Museum, the Louvre and the Istituto Nazionale per la Trinity Fine Art, London, in 1990 Grafica in Rome. Monica Streiff, Switzerland

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4 LUDOLF BAKHUIZEN had also taken up painting, and was soon established as one Emden 1631-1708 Amsterdam of the leading marine painters in the city, receiving numerous commissons and enjoying the patronage of several important patrons. After 1672, when Bakhuizen’s Coastal Scene with Shipping main competitors as marine artists, Willem van de Velde the Elder and Willem van de Velde the Younger, moved to Pen and brown ink and grey wash England, his output increased significantly. Laid down on a 17th century mount Signed L: B: Fecit at the lower left of the mount Prolific as a draughtsman, Bakhuizen produced, in the 5 5 118 x 169 mm., 4 /8 x 6 /8 in. words of one scholar, ‘swift and lively sketches in pen and brown ink and gray wash, which sometimes served as Born in Germany, Ludolf Bakhuizen had by 1649 settled in preparatory studies for paintings’ - of which the present sheet Amsterdam, where he worked as a calligrapher and is a fine example - as well as more finished drawings, which bookkeeper. The biographer Arnold Houbraken states that were highly valued and were sold to collectors as Bakhuizen began making drawings of ships and marine autonomous works of art. In his drawings, Bakhuizen was subjects soon after arriving in Amsterdam, despite having fond of the compositional device of a large ship in the relatively limited training as an artist. Some of his earliest foreground at one side of the scene, with other shipping in works were elaborate pen drawings on prepared canvas the middle ground and far distance. (According to or wood; known as ‘penschilderij’, these were inspired by Houbraken, he often worked from a boat, the better to similar works produced by Willem van de Velde the Elder. capture the effects he was after.) Due to the fact that his Drawing seem to have been something of a hobby for style as a draughtsman remained relatively unchanged several years, however, and Bakhuizen did not join the throughout his career, it is often difficult to place undated Guild of St. Luke in Amsterdam until 1663. By this time he drawings within Bakhuizen’s oeuvre.

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5 JOANNES CARTERON Flemish, late 17th Century

An Italianate Coastal Landscape with Shipping

Pen and brown ink, with framing lines in brown ink Laid down Signed and dated Joanneir Carteron fecit 1677. and numbered No 516 in the lower right margin 7 3 250 x 401 mm., 9 /8 x 15 /4 in. [sheet]

Provenance: Stanislas d’Albuquerque (Lugt 3147), Paris and Austria

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6 Agricola, who was active mainly in Augsburg, and also spent CHRISTOPH LUDWIG AGRICOLA time in England, Holland, France and Italy. As a Regensburg 1667-1719 Regensburg draughtsman, Agricola produced a series of gouache drawings of natural history subjects, notably a number of A Kingfisher on a Branch fine studies of birds. These include several drawings of kingfishers, always shown isolated on a branch in a winter Gouache on vellum, with framing lines in gold landscape. The artist must have been particularly fond of 3 1 289 x 209 mm., 11 /8 x 8 /4 in. the present composition, since he repeated it – with minor changes to the tree and the landscape background – in a Relatively little is known of the training and career of the late handful of related versions, all on vellum and of similar 17th century German landscape painter Christoph Ludwig dimensions.

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7 VITTORIO MARIA BIGARI commissions in Faenza, Milan, Ferrara and Turin. Although Bologna 1692-1776 Bologna never enrolled in the Accademia Clementina in Bologna, Bigari was four times elected principe of the institution Design for the Decoration of a Wall and Ceiling between 1734 and 1773.

Pen and brown ink and brown and grey washes, over The extensive architectural elements in this large and impressive sheet would suggest that it is a mature work by an underdrawing in black chalk the artist. The wall scheme depicts two putti supporting a A ceiling study in pen and brown ink and wash on a cartouche with a figure of Minerva as the personification of separate sheet of paper laid down and inserted by the Wisdom, while above a separate sheet has been inserted artist into the design into the composition, showing an allegorical female figure 5 1 395 x 515 mm., 15 /8 x 20 /4 in. crowned by an angel. While it has not been possible to connect this drawing with any extant mural or ceiling The leading decorative painter in Bologna in the mid-18th decoration by Bigari, the scale and complexity of the design century, Vittorio Maria Bigari began his career as a indicates that it was an important commission. A close scenographic painter and stuccatore. However, he soon comparison may be made with a drawing by Bigari of similar developed a reputation as a master of large-scale mural and dimensions, now in a private collection, which is a study for ceiling frescoes, often working as a figure painter in the quadratura design and fresco of Apollo Crowning the collaboration with designers of elaborate illusionistic Muse of Painting on the vault of the Palazzo Bovi-Tacconi in architectural decorations, such as Stefano Orlandi. Bigari Bologna, painted around 1761. travelled extensively throughout Northern Italy, fulfilling

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8 JOHANN MICHAEL BAADER was particularly influential among the younger generation of Eichstätt 1729-1792 Paris German and Swiss artists working in the city. Baader joined Wille’s circle of students and followers on study trips outside The Corner of a Barn: Study of a Haystack with a Paris, making numerous landscape drawings. By 1766 he is recorded as a pupil of Noël Hallé at the Académie, where Barrel and a Lantern he won a prize for drawing, and he worked in France for the remainder of his career. Accepted as a member of the Red chalk Académie de Saint-Luc in 1775, Baader was soon afterward Signed and dated Baader Del. / 1772 at the lower commissioned by the Marquis de Brunoy to work at his right château. He also enjoyed the patronage of the 5 194 x 313 mm., 7 /8 x 13 in. Archbishopric of his native town of Eichstätt in Germany, by whom he was appointed Hoff- und Cabinets Maler. In the Provenance: 1770s and 1780s a number of his drawings were Peter Wick, Boston reproduced as prints. Baader died, after a thirty-year career in Paris, of a cerebral haemorrhage, at the age of sixty-three. A painter and etcher, Johann Michael Baader studied with The day after his death, Wille wrote of him in his journal – Johann Georg Bergmüller in Augsburg before travelling to an important source of information about the Parisian art Rome, where he worked with Anton Raphael Mengs. In world of the 18th century, published posthumously in September 1762 Baader settled in Paris, where he studied 1857 –‘If he was not a painter of the first rank, he was at at the Académie Royale. He met and befriended the least swift and painstaking; also, he was a very honest man, engraver Johann Georg Wille, whose studio in Paris was a thrifty, but charitable; his exceedingly good humour made him meeting place for artists, collectors and dealers, and who a friend to all those who might know him.’

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9 THOMAS WORLIDGE he lived mainly in London, he also worked in Bath for Peterborough 1700-1776 Hammersmith several months each year between 1743, when he married a woman from the city, and his death in 1766. Described by Study of a Man With a Headscarf one modern scholar as ‘the most original printmaker to work in Bath in the eighteenth century’, Worlidge, like Thomas Graphite, with stumping, and double framing lines in Gainsborough, counted among his clients many of the fashionable people who stayed in Bath during the winter pencil social season. Signed with the artist’s initials and dated TW 1761 at the upper right Unlike much of Worlidge’s work, which is indebted to the 1 204 x 140 mm., 8 x 5 /2 in. example of Rembrandt, the present sheet – signed and dated 1761 – would appear to have been inspired by similar A painter, draughtsman and printmaker, Thomas Worlidge male heads that appear in the work of the Neapolitan artist received his artistic training from the painter Alessandro Salvator Rosa (1615-1673). Grimaldi and the engraver Louis-Philippe Boitard. Although

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10a THOMAS WORLIDGE contemporary cleric and author William Gilpin, writing in 1768, noted, ‘Among the imitators of REMBRANDT, we Peterborough 1700-1776 Hammersmith should not forget our countryman WORLIDGE; who has very ingeniously followed the manner of that master; and Study of a Seated Man (after Rembrandt?) sometimes improved upon him. No man understood the drawing of a head better.’ Graphite, with framing lines in pencil, laid down. Signed with initials TW at the upper right Among Worlidge’s most important patrons was Sir Edward 1 7 129 x 98 mm., 5 /8 x 3 /8 in. Astley, who came to possess over six hundred prints by him, and also owned a famous collection of prints by Throughout Thomas Worlidge’s career, the prime influence Rembrandt. In 1754 the artist held a public sale of his work, on both his style and his oeuvre were the prints and which included copies of two self-portraits by Rembrandt drawings of Rembrandt, whose etching manner he imitated. and other works inspired by the master. Among his last Indeed, Worlidge may be regarded as a leading figure in the significant projects was the Select Collection of Drawings from Rembrandt revival in England in the 18th century, and is Curious Antique Gems...Etched after the Manner of credited with introducing the artists William Hoare and Rembrandt, which was posthumously published in 1768, Thomas Gainsborough to the work of Rembrandt. As the two years after his death.

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10b THOMAS WORLIDGE printmaker that Thomas Worlidge is best known. His etchings were very popular and were sold in galleries and Peterborough 1700-1776 Hammersmith bookshops in Bath and London, even long after his death. The largest extant collection of prints by the artist is today Study of a Man With a Fur Hat in the collection of the Peterborough City Museum and Art Gallery, in the town of his birth. Graphite, with framing lines in pencil Laid down Many of Worlidge’s drawings, such as this and the previous 1 1 140 x 118 mm., 5 /2 x 4 /2 in. sheet, are inspired by Rembrandt’s portraits, or by his prints of Oriental heads. Drawings by Worlidge are rare today, Although he produced several small portrait drawings in however, although examples are in the collections of the graphite, as well as miniatures and portrait paintings – British Museum, the Ashmolean Museum in Oxford and the although few of these survive today – it remains as a Victoria Art Gallery in Bath.

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11 PIETER BARBIERS THE ELDER Although as a child he received drawing lessons from his Amsterdam 1717-1780 Amsterdam father Anthonie, Pieter Antonisz. Barbiers was largely a self- taught artist, and began his career decorating ladies’s fans Study of a Man Pushing Out a Boat and designing wallpaper. He eventually made a specialty of large decorative paintings, tapestry designs and, in particular, Pencil, with framing lines in pencil drawings for stage decorations, working for theatres in Amsterdam, The Hague, Leiden and Rotterdam. His sons Inscribed (in a modern hand) P. Barbiers l’aine(?) on Bartholomeus (1740-1808) and Pieter Barbiers II (1749- the backing sheet 1842) were also painters, and received their training from 1 115 x 151 mm., 4 /2 x 6 in. him; it is sometimes difficult to distinguish between the works of the three artists. Drawings by the elder Barbiers Provenance: are today in the Rijksprentenkabinets in Amsterdam and Iohan Quirijn van Regteren Altena, Amsterdam (Lugt 4617) Leiden, the Gemeenterachief in Haarlem, and elsewhere. Thence by descent

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12 CLAUDE-LOUIS CHATELET majority of the landscape illustrations for the Abbé de Saint- Paris 1753-1795 Paris Non’s Voyage pittoresque, ou description historique des royaumes de Naples, et de Sicile, published in five volumes Mountain Landscape with a Waterfall between 1781 and 1786. Chatelet undertook a trip to southern Italy to prepare drawings for the book, and he was Pen and brush and black ink and grey wash, responsible for the largest number of the illustrations later engraved for this massive project. Actively involved in radical heightened with white, on blue paper politics, Chatelet was a fervent Revolutionary and a member Inscribed vallée(?) at the lower left of the Jacobin Tribunal. Imprisoned after the fall of 1 1 218 x 285 mm., 8 /2 x 11 /4 in. Robespierre in 1794, he was sent to the guillotine in May of the following year. Very little is known of the artistic training of Claude-Louis Chatelet, and the known facts of his career are few. Active One of a small number of stylistically comparable drawings mainly as a topographical draughtsman, he seems to have on deep blue paper by Chatelet, the present sheet may completed only a handful of paintings, and it is for his have been executed during the artist’s travels around landscape drawings in watercolour or gouache that he is Switzerland in 1780-1781, in preparation for Jean-Benjamin best known. Chatelet often depicted the parks and gardens de La Borde and Baron Beat Fidel de Zurlauben’s Tableaux around Paris, such as Bellevue, the Petit Trianon at Versailles topographiques, pittoresques, physiques, historiques, moraux, and the Folie Saint-James at Neuilly, but his most important politiques, littéraires de la Suisse, which appeared between commission came when he was asked to supply the 1780 and 1786.

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a.

b. The Ambush 13 THOMAS ROWLANDSON Pen and grey ink and watercolour 3 3 London 1756-1827 London 140 x 222 mm., 5 /4 x 8 /4 in. a. Boxers in a Town Square c. The Burial

Pen and grey ink and grey wash over pencil on laid Pen and brown ink and watercolour over pencil on laid paper paper 3 1 93 x 152 mm., 3 /4 x 6 in. 122 x 190 mm., 5 x 7 /2 in.

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14 THOMAS HEARNE A view of the outer gateway of Allington Castle by Hearne Brinkworth 1744-1817 London is in the Victoria and Albert Museum (see David Morris, Thomas Hearne and his Landscape, 1989, p.31, no.18, ill.). The Gateway, Allington Castle near Maidstone, Kent An engraving of this view was published on 15th August 1783 as part of the ‘Antiquities of Great Britain’ series. David Grey washes over pencil on laid paper Morris (op.cit., p.51) tells us that Hearne visited Allington 1 1 Castle, the home of Lord Romney, in 1777. 185 x 255 mm., 7 /2 x 10 /4 in. Allington castle was built by Stephen de Pencester between Provenance: 1279 and 1299. It passed by marriage into the Cobham With the Squire Gallery, London, where bought by Miss family before being acquired by Sir Henry Wyatt, a Sprent of Hove, Brighton, November 1955 supporter of Henry Tudor (later Henry VII) in 1492. From circa 1600 the castle gradually fell into ruin until it was rebuilt in the early twentieth century.

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15 FRANCIS NICHOLSON Pickering 1753-1844 London

Fountains Abbey, North Yorkshire

Watercolour over pencil 1 1 290 x 411 mm., 11 /2 x 16 /4 in.

Fountains Abbey is about three miles south-west of Ripon and is one of the largest and best preserved ruined Cistercian monasteries in England. It was founded in 1132 and thrived until Henry VIII’s dissolution of the monasteries in the 1530s.

Nicholson was born in Pickering, Yorkshire and lived in various Yorkshire towns before moving to London in 1803. He painted mainly views of Yorkshire and Scotland and, later in life, London. He built up such a successful career as a drawing master in London that he stopped exhibiting from 1833. Nicholson was one of the founding members of the Old Watercolour Society.

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16 JOSEPH CLARENDON SMITH London 1778-1810

Melrose Abbey, Scotland 17 Signed lower left: J.C. Smith 1809 ANTHONY DEVIS Brown washes over pencil Preston 1729-1817 Albury, Surrey 3 1 216 x 309 mm., 8 /4 x 12 /4 in. a. Landscape with Figure and Cattle Smith was the son of a builder and sent to sea as a young man. After three years, he was admitted to Christ’s Hospital Signed with initials lower left school to improve his skills in navigation. While there he Pen and grey ink and watercolour over pencil with showed an aptitude for drawing and began working with an engraver. He then turned to working in watercolour and pen and ink border 1 3 exhibited at the Royal Academy in 1806 and1807. He 137 x 200 mm., 5 /2 x 7 /4 in. suffered from tuberculosis and went to Madeira for warmer air but died on the return journey aged only 32. This is b. Landscape with Sheep typical of his detailed work in brown wash and pencil. A similar work, of Waltham Abbey, dated 1807 is in the British Pen and grey ink and watercolour over pencil with a pen Museum. and ink border 1 3 134 x 201 mm., 5 /2 x 7 /4 in. Melrose Abbey, situated in the Scottish Borders, was founded in 1136 by the Cistercians at the request of King Provenance: David I of Scotland and is now partly ruined. Anonymous sale, Christie’s, 3rd March 1970, lot 67

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19 JOHN WHITE ABBOTT Exeter 1763-1851 Exeter 18 WILLIAM PAYNE Figures in a Wood, Topsham and the River Exe beyond London 1760-1830 London Inscribed on reverse of original washline mount: Given View on the River Dart, Devon to Francis Abbott/March 1, 1832 Pen and brown ink and watercolour 3 1 Inscribed on original backing: View upon the River Dart 705 x 495 mm., 27 /4 x 19 /2 in. Watercolour over traces of pencil 3 1 349 x 463 mm., 13 /4 x 18 /4 in. Provenance: Given by the artist to Francis Abbott, 1832; This watercolour dates from the mid 1790s. By descent in the family of the artist until sold at Sotheby’s, 11th November 1993, lot 86, where bought by the Payne was the son of a London coal merchant and first present owner exhibited at the Society of Artists in 1776. He was taught by George Haines, Chief Draughtsman at the Tower of Exhibited: London and maybe also Paul Sandby (1730-1809). From Bristol City Art Gallery, John White Abbott, 1946, no.2 1782 until 1788 he worked on surveys at Plymouth Dock. He exhibited at the Royal Academy from 1786 and in 1789 This watercolour dates from circa 1800. The viewpoint is he returned to London as a professional artist and became the same as in an oil painting of 1808, ‘The Old Lime Kilns one of the most successful and fashionable drawing masters near Topsham on the Exe’ in the Royal Albert Memorial of the period. His works are mostly Devon views. Museum, Exeter.

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20 THOMAS BURGESS Burgess exhibited three Derbyshire views at the Royal London1784-1807 London Academy in 1806 including a view of Matlock Church. He died of tuberculosis at his father’s house on Sloane Square Rock Scenery near Matlock, Derbyshire on 23rd November 1807 aged only 23.

Signed lower left: T Burgefs 1805 and signed on the original mount: Rock Scenery near Matlock by T. Burgefs 1805 Watercolour over pencil heightened with stopping out 1 1 289 x 235 mm., 11 /2 x 9 /2 in.

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21 Debucourt’s colour prints of genre subjects were some of Attributed to PHILIBERT-LOUIS DEBUCOURT the most significant works in this new medium, culminating Paris 1775-1832 Belleville in two major graphic works of Parisian genre subjects; the Palais Royal Gallery Walk and The Public Promenade. Until The Gust of Wind the turn of the century, Debucourt made engravings, often in colour, after his own paintings of genre scenes and Pen and grey ink and grey wash portraits, but after 1800 was mainly engaged in reproducing 3 7 186 x 200 mm., 7 /8 x 7 /8 in. the designs of other artists, which earned him a modest livelihood. Although he continued to show at the Salons Agrée at the Académie Royale in 1781, Philibert-Louis infrequently, he never achieved much critical or financial Debucourt exhibited genre paintings at the Salons of 1781, success, and died in relative poverty. 1783 and 1785 before becoming a full member of the Académie in 1786. His subjects tended towards charming Despite the fact that he designed almost six hundred prints, and intimate depictions of domesticity; as one scholar has Debucourt seems to have produced relatively few noted, ‘Scenes extolling the pleasures of family life abound in drawings, and they are very rare today. The large Debucourt’s oeuvre.’ However, the death of his wife in 1783, retrospective exhibition of the artist’s work, held in Paris in leaving behind a young son, led him to concentrate on his 1920, included just twelve drawings, while the catalogue work as a printmaker, since colour aquatints had the noted a further eight examples recorded in sale catalogues potential to earn him a greater income than his paintings. and previous literature.

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22 WILLIAM PEARSON Durham 1772-1849 London a. View of Snowdon from Moel Hebog, North Wales

Watercolour over pencil 1 3 372 x 552 mm., 14 /2 x 21 /4 in.

Provenance: With John Manning, New Bond St, 1960s; Private Collection, UK

The son of a Durham solicitor, Pearson’s artistic training is unrecorded. Although the influence of Thomas Girtin is clear in his watercolours, there is no evidence of a direct link between the two. He first exhibited at the Royal Academy in 1799 and his exhibits suggest that he visited Wales in 1801. In 1802, he moved to Shrewsbury and many of his known works and engravings are of Shropshire views.

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22 WILLIAM PEARSON Durham 1772-1849 London b. Old Bank Court, London

Signed lower right: W. Pearson May 1803 and inscribed on part of old label attached to the backboard: Old Bank Court Watercolour over pencil heightened with touches of bodycolour on laid paper 258 x 416 mm., 10 ¼ x 16 ½ in.

This is probably Old Bank Court, a courtyard off Bermondsey St, Bermondsey. The area is full of warehouses many of which were used for making leather.

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23 WILLIAM DANIELL, R.A. Smirke who showed him the proposed, Greek revival, plan Chertsey 1769-1837 London of the theatre. Following the ceremony all the dignitaries, including the Prince who was still wearing his Freemason The Prince of Wales laying the Foundation Stone of the regalia, went to the Freemasons Tavern for a meal. On 18th Theatre Royal, Covent Garden on 31st December September 1809, the new Theatre Royal reopened with a 1808 performance of Macbeth starring Sarah Siddons. The theatre only lasted until 1856 when it again burned down and the present building was opened in 1858. Signed lower right: W. Daniell delt Watercolour over pencil heightened with bodycolour This drawing depicts the site of the Royal Opera House and scratching out from Floral Street to the north. To the left is Bow Street 3 355 x 623 mm., 14 x 24 /4 in. where the sign of the Garricks Head Tavern is visible. It had opened in 1805 at no. 27 to serve the theatre’s audience. At 4 a.m. on the morning of 21st September 1808, fire The large building behind Bow Street is the Theatre Royal, broke out at the Theatre Royal, Covent Garden, now Drury Lane which had been rebuilt by Richard Brinsley known as the Royal Opera House. Within three hours, the Sheridan in 1794 and was to burn down in 1809. Behind whole theatre was destroyed but the books, accounts, Drury Lane, the spire of the church of St Mary-le-Strand is deeds and cash were saved due to the intervention of the visible. treasurer Mr Hughes. The present drawing shows the Prince of Wales (the future George IV) ceremonially laying From 1802 to 1813, Daniell was working on a series of the first Portland stone which was said to weigh one ton. London views and it could be that he intended producing an Once workmen lowered it into place, His Majesty gave it engraving of this subject. It never happened however but he three strokes with a mallet. The Prince of Wales was did publish an engraving of the east front of the new theatre accompanied by the architect of the new building Sir Robert on 1st September 1809.

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24 WILLIAM HEATH farm stood near a major crossroads, and its central position Northumbria 1795-1840 Hampstead made it key for the combatants to control. Both sides pressed hard to hold and take the farm throughout the day. The Battle of Waterloo, 18th June 1815 Heath shows the time in the afternoon after the advances Watercolour over pencil heightened with bodycolour of the French forces are beginning to falter, and the tide of 3 303 x 548 mm., 12 x 21 /4 in. the battle is turning in favour of the British and their Allies. Seen on the left, are members of The Highland Regiments, Provenance: probably the 92nd Gordon Highlanders, who have Theodore Church, Georgia, VT; consolidated their positions, and are firing on the waning Private Collection, UK. French Cuirassiers in the middle ground. Rushing in from the right to support the Highlanders are the charge of the Early in Heath’s career (1816-17) he produced a number Household Brigade (Life Guards) and the charge of the of watercolours recording the pivotal battles of the Hussars. The mounted officer on the right gesticulating with Napoleonic Wars. This work depicts the critical events his sword resembles Lieutenant General Paget, Earl of around the Le Hayes Sainte farm on the 18th June. The Uxbridge.

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25 26 JOHN WILLIAM UPHAM GEORGE FROST Offwell near Honiton 1772-1828 Weymouth Ipswich 1734-1821 Ipswich

Bow and Arrow Castle, Portland, Dorset a. Study of a Standing Man

Signed or inscribed on original mount: J.W. Upham Watercolour on laid paper 3 1821 and inscribed verso: Bow and Arrow Castle, 178 x 73 mm., 7 x 2 /4 in. Portland 1 276 x 387 mm., 11 x 15 /4 in. b. Study of six Horses and a Carriage

Engraved: Watercolour and pencil 3 3 By J. Bluck for a ‘A Fine set of Views in and around 71 x 151 mm., 2 /4 x 5 /4 in. Weymouth, Dorset’ as a coloured aquatint, July 1821 Provenance: Originally a pupil of Francis Towne, Upham became a David Kibble drawing master in Weymouth, Dorset and specialised in Dorset and Devon views. The present watercolour is one Frost was an office clerk in Ipswich who spent his leisure of series of coloured aquatints published in July 1821 time sketching in the local area. His friend the Rev. James described as ‘A fine set of views in and around Weymouth, Ford recalled: ‘he studied nature with the closest attention’ Dorset, drawn and published in Weymouth by John William and ‘the pleasing scenery around the town of Ipswich; its Upham (1772-1828), with bright matching colour.’ hollow and tortuous lanes with broken sand-banks; its

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a.

b. copse-grown dells; above all, the richly-wooded and 90). He was an ardent admirer of Gainsborough’s landscape picturesque acclivities of its winding river, were his perpetual drawings, and a close friend of Constable, and he owned a haunts’ (obituary in The Gentleman’s Magazine, July 1821, p. number of the latter’s work.

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27 GEORGE FROST b. Study of a Carthorse facing left Ipswich 1734-1821 Ipswich Black chalk and pencil on laid paper, with cut corners 1 a. Study of a Carthorse facing right 133 x 180 mm., 5 /4 x 7 in.

Pencil on laid paper Provenance: 1 1 133 x 169 mm., 5 /4 x 6 /2 in. David Kibble

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28 WILLIAM BROCAS Literature: Dublin 1794-1868 Dublin Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, 2002, vol.I, p.119, ill. Looking down the River Liffey towards Dublin, Ireland William Brocas was the third son of the landscape painter Signed lower left: W. Brocas delt. and signed and Henry Brocas (1762-1837). He was based in Dublin and exhibited mainly portraits and figure studies at the Society of inscribed on reverse of original mount: Drawn by Artists in 1809 and 1812 and at the Royal Hibernian William Brocas 15 Henry Street Dublin/Looking down Academy, Dublin, from 1828 to 1863. He was President the River Liffey towards Dublin of the Society of Irish Artists which held its first exhibition at Watercolour over pencil heightened with touches of the Royal Irish Institution in College Street in 1843. was bodycolour elected an Associate of the Royal Hibernian Academy in 3 1 294 x 492 mm., 11 /4 x 19 /2 in. 1854, and a full Member in 1860. He lived at 15 Henry Street, Dublin from about 1825. Provenance: Anonymous sale, Christie’s, 14th July 1987, lot 83, sold for £1,870

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29 Attributed to CONSTANT TROYON in the Mauritshuis he copied. Troyon soon moved from Sèvres 1810-1865 Paris landscape painting to animal subjects, with a particular emphasis on cattle. Indeed, his contemporary reputation The Head of a Bull rested largely on his undoubted skills as an animal painter, and he was soon established as one of the foremost Oil and pencil on buff paper animalier artists in France. Exhibited throughout Europe, Troyon’s paintings were acquired by numerous collectors Various sketches of decoration in pencil on the verso and achieved very high prices long after his death. 1 1 190 x 207 mm., 7 /2 x 8 /8 in. [image] As one modern scholar has noted, ‘Troyon’s cattle pictures Constant Troyon began his career as an apprentice at the are remarkable for their anatomical accuracy; for he took great Sèvres porcelain factory, and received his artistic training pains and made numerous studies of cattle and other with Jean-Victor Bertin and Camille Roqueplan, while also domestic animals. He was, in fact, an accomplished coming under the influence of the Barbizon painters. He draughtsman, and even in his later works, many of which were exhibited for the first time at the Salon in 1833, showing rapidly executed, we are aware of the sound draughtsmanship landscape paintings, and won medals at the Salons of 1838, and the accumulation of knowledge of the structure not only 1840 and 1846. Of particular importance was a trip he of cattle and other animals but also of landscape, that he made to Holland in 1847-1848, where he was impressed could always call upon.’ Only a handful of preparatory with the work of such 17th century Dutch artists as Aelbert drawings by Troyon for his paintings are known, however. Cuyp and Paulus Potter, whose 1647 painting The Young Bull

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30 HENRY THOMAS ALKEN London 1785-1851 London

A Greyhound

Watercolour over pencil 1 286 x 384 mm., 11 /4 x 15 in.

Provenance: With Andrew Wyld, 2005; Private collection, UK

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31 PETRUS JOHANNES SCHOTEL The son of the illustrious marine painter Johannes Christiaan Dordrecht 1808-1865 Dresden Schotel, Petrus Schotel was also active as a painter of seascapes, and indeed his unsigned work is sometimes Shipping on a Choppy Sea confused with that of his father. A period of study and travel in France between 1827 and 1829 had a significant effect Pen and brown ink and grey wash, with framing lines on his style. Schotel worked for several years as a drawing teacher at the Koninklijk Marine Instituut in Medemblik, and in black ink was recognized for his particular knowledge of the historical Signed P. J. Schotel at the lower right and technical details of ships. From 1851 to 1856 he 1 1 267 x 370 mm., 10 /2 x 14 /2 in. worked in Kampen before settling in Düsseldorf, where he remained until 1860, when he moved to Dresden. He Provenance: exhibited in Amsterdam, Groningen, The Hague and Johannes Andreas Jolles, Amsterdam(?) Rotterdam between 1817 and 1864. Paintings by Schotel His sale, Amsterdam, 27 November 1848, lot 256 are today in the museums of Amsterdam, Haarlem and Marinus van Regteren Altena, Amsterdam Rotterdam, as well as in Antwerp and Cologne, while By descent to Iohan Quirijn van Regteren Altena, drawings by him are in museum collections in Amsterdam, Amsterdam (Lugt 4617) Dordrecht, Haarlem, Otterlo, Rotterdam and Stuttgart. Thence by descent

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32 WILLIAM JOY Admiral Maitland was replaced on his death by Great Yarmouth 1803-1867 Commodore Sir James Bremer. The Wellesley saw active service under his command during the First Opium War in H.M.S. Wellesley and other Shipping the early 1840s.

Pen and brown ink and watercolour heightened with In 1854 the Wellesley was a guard ship then flagship at Chatham dockyard and was refitted by the London School bodycolour and stopping out Ship Society in 1868. In 1940 she was sunk by a German 3 3 225 x 327 mm., 8 /4 x 12 /4 in. air-raid and was raised in 1948. Her figurehead now stands by the main gates of Chatham Dockyard. Named after the Duke of Wellington, H.M.S. Wellesley was a 74 gun third rate and built by the East India Company. She William Joy was a marine painter who often collaborated was launched at Bombay on 24th February 1815. She with his brother John Cantiloe Joy (1806-1866). They grew carried Sir Charles Stuart de Rothesay to Brazil in 1823 and up in Great Yarmouth but moved to Portsmouth in 1832 was the flagship of Rear Admiral Sir Frederick Maitland in where they worked as government draughtsmen. the Mediterranean from 1827 to 1830 and later in Karachi.

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33 EDWARD LEAR Lear arrived in Rome in December 1837 and, apart from a Highgate 1812-1888 San Remo, Italy tour of the Bay of Naples from May to August, he remained in the city for most of 1838. A group of studies of trees Study of Trees, Italy taken in Alderley Park, Cheshire by Lear in June 1837 are in the Whitworth Art Gallery, University of Manchester (see Signed lower left: E Lear/1838 Charles Nugent, Edward Lear the Landscape Artist, 2009, nos. 98-103, pp.187-192). Pencil on blue paper 3 1 269 x 182 mm., 10 /4 x 7 /4 in.

Provenance: With Spink, London (K3/4388)

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34 THOMAS HARTLEY CROMEK living and working in the country, mainly in Florence and London 1809-1873 Wakefield Rome. While in Italy he met and befriended several English artists, including Clarkson Stanfield and John Frederick Lewis, Study of Mullein, Ariccia and gave drawing lessons to a number of English visitors and tourists, including, in 1837, Edward Lear. Cromek made Watercolour, over traces of a pencil underdrawing two trips to Greece, in 1834 and 1845. In 1849, however, he was forced by the outbreak of the First Italian War of Signed, inscribed and dated T.H. CROMEK / Ariccia / t Independence to leave Rome, and returned to England for 11 Aug . 1845. at the bottom centre good. Cromek seems to have produced almost no paintings 1 1 183 x 208 mm., 7 /4 x 8 /8 in. after 1860, as his health gradually failed, and he died in relative obscurity in Yorkshire. Much of what is known today of Thomas Hartley Cromek’s life and career is based on a journal he wrote, entitled This watercolour was drawn during the summer of 1845 at Reminiscences at Home and Abroad, 1812-1855, which Ariccia, a town near Lake Nemi in the Roman Campagna, only came to light in the latter half of the 20th century. The south of the city. The plant depicted is a flowering plant son of an engraver and editor, Cromek first travelled to Italy known as a Verbascum, or mullein. in 1830. He was to spend much of the next twenty years

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35 KASPAR KARSEN views of the 19th century. He lived and worked in Amsterdam 1810-1896 Biebrich am Rhein Amsterdam for most of his career, apart from a brief period in Haarlem in the 1840s. He was admitted to the Academy A View of a Church and a Town Square in Amsterdam in 1836, and three years later joined the Dutch artist’s society ‘Arti et Amicitiae’. One of the finest Pen and brown ink, with brown and grey wash, and painters of city scenes and river views of his day, Karsen was particularly skilled at rendering architecture. He travelled to framing lines in pencil Prague and throughout Germany, and often incorporated Signed K. Karssen on the verso elements from the cities and towns he visited into what 7 1 200 x 241 mm., 7 /8 x 9 /2 in. were sometimes imaginary compositions. Drawings by Karsen are today in the Rijksprentenkabinet in Amsterdam Provenance: (including a sketchbook by the artist), the Teylers Museum Marinus van Regteren Altena, Amsterdam in Haarlem, the Rijksprentenkabinet in Leiden, the Kröller- By descent to Iohan Quirijn van Regteren Altena, Müller Museum in Otterlo, the Museum Boijmans-van Amsterdam (Lugt 4617) Beuningen in Rotterdam, and elsewhere. Thence by descent Although many of Karsen’s urban views are difficult to locate, A pupil of Hendrik Gerrit Ten Cate and Georg Peter and many seem to depict generic towns and cities, this view Westenberg, Kaspar (or Kasparus) Karsen was one of the has been tentatively identified as the church of Saint most important Dutch painters of townscapes and city Germain at Argentan, in northwestern France.

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36 SAMUEL PROUT Provenance: Diss, Norfolk 1783-1852 London Eliza Bell; Given to Edward Ford (b.1813), Enfield Old Park, 1872; Old Houses, Nuremberg Anonymous sale, Christie’s, 16th March 1982, lot 126, sold for £1,400; Signed with monogram lower left: SProut Private Collection, UK Pen and brown ink and watercolour heightened with Prout’s first visit to Germany was his Rhine tour in the bodycolour summer of 1821 but he first visited Nuremberg on his 1823 1 427 x 286 mm., 17 x 11 /2 in. tour (see Richard Lockett, Samuel Prout, 1985, p.53). He exhibited three Nuremberg views at the Society of Painters in Water-colours in 1824 and one in both 1825 and 1826.

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37 JOHN LINNELL The son of a London woodcarver and picture dealer, Linnell Bloomsbury1792-1882 Redhill entered the Royal Academy Schools in 1805 and was a pupil of John Varley (see nos. 41 and 46). He preferred Cattle on a Country Road drawing landscapes but made his living as a portrait painter in oil, miniature and watercolour. From 1847, he gave up Signed lower left: J. Linnell portraiture to concentrate on landscapes. He was the father-in-law of Samuel Palmer. Watercolour over pencil 3 148 x 216 mm., 6 x 8 /4 in. The present watercolour is likely to be a later work. The composition, with the road and cattle giving depth, is typical Provenance: of his oils and shows the influence on Linnell of Rubens’s With the Fine Art Society, London, April 1963; landscapes. Private Collection, UK

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38 DAVID COX seventeenth century by Sir Charles Cavendish but was in Birmingham 1783-1859 Birmingham ruins by the mid eighteenth century. It is now in the care of English Heritage. Horseman on a Track near Bolsover Castle, Derbyshire This watercolour dates from the 1830s when Cox was a Watercolour over pencil frequent visitor to Bolsover. He was there in the summer of 3 3 1834 and again in September 1835 as well as the summer 267 x 370 mm., 10 /4 x14 /4 in. of 1838. He wrote to a friend William Roberts on 5th September 1835: ‘…. and on Thursday will start for Provenance: Bolsover, which I hope to reach by five o’clock. If you have With Thos. Agnew & Sons, London not seen Bolsover, I think you will be pleased with the distant views of it’ (see N. Neil Solly, Memoir of the Life of Bolsover Castle stands on a hill six miles east of Chesterfield David Cox, 1873, p.79). overlooking the Vale of Scarsdale. It was built in the early

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39 THOMAS MILES RICHARDSON SENIOR Exhibited: Newcastle 1784-1848 Newcastle Newcastle, Laing Art Gallery, Special Loan Collection of works by T.M. Richardson Senr, 1906, no. 186 a. Lime Kilns near Dumfries, Scotland Richardson Senior was referred to as ‘The Father of Fine Watercolour over pencil heightened with bodycolour Arts in Newcastle’ during his lifetime. Having been apprenticed to a cabinet maker, he gave it up to succeed and scratching out on buff paper his father as master of St. Andrew’s Charity School in 1 236 x 332 mm., 9 /2 x 13 in. Newcastle in 1806. He started working as a drawing master during this period and gave up teaching to devote himself to Provenance: art in 1813. In 1822 he helped set up the Northumberland By descent from the artist to his daughter Mrs Institution for the Promotion of Fine Arts and its success led Younghusband; to the Northern Academy of Arts in Newcastle in 1828. Mrs N.G. Clayton of Humshaugh, Northumberland, 1906

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39 THOMAS MILES RICHARDSON SENIOR Newcastle 1784-1848 Newcastle b. A Castle on a Hill by the Sea

Watercolour heightened with bodycolour and scratching out 1 217 x 308 mm., 8 /2 x 12 in.

This may be a view of Harlech Castle, North Wales.

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40 THOMAS LEESON ROWBOTHAM Bath 1782-1853 Camberwell

The Inn in Nant Ffrancon Pass, North Wales

Inscribed lower left: The Inn/in Nant Francon Pafs Watercolour and pencil heightened with bodycolour 200 x 299 mm., 8 x 12 in.

The main road from London to Holyhead runs through the Nant Ffrancon pass in Snowdonia. It was constructed by Lord Penrhyn in the late eighteenth century and re- engineered by Thomas Telford between 1810 and 1826. In 1801, Penrhyn built a coaching inn at Capel Curig which is now the UK National Mountaineering Centre.

Rowbotham was born in Bath and was working there as a drawing master in 1811 before moving to Dublin. By 1825 he was in Bristol where he remained for a decade and many of his topographical views of the area are in Bristol City Art Gallery. Three similar Welsh views by Rowbotham, with similar inscriptions, were with Guy Peppiatt Fine Art in 2011 (see website).

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41 JOHN VARLEY Hackney 1778-1842 London

Cader Idris from near Dolgelly, North Wales

Signed lower left: J. Varley. 1812. Watercolour over pencil 3 3 226 x 476 mm., 8 /4 x 18 /4 in.

Provenance: Acquired by Bolton Museum and Art Gallery in 1965; De-accessioned in 2011

This is a view of the north face of Cader Idris from across the River Mawddach estuary which can be seen in the foreground. Cader Idris, meaning ‘Chair of Idris’ from the giant warrior poet of Welsh legend consists of a seven mile craggy and precipitous ridge situated at the southern end of Snowdonia National Park.

This is likely to be one of the four views of Cader Idris by Varley exhibited at the Society of Painters in Water-colours in 1812 and 1813.

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42 Circle of FRANCIS NICHOLSON Pickering 1753-1844 London

Octon Lodge, East Riding, Yorkshire

Watercolour over pencil on original mount 3 284 x 400 mm., 10 x 15 /4 in.

This is a view of Octon Lodge looking north towards the Yorkshire Wolds. The house sits to the west of the village of Octon in the East Riding of Yorkshire. It is recorded as the seat of Robert Prickett in Langdale’s Topographical Dictionary of Yorkshire of 1822 as well as in his will of 1844. Prickett, who married Anne, daughter of Samuel Salt of Tottenham in 1798, also had a property in Harley Street, London and appears to have leased out Octon Lodge. In 1838 it was occupied by a gamekeeper John Stephenson and in 1841 by a farmer Charles Harrison. The building still exists today, much altered but recognisable, on the B1249 opposite Eddsfield Airfield.

We are grateful to Lucy Denton for her help with identifying the subject.

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43 GEORGE BARRET JUNIOR London 1767-1842 London

A Classical City

Watercolour over pencil heightened with bodycolour and stopping out 1 1 366 x 545 mm., 14 /2 x 21 /2 in.

Provenance: Anonymous sale, Sotheby’s, 16th December 1976, lot 110; Bought by the present owner from Michael Bryan, 1980; Private Collection, UK

Barret was one of the founding members of the Old Watercolour Society in 1805 and always lived in the Paddington area of London. From the early 1820s he produced fewer topographical views and concentrated on romantic Claudean compositions like the present work.

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44 JAMES DUFFIELD HARDING Engraved: Deptford 1797-1863 Barnes By William Finden as a steel engraving for ‘Ports, Harbours, Watering Places and Coast Scenery of Great Britain’, 1842, Plymouth Sound, looking across Drake Island from Mt. vol. I, opp. p.133 Edgcumbe, Plymouth beyond Finden describes this view as follows (op. cit.): ‘The view of Plymouth is taken from the grounds of Mount Edgecumbe, Watercolour over pencil heightened with bodycolour looking across the lower part of the Sound. About the 1 226 x 332 mm., 9 x 13 /4 in. middle distance is St. Nicholas’ Island; beyond which are perceived the ramparts of the citadel. Between the citadel Provenance: and the point of land to the right, where several small With James King, Liverpool vessels are seen, is the entrance of the creek called the Catwater.’

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45 FREDERICK NASH Prebend’s Bridge is one of the three stone bridges crossing Lambeth 1782-1856 Brighton the river Wear in Durham. It was built by George Nicholson between 1772 and 1778 replacing one which was swept Prebend’s Bridge on the Wear, Durham away in a flood.

Watercolour over pencil heightened with touches of Nash appears to have first visited Durham in 1828 when he exhibited six views of the city at the Society of Painters bodycolour in Water-colours. He also exhibited Durham views in 1829, 3 1 273 x 363 mm., 10 /4 x 14 /2 in. 1837, 1838 and 1840.

Provenance: With Abbott and Holder, 1981

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46 JOHN VARLEY Hackney 1778-1842 London

Classical Landscape

Watercolour heightened with bodycolour and gum arabic 3 3 295 x 501 mm., 11 /4 x 19 /4 in.

The large size, dark colouring and extensive use of gum arabic are typical features of Varley’s late works of circa 1840 (see C.M. Kauffmann, John Varley, 1984, nos. 70- 81, ill.).

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47 THOMAS MILES RICHARDSON JUNIOR, R.W.S. Newcastle 1813-1890 Newcastle

A distant View of Lumley Castle, Durham

Signed lower left: TMR Junr/1841 Watercolour over pencil heightened with bodycolour, scratching out and gum arabic 1 205 x 350 mm., 8 /4 x 14 in.

Provenance: W.H. Bell, his sale, Christie’s, 27th March 1931, lot 112, bt. Pedley for 6 guineas; Anonymous sale, Christie’s, 22nd November 1946, lot 63, bt. de Cassels for 9 guineas; Private Collection, UK

Lumley Castle is a 14th century castle at Chester-le-Street near Durham. It is named after its original creator, Sir Ralph Lumley who converted his family manor house into a castle in the late 14th century. In the 19th century it was the residence of the Bishop of Durham before being given to the newly founded University of Durham. It was part of University College, Durham until it was sold in the 1960s and is now a hotel.

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49 THE REV. JOHN EAGLES Bristol 1783-1855 Bristol

On the River Frome at Stapleton, Bristol 48 WILLIAM JAMES MÜLLER Inscribed verso: July 14. 1848/Stapleton Bristol 1812-1845 Bristol Bodycolour over traces of pencil 1 1 491 x 364 mm., 19 /2 x 14 /2 in. On the River Lynn, Devon In the 19th century, Stapleton was a village on the river Signed and dated 1844 lower left Frome north-east of Bristol and, like Leigh Woods, was a Watercolour heightened with bodycolour popular sketching area for Bristol School artists. 3 330 x 525 mm., 13 x 20 /4 in. Eagles was born in Bristol and went to school at Winchester Provenance: College before taking holy orders at Wadham College, With Guy Peppiatt Fine Art, 2005; Oxford. He was Vicar of Halberton, Devon from 1822 until Private Collection, UK 1835 when he returned to Winford, Bristol. He knew many of the Bristol School artists and was purportedly the first to This dates from Müller’s visit to Lynmouth in May 1844 with use the phrase ‘Bristol School’ in 1826. His work is normally his brother and William West, another artist. He was unashamedly old-fashioned and often in brown wash – ‘charmed with its quiet beauty’ (see Cyril G.E. Bunt, The however the present later watercolour feels broader in style Life and Work of William James Müller of Bristol, 1948, p.47). and execution.

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50 HENRY BRIGHT Saxmundham 1810-1873 Ipswich

A Wherry on the Norfolk Broads

Signed lower right: HBright Black chalk 3 3 243 x 347 mm., 9 /4 x 13 /4 in.

Bright was born in Saxmundham, Suffolk, the son of a clockmaker and was apprenticed to a chemist in Norwich before turning to drawing. He learnt under Alfred Stannard and took lessons from John Sell Cotman. In 1836 he moved to Paddington and built up a successful drawing practice in London until 1858 when he returned to Saxmundham. He lived the last years of his life in Ipswich. He specialised in chalk drawings often on coloured paper.

A similar drawing of a wherry by Bright is in Norwich Castle Museum (see Marjorie Allthorpe-Guyton, Henry Bright 1810-1873 – Paintings and Drawings in Norwich Castle Museum, 1986, p.93, no.75, ill.).

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51 GEORGE PYNE London 1800-1884 Oxford

A College Room, Oxford

Watercolour over pencil heightened with bodycolour and gum arabic 250 x 378 mm., 10 x 15 in.

Pyne specialised in depicting views of Oxford and Cambridge colleges, views of Eton as well as interiors of student rooms at Oxford colleges. A pair of views of a room at Magdalen College, Oxford by Pyne sold on 31st March 1999, lot169 for £8,000 and a room in an unidentified college sold at Sotheby’s on 25th November 1999, lot 161 for just over £4,000.

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

Harvesters at Sonning-on-Thames, Berkshire

Signed lower left: George A. Fripp./Sonning/1866 Watercolour over pencil heightened with bodycolour 254 x 352 mm., 10 x 14 in.

Fripp exhibited a number of watercolours entitled ‘Haymaking’ at the Society of Painters in Water-colours in 1866 and ‘The Thames near Sonning’ in 1867.

For more on the artist, see note to no.53.

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

Scene near Morenish, on Loch Tay, Perthshire – an October Evening

Signed lower left: George Fripp/1851 Watercolour over pencil heightened with bodycolour, scratching out and gum arabic 506 x 711 mm., 20 x 28 in.

Exhibited: London, Society of Painters in Water-colours, 1851, no. 84

Fripp was a Bristol artist, the grandson of Nicholas Pocock, and was taught to paint by James Baker Pyne and Samuel Jackson. He visited Italy with William James Müller in 1834 and moved to London in 1838. He was elected to the Society of Painters in Water-colours in 1845 and was secretary from 1848 to 1854. He exhibited 581 pictures there from then until 1893.

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54 WILLIAM CALLOW, R.W.S. b. Piazza dei Signori, Verona, Italy Greenwich 1812-1908 Great Missenden Inscribed l.l.: Piazza di Signori/Verona/Sept 19/’65 a. Dinant on the Meuse, Belgium Pencil 3 3 352 x 251 mm., 13 /4 x 9 /4 in. Inscribed l.r.: Dinant/Augt 30\1867 Pencil on buff paper Provenance: 274 x 380 mm., 10 ¾ x 15 in. Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014 Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: The Piazza dei Signori is also known as the Piazza Dante. Private Collection until 2014 This drawing dates from Callow’s trip to Venice via Verona in the autumn of 1865. He returned home via Switzerland and Paris.

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55 WILLIAM CALLOW, R.W.S. Greenwich 1812-1908 Great Missenden a. Rufus Castle, Portland, Dorset, from the North

Inscribed l.c.: Bow & Arrow Castle/Portland. Oct. 7. ‘42 Pencil on grey paper 1 257 x 363 mm., 10 x 14 /4 in.

Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014

This drawing dates from a short tour of the South Coast which Callow made in the early autumn of 1842, visiting Dartmouth, Torquay, Teignmouth in Devon and Lyme Regis and Corfe Castle in Dorset. Rufus Castle, also known as Bow and Arrow Castle is a ruined 15th century castle overlooking Church Ope Cove at Portland. Portland is five miles south of Weymouth and is the southern-most point of Dorset.

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55 WILLIAM CALLOW, R.W.S. Callow records in his autobiography: ‘In 1849 I made a Greenwich 1812-1908 Great Missenden sketching tour in the west of Scotland, arriving at Glasgow whilst the Queen and Prince Albert were there’ (William Callow – an Autobiography, edited by H.M. Cundall, 1908, b. Tron Church, Glasgow p.103). The Tron Church was built by James Adam in 1795 on the corner of Trongate and Chisholm St, but was derelict by the 20th century. In 1981 it was turned into the Inscribed l.l.: Tron Church Glasgow 1849 Tron Theatre. Pencil 3 3 251 x 353 mm., 9 /4 x 13 /4 in.

Provenance: Anonymous sale, Sotheby’s, 12th January 1966, lot 2: Private Collection until 2014

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56 SIR LAWRENCE ALMA-TADEMA, R.A., O.M. Apparently taken from an early sketchbook used by Dronrijp 1836-1912 Wiesbaden Lawrence Alma-Tadema in the late 1850s, these two studies of men’s headdresses may have been drawn from a book Two Studies of an Egyptian Headress of Egyptology. Alma-Tadema owned an extensive collection of books and photographs devoted to ancient and classical Pencil on buff paper archaeology and architecture, and several of his earliest Egyptian subjects contain accurate depictions of objects and Inscribed (by the artist’s daughter Anna) with the settings which reflect his close study of reference books of artist’s initials LAT at the bottom centre right the period. As the artist’s contemporary biographer Percy 1 1 133 x 180 mm., 5 /4 x 7 /8 in. Cross Standing noted of his early paintings of Egyptian subjects, ‘So careful at all times about detail, he took Provenance: extraordinary care in the preparation of his preliminary The studio of the artist sketches for these pictures.’ Egyptian subject pictures account The artist’s brother-in-law, Sir Edmund William Gosse, for a small but significant part of Alma-Tadema’s oeuvre. London Although he was not to actually visit Egypt until 1902, he By descent in the Gosse family until the 1920s or 1930s, began painting Ancient Egyptian subjects in the late 1850s, when acquired by a private collector and continued throughout the 1860s and 1870s. Stimulated Thence by descent by his friendship with the German Egyptologist Georg Ebers, his interest in Egypt was also inspired by his study of the Egyptian antiquities in the British Museum, on a visit to London in 1862.

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57 LOUIS-AMABLE CRAPELET paintings, which were generally of an Orientalist nature. He Auxerre 1822-1867 Marseilles exhibited views of Egypt at the Salons between 1849 and 1866, as well as the occasional Italian and Provençal Sunset in Egypt, with Two Bedouin on Camels landscape. Towards the end of his career he also worked on the mural decoration of theatres and other buildings in Lyon Watercolour and Marseille. Signed Am. Crapelet at the lower left Crapelet was particularly admired for his atmospheric 1 1 206 x 291 mm., 8 /8 x 11 /2 in. watercolours of Oriental subjects, of which the present sheet is a fine example. As Emily Weeks has noted, A pupil of Jean-Baptiste-Camille Corot, Louis-Amable ‘Watercolour...in the opinions of its champions, perfectly Crapelet made his debut at the Paris Salon in 1846. After captured the particular qualities of light and air, the vibrancy, spending some time in Algeria, he went to Egypt between and the almost palpable sense of energy that the Middle 1852 and 1854, travelling down the Nile as far as the Third Eastern landscape offered. Crapelet’s work, which shifts Cataract, and this journey provided him with material for between transparent washes of colour and the more much of his later career. In 1859 he visited Tunis, and his concentrated application of luminous pigments, well conveys drawings from this journey served to illustrate an account of this.’ A number of stylistically comparable watercolours of the voyage for the magazine Le Tour du Monde in 1865. In Egyptian views by Crapelet are today in the Louvre. the same year he showed a View of Luxor at the Exposition Universelle in Paris. Crapelet produced relatively few

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58 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France a. A Village on the Nile

With artist’s atelier stamp lower left and inscribed lower right: Nile Jan 1874 Watercolour over pencil 3 130 x 199 mm., 5 x 7 /4 in.

Bridgman is one of America’s best known 19th century Orientalist painters. Born in Alabama, the son of a doctor, he trained in New York before moving to Paris where he became a pupil of Jean-Leon Gerome (1824-1904) in 1867. These drawings date from Bridgman’s first trip to Egypt in the winter of 1873-4 which resulted in paintings which brought him worldwide acclaim. Although Paris remained his base, he still exhibited in the USA including a huge one man show of over four hundred pictures on 5th Avenue in 1890.

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58 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France b. Esneh from the Nile

With artist’s atelier stamp lower right and inscribed lower left: Esneh from Dahabieh Jan 20 1874 (Egypt) Watercolour over pencil 128 x 199 mm., 5 x 7 ¾ in.

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59 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France a. The Temple of Luxor on the Nile

With artist’s atelier stamp lower right and inscribed lower left: Luxor 15 March 1874 Pencil 3 147 x 304 mm., 5 /4 x 12 in.

Bridgman is one of America’s best known 19th century Orientalist painters. Born in Alabama, the son of a doctor, he trained in New York before moving to Paris where he became a pupil of Jean-Leon Gerome (1824-1904) in 1867. These drawings date from Bridgman’s first trip to Egypt in the winter of 1873-4 which resulted in paintings which brought him worldwide acclaim. Although Paris remained his base, he still exhibited in the USA including a huge one man show of over four hundred pictures on 5th Avenue in 1890.

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59 FREDERICK ARTHUR BRIDGMAN Tuskegee, Alabama 1847-1928 Rouen, France b. The Temple at Luxor

With artist’s atelier stamp lower right and inscribed lower left: Luxor 18 March 1874 Watercolour over pencil 228 x 296 mm., 9 x 11 ½ in.

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60 WALTER SHIRLAW, N.A. A painter and illustrator, Shirlaw also painted mural Paisley 1838-1909 Madrid decorations for private homes and the Library of Congress.

Self-Portrait As a draughtsman, Shirlaw worked in pastel, watercolour, chalk and pencil. As a contemporary article on the subject Black and grey gouache en grisaille, heightened with of his drawings noted, ‘both pencil sketches and charcoal studies illustrate the artistic freedom which usually white, on paper, within a fictive mount drawn in white characterize the work of this accomplished painter’, while gouache another critic wrote, ‘His drawings have tone, depth, and Signed W. Shirlaw at the lower left sense of construction; they show the intelligent observer and 3 1 121 x 89 mm., 4 /4 x 3 /2 in. [image] the skill of the practised student.’ Of the present sheet in 5 193 x 154 mm., 7 /8 x 6 in. [sheet] particular, a modern scholar has commented, ‘Shirlaw...was a Munich trained artist whose Self Portrait reflects the Munich The first years of Walter Shirlaw’s career were spent as an emphasis on dramatic darks, impasto brushwork, and simple engraver of bank notes until, in 1870, at the relatively late subject matter. This work is romantic in feeling, playing upon age of thirty-two, he travelled to Europe to study at the the theme of the intense, sensitive artist. But it is also realistic.’ Akademie der Bildenden Künste in Munich. On his return And, of this same drawing, Colin Eisler has written, ‘Self- to New York in 1877, Shirlaw began teaching at the Art cast as the Great American Bohemian Hero, Walter Shirlaw Students League, where he helped to popularize the stares out balefully at his mirrored image, recreated with very principles of the Munich School; a more realistic style of considerable skill. His pose and gaze recall those of Poe, or painting, characterized by direct modelling, heavy and Stevenson, or Baudelaire – men of letters as well as dandies – quickly sketched brushstrokes, and a darker colour palette. equally interested in how they see as in how they look.’

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61 SIR WILLIAM BLAKE RICHMOND, R.A. Richmond’s finest formal portraits, The Viscountess Hood, London 1842-1921 exhibited at the Royal Academy in 1888 and much praised by critics. The Times described it as ‘elaborate, profoundly Study of Two Hands studied and supremely elegant’, while the Illustrated London News noted that it was ‘a magnificent work conceived and Black and white chalk on brown paper executed in Richmond’s best style’ and The Art Journal called 7 7 it ‘far and away the best work sent anywhere this year by Mr. 379 x 200 mm., 14 /8 x 7 /8 in. W. B. Richmond.’ A very similar hand, although in reverse, appears in another painting by the artist also exhibited at the The lower of the two hands on this sheet may be a study RA in 1888; a portrait of Mrs. J. A. Fuller-Maitland, now in for the right hand of the sitter in one of William Blake the City Museum in Lancaster.

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62 EDWARD LEAR This image illustrates lines from Tennyson’s ‘Ode to Highgate 1812-1888 San Remo, Italy Memory’: ‘Stretched wild and wide the waste enormous marsh.’ The pen and ink sketch for this work is in the Yale The Pontine Marshes above Terracina, Italy Center for British Art (see Scott Wilcox, The Art of Travel, 2000, p.114, no.132, ill.) and is inscribed on the border Pen and grey ink and washes over pencil heightened with the lines from Tennyson. Lear died before he completed the series but in this instance got as far as the with white finished drawing ready to be engraved. 1 1 Image 135 x 266 mm., 5 /2 x 10 /2 in. The Pontine Marshes are an area of marsh extending on This drawing was intended to be engraved as part of a series the coast south of Rome from Anzio in the north to of illustrations to the poems of Alfred Lord Tennyson (1809- Terracina in the south. This is a view of the marshes from 1892). Lear first met Tennyson in 1851 and over a number Terracina with the promontory of Monte Circeo or Cape of years worked on selecting drawings from his sketches Circeo on the horizon above the town of San Felice Circeo. which would fit with lines from Tennyson’s work. In 1878 he began to concentrate on the project and decided to produce 200 images which he had acheived in sketch form by 1885.

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63 EDWARD LEAR Highgate 1812-1888 San Remo, Italy

Monte Titano, San Marino

Inscribed lower left: 4.30. PM/May 8. 1867/San Marino and numbered 56a lower right Pen and brown ink and watercolour over pencil 3 71 x 119 mm., 3 x 4 /4 in.

After his trip down the Nile in the spring of 1867, Lear travelled by boat to Italy. He was in Ravenna from 4th to 6th May, Rimini on the 7th and reached San Marino on the 8th. The Republic of San Marino, which is independent from the rest of Italy, is only 24 square miles. Lear depicts its highest point, Monte Titano, which is about 2,400 feet above sea level. He continued north from San Marino to the Italian Lakes visiting Garda, Idro, Iseo,Varese, Como and Maggiore reaching Orta on 1st June.

A view of San Marino dated 8th May and numbered 48 is in the Harvard University Collection and number 56, drawn at 5.15pm, was sold at Christie’s on 14th July 1987, lot 235 for £1,980.

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64 FRENCH SCHOOL An attribution to the Dijon artist Claude Hoin (1750-1817) 19th Century may be tentatively suggested.

The Head of a Young Boy Wearing a Cap

Black and red chalk and pastel on paper 1 1 344 x 259 mm., 13 /2 x 10 /4 in.

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65 WILLIAM HART William Hart is best known as a landscape painter of idyllic Paisley 1823-1894 Mount Vernon pastoral subjects, and may be counted among the second generation of the Hudson River School of artists. Many of Landscape with a Stream his paintings were reproduced as engravings and chromolithographs, and were also widely disseminated in Grey ink and grey wash, with touches of white art journals and illustrated books. heightening As a draughtsman, William Hart was highly regarded by his 7 5 100 x 169 mm., 3 /8 x 6 /8 in. contemporaries. One prominent critic, writing in 1869, noted that ‘There is a certain charm about a master’s sketch Provenance: which no finished picture has – a freshness and vividness of Paul Magriel, New York ideas, and a truth to nature, often left out of the work Robert S. Pirie, New York elaborated with art and science in the studio. Thus William Hart brought back from his wanderings round the Tappan Zee Born in Scotland, William Hart emigrated to America with many most exquisite studies, in oil and in water-color, besides his family in 1831, settling in Albany in New York State. He a large number of pen-and-ink studies, free and yet careful in was self taught as an artist, and by the age of eighteen had manner, and full of artistic suggestion.’ A large group of begun to make landscape drawings of views in the Hudson drawings, watercolours and sketchbooks, which were River valley, as well as portrait paintings. During the 1840s among the contents of the artist’s studio at the time of his Hart worked in Virginia and Michigan before returning to death, is today in the collection of the Albany Institute of Albany in 1847 and, eventually, moving to New York City History & Art. in 1854. Like his younger brother, James MacDougal Hart,

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66 67 HENRY GEORGE HINE WILLIAM LEIGHTON LEITCH Brighton 1811-1895 London Glasgow 1804-1883 London

Houndean Valley near Lewes, Sussex a. Landscape with Trees

Signed lower right: H.G. HINE 1888 and inscribed on Signed on border under mount: WL Leitch/1857 border: Valley of Houndean Watercolour heightened with touches of bodycolour 3 Watercolour over pencil heightened with bodycolour Sheet 98 x 181 mm., 3 /4 x 7 in. and stopping out 3 1 298 x 517 mm., 11 /4 x 20 /2 in. Provenance: Anonymous sale, Sotheby’s, 19th June 1975, lot 71, part; Houndean Valley is to the west of Lewes in the South With Thos Agnew & Sons (no.40526) Downs. Hine, the son of a coachman, taught himself to draw by copying the watercolours of Anthony Vandyke b. Landscape with Tower Copley Fielding belonging to the vicar of his local church. His subjects are mainly Sussex views. Signed on border under mount: WL Leitch 1857 Watercolour heightened with touches of bodycolour 3 3 Sheet 98 x 172 mm., 3 /4 x 6 /4 in.

Provenance: Anonymous sale, Sotheby’s, 19th June 1975, lot 71, part; With Thos Agnew & Sons (no.40527)

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b.

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68 69 CHARLES W. ANDREWS HARRY JOHN JOHNSON fl.1855-1865 Birmingham 1826-1884 London

An artist sketching by a Waterfall, Philippines a. The Hut Circle by Kes Tor, Dartmoor, Devon

Waterfall heightened with touches of bodycolour Signed lower left, inscribed lower right: HUT CIRCLE. 1 3 DARTMOOR and further inscribed on the border 110 x 142 mm., 4 /2 x 5 /4 in. under the mount: Hut Circle Kes Tor Dartmoor Provenance: Watercolour over pencil 3 1 Anonymous sale, Sotheby’s, 21st May 1997, lot 56, one of 423 x 668 mm., 16 /4 x 26 /2 in. two, sold for £4,200 hammer Kes Tor looks over an old stone circle or hut which in the Andrews was based in Hong Kong in the late 1850s and nineteenth century was popular with visitors as it was early 1860s. He appears to have engraved original works by considered a centre for druidical ceremonies. It is located on Charles Wirgman (1832-1891) who visited Manila in 1857. Chagford Common in north Dartmoor.

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b. b. Rushford Mill, Chagford, Devon Provenance: The Artist’s studio sale, Christie’s, 5th March 1885, lot 416, Signed under mount, inscribed with title and with bt. Miss Daly for 7 gns studio stamp Watercolour over pencil Rushford is one of the old medieval manors of Dartmoor. 1 Rushford Mill was the original manorial corn mill and it is Sheet 386 x 556 mm., 15 /4 x 22 in.

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a. thought that the stepping stones which spanned the river Teign were at one time the main crossing point from the manor to Chagford. The mill is thought to have operated until 1947. It was the setting for Eden Phillpott’s book, ‘Children of the Mist’ written in 1898. He describes the mill as being: 70 ‘a picturesque agglomeration of buildings, beside the river. The ALFRED WILLIAM HUNT, R.W.S. mill-wheel, fed by a stream taken from the Teign some Liverpool 1830-1896 London distance up the valley and here returned again to the parent water, thundered on its solemn round in an eternal twinkling a. The Gap of Dunloe, Ireland twilight of dripping ferns and green mosses; while hard by the dwelling-house stood and offered small diamond panes and one dormer-window to the south. Upon its whitewashed face Inscribed verso: Gap of Dunloe 1846 three fruit-trees grew–a black plum, a cherry, a winter pear; Watercolour over pencil heightened with bodycolour and before the farmhouse stretched a yard sloping to the river and scratching out ford, where a line of massive stepping-stones for foot- 147 x 236 mm., 6 x 9 in. passengers crossed the water.’ This is a rare early work by Hunt dating from his Irish tour Johnson was a pupil of William James Müller (see no.48) of 1846. He visited Ireland as a sixteen year old with his and accompanied him on his trip to Lycia in Turkey in 1843. father Andrew Hunt (1790-1861), the drawing master and He settled in London on his return and accompanied David landscape artist. Cox (see no.38) on various sketching tours to North Wales in the 1840s. He also travelled extensively in Greece, North Provenance: Africa, Italy and France. By descent in the family of the artist until 2016

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70 ALFRED WILLIAM HUNT, R.W.S. Hunt’s first visit to Whitby was in around 1874 and he Liverpool 1830-1896 London returned on a number of occasions. This shows the prominent headland to the south-east of Whitby and The Scar or Scaur which is the rock area at the base of the cliffs. b. The Scar and Whitby Abbey, Yorkshire This appears to be a preliminary sketch for a watercolour in the V & A entitled ‘Wind of the Eastern Sea’ (see Watercolour Christopher Newall, Alfred William Hunt, exhibition 1 3 Sheet 285 x 395 mm., 11 /4 x 15 /4 in. catalogue, 2004, p.168-9, no.59, ill.) which shows the same view and is dated to circa 1888. The Abbey is taken from Provenance: the south-east and the two jetties of Whitby harbour are The Rev. William Kingsley (1815-1916) of South Kilverton, just visible beyond the headland. Yorkshire, by 1884; Bequeathed by him to his god-daughter, Silvia Hunt, later The artist’s daughter Violet recalls his father’s time at Mrs Fogg-Elliott; Whitby: ‘Poor Mamma pounds up Abbey Hill every By descent until 2016 afternoon to meet Papa sitting exposed on the windy hill behind the Abbey and fetch him back before he grows chilled to the bone’ (quoted in Newall, op.cit., p.168).

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71 LUIGI LOIR Jean Pastelot and making his Salon debut in 1865. Loir Gorritz 1845-1916 Paris painted mainly views of Paris, in all seasons and at different times of the day or night. His interest in the urban cityscape remained a constant of his career, and it was as a painter of Landscape on the Outskirts of Paris modern Paris and its suburbs that he was best known, and for which he was much admired. As a contemporary writer Watercolour with touches of gouache, over a pencil noted of him, ‘One can say of this master that he created a underdrawing, on buff paper genre: ‘parisianism’...he is, in effect, the painter of Paris par Signed LOIR LUIGI at the lower right excellence; no different aspects of the city, often momentary 3 7 239 x 328 mm., 9 /8 x 12 /8 in. and fleeting, and none of its successive transformations, is any secret to him.’ And, as the 19th century French writer Literature: Théodore de Banville aptly noted, ‘[Jean] Beraud painted To be included in the second volume of the Luigi Loir the Parisians of Paris and Luigi Loir the Paris of Parisians.’ Loir catalogue raisonné, in preparation by Noé Willer. also worked as a commercial graphic artist and illustrator, theatrical and poster designer, book illustrator and Born in Austria to French parents who served the exiled lithographer. He continued to exhibit at the Salons until French Bourbon royal family, Luigi Aloys-François-Joseph 1914, and paintings by him are today in the Musée d’Orsay, Loir moved with his family and the Bourbons to the Duchy the Hôtel de Ville, the Musée Carnavalet and the Petit Palais of Parma in 1847. There he was enrolled, at the age of just in Paris, as well as in the museums of Bar-le-Duc, Bordeaux, eight, at the Accademia de Belle Arti. He was in Paris by Chicago, Le-Puy-en-Velay, Marseille, Moscow, Nancy, Nice, 1863, studying with the decorative painter and set designer Prague, Rouen, St. Louis and Vienna, among others.

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

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73 EDWARD LOEVY settling in Paris in 1880. He worked mainly as an illustrator Warsaw 1857-1911 Paris for newspapers, books and periodicals in France, Poland and Germany. He also provided some five thousand drawings, A Man Walking mostly portraits, to illustrate the Encyclopédie Larousse, and produced numerous book illustrations. Among his contemporaries, Loevy was best known for his illustrations Pen and black ink, drawn on a printed sheet of for such newspapers and periodicals as the Revue stamped legal blue paper (an ‘assignation a témoin’, or Universelle, L’Illustration and the Revue Encyclopédique in witness summons), dated Paris 1891 France, Über Land und Meer in Germany, and Tygodnik Signed ELoevy at the lower right Ilustrowany, Biesiada Literacka and Tygodnik Powszechny in 7 227 x 174 mm., 9 x 6 /8 in. Poland. The present sheet is drawn on a blank official stamped document – a summons or subpoena, with Born in Poland, Edward Loevy (sometimes Loewy or Lövy) instructions to the recipient to appear before a Paris bailiff studied in Warsaw, St. Petersburg and Munich before (‘huissier-audiencier’) as a witness – which is dated 1891.

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74 EDMUND BERNINGER Constantinople, Egypt (where he is thought to have lived Arnstadt 1843-c.1910 Munich(?) for several years), Palestine, Algeria and Tunisia. He painted views of Jerusalem and Cairo, as well as richly coloured Landscape in Capri landscapes and scenes of Oriental markets and caravans. Berninger also worked as an illustrator, and painted a Oil on paper, laid down on panel number of large-scale public works in the form of panoramas – including Egyptian landscapes and battle Signed E. Berninger at the lower right scenes – and dioramas. 3 7 170 x 251 mm., 6 /4 x 9 /8 in. Many of Berninger’s landscapes are of Mediterranean A landscape painter and watercolourist, Edmund Berninger scenes, particularly in Italy. He was especially drawn to the abandoned an early career as a pharmacist in favour of area around the bay of Naples, Sorrento and the Amalfi training as an artist in Weimar under Theodor Hagen. coast, producing a number of paintings of coastal views; one Settling in Munich in 1874, he then spent several years such example is a large View of Capri in the Philadelphia travelling around Europe, North Africa and the Near East. Museum of Art, datable to around 1877. He produced paintings, oil sketches and watercolours of sites in England, France, Italy, the Netherlands, Greece,

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75 HERCULES BRABAZON BRABAZON Paris 1821-1906 Oaklands, Kent

A Street Scene, Tangiers

Signed lower right, watercolour over pencil heightened with bodycolour 1 3 256 x 167 mm., 10 /4 x 6 /4 in.

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76 SIR EDWARD JOHN POYNTER, P.R.A., R.W.S. This drawing dates from Poynter’s summer visit to Italy in Paris 1836-1919 London 1898. At the time he was President of the Royal Academy, Director of the National Gallery and had recently been Sacro Monte di Orta, Italy knighted.

Inscribed l.r.: Sacro Monte/Orta/Sep. ‘98 The Sacro Monte di Orta is a series of devotional chapels on the hill of San Nicolae on the western shore of Lake Orta, Pencil northern Italy. The building of the chapels, dedicated to St 1 1 178 x 133 mm., 7 /4 by 5 /4 in. Francis of Assisi, were begun in 1583 and 20 of the planned 36 were built, with the last being finished in 1788. A Provenance: watercolour of Isola San Giulio, Lago d’Orta by Poynter, By descent from the artist in the Baldwin family until sold also dated 1898, is in the Yale Center for British Art. at Sotheby’s, 10th July 1995, lot 224, one of two; Private Collection, UK

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77a 77b FRENCH SCHOOL FRENCH SCHOOL 19th Century 19th Century

Cross Section View of the Pavilion of Brazil The Western Facade of the Pavilion of Brazil

Pen and black ink and watercolour, over an Pen and black ink and watercolour, over a pencil underdrawing in pencil underdrawing Inscribed COUPE. at the upper left Inscribed FAÇADE OVEST at the upper right 7 7 3 455 x 301 mm., 17 /8 x 11 /8 in. 456 x 298 mm., 18 x 11 /4 in.

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78 ALPHONSE MUCHA poster depicting the celebrated actress Sarah Bernhardt, Ivancice 1860-1939 Prague executed in 1894, which secured Mucha’s reputation. He also received frequent commissions for advertising posters and other commercial projects, including designs for A Seated Man Writing at a Desk (Self-Portrait) calendars, menus, theatre programs, illustrations and advertisements; all characterized by the artist’s iconic, Pen and black and grey ink, and black and grey wash graceful female form. It was the Exposition Universelle of Signed Mucha near the lower right 1900 in Paris which launched le style Mucha to an 1 1 160 x 211 mm., 6 /4 x 8 /4 in. [image] international audience, and popularized the Art Nouveau 7 1 189 x 233 mm., 7 /8 x 9 /8 in. [sheet] aesthetic with which he was so closely associated. In 1910 he began working on an ambitious project for a series of Born in southern Moravia, Alfons (Alphonse) Mucha led the twenty monumental paintings illustrating scenes from Czech typical itinerant life of a young artist from Central Europe, and Slavic history. Known as The Slav Epic, this sequence of studying in Vienna, Munich and finally Paris. His earliest enormous canvases occupied the artist for eighteen years. works took the form of decorative mural paintings, graphic designs for posters and calendars, and illustrations for books, A self-portrait, the present sheet can be dated to around magazines and newspapers. It was his brilliant design for a 1900.

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79 WILLIAM FRASER GARDEN from then on relied on a small number of collectors in Gillingham 1856-1921 Huntingdon Huntingdonshire. He was never, however, a very prolific artist. As has been noted of Garden, ‘His apparent lack of River Landscape near St. Ives, Huntingdonshire ambition and the consequently few watercolours which he painted each year, even when at his busiest, resulted naturally Watercolour enough in his failing to come to the notice of all but a local audience.’ Very poor for most of his life, he was declared Signed and dated W. F. GARDEN: / ‘97. at the lower bankrupt in 1899, and in his old age is said to have paid his left bills with drawings. Garden’s body of work has only fairly Inscribed Near S. Ives, Hunts. and 30/ on the verso recently been rediscovered, and his reputation as among 5 1 195 x 285 mm., 7 /8 x 11 /4 in. the finest Victorian landscape watercolourists is now firmly established. Provenance: The Broderick family, Lytham St. Annes, Lancashire Garden’s watercolour views of his native Huntingdonshire and along the river Ouse in Bedfordshire – notably around Born into a family of artists, William Fraser Garden changed the fen villages of Holywell, Hemingford Grey and St. Ives – his name from Garden William Fraser to distinguish himself are masterpieces of clarity and detail. As Christopher Newall from his six brothers, all but one of whom were also active has written, ‘Garden’s watercolors are a manifestation of the as landscape artists. Arguably the best of the so-called ‘Fraser late-century revival of interest in the representation of Brotherhood’, he exhibited his watercolours at the Royal landscape subjects in minute and painstaking detail…His Academy, the Royal Scottish Academy and the Royal works of the late 1880s and early 1890s are extraordinary in Institute of Painters in Water-Colours. In the 1880s Garden their pellucid clarity of light and their exact delineation of sold a number of his works through a London gallery, but by architectural and landscape detail.’ 1890 he seems to have given up exhibiting in London, and

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80a HENRI DELUERMOZ Jungle Book, Louis Pergaud’s Histoires de bêtes and Henri de Paris 1876-1943 Paris Montherlant’s Les Bestiaires. Deluermoz did not send any paintings to the Salon until 1909, when he was already in his Studies of an Eagle thirties, although thereafter he exhibited there regularly. At the Salon of 1911, a large painting of a stampede of wild Brush and black ink and brown wash, with touches of animals before a flood elicited much praise, with one critic writing of the work in The Studio magazine, ‘Each creature white heightening, on reddish-brown prepared paper is represented in its own character, and in motion true to life, Signed with a monogram and dated hD.1906 at the and one takes pleasure in studying in turn the elephant and lower right the buffalo in their heavy flight, the panther bounding along, Inscribed with colour notes brun rougeâtre, autour du the deer leaping lightly forward – all this evolved in the mind bec et / des yeux (jaune), and duveter soigneussement of a Kipling of the brush.’ la tête / trop mou 3 5 273 x 398 mm., 10 /4 x 15 /8 in. Deluermoz also exhibited at commercial galleries in Paris. An exhibition of his work at the Galerie Reitlinger in 1913 A painter, illustrator and engraver, Henri Deluermoz was a led to the purchase by the State of a large drawing of a pupil of Alfred Roll and Gustave Moreau, and became one bullfight, while an exhibition of animal drawings was held at of the finest animal painters of his day, with a particular the Galerie Le Goupy in Paris in 1926. A larger and more penchant for depictions of wild beasts. He also painted comprehensive exhibition of paintings and drawings by Provençal landscapes, equestrian and bullfight scenes, and Deluermoz was mounted at the Galerie Charpentier in produced designs for tapestries, mural decorations, and Paris in 1939. book illustrations, including editions of Rudyard Kipling’s

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80b HENRI DELUERMOZ Both of these drawings are early works by Henri Paris 1876-1943 Paris Deluermoz. The artist had spent the early years of his career sketching in the Jardin des Plantes and the Jardin Studies of the Wings of an Eagle d’Acclimation in Paris. In 1905 he settled in the Provençal town of Orange, where he was engaged on a large-scale Brush and black ink, with touches of white chalk, on decorative mural project, and began a series of travels around the Midi. These drawings, one of which is dated reddish-brown prepared paper January 1906, were done in Marseille, probably at the Jardin Signed with a monogram and dated Marseille / hD. Zoologique in the gardens of the Palais Longchamp. Janv.1906 at the lower right Four similar drawings of animals by Deluermoz – studies of Extensively inscribed with colour notes: brun très an elephant, a bear, a wolf and a tiger, each of identical foncé et très chaud / plumes légères nour et brun technique to the present pair of drawings – are in the jaunâtre., tête duvetée (blanc), collier plumes très fines collection of the National Gallery of Canada in Ottawa. A et / très blanches., entre les plumes / le fond du duvet similar drawing of an eagle by Deluermoz is illustrated in an / est gris très fin et chaud, plumes très fortes / et brunes, article on the artist published in the magazine L’Artiste Contemporain in 1920. fond foncé dans les / bruns chauds / dessins noirs, culottes blanches. serres très puissante, plumes plus marquées que celles / du collier., plumes plus longues et en perspective., [?] en avant 5 268 x 397 mm., 10 1/2 x 15 /8 in.

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81 ANDRÉ EDOUARD MARTY theatrical review Comoedia Illustré, but much of his career Paris 1882-1974 Paris was occupied with producing numerous fashion illustrations for the magazine Gazette du Bon Ton, mainly between 1913 A Woman and Child Seated in a Tropical Landscape and 1925. He also provided illustrations for Vogue, Femina, L’Illustration des Modes, Monsieur, Harper’s Bazaar, Le Pen and grey ink, heightened with white, over a pencil Sourire and House and Garden, among others, and illustrated some fifty books. underdrawing, on buff paper Signed A.E.M. at the lower right The present sheet may possibly have been intended as an 1 1 242 x 208 mm., 9 /2 x 8 /8 in. [image] illustration, though not eventually used, for Gérard de Houville’s novel Le Seducteur, published in 1926 with André Edouard Marty studied in the studio of Fernand illustrations by Marty. Gérard de Houville was the pen name Cormon at the Ecole des Beaux Arts in Paris. He also came of the French novelist and poet Marie de Régnier (1875- under the particular influence of the illustrator Maurice 1963), and Le Seducteur, first published in 1914, was Boutet de Monvel, reflected in the refined and elegantly inspired by the childhood of her father, the poet Jose-Maria stylized figures in his own work as an illustrator. Marty’s de Heredia, in Cuba. earliest published illustrations appeared in 1909 in the

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82 ANDRÉ EDOUARD MARTY Exhibited: Paris 1882-1974 Paris Paris, Galerie du Luxembourg, Andre E. Marty 1882-1974, 1975-1976, no.117 (‘L’Étoile du berger’) The Evening Star: A Couple Walking in a Moonlit Winter Landscape Apart from his work as a book illustrator, André Marty was known for his fashion illustrations, which often appeared alongside that of such friends and contemporaries as Gouache and two shades of grey ink, heightened with Georges Lepape, Charles Martin, Pierre Brissaud and touches of white, on buff paper Bernard Boutet de Monvel. As one contemporary writer Inscribed A E MARTY (esquisse) / original at the lower noted of his illustrations, ‘The very simplicity of his technique right brought out the full wealth of Marty’s ideas, graphically Further inscribed DINO / Selection du Readers Digest expressed with delicacy of colour and arrangement.’ / 216 Bd St Germain / Bureau 21 on the verso Exhibitions of Marty’s work were held in Paris at the Galerie 3 7 110 x 149 mm., 4 /8 x 5 /8 in. [image] Georges Petit in 1912 and the Galerie Levesques in 1913, 1 7 and at the Galerie Lucien Vogel and the Galerie Devambez 166 x 200 mm., 6 /2 x 7 /8 in. [sheet] in the 1920s. 95 SOFA

83 worked primarily in black and white, creating large-scale ink HERMANN WÖHLER drawings, such as the present sheet, throughout the late Hanover 1897-1961 Hanover 1910s and the 1920s. During and after the Second World War, however, he turned towards fairytale themes, painted Wooded Landscape in bold colours, which can be seen as an escape from the horrors of war. From 1934 until his death, Wöhler served Pen and black ink as a professor at an art school in Hanover. His long career 3 7 442 x 277 mm., 17 /8 x 10 /8 in. as an art teacher seems to have largely precluded him exhibiting his own work, however, and his oeuvre remained A painter and graphic artist, Hermann Wöhler created almost completely unknown in his lifetime. Indeed, it was striking works characterized by fantastical imagery and not until 1987, a quarter of a century after his death, that the imaginative compositions. At the beginning of his career he first exhibition of Wöhler’s work was mounted.

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84 GIUSEPPE CASCIARO in 1885, when a series of pastel drawings by the artist Ortelle 1863-1941 Naples Francesco Paolo Michetti was shown in Naples. Two years later, in 1887, he exhibited a series of eleven pastel A Coastal Landscape landscapes of his own. Casciaro settled on the hillside quarter of Naples known as the Vomero, and for much of Pastel, over an underdrawing in pencil, on brown his life his preferred subject matter were views in and around Naples and the islands of Capri and Ischia. Between paper 1892 and 1896 he travelled regularly to Paris, where he Faintly signed and dated GCasciaro / 6 08(?) 07 at the exhibited his work and received commissions from the lower left dealer Adolphe Goupil. Appointed a professor at the Dedicated, signed and dated a Paride / De Marco(?) / Accademia in Naples in 1902, he was also engaged as a l’amico / GCasciaro. / 1 luglio 1916 napoli at the lower tutor in pastel drawing to the Queen of Italy, Elena di Savoia. right Casciaro exhibited frequently in Naples and at the Biennale Stamped G. CASCIARO / NAPOLI in a circle in blue ink in Venice, as well as throughout Europe, winning a bronze on the verso medal at the Exposition Universelle in Paris in 1900. 5 168 x 331 mm., 6 /8 x 13 in. Casciaro remained devoted to the medium of pastel throughout his long career, and his landscapes were greatly One of the finest practitioners of the art of the pastel admired by both collectors and connoisseurs. The present landscape in Italy in the late 19th century, Giuseppe sheet bears a dedication to the Neapolitan collector Paride Casciaro enjoyed a long and successful career of some sixty de Marco, whose collection also included works by other years. He studied at the Accademia di Belle Arti in Naples, Neapolitan artists such as Francesco Michetti, Vincenzo where he won numerous prizes, and soon developed a Irolli, Eduardo Dalbono and many others. De Marco’s particular proficiency for landscape drawings in pastel, collection was sold at the Palazzo Spinelli in Naples in 1918. although he also painted a handful of oil paintings. Casciaro may have first been inspired to take up the medium of pastel

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85 JEAN-ADRIEN MERCIER Abel Gance and Sacha Guitry. He also produced numerous Angers 1899-1995 Paris(?) commercial posters, notably for the Cointreau brand, for whom he worked for some forty years, eventually Two Women in a Cemetery in Rabat, Morocco becoming the artistic director of the firm. At the end of the 1930s Mercier began producing illustrations for children’s books and fairy tales. He also decorated of the children’s Gouache and watercolour, over an underdrawing in playroom on the transatlantic ship France, painted in 1961, pencil and designed the ship’s menus. Signed and dated Jean A. Mercier – 5 – 22 – at the upper right, and inscribed Rabat at the upper left This watercolour is dated May 1922, when Mercier was 23 Dedicated, signed and dated a Madame Lecocq bien(?) years old; it is interesting to note that the young artist was affecteusement / souvenir de Maroc - Jean A. Mercier visiting Morocco only a decade or so after the country had / - 5 - 22 - on the old backing sheet been opened up to foreign visitors. Unlike Tunisia or Algeria, 5 5 Morocco remained largely closed to foreigners throughout 192 x 245 mm., 7 /8 x 9 /8 in. the 19th century, until it was declared a French and Spanish A graphic designer and illustrator, Jean-Adrien Mercier protectorate in 1912. The French decided to move the began his career as a designer of publicity and cinema capital from Fez to Rabat, a port dominated by Barbary posters, a field in which he was to remain active throughout pirates since the 17th century. This drawing depicts a small his life, and for which he remains best known today. cemetery on the Atlantic coast of Rabat, just north of the Between 1925 and 1942 Mercier designed more than 120 Kasbah des Oudaïas and to the north and east of the larger cinema posters for films by such directors as Jean Renoir, Cimitière As-Shouhada.

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86 HARRY TITTENSOR, R.I. 1925, however, he focused his energies on topographical Burslem 1887-1942 Barlaston paintings and watercolours, often of cities and towns in Normandy and Brittany. His paintings and watercolours The Cafe, Honfleur were exhibited at the Royal Academy, the Royal Institute of Painters in Water-Colours (of which he became a member Watercolour in 1931) and the Fine Art Society in London. This large 3 watercolour was exhibited, priced at £10, at both the Royal 545 x 482 mm., 21 /8 x 19 in. Academy in London and the Glasgow Institute of the Fine Arts in 1929. Harry Tittensor began his career as a ceramic painter and designer, working for the Doulton & Co. factory. Around

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87 MARCEL-JACQUES HEMJIC The French artist and illustrator Marcel Hemjic studied with 1894-1942 Bernard Boutet de Monvel and worked as a fashion illustrator for Paul Poiret. He contributed drawings to such An Elegant Woman and Child in a Snowfall magazines as Femina, Le Rire, Le Sourire and La Baïonette, and designed several posters. Hemjic also created Pen and black ink, watercolour and gouache, over a advertisements for Lancel and Le Bon Marché, among many others, and exhibited at the Salon des Arts Décoratifs. pencil underdrawing, with framing lines in black and yellow ink Signed Hjic at the lower right 3 336 x 279 mm.. 13 /8 x 11 in. [sheet]

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88 PAUL-ÉMILE PISSARRO boy, and also took lessons with his godfather, Claude Eragny 1884-1972 Clécy Monet. By the 1920s he was sharing a studio with Kees van Dongen in Paris, and exhibiting at the Salon des Study of Willow Trees Indépendants, the Salon des Tuileries and the Salon d’Automne. Drawn in 1926 at Lyons-la-Fôret in Normandy, where the artist had settled two years previously, this Watercolour, over a pencil underdrawing watercolour displays the particular influence of Paul Signed and dated Paulémile Pissarro. 1926. at the Cézanne on the young Pissarro, who would have met him lower left several times. Cézanne’s lasting influence on Paul-Émile is Inscribed Saules à Lyons on the verso evident in the overall tonality of his paintings and 5 482 x 320 mm., 19 x 12 /8 in. watercolours, as well as his preference for a palette knife over a paintbrush in later years. The fifth and youngest child of Camille Pissarro, Paul-Émile Pissarro accompanied his father on painting trips as a young

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89 LAWRENCE EDWIN BLAZEY Lawrence Blazey studied at the Cleveland School of Art and Cleveland 1902-1999 Cleveland(?) the Cranbrook Academy of Art in Michigan, as well as the Slade School of Art in London. He is best known as a A Skyscaper at Night draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, Pen and brown ink and brown wash, pencil and industrial designer, ceramicist and product development engineer. The present sheet was probably drawn for the gouache, within a fictive drawn mount e commercial advertising firm Manning & Greene Inc., of Signed l . blazey at the lower right and inscribed with Cleveland, Ohio. a monogram device MG at the lower right 3 1 542 x 394 mm., 21 /8 x 15 /2 in.

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90a BERNARD BOUTET DE MONVEL Merson, and exhibited his first decorative painting at the Paris 1881-1949 near the Azores Salon d’Automne in 1905. In the 1920s he received numerous commissions for paintings and wall panels to Dancing Couple decorate the homes of such clients as the couturier Jean Patou, and an exhibition of his work as a décorateur was mounted in New York in 1926. A frequent exhibitor at the Pen and black ink, over an underdrawing in pencil, on Salons in Paris, where he showed portraits, landscapes and papier calque nudes, Boutet de Monvel died in a plane crash near the Signed with the artist’s monogram BMB at the lower Azores in 1949. left 3 1 137 x 259 mm., 5 /8 x 10 /8 in. This is a study, in reverse, for an illustration in the article ‘de quelques attributs masculins’, written by the artist’s brother Provenance: Roger Boutet de Monvel and published in the Gazette du Among the contents of the artist’s studio in Paris at the time Bon Ton in October 1920. The article charts the evolution of his death of men’s fashions, with particular emphasis on beards and Thence by descent in the Boutet de Monvel family moustaches. This illustration appears near the end of the piece; the dancing man (named Paul, or ‘Paupaul’), with a The son of the artist and illustrator Maurice Boutet de small moustache, is described as wearing the fashionable Monvel, Bernard Boutet de Monvel is regarded as one of attire of 1872, including flared trousers (‘pantalons en pattes the finest painters and illustrators of the Art Deco era. He d’éléphant’), a large cravatte-plastron and, perched on his began to study painting in 1900, with the artist Luc-Olivier head, a miniscule boater (‘canotier’).

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90b BERNARD BOUTET DE MONVEL As a modern scholar has recently written, ‘the foundation of Paris 1881-1949 near the Azores Boutet de Monvel’s talent, its hidden structure, remained first and foremost the solidity of his drawing, powerfully structured, A Family Looking at a Painting, with the Artist firmly modeled, distinguished, sublime, and founded on converging lines that were forceful and stripped of all Pencil on papier calque superfluous detail and functionless features.’ Such characteristics of his draughtsmanship had already been Stamped with the artist’s posthumous studio stamp noted in the artist’s lifetime. As Paule de Gironde noted, in (not in Lugt) at the lower right centre an article published in 1927, ‘Bernard Boutet de Monvel is, 3 1 162 x 258 mm., 6 /8 x 10 /8 in. when we look at his drawings, an architect and a sculptor, a lover of line, of form and of the harmonious balance between Provenance: them.’ Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family

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90c BERNARD BOUTET DE MONVEL Although he is perhaps best known as a painter of Paris 1881-1949 near the Azores decorative panels and portraits, as well as urban views, Boutet de Monvel also produced book and fashion Three Men Walking, Seen from Behind illustrations for such magazines as the Gazette du Bon Ton, La Vie Parisienne, Fémina, Le Journal des Dames et de Modes Pen and black ink and pencil on papier calque and Le Rire. He provided drawings for Harper’s Bazaar in the 1920s and 1930s, and contributed illustrations to the Stamped with the artist’s posthumous studio stamp first French edition of Vogue, published in June 1920, for (not in Lugt) at the lower right which he continued to illustrate the latest fashions. Boutet 1 3 135 x 187 mm., 5 /4 x 7 /8 in. de Monvel was himself a well-known dandy, known for his innate style and elegant dress sense. As his fellow illustrator Provenance: Georges Lepape wrote, in a letter of November 1926 from Among the contents of the artist’s studio in Paris at the time New York, ‘Since we arrived a week ago we’ve seen a lot of of his death Bernard Boutet de Monvel and his brother Roger. We often go Thence by descent in the Boutet de Monvel family out or go to receptions together, and the other night at midnight Bernard and I were in topper and tails on a bus in Fifth Avenue; it was hilarious.’

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90d BERNARD BOUTET DE MONVEL This and the following drawing were used to illustrate Paris 1881-1949 near the Azores Henry Bidou’s short story ‘La peinture absolue’, published in the Gazette du Bon Ton of March 1920. La peinture absolue: A Man Looking at a Painting, Seen from Behind The present sheet depicts Luc, an artist, admiring a painting by the Cubist artist Jean Metzinger, which was being exhibited at a gallery at 19, rue de la Baume in Paris. (This Pen and black ink, with touches of white gouache, was, in fact, the address of Léonce Rosenberg’s Galerie over an underdrawing in pencil, on papier calque l’Effort Moderne, where an exhibition of Metzinger’s Cubist Signed with the artist’s monogram BMB at the lower paintings was mounted in January 1919.) Luc studies each right canvas closely, and greatly admires Metzinger’s technique 3 187 x 128 mm., 7 /8 x 5 in. and rigorous compositions.

Provenance: Among the contents of the artist’s studio in Paris at the time of his death Thence by descent in the Boutet de Monvel family

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90e BERNARD BOUTET DE MONVEL This drawing was also used to illustrate Henry Bidou’s story Paris 1881-1949 near the Azores ‘La peinture absolue’ in the March 1920 issue of the Gazette du Bon Ton. At the Metzinger exhibition, the artist Luc meets La peinture absolue: Two Men Looking at a Painting an old man who describes the work as ‘la peinture absolue’ (‘absolute painting’). He points out to Luc that Metzinger is Pen and black ink, over an underdrawing in pencil, on not painting the thing but the idea of the thing, and that one must not copy, but paint the essence of beings. Luc replies papier calque that he used to think this way in his youth, but then he Signed with the artist’s monogram BMB at the lower became an Impressionist, and it is for this reason that his right soul is not pure, unlike that of Metzinger. The old man 1 190 x 128 mm., 7 /2 x 5 in. leaves him, and Luc has no doubt that ‘an angel spoke through the old man’. He departs the gallery with his vision Provenance: of the universe altered, viewing everything he sees on the Among the contents of the artist’s studio in Paris at the time street in terms of lines, angles and geometry, and becomes of his death a Cubist. Thence by descent in the Boutet de Monvel family

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91a MICHAEL REILLY Coldfield by 1946. As a commercial artist, Reilly received Born 1898 commissions from several railway companies, including the Great Western Railway, Southern Railway and the London Design for a Great Western Railway Menu Card: Underground. He designed a number of railway posters, Paignton, Devon of which several examples are today in the collection of the National Railway Museum in York; these include a poster of Wells in Smiling Somerset, published by the Southern Gouache on card Railway in 1931 and Wales, Unsurpassed for Scenic Grandeur Signed Michael Reilly at the lower right, and inscribed for the Great Western Railway, printed around 1930. Other Paignton in the lower right margin posters designed by Reilly for the G.W.R. include scenes of 3 1 162 x 241 mm., 6 /8 x 9 /2 in. [sheet] Criccieth and Porthcawl in Wales, dating from 1935 and 1937 respectively, and Weston-super-Mare in Somerset, Provenance: published in 1946. A watercolour view of Aberystwyth in Malcolm Guest, Knaresborough, North Yorkshire Wales, drawn by Reilly in 1946 and today in the National Railway Museum, was also used for a G.W.R. poster. Michael Reilly studied at the Central School of Arts and Crafts in Birmingham between 1923 and 1926. Very little is The harbour at Paignton, on the western shore of Tor Bay known of his life and career, which seems to have been in Devon, was established in the 18th century, and spent living and working in the West Midlands; the artist remained for many years a thriving fishing port. lived in Birmingham in the 1930s and was in nearby Sutton

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91b MICHAEL REILLY overlook a wide, sandy beach, nearly two miles in length. Born 1898 The cliffs at Perranporth also figure prominently in an illustrated guide to the county published by the Great Design for a Great Western Railway Menu Card: Western Railway Company in 1934. Perranporth, Cornwall Another design by Michael Reilly for a Great Western Railway menu card, depicting a view of Newquay in Gouache on card Cornwall and datable to c.1930, is today in the collection of Signed with initials MR at the lower right and inscribed the National Railway Museum in York. Perranporth in the lower right margin 1 1 158 x 241 mm., 6 /4 x 9 /2 in. [sheet] Both of these gouache drawings by Michael Reilly were part of the extensive collection of railway memorabilia – Provenance: including posters, artwork and archives, with a particular Malcolm Guest, Knaresborough, North Yorkshire emphasis on the Great Western Railway – assembled by the late Malcolm Guest (1943-2009). On the Atlantic coast of Cornwall, southwest of Newquay, Perranporth is a small seaside resort noted for its cliffs, which

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92 MAXWELL ASHBY ARMFIELD, R.W.S. and a review in The Times noted the artist as ‘a man of Ringwood 1881-1972 Dorset originality and promise…[he] is said to be very young: but he is also very versatile…his gifts are undoubted.’ A prolific and accomplished illustrator, he also found the time to publish a Three Feathers number of books of poetry, travel accounts, and technical guides such as the Manual of Tempera Painting, published in Tempera on board 1930. Signed with the artist’s monogram and numbered OP / 253 at the upper right Numbered by the artist as Opus 253, which would suggest 253 x 305 mm., 10 x 12 in. an approximate date of 1948, the present work was first exhibited the following year. Writing a few years later, Provenance: Armfield described the particular appeal of tempera, noting Kensington Art Gallery, London, in 1949 that ‘only in this apparently most material and restricted Purchased from them by Mrs. Carrow, London medium could I learn to express in this age, those fundamental Gladys Lilian Grant, and thence by descent until 2006 things which could not at the present time find acceptance in a direct or ostensible way.’ Elsewhere, Armfield wrote, Although he studied at the Birmingham School of Art, ‘Tempera because of the exigencies of material is specially Maxwell Armfield was largely self-taught as an artist. It was suitable for smallish pictures, gay and rich in colour…the as a student that he began experimenting with painting in peculiarities of the medium itself render it most suitable for tempera, although he only began taking up the medium the presentation of flowers, fruit, and the small beasts naturally seriously around 1910. His first significant one-man associated with them: for sky, pebbles, and generally, the exhibition was held at the Carfax Gallery in London in 1908, smaller details of nature...’

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93 INGRID GERHARDT Very little is known of the German artist Ingrid Gerhardt, Düsseldorf(?) 1925-2002 France(?) who does not seem to appear in any biographical dictionaries of 20th century artists. She is recorded as having A Large Manor House studied at the free art school established by the painter Jo Strahn in Düsseldorf in the 1940s, and she seems to have Watercolour and gouache, with pen and brown ink lived and worked for much of her later life in France, in the département of Ille-et-Vilaine in Brittany. That she was also and brown wash active as a printmaker is evidenced by an illustration of a Signed and dated Gerhardt 50 at the lower right woodcut of a puppet-master, published in the newsletter of 1 312 x 482 mm., 12 /4 x 19 in. a German amateur theatrical society in 1955.

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94 CHARLES FREDERICK TUNNICLIFFE Tunnicliffe is probably the best known bird artist of the Macclesfield 1901-1979 Afon Cefni, Anglesey second half of the twentieth century. Born in Langley, east Cheshire, the son of a shoemaker, he trained as an artist at A Long-faced Tumbler Pigeon Manchester School of Art and in 1921 he was awarded a Royal Exhibition to the Royal College of Art where he Variously inscribed, watercolour over pencil specialised in engraving. He exhibited extensively at the Royal Academy from 1928 until 1979 and became a Royal heightened with bodycolour Academician in 1954. 1 3 237 x 271 mm., 9 /2 x10 /4 in. In 1952, his best known book, ‘Shorelands Summer Diary’, Provenance: was published, documenting the land and life around his With Heather Newman Gallery; Anglesey home, and his reputation as a bird artist was firmly Jean Parry-Williams, Painswick established. He exhibited continuously at the Royal Academy from 1938 until 1978, culminating in a major Exhibited: exhibition of his drawings and sketchbooks at the Royal Wallsworth Hall, Sandhurst, Nature in Art, 18th May to 27th Academy in 1974. In 1954, he was made vice-president of June 1993 the RSPB and in 1968 of the Society of Wild Life Artists. In 1975 he was awarded the gold medal of the RSPB and in 1978 he was appointed OBE.

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95 STANLEY ROY BADMIN, RWS interesting drawings in this show are provided by S. R. Sydenham 1906-1989 Bignor Badmin...[He] is almost miniaturist in the fineness of his work he packs into a small picture area, but in spite of all this wealth St. Ives, Cornwall of beautifully designed detail, he contrives, with the aid of washes of tender colour, to preserve a seemly order in all his Watercolour over pen and black ink, heightened with drawings.’ In the 1940s and 1950s Badmin illustrated a number of books on pastoral or topographical themes, touches of gouache notably Village and Town and The British Countryside in Colour. Signed and inscribed St. Ives. / S.R. Badmin at the As one recent author has noted of the artist, ‘his craft has lower right been based on hard work and experience, and his talent on a 3 1 287 x 386 mm., 11 /8 x 15 /4 in. [sheet] love for and deep knowledge of the British countryside.’

A gifted artist and printmaker, S. R. Badmin is best known for Badmin produced a handful of views of the picturesque his delightful watercolour landscapes of the English Cornish fishing port of St. Ives. Another watercolour view countryside. In 1932, at the age of twenty-six, he became of the town, inscribed by the artist ‘A Corner of St. Ives’ and one of the youngest Associate members of the Royal ‘The Room with the View’, was on the London art market in Society of Painters in Watercolours. At the exhibition of the 1985, while a view of St. Ives from Porthminster was shown Society in 1932, Badmin’s work was singled out for praise at the Royal Watercolour Society in 1953. by several reviewers, one of whom noted that ‘The most

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96 RENÉ GRUAU Arguably the most famous fashion illustrator of the second Covignano 1909-2004 Rome half of the 20th century, René Gruau produced numerous designs for the covers of fashion magazines, notably Vogue, Design for the Cover of Sir Magazine (No.4, 1964) International Textiles, L’Officiel de la Couture et de la Mode de Paris and Club. The present sheet is a design for the Brush and black ink, gouache, and green film, over a cover of a 1964 issue of the magazine Sir, a quarterly trade publication devoted to male fashion, published in Holland by pencil underdrawing, on paper the International Textiles group. Gruau produced many Signed with the artist’s initial *G in at the lower right cover designs and illustrations for the magazine. 1 1 410 x 287 mm., 16 /8 x 11 /4 in.

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97 JOHN LANGLEY HOWARD exhibition with his older brothers Charles and Robert; a Montclair 1902-1999 San Francisco review of that show noted that, of the three Howard brothers, ‘John Langley is the poet, the mystic and the most Apples on Earth complex...there predominates in his work a certain quality, an element of sentiment that escapes definition but is the unmistakable trait by which one recognizes deeper art.’ With Watercolour on paper, laid down on board the onset of the Depression Howard began to incorporate Signed and dated JOHN LANGLEY HOWARD ’67 at Marxist themes in his work, which often emphasized the the lower right plight of the working classes. This was perhaps most explicit 3 1 146 x 218 mm., 5 /4 x 8 /2 in. [image] in a commission he received in 1934 for a mural to 3 1 214 x 285 mm., 8 /8 x 11 /4 in. [sheet] decorate part of the interior of the Coit Tower on Telegraph Hill in San Francisco. While the decorations were intended Provenance: as a celebration of California’s achievements in industry and Acquired from the artist by the Garzoli Gallery, San Rafael, agriculture, the artist’s decision to devote his mural to the California depiction of a group of unemployed workers, combined Acquired from them in 1996 by Charles Ryskamp, with the subjects chosen by some of the other equally Princeton, New Jersey. politicized artists working on the same project, led to considerable controversy. After the outbreak of World War Born into a family of artists and architects, John Langley II, however, Howard’s work began to move away from Howard studied at the California Guild of Arts and Crafts in social commentary and towards a renewed focus on Oakland and at the Art Students League in New York in the landscapes, still lives and natural history subjects. Between early 1920s. He worked mainly in tempera, watercolour 1953 and 1965 he worked as an illustrator for Scientific and oil, and also produced a number of etchings. His first American magazine, creating many covers that emphasized one-man exhibition was held at the Modern Gallery in San the delicacy and beauty of objects found in the natural Francisco in 1927, and the following year he shared a joint world.

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98 WOLF KAHN greatest significance for the artist throughout his long career. Born 1927 In Orange Afterglow, which can be dated between 1994 and 1998, the bright bands of orange, purple, yellow and green Orange Afterglow echo the artist’s belief in the independence of colour within a composition, without compromising the chromatic Pastel on thick archival paper autonomy of the whole. As Kahn has noted, ‘sometimes the vibrancy we seek is to be found in nature; often it comes entirely Signed W. Kahn at the lower centre from the pastel box. The source doesn’t matter. What is 3 7 300 x 403 mm., 11 /4 x 15 /8 in. [image] necessary is to find a way, by using color in its extreme forms, 3 3 450 x 554 mm., 17 /4 x 21 /4 in. [sheet] to grab the viewer by the lapels and give a good shake or two.’ For Kahn, each colour holds importance, but in particular Born in Germany, Wolf Kahn immigrated with his family to purple and orange; as he has stated, ‘Laying down a good area America in 1940, and began his studies with the Abstract of purple is all I need to start a picture.’ He also believes that Expressionist painter Hans Hoffman, whose studio assistant bright orange is one of the best colours to capture the he later became. He had his first solo exhibition in 1956, viewer’s attention, since ‘it resists being used in a subtle way, and continues to work productively to this day. The artist is never reticent, or decorous, or delicate’, and he adds that has travelled extensively throughout his long career, painting one of the best times to use this audacious colour is for a views in Egypt, Greece, Italy, Kenya and Mexico, as well as sunset. The use of broad bands of colour in bright pastels, in Hawaii, New Mexico, Maine and, in particular, Vermont, appearing at first glance abstract but with the slightest hint of where he continues to spend several months each year in form along the horizon, is characteristic of Kahn’s oeuvre, the summer and autumn. and is a compositional and chromatic theme which he has continued to develop in recent years. It is the medium of pastel that has proved to be of the

116 SOFA

99 ANNE CONNELL purposes. Another feature of her work is the craftsmanship Born 1959 involved in its creation, characterized by a painstaking technique of oil, silverpoint and gold leaf on prepared Without the Walls panels. As a review of an exhibition of her work in The New York Times aptly noted, ‘Borrowing patterns and fragmentary Collage, gold leaf, gouache, graphite and silverpoint images from Italian Renaissance painting for her small, lovingly made panel paintings, Connell creates a quietly luminous on paper mounted on panel symbolist poetry that seems as once antique and post- 3 230 × 340 mm., 9 × 13 /8 in. modern.’

Painted in 2014-2016. The hill in this composition was freely adapted from Sassetta’s Journey of the Magi (1320s), in the Pinacoteca in The artist Anne Connell lives and works in Portland, Siena, while the city is a detail taken from Agnolo Gaddi’s Oregon. She has spent much time in Italy, and her work frescoes in the Cappella del Sacro Cingolo in the cathedral reflects her abiding love of the art of the early Renaissance. in Prato, executed between 1392 and 1395. The comet Connell’s paintings sample images and patterns from comes from a depiction in the Augsburger Quattrocento sources, while at the same time representing Wunderzeichenbuch (Book of Miracles), dating to the middle these elements within a distinctively modern idiom, to of the 16th century. create an expressive vocabulary with its own meanings and

117 SOFA

100 ANNE CONNELL For further information about Anne Connell, or to view Born 1959 images of her recent paintings and drawings, please visit the page dedicated to her work on the gallery’s website. Two The Incoherence of Melancholia exhibitions of her recent work have been held at Stephen Ongpin Fine Art in London, in 2009 and 2014, and copies Collage, gouache and silverpoint on paper mounted of the catalogues of both exhibitions may be obtained from the gallery on request. on panel 255 × 204 mm., 10 × 8 in. A large loan exhibition of Connell’s work, entitled The Silent Heart: Modern Illuminations by Anne Connell, is on Painted in 2016. view at the Chapel Art Center at Saint Anselm College in Manchester, New Hampshire, through December 2016. The bird and the foliate ornaments come from 19th century heraldry. The tree was inspired by the early 15th century frescoes of the Sala Baronale in the Castello di Manta, near Saluzzo in Piedmont.

118 Stephen Ongpin has nearly 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 sharing a gallery in St. James's in London with Guy Peppiatt. The gallery exhibits at several art fairs, including the Salon du Dessin in Paris and The European Fine Art Fair in Maastricht in March, and 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

119 INDEX OF ARTISTS

AGRICOLA, Christoph Ludwig no.6 COX, David no.38 ALKEN, Henry Thomas no.30 CRAPELET, Louis-Amable no.57 ALMA-TADEMA, Sir Lawrence no.56 CROMEK, Thomas Hartley no.34 ANDREWS, Charles William no.68 ARMFIELD, Maxwell Ashby no.92 DANIELL, William no.23 DEBUCOURT, Philibert-Louis no.21 BAADER, Johann Michael no.8 DELLA BELLA, Stefano no.3 BADMIN, Stanley Roy no.95 DELUERMOZ, Henri no.80 BAKHUIZEN, Ludolf no.4 DE SPECHT, Emile no.72 BARBIERS, Pieter no.11 DEVIS, Anthony no.17 BARRET JNR, George no.43 BERNINGER, Edmund no.74 EAGLES, Rev. John no.49 BIGARI, Vittorio Maria no.7 BLAZEY, Lawrence Edwin no.89 FRASER GARDEN, William no.79 BOUTET DE MONVEL, Bernard no.90 FRENCH SCHOOL nos.64,77 BRABAZON, Hercules Brabazon no.75 FRIPP, George Arthur nos.52-53 BRIDGMAN, Frederick Arthur nos.58-59 FROST, George nos.26-27 BRIGHT, Henry no.50 BROCAS, William no.28 GERHARDT, Ingrid no.93 BURGESS, Thomas no.20 GOUDT, Hendrick no.2 GRUAU, René no.96 CALLOW, William nos.54-55 CARTERON, Joannes no.5 HARDING, James Duffield no.44 CASCIARO, Giuseppe no.84 HART, William no.65 CHATELET, Claude-Louis no.12 HEARNE, Thomas no.14 CIBO, Gherardo no.1 HEATH, William no.24 CONNELL, Anne nos.99-100 HEMJIC, Marcel-Jacques no.87

120 HINE, Henry George no.66 POYNTER, Sir Edward John no.76 HOWARD, John Langley no.97 PROUT, Samuel no.36 HUNT, Alfred William no.70 PYNE, George no.51

JOHNSON, Harry John no.69 REILLY, Michael no.91 JOY, William no.32 RICHARDSON JUNIOR, Thomas Miles no.47 RICHARDSON SENIOR, Thomas Miles no.39 KAHN, Wolf no.98 RICHMOND, Sir William Blake no.61 KARSEN, Kaspar no.35 ROWBOTHAM, Thomas Leeson no.40 ROWLANDSON, Thomas no.13 LEAR, Edward nos.33,62-63 LEITCH, William Leighton no.67 SCHOTEL, Petrus, Johannes no.31 LINNELL, John no.37 SHIRLAW, Walter no.60 LOEVY, Edward no.73 SMITH, Joseph Clarendon no.16 LOIR, Luigi no.71 TITTENSOR, Harry no.86 MARTY, André Edouard nos.81-82 TROYON, Constant no.29 MERCIER, Jean-Adrien no.85 TUNNICLIFFE, Charles Frederick no.94 MUCHA, Alphonse no.78 MÜLLER, William James no.48 UPHAM, John William no.25

NASH, Frederick no.45 VARLEY, John nos.41,46 NICHOLSON, Francis nos.15,42 WHITE ABBOTT, John no.19 PAYNE, William no.18 WÖHLER, Hermann no.83 PEARSON, William no.22 WORLIDGE, Thomas nos.9-10 PISSARO, Paul-Émile no.88

121 122 N UDE RWNS&WTROOR TPE NPN U EPAT 2016-2017 ONE HUNDRED DRAWINGS & WATERCOLOURS STEPHEN ONGPIN GUY PEPPIATT

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